A Brief Gander at Oasis: Chasing The Sun - Manchester Exhibition

After being hosted in a peculiar location in the nation's capital, this unique insight into the glory days of one of Britain's biggest bands came home to the Old Granada Studios in the centre of Manchester, in a much more fitting venue. In the midst of constant reunion rumours, the exhibition was a welcomed change among the array of tabloid speculation and die-hard fans ranting about what once was.

I'll have to admit now, I had no idea what to expect, aside from the odd guitar from the older Gallagher's collection. Aside from the fabled life-sized recreation of Bonehead's living room, which was the setting for the artwork of their debut album, Definitely Maybe. I was somewhat in the dark. If only I would've looked at the cover of the programme, which stated in a fittingly direct manner that the exhibition featured 'Rare and iconic photographs, artefacts and memorabilia from the early years of Oasis'. And in that regard, it didn't disappoint. 

There was something to please every level of Oasis fan: If you wanted, you could go in, take a few pictures of the memorable features, have a snap in the replica front room of the rhythm guitarist, then buy a programme and be on your merry way. You know, like this:

But if you knew what to look for, you could very easily revel in the little bits and bobs which were on offer. For the attentive, there was everything from old set-lists and triple-A passes, to old tickets from their November 1995 gig at Earls Court, which cost a whopping £14! Seriously though, they're some decent seats too.

Even that iconic (albeit poorly photographed) Epiphone Sheraton emblazoned with the Union Jack, making its' debut at the Maine Road shows, was on display, soaking up most of the glory and attention from the other three Epiphones and a lonely Rickenbacker. 

The highlight for me was the dual Epiphone Rivieras, used on the cover of Definitely Maybe and on the accompanying tour. 

If you're a fan of early Oasis, specifically from 1993-1997, then I'm afraid to say that you missed a cracking opportunity to gain a surprisingly personal insight into one of your favourite bands. This and the recent documentary, Supersonic, has provided a new series of delights for avid fans, although it might prove why we might not need an Oasis reunion anytime soon, if at all. Hell, if you were a particularly loaded visitor to the exhibition, you could even have bought a lovely piece of Oasis art, or even an original poster or two.

Unfortunately though, you couldn't buy some of the original artefacts. You could watch a few videos of some proper tunes, like their cover of 'I Am The Walrus' with the Bootleg Beatles, or even some interviews from when the Gallagher brothers were just first getting started, firing off proclamations of being the best band in the world. 

There were some absolute treats housed in the Old Granada Studios, whether it be drum kit from the cover of the 'Don't Look Back In Anger' single, Liam's parka from one of their Glastonbury gigs, or even their platinum discs from their second album. For me, the favourites were some of Noel's original scribbling from the aforementioned single, or if that wasn't enough, what about one of their early set-lists, consisting of some proper belting tunes from the first two albums. The encore alone is worthy of some praise - 'Don't Look Back In Anger', 'Live Forever' and ending with 'Rock N Roll Star'.

You never know, keep your fingers crossed and the exhibition might just go on tour again sometime, and for your sake, I certainly hope it does. No matter what you think or feel towards Oasis, the exhibit served solely to remind you of the music of the band. Of course, big fans of the group are going to revel in the glory-filled nostalgia which is the bands' peak between '93 and '97, but the intent and result of the endeavour is best put in the introduction of the accompanying programme, with an old quote from the chief himself, who is humbly grounded in this section as someone who was just "drifting along" as a "former fish-tank maker, signwriter, baker's assistant and labourer":

"In 20 years' time, people will buy Definitely Maybe and listen to it for what it was. That's what is important"

With that being said, I went home and listened to their debut album all the way through. And I thought it was a pretty top record, with the angst of young, listless northern men wanting to escape from uncertainty. As predicted, 20 years later, people are still inspired the themes and messages the album has to offer. It just helps that these ideas are housed in some impeccable songs. 

Impressions: Take Control - Slaves

Slaves, if you didn't already know, are two lads from Tunbridge Wells. They are two tattooed tearaways who managed to reinvigorate the post-punk genre with an overwhelming dose of irony. It's a bit weird, really; the pairing are amusing, and know that any attempt to create music harking back to the likes of the Sex Pistols and The Clash can't be done without putting your tongue firmly in your cheek. 

Their first album, Are You Satisfied? ensured that the theme of silliness was consistent throughout, with no brief lapses into serious. Admittedly, there was an overarching sense of disappointment and frustration with modern millennials, (see songs like 'Despair and Traffic' and 'Do Something'), but it was a form of dissatisfaction which acutely aware of its audience, and of who it was addressing. The most serious song from their debut album was 'Sugar Coated Bitter Truth', a tune which delves into government conspiracy, but loses all remnants of seriousness when Issac shouts "Do not trust the flies, they are government spies!". 

That's the problem with Take Control. In the mere time-frame of a year and a half, the duo have become full of toxicity and purpose. They're getting too serious, far too quickly, and it's a worry which has been visible since their first new tune after their debut album, in the now confusingly named track, 'Control'; you know, that tune which Slaves think is incredibly significant and politically charged, when really it's just a generic stringing together of rebellious lyrics. Unfortunately, it seems that this new found seriousness has carried over to their new album.

When I had a look at Are You Satisfied?, it was a cheerful album full of hope and optimism in a world depicted as dull, dreary and downright dreadful. As a result, you got focused songs which didn't really tie together as part of a coherent album theme, but appeared refined despite their raw and visceral sound. You had tunes like 'Feed the Mantaray' and 'Hey', which regardless of whatever inspired the lyrics, are now seen as songs in which Issac is screaming about either aquatic wildlife or some particular vicious children in the respective tunes. While that might seem to be quite odd, there's absolutely nothing wrong with that: In fact, they're great songs, going on about some complete nonsensical situations. 

Anyway, let's have a look at Take Control from a purely objective standpoint, shall we? Or at least as objective as a notoriously subjective individual can get...

First and foremost, if you toss out all of the qualms with the excessively weighty messages of the album, the clashing messages and contradictory tone, and those skit sections, the individual songs seem a fair bit tighter than their previous efforts, and rather well-written. 'Spit It Out', for all its uninspiring lyrics, it a song with a solid structure at the very least.

'Hypnotised' also sounds a bass-filled ballad with a lot of inspiration from the duo's American counterparts, eerie resembling the likes of Death From Above 1979. Things get a bit sillier when it comes to tunes like 'People That You Meet', as the video shows Laurie shaving a man's head as Issac recalls an intriguing experience in a sex shop; it's the careless lyrics and simple, listlessly heavy tune which best fits the duo, resulting in a song which sounds like something off of their first album in the process. 

This carries on with a lack of certainty with 'Consume Or Be Consumed' - at first, I was a tad worried that the lads were going to try and make some eloquent comment on the flaws of the capitalist system, but this is put to rest with the weighty, swaying bass, and a snippet of someone cutting their legs off with a chainsaw. In this instance, the tune is no more politically impacting than 'Sugar Coated Bitter Truth'. 

I think that's a recurring theme with Take Control. Altogether, it doesn't add up to their debut album, but that certainly doesn't mean you should dismiss it entirely; it's a valiant effort indeed. We were all a bit worried that the lovely lads were going to get a bit too serious with this album, but I think everyone simply forgot who Slaves were, believing that they'd be off on their second album trying to reshape their identity and image. Nah mate, that wasn't the case after all. 

Of course, as their bibliography expands, the duo are going to sound a bit more bland, (that being said, the last few songs on the album do experiment quite a bit). Similarly, their songs may refrain from spouting nonsense and attempt to get the odd message across, but ultimately, no individual lyric or section of a song will result in any dire consequences. Then again, the pairing do still amuse with their short skit segments, and certain aforementioned lyrics, (how can a song about a sex shop not warrant the odd giggle?). They're still finding their happy medium when it comes to recorded material, and Slaves are well on their way to achieving this ideal. Obviously, they're doing grand when it comes to their energetic live performances.

To put it as wonderfully simple as I can; it's alright. Tell a lie, it's decent, getting on good - I can't help but feel that my previously mentioned worries about Slaves getting too serious with their Chase and Status tune was just a phase. Admittedly, it's not the same enticing LP which we welcomed a while ago, but it's nothing to strike down in a fit of politically-charged fury. I don't know what everyone expected from an album from a care-free punk duo, but give it a while, it'll grow on you. 

Music Spotlight: Something New for Uni

I know what you youths are like these days, going around campus, music blaring out at ungodly hours. Cities view September with an overbearing sense of dread, fearful of the forthcoming scourge that will accompany the start of the new academic year. 

Regardless of how you act at uni, chances are you'll be stereotyped as the listless student by all other faucets of society, especially if you're attending a university in a small city, and even more so if you're a bright-eyed fresher. Some say that stereotypes exist for a reason, and if this involuntary image of yourself is going to be attached to you regardless of how you act, then there's no point trying to change it, really. 

So embrace your inner student: Go out on a tenner. Wake up at 3 P.M. Blast out music at potentially unreasonable hours, and turn it up louder on a school night. So while you're at it, here's three new tunes that'll make sure you can look like the biggest music hipster going. You'll either be the life of the party, or ignored completely, but let's face it; there's a good chance of that happening regardless. 

The Assist - Love

If you want to be that guy who's incredibly nostalgic of Britpop, (the one who makes out he's been to Oasis' Maine Road gigs despite the fact that he'd have been about 3 at the time), then look no further than the modern resurrection of Madchester. 

This movement has seen somewhat of a resurgence nowadays, with traditional band formats being loaded with a swarm of psychedelic elements. Just think of all the layers in this tune, I mean, I lost count. 

So anyway, these lads are bringing back the glory days of Madchester with some uncharacteristically tight lyrics, giving the song a bit of welcome pace and punch. It uses just enough effects and post-editing to make it sit on the fence between a 90s club banger and a modern indie hit.  

They're like the Charlatans, only the frontman, Mikey, has funny hair. 

Small Victories - Future

If you're of the belief that two-man bands are the future, well, you might be onto something. With a sound reminiscent of The Joy Formidable, the duo are doing something right indeed, making a massive sound with minimal members, a feat which has led to the success of similarly constructed bands such as Slaves and Royal Blood.

Rather than utilising nostalgic attraction, the two appear to be firmly focused on the future, giving a garage rock style of music which doesn't immediately rely on distorted guitars and spat-out lyrics. Think The Black Keys rather than The Stone Roses for these two. 

The Midnight Barbers -  Hey Master

Last but not least, take a step into something a bit more bizarre. Another duo, The Midnight Barbers seem intent on giving you some very weird dreams; it's fine though, because they want to soundtrack said dreams with good ol' fashioned rock and roll, something which has been direly overlooked in modern music. 

If I was going to make any criticism, the song itself doesn't seem too inspired. Admittedly, the lyrics are just as brash and harsh as necessary, it's just the lacklustre chord arrangement makes it sound like they're trying to rip off of T-Rex. But ah well, there's going to be some overlap with classic rock, I suppose. 

Whereas the other two tunes in this post had the intent of appealing to certain groups, I really don't know what to do with this one. With a video like that, you probably won't be starting any leisurely conversations with slightly tipsy people at the bar. Probably stick to this track if you want to give yourself some space, I reckon. Or take it to an art class and describe how it represents the subconscious, I've not a clue. 

Monday Music Spotlight: English Americana

Whether you like it or not, American culture is incredibly potent and infectious. Without anyone realising it, America has slowly but surely managed to seep its way into every corner of the world.

Even huge bands, like the Arctic Monkeys, a four-piece which has managed to become synonymous with Northern iconography, and the mid-noughties revolution of bravely utilising your accent, have had a bit of an American twang to them as of late. 

Call this scepticism, or Alex Turner's unique brand Americana (via Sheffield, of course), but it seems that national pride has took a bit of a holiday when it comes to British music. 

But this isn't a new phenomenon, certainly not. Local bands have been trying to emulate their stateside cousins for a long time, and it's an epidemic which isn't merely isolate to a particular genre. God help us all. 

Teenage Fanclub - What You Do To Me

I remember seeing these guys last year as a support act for the Foo Fighters in Manchester. In an ideal world, I would've gone to Sunderland instead, (who got support from The Strypes and Kaiser Chiefs), but then again, we don't live in a perfect world. Along with a peculiar two-piece by the name of God Damn, these guys got an introduction by Dave Grohl himself, telling us how he'd been a fan of them for years, and that they'd been going since the nineties. 

They're a band who've been going for ages, and with a lengthy list of accomplishments. Hell, they've been called the second best in the world by Liam Gallagher, and they're on the verge of releasing their tenth studio album. 

Their inoffensive mixture of pop, indie and a dash of alternative have ensured their longevity, but you can tell by their fan-base that they tend to cater to a predominantly American audience, sounding reminiscent of the Beach Boys as opposed to anything from this side of the Atlantic. Their music certainly is a far cry away from their native Bellshill, in Scotland. 

Mumford and Sons - Hopeless Wanderer

These guys have managed to fool everyone; when they exploded in popularity a few years ago, it was like no-one had heard folk music before. With parts of vintage-bluegrass and country music impeding on their work, the London-based four-piece have imported Americana to the UK and capitalised on the unfamiliar sound massively.

Their debt to American roots music is evident, and although the band is trying to break away from their origins with their latest album, the initial wave of double bass and acoustic guitars which they promoted won't be forgotten anytime soon. 

The Zutons - Valerie

Unfortunately, The Zutons only really became popular due to one particular cover, and the band didn't gain much recognition outside of it. That being said, the bassist did go on to join Noel Gallagher's High Flying Birds, so make of that what you will. 

It's truly a shame, because I remember the infectiously catchy nature of this song when it was released, becoming one of the instant indie classics alongside the likes of 'In the Morning' or 'Chelsea Dagger'. It's one of those tunes which has about 80% chance of being played in any indie club. 

Much like the aforementioned Teenage Fanclub, The Zutons seems keen to disregard their Scottish identity, making use of an accent which sounds nothing like, say that of Biffy Clyro's Simon Neil. It's comparable to the American twang of Alex Turner; it's not an absolute game-changer, but you can't help but feel a bit remorseful when you recognise it. 

See what I mean? This gradual disease can't be stopped, and it's only contributing to the Americanisation of absolutely everything. Ah well, I'm sure we'll have an influx of indie bands who aren't afraid to represent their homeland. 

Monday Music Spotlight: Intoxicating Ballads

This post is a terrible idea. 

For one, this list is rather extensive, and simply cannot be contained by a petty blog. It demands something worth sharing, something a bit more involving to the audience. I've got to pick three of my best drunk tunes, and that is a very difficult task.

In an ideal world, I'd be ramming out dank playlists on Spotify every week for your hearing pleasure, but such a feat would require multiple things; an increasingly extensive knowledge of multiple music genres, the patience to create a cohesive and varied series of playlists, and you know, dedication. 

Even if I had the resolve to construct a list of around ten songs every week, some of them just won't suffice for you. We all have our own favourite alcohol-fuelled anthems, and me throwing some recommendations your way isn't going to change that.

Ah well. Here's a few tunes to get you in the drinking spirit. At least until you get into the club and are overwhelmed with the smell of cheap aftershave, WKD and depressingly predictable musical choices.

Gay Bar - Electric Six

I find this tune is an ideal anthem to try and pull to. If your obviously top dancing doesn't do the trick when it comes to courting a chosen individual, you can always attempt to sing/shout the lyrics really loudly within an uncomfortably close proximity to the other person. I mean, it worked for me.

Alternatively, you can sing the lyrics with a sense of irony. If you're a drunken male youth attempting to entertain a potential lady-friend, you obviously wouldn't want to take her to a gay bar, would you? 

Possibly not, I hear Spoons has some wonderful deals, but what if she says "Aye, can do"? The good folks at Electric Six just got you a date without even trying, and you're welcome.  

As a last resort, you can sing and dance to this catchy riff with anyone. Sing to the reluctant bar staff, dance with your mates as to not appear like boring sods, and probably avoid screaming the lyrics at the bouncers, you know, just in case. 

This song also taught me that using the phrase 'nuclear war' is apparently to shy away from. I guess you learn something new everyday. 

Rock & Roll Queen - The Subways

Presenting to you, that one song from around 2005 that everyone knew, and was played absolutely everywhere, in games, TV adverts, and film trailers; although no-one ever knew who made it. 

Well you can now rest easy, as it was The Subways, (not that sandwich shop) who gave us this remarkably simple track with only three chords, so you can tell it stemmed from an indie/punk artist. 

Thankfully though, the few lyrics that the song has are repeated almost endlessly, with only the odd deviation between verses. Even in your most darkest, drunken state, you'll still be able to remember the words rather than humming some gibberish really loudly. 

Despite its simplicity, the lacking lyrics and minimal notes do just what the song requires. It makes everyone think they can play guitar, and if there's one in the vicinity, they'll probably have a go. It's probably best to hide your musical instruments while this song's on. 

Supersonic - Oasis

When I rocked up to uni for my inaugural freshers week, I made an effort to portray myself as a man of different tastes. I don't mean that in a weird way, oh no. It's just while everyone else seemed content with listening to the same old tag-team of 'When the Sun Goes Down' and 'Mr. Brightside', along with a plethora of generic pop hits, I liked to act somewhat nostalgically. 

Obviously, I'd have to enduldge in the odd Arctic Monkeys tune, but it certainly wasn't anything worthy of traditional radio airtime. Rather than 'Fluorescent Adolescent', it was instead 'If You've Found This It's Probably Too Late', a mental tune oozing of early Monkeys sound, and belting through its less than two minute duration. But ultimately, I needed a band to anchor in this new portrayal of myself, and what better than the swaggering rose-tinted perspective of the Gallagher brothers and Oasis. 

Gloss over the irony of me singing "I need to be myself / I can't be no-one else" from my newfound student perspective, and you've got arguably the best single that the Manchester band ever produced. So at pre-drinks, I'd turn into your typical Roses and Oasis dad-fan, arms wide open and singing along too loudly. But at least I picked the right song to do it to. 

Alternative Oasis selections are varied and extensive; points are awarded to anyone who would've also picked any live version of 'Supersonic', 'Morning Glory' and 'Live Forever'. So it may be an idea to create a purely Britpop pre-drinks playlist, just make sure everyone's aware of at least one Pulp tune. Although be warned, the party may be overwhelmed by 40 year-old football fans who exclusively drink Amstel, (not that it's a bad thing). 

Best of luck out there, don't make yourself too much of a tit when listening to these absolute bangers. 

Monday Music Spotlight: Inspired by Arctic Monkeys

The four-piece hailing from High Green, known as the Arctic Monkeys, have done a fair bit for British indie music. They've inspired and subsequently kick-started a whole heap of similarly-minded bands.

Since releasing their debut album around ten years ago, they've managed to leave quite a legacy in a relatively short space of time; a legacy which seems to have gotten people from across the country to get together, play music, and most importantly, sing in their native accents.

With the best Yorkshire band of all time taking a lengthy hiatus since the end of their AM album tour, it seems that the world is in dire need of some audio delights to temporarily replace the band formerly known as Death Ramps. Cracking name, that is.

Without further ado, here are three tunes to hopefully fill your Monkeys appetite before they start recording again, (which won't be any time soon, I'm afraid).

The Blinders - Murder At The Ballet

I swear these guys must've been a Monkeys tribute band in a former life, although looking at their SoundCloud profile and their live videos, you certainly wouldn't think it. 

Originally from Doncaster, (not too far from Sheffield), but now based in Manchester, The Blinders are a three-piece aiming to mash together elements of both punk and psychedelic music, resulting in a sound reminiscent of Arctic Monkeys. 

I mean, a bit of subtlety wouldn't kill lads, but it's still another cracking tune. The above 'ICB Blues' starts off by giving you nostalgic throwbacks to earlier Arctic Monkeys' tunes, but then proceeds to evolve into an entirely new and original animal. And this is the perfect way to justify sounding like another band; roping people in, and then showcasing your true potential when you've got the audience. 

This isn't to say that this is what The Blinders are doing, certainly not. It's just that the parallels in the sound of the two bands definitely has some overlap, appealing and enticing listeners who may not have immediately enjoyed their efforts.

Their debut EP includes tunes which sound like both 'Favourite Worst Nightmare', and 'AM', the aforementioned 'Murder At The Ballet' giving you a vibe like the last Monkeys' album. 

It's dark, sinister, and it goes from a slow, plodding pace, into a tastefully mental breakdown. It's all lovely stuff indeed. 

Milburn - Send in the Boys

Ah yes, the curious case of Milburn. They've been going since 2001, and split up in 2008, only to start a reunion tour at the start of this year. 

They never really got anywhere in the indie scene, but they're legendary status as part of Sheffield's prestigious music heritage has kept them in prominence, at least locally. Hence, if you're outside of the steel city, you've probably never heard of them. But if you're a native of Sheffield, you'll know that they're immensely popular.

Swept up around the same time that the Arctic Monkeys exploded in the mid-noughties, Milburn have been accused of being overrated, being signed in an array of post-Monkeys hype due to their similar sound. 

I'll let you make up your own mind on the matter. While I'm indifferent to the band, their seemingly familar sound is somewhat undeniable. You get a sense that an excess of Monkeys fans found solace in Milburn's offering of clean, memerable riffs and an invitation to go mental at a number of opportunities during their songs. 

Either way, they've got a significant following and a remarkable live atmosphere, so they must be doing something right. 

Reverend and the Makers - Mr Glassalfempty

Reverend and the Makers have quickly become one of my favourite British bands over recent years, showing a great progression between their albums. Of course, the most progress has been made along with their latest album, the stellar 'Mirrors', which has been acclaimed by the older Gallagher brother, no less. 

If you're a fan of the Arctic Monkeys, then honestly, you've probably already found this band. I mean, Monkeys frontman Alex Turner has worked with them previously, and the Makers even supported their mates on their debut tour.

That being said, these two Sheffield bands have grown in very different ways; Arctic Monkeys have created a fine balance between their roots, and modern day pop infused with guitars, whereas the Makers have gone for a mixed 70s concept album, taking them through a multitude of genres in the process. 

But more importantly, what should you expect from this particular song? Well, a bit of The Clash and Noel Gallagher, mostly, with their own original and extensively developed sound. 

If you're a fan of 'Mr Glassalfempty', just treat yourself and have a look at the entirety of 'Mirrors'. It's an album that demands a play from start to finish.

Still after more tunes that sound like Arctic Monkeys? Well, apologies, I'm all out of ideas. Hopefully for the next instalment, I'll manage to stop rambling on about Northern bands. Although I wouldn't get your hopes up, if I were you. 

Monday Music Spotlight: Tunes from the North

The UK has a pretty substantial music scene. We must have the highest number of cracking bands per capita than any other country on earth. And this level of musical prowess is only ever seen in mainstream media, so can you imagine how many hidden gems we must have lurking beneath the surface of the British music scene?  

We've showcased bands like Oasis, The Smiths and The Stone Roses, all hailing from Manchester. So what about the rest of the North and bands from Sheffield, Leeds and York?

I'm going to let you in on three groups who have some of the best songs to offer from the friendlier part of the country. You know, that part where everyone's a bit nicer and everyone has an obsession with gravy, whippets and flat-caps. That part. 

The Volts - Shes Dangerous

There's nothing wrong with a new take on classic rock. A refreshing British voice, deceptively simple yet catchy riffs and a pace you can dance to is all you really need, and The Volts prove it here. 

People have hailed these lads as melding a variety of genres together, touting them as garage-rock heroes who aren't afraid of pop-resembling vocals.

Long story short; these five lads whack out surprisingly polished, high tempo and high energy rock tunes, bringing down the roof in the process. I'd start getting a few quotes for fixing the ceiling if you're going to give them a listen. 

Puppet Rebellion - Test Pilot

If The Volts are a bit too much for you, try Puppet Rebellion. These guys have mastered the clean backing riff, and as a result, have garnered comparisons to Maximo Park, Interpol and Bloc Party.

They wield tight rhythms and structures that pull you in, grabbing your attention with a memorable intro, and maintaining it with a crisp and uplifting chorus. 

But if 'Test Pilot' isn't quite your cup of tea, (no idea why it wouldn't be), then give the above tune, 'Life is in Your Hands' a go. I mean, you'd be hard-pressed to find such a dedicated band; you can see why Puppet Rebellion are being readied as Manchester's next big thing. 

Fronteers - Hear It In The Rainfall

This Hull quartet seem to be rather adept at a multitude of musical sub-genres. This particular number seems to resemble the intriguing love-child of The Stone Roses, and the Arctic Monkeys, specifically around 2011.

Other tunes from the same EP, like the cracking 'Full Moon' for some reason reminds me of a mash up between the Gallagher brothers, and my personal indie-favourites, The Strypes. With their simple chords, and simply stellar solos, these four chaps manage to deliver an audio delight resembling a combination which I've always wanted. 

Seriously, their 'Streets We're Born In' EP is absolutely smashing, if you've got ten minutes to kill, get yourself on SoundCloud and give your ears a treat. 

So there you go, just in case you needed assurance that the North is the home of Britain's musical spirit, you have it now.