Category Archives: live music

HALF PRICE ticket offer for Dog Moon Howl/Lionize @ ABC2, Glasgow, Aug 1st

Ticket info as promised … now available from the Dog Moon Howl Bandcamp store:

HALF PRICE tickets to our ABC2, Glasgow show supporting Lionize with Mantis Taboggan + The Last Gasp on Aug 1st.  Tickets are half face value with no hidden bullshit.

Tickets will be left at the door for you (we’ll email the details) or we can post them if you prefer , UK only, for an extra quid (per order, however many tickets).


Must try harder.

Between an EP launch, gig booking, writing and guitar-repairing, keeping this blog updated has been something of an oversight.   Must try harder.

So, the Dog Moon Howl EP launch came and went – and even though it was a Sunday gig (not traditionally the best suited evening to rock), it was a grand night, a good time was had by all and so on.  This despite a piss poor showing on the Friday from Parcel Force who decided they couldn’t be arsed delivering a box of CDs because was a nice day or whatever, and my main guitar having a breakdown on the day of the gig.  So, the EP’s out.  Dog Moon Howl at Bandcamp – fill yer boots (also available from iTunes, Amazon blah blah blah).

Since then, I’ve been doing a bit of writing and that, including updates to the Ritual Objects blog.  I’ve been revisiting a modern favourite album of mine, Amanda Palmer’s Theatre is Evil (check out the write up HERE) and if you’re partial to some musings on movies/VHS obscurities, I have a look at The Dark Power HERE.

We’re booking new live dates at the moment for both The Craig Hughes Two and Dog Moon Howl (contact us on for gig enquiries) and we’ve already got a couple of choice Dog Moon Howl dates in Glasgow for your diaries:

On Mon 01 Aug we’re at The ABC 2 for a return engagement with the mighty Lionize.  Also playing will be Mantis Taboggan and The Last Gasp. We’ll have tickets for sale at crazy-knock-down-blow-out-how-do-they-do-it discounts very soon. Watch this space.

Sun 08 Oct sees us back at Nice’N’Sleazy with Serpent Kings, as part of their UK tour (+ Warhead + TBC).

There’ll be more gig announcements soon as The Craig Hughes Two gears up to release our live-in-the-studio mini album, Off the Cuff.  I’ll keep you updated.

Best Laid Part II

Brief update: there will be something of a flurry of Channel Nowhere activity over the next couple of weeks, so you can look forward (or not) to the release of the remastered Pennies On My Eyes on March 11th and a couple of gig announcements for both The Craig Hughes Two and Dog Moon Howl.  Promos will go out for Pennies just prior to the release date and a lyric video for new track No-One Cares If You Die will be up soon on YouTube.

Told you it was brief.

Jim Dead Pray For Rain album launch. 13th Note, Glasgow. 4th December 2015

Dog Moon Howl had the pleasure of playing at Jim Dead & The Doubters’ album launch a couple of Fridays ago.  Despite technical problems with guitar effects and unusually crappy onstage sound for The 13th Note, our set went down a treat, Jim and co. played a blinder and a good time was had by all. Thanks to Paul Kerr at Blabber’n’Smoke for posting this splendid review …

Blabber 'n' Smoke

When Blabber’n’Smoke reviewed Jim Dead‘s new album  Pray For Rain  a few weeks ago we called him a “shamanistic weatherman.” We was only joking, honestly, but of course the album launch took place on one of the filthiest nights of the year, gale force winds blowing horizontal sheets of rain that numbed your cranial nerves. Think his next album should be called “Here Comes The Heatwave.” Anyhoo (as Mr. Dead likes to say) a grand crowd donned appropriate gear and headed to the basement of the 13th Note, attracted perhaps by the prospect of seeing three fine bands and getting a copy of the new disc all for the princely sum of a fiver, one bright spot on such a dreicht nicht.

The bloody weather actually meant your intrepid reviewer missed the opening act, Traquair & the Tranquilizers although verbal reports from the early birds were all positive. We…

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Pennies, Dog Moon Howl, Jim Dead and blogs and that.

So, Pennies On My Eyes will now be released at the end of February 2016.  The audio work’s all done but there was just no way to have the whole thing ready to go by the end of November – as originally planned – and there’s not much point in putting this kind of release out mid-December (or January for that matter).  So, February it is.  As ever, watch this space.

In what’s shaping up to be my last live outing of the year, I’m playing with Dog Moon Howl at The 13th Note, Glasgow, this Friday (4th) with Jim Dead & The Doubters in celebration of the release of their new album Pray For Rain.  I’ve heard it (I did the mastering, come to think of it) and do you know, it’s really rather good. Come along on the night and you’ll get a copy of the CD as part of your £5 entry fee.

Meanwhile, the writing practice continues. Tapes For My Walkman has recently been updated with a look at ZZ Top’s Tres Hombres (HERE) and Tapes For My VCR has just been updated with a review of ’90s bikers-and-explosions flick Stone Cold (HERE).  Please do feel free to give them a look.


Stuff that’s happening.

There’s been a fair amount of Channel Nowhere activity recently, what with a run of solo/duo Glasgow gigs at The Howlin’ Wolf and Dog Moon Howl gigs at The 13th Note and Ivory Black’s, while music and movie blogs Tapes For My Walkman and Tapes For My VCR have been increasingly finding their feet.   Here’s what’s coming up.


There will be one more Dog Moon Howl appearance (with Jim Dead & The Doubters at their album launch at The 13th Note on December 4th) which unfortunately will be your last opportunity to see the band live this year.  Bassist Bryan Campbell is having a knee operation which will put him out of commission for a while.  I’m a bit fuzzy on the details but essentially I believe he’s having his existing, faulty, knees replaced with cloned gorilla elbows which will be fitted backwards so that he can walk like a mantis.  Exciting stuff, but he will need some recuperation time afterwards, during which he hopes to complete the scale model of Tokyo he is building in his garage for destruction at a later date with his mutant mantis powers.

In the meantime, DMH drummer Ally Tennick and myself will be kicking the arse out of the live thing in our alt.roots/blues identity The Craig Hughes Two, including a turn for our friends at The Vagabond Social Club on September 27th at Nice’N’Sleazies, Glasgow.  For other dates, watch this space, or head over to


Mastering is the key word for this month.  Work is underway on the remastering of Pennies On My Eyes which was originally a mini-album I put out about five years ago as part of the split CD (with Sleepy Eyes Nelson) Graveyard Full of Blues.  I was never happy with the original master/mixes and, due to running-time constraints and release deadlines – not to mention my rank incompetence – there were a few tracks recorded at the time which were never completed and therefore left off of the finished product.  Well, limited availability or not, Pennies went on to gain a bit of a life of its own.  A ‘fan favourite’, it picked up good reviews, an award nomination, was a Bandcamp staff pick and so on.  As a result, I’ve gone back to the original recordings and completed work on the unfinished tracks while properly mastering the whole project, now full album length.  This will be released in October or November (the original having been unavailable for a while now).

Before that, though, I’ll be working on the mastering of that new album from Jim Dead & The Doubters which is due for a December release.  I’ve heard the mixes and it’s good stuff – grungey, country-tinged rock.


Last time I did one of these news updates, I mentioned regular YouTube updates which have yet to start appearing.  They will though.  Honest.  Also, towards the end of the year I’ll be laying the groundwork for a documentary project.  More of that closer to the time.

Two Drinks From the Bar.

I was recently invited to play a new festival, having registered my interest a few months ago. This 2000 capacity event has been partially crowd-funded via Indiegogo and is charging up to £85 for a three day ticket. Their offer to have me play a Saturday evening set? Weekend tickets for myself, a meal and two drinks.

As this is a festival in its first year and I’d like to think the organisers’ hearts are in the right place, I’ll put their side of the following exchange down to inexperience, thoughtlessness and naiveté. We’ll see, but in the meantime I’ll avoid “naming and shaming” here. I hope you might find this post of interest simply because This Goes On – and it really bloody shouldn’t.

From the original “offer” email:

We are completely non profit and volunteer run, aiming to create a great event for its own sake. In year 1 we are greatly reliant on the goodwill of talented artists who are willing to support the festival by appearing for a lower fee than they would usually expect. We have been impressed by the generosity demonstrated by artists so far and hope that you will be happy to support us on the same basis, helping us to get … off to a great start in 2015. A full agreement will follow, but in the meantime please could you confirm if you are happy to accept the following offer:

Performance on Saturday evening
Weekend camping tickets for yourself
1 meal and 2 drinks from the bar on the day of the performance

They go on to ask for standard digital promo materials before signing off. The person who sent the email bears the title “Legal & Commerical Services Director”, which seems awfully businesslike considering the above event description.

I was tempted to take the obvious route of breaking down the costs and time involved in a full time music career but couldn’t help think that the Legal & Commerical Services Director of a music festival must already know all that. In the end I replied thusly:

Thanks for your email.  While I was pleased to be invited to perform at ****, I am disappointed that, while you suggest that performers already on the bill are playing for a reduced fee – which I would certainly have considered – you then make an offer of tickets, a meal and two drinks in lieu of payment.  As someone who makes his living (such as it is) from music, I find that offer wholly and obviously unacceptable.

Access to the event is hardly an aspect of payment.  As you were asking me to play the Saturday evening, I would have expected – as a necessity – a couple of Saturday passes.  “A couple” , as I, like many solo acts, travel with someone else who is there not only to drive me to and from the gig but also to help with kit, merchandise and so on.  And, no, I don’t expect them to do this for free.  As to the offer of “1 meal and 2 drinks from the bar” – that’s the sort of fare many promoters or venues might lay on for acts in addition to their fee.  I don’t ask for it, it’s not always offered but it’s a welcome kindness when it happens.  Never in lieu of payment, though.

My fee for playing a solo set at a small festival would normally be £80, so I’m hardly asking the Earth to start with, and am usually prepared to offer some “wiggle room”.  For the right event, under the right circumstances, I have worked for a reduced fee, door-split, or simply expenses and even, yes, for free.  However, it’s not enough to be told that you’re running this festival on a “non profit” basis and “creating an event for its own sake”.  You are, after all, charging up to £85 for weekend tickets.  Surely payment of musicians is one of the fundamental projected expenses a music festival has to account for when setting the ticket prices in the first place?

Here’s a thought.  Perhaps, if it’s okay for you not to pay performers, it should be okay for the audience not to pay for tickets?  In the spirit of your offer, they could hand in a donation of food-and-drink on arrival and then get on with enjoying all that free music.  You know, just for its own sake.

Seriously, I do wish you success with ****, and hope that you can build on that success by sharing it with all of the musicians who might perform there in the future.  They’ll have bills to pay too.

In fairness – and the main reason I decided not to name the festival here – their reply was prompt, apologising for any offence caused and stating: We’ll definitely take into account what you’re saying when planning next year’s event.

I really hope they do but as I mentioned earlier, the purpose of this blog is not to draw attention to this particular event but to this practice of entitled assumption when it comes to stiffing musicians on pay. I’ve encountered similar attitudes from small-event/pub promoters, where it’s offensive enough, but on this scale it’s downright galling. Of course we all know that even the mighty Glastonbury pulls this shit – mind, I’d tell them to fuck off too. And I’d name them in the inevitable blog post.