Steve Mackey tragically passed away last week. I met him when I was hired as a production photographer on a couple of music video shoots he was directing alongside Douglas Hart. As a massive Pulp fan I was delighted to be working with him and they say you should never meet your heroes but he was the loveliest man you could imagine. And he was also ridiculously talented and the ultimate renaissance man.
Pictured here with Sworn Virgins on their Searching for Hiro video.
I have been playing the album Separations by Pulp every day since I heard the sad news. It was the record Steve joined the band on and it took them in a new direction, introducing the electronic element to their sound. It is a superb album and have got completely and utterly immersed in it. They were still relatively unknown when they made it and it was not one I had really heard before as joined them on his n hers like most other people. It was actually recorded in 89 but not released till 92 and for me is a true undiscovered gem and think it truly deserves to stand alongside the records that followed.
James Righton shoot for Release Party
Steve will most definitely live on in his music and his photography and his films but also in the hearts and minds of everyone who knew him. My deepest condolences go out to his family.
Houghton is a festival but it was born out of club culture so it has a slightly different feel to it. As it is created and curated by Craig Richards of Fabric fame it is dj driven which means that even though it is outdoors and in the middle of a countryside it still has this vibe like you are deep in the heart of clubland.
The warehouse feels exactly like a umm warehouse and you could very easily forgive yourself for thinking you were in some rave on the outskirts of East London. And that is no accident. This is immersive fantasy clubbing at its best. And you won’t need an uber to get you out of here either. Just a short stroll back to your tent, not that you will ever want to go there because Houghton never stops. So why should you?
Tantrum is another stage at Houghton which despite being a large open tent also feels like a club. The man you can see at the decks through the mist is Craig Richards himself. You might notice over the course of these shots this week that I have not taken hardly any of the djs. It’s just because I always get locked into the crowd and I believe the story is better told in showing the effect their music generates rather than a shot of them staring down at the decks.
And finally here are some shots from the Quarry which is a huge open umm quarry and is basically a massive rave all in its own right. The quarry is the only place you have to queue up to get into on site and there is always a large line of people itching to get in. I was able to skip to the front thanks to my trusty press pass. The queue might be a drag but it does add to the excitement and once through the gates everyone is doubley delighted to make it into this very large raver’s playground and as it goes on right through the night you can lose a bit of time in line and no biggie.
Charlotte and Bolis look very happy in this picture and so they should because they have just released a stunning debut album. They also look happy because that also happens to be how they naturally are. Chock full of positive vibes that pour out of them and into any audience they perform to. This shot was taken at the record launch in-store gig at Rough Trade East on Saturday where they played to a devoted and joyous crowd. It was the best buzz for a gig inside a shop I had ever been to. Charlotte thanked us ‘for our energy’ but really they were the ones generating the electric atmosphere which has become a hallmark of their gigs.
these other shots were taken at previous gigs over the years.
I have watched their trajectory since Charlotte’s first release in 2017 (they only officially recently became a duet but they always have been really) and it has been great to watch them grow as both performers and songwriters. Just before the pandemic I saw them at Oslo in Hackney and they were absolutely on fire and it felt like such a shame as they were just getting to that point when they felt like they were gonna blow up and then everything just stopped.
Obviously this happened to everyone but natural momentum is very hard to build as a new music act and even harder to keep as there is often a limited window of opportunity when you are ‘hot’ and can break through. I shouldn’t have worried. Charlotte and Bolis have come back in full force and have lost none of their infectious enthusiasm. And much more to the point, they used the downtime of lockdown extremely productively by making this superb album.
Firstly there isn’t a duff track on it. Every single one is a winner which is very rare these days. Each one tells its own story, each one has its own character and yet all somehow work together to make a truly satisfying whole. It feels like they have created a complete world and one which is uniquely their own. The music sounds so fresh and not quite pinnable to one genre. It’s pop and it’s also electronic (so I guess you could call it ‘poptronic’ which isn’t a thing but sorta making it a thing).
The hooks and melodies in each track are dynamite and they weave in all these contrasting elements, splices of R’N’B, house and techno that all somehow fuse together beautifully. And yet it is very much it’s own thing and has a genuinely unique feel and really doesn’t sound like anyone else I know. The production is in a class of its own and sounds better fully cranked up (which I recommend) than anything I have played on my stereo at home before but as the album is produced by Soulwax for their own Deewee label that does obviously makes sense. But what gives the record its charm and character are the lyrics which are personal. pertinent, poignant and just proper funny.
Tracks like ‘Esperanto’ and ‘Blenda’ exposes the racism they have received over the years whilst ‘It hit me’ deals with unwanted sexual attention growing up. But it is all done with a sharp wit and a humour that both disarms and then delivers in an infinitely more effective way than being too serious or preachy.
“Siri, can you tell me where I belong?”
In that one single line they brilliantly highlight the ridiculousness of trying to work out where you identify with if you are from one background but grew up somewhere else.
“I look like them but not to them/I sound like you but not to you”
They also downright take the piss. ‘Ceci n’est pas un cliche’ is a compilation of all the trite and generic statements you get in dance tracks.
I throw my hands up in the air/And I wave em like I just dont’ care.
It’s actually way too good to be a pisstake and has one of the most killer basslines ever. It makes my hair stand on end and generates such a dopamine hit I actually have to start the album at this track cos I can’t wait for it to come on.
The other track that takes the absolute piss is ‘Thank you’ which shines a very humorous light on all the bullshit advise and ‘constructive’ comments that have been thrust upon them along the way..but it is all done with a playfulness and warmth (which runs through all their work) that stops it being too catty.
Yes, I prefer my first Ep too!/Uhh, maybe I should make it less complex
And you discovered me right?/You’re the Columbus to my America.
I think it’s important to state at this stage that I am not really a lyric man. I can listen to a song a million times and still have no clue what they are saying and when you do finally work out what they are singing it is generally a deep disappointment . I actually lay on the sofa when this record first arrived and read the lyrics on the cover as I listened to it. I haven’t done that since I was a teenager. I should probably point out that they sing in both English and French so you might need google translate at the ready.
This album should get a ton of attention and acclaim and reckon it deserves a Mercury nomination at the very least. And hopefully it will sell by the bucketload. It is at this point that I should state that this is not an endorsment. I am not on the payroll, just a fan.
But I would like to say Topical dancer is now available in all good record shops and a bunch of other places:
All photographs this week were taken on the set of the music video shoot for the new Sworn Virgins record “Searchin for Hiro” which has just been released on the Deewee label & produced by the relentless music machine that is David and Stephen Dewaele aka Soulwax/2manydjs.
I had been hired to take behind-the-scenes shots (BTS as they call ’em in the biz) at Four Corners studio in East London and as first days back go, I gotta say, it was pre-tay pre-tay pre-taaay good! First off Sworn Virgins are one of my favourite bands at the mo (along with Warmduscher who they are also a part of ) and have loved everything they’ve done so far. They have a winning combo of killer hooks, dirty beats, great lyrics and a healthy dose of ‘don’t give a fuck’ attitude and every track on this latest EP is a belter. This was not only a result for my inner fanboy but also a massive bonus because, when you are working on a music vid, you are gonna hear the tune a shit ton of times so it definitely helps to like it.
It was my first day back working in almost a year and it was so good to be on a set doing what I love. Not being able to use my camera for such a long time was like losing a limb as well as a good chunk of my mojo so to be back in action was bliss. You fear after not doing something for a while that you will have lost your skills but thankfully it all just clicked as soon as I looked through the viewfinder. (no camera pun intended, well ok mebbe a lil) Suddenly everything felt right. I’d say it was like riding a bike but I’m shit at riding a bike.
My job was also made infinitely easier because Clams & Quinn and the rest of the cast were so captivating on camera, as you can see in these shots. The monochromatic finish (apart from one pair of very cool red gloves) was used to echo the same aesthetic as the video itself which you can watch below. It was directed by the brilliant Douglas Hart and Steve Mackey who, rather than add on effects in post, do it in camera as they shoot, using a bit of very cool analogue tech from back in the day (sorry don’t know what it’s called but it’s got a little joystick if that helps). They also both happen to have been in two of my favourite bands of all time (Jesus & Mary Chain & Pulp respectively). Even tho’ I wanted to gush I restrained myself obvs, I’m a profeshionaal innit?
They say you should never meet your hiros (see what i did there?) but that only applies if they’re total dicks. Otherwise it’s all good. And the whole experience, including being part of such a lovely crew was just what I needed. So all in all, yes I had a very good day. Sure as shit beats lying on the sofa staring into space which is what I did for most of last year but more of that next week..,.
I walk past Rough Trade West on Talbot Road almost every day of my life. I don’t always go in as I will just want to spend money I don’t really have but I always check out their window display which features the covers of their current top picks. At night they put the grill down and I have taken the odd shot as this ‘imprisoned effect’ can give the album artwork a whole new dimension. Over the years I have built up a little collection which I now share with you this week.
Rough Trade is most definitely a revered institution of Ladbroke Grove and I personally feel very attached to it as it has been a part of my record buying existence for as long as I can remember, both guiding and providing for me, the tunes that would shape my life. My proudest moment of the MYLDN book coming out was finding out they were selling it.
This area has always had a rich and vibrant record shop scene and Rough Trade has, for me, always been its beating heart. If you want to read The Vinyl factory’s great article about the history of record shops in this neighbourhood you can see via this link here.
Now sadly many have bitten the dust and only Rough Trade, Honest Jons, People Sounds and The Notting Hill Music Exchange remain. And yet right now, like most shops, none of them are open. Rough Trade’s grill is now up all the time and these shots have become a metaphor for this ongoing ‘incarceration’ of the high street. The retail sector is literally trapped behind bars, unable to function and through no fault of their own. Seeing shops closed has sadly become an all too familiar sight and it feels right now like they might never be resuscitated from their current stasis. But we desperately need them to come back. Our local shops are not just about consumerism, they are an integral part of our communities.
My heart goes out to all the businesses who have been levelled by the pandemic and I hope the government does what’s right and supports them in their hour of need and sustains them through this debilitating situation. The high street was already flagging under the joint pressures of gentrification and internet shopping. Let’s ensure Covid is not the kiss of death but works instead as a wake up call to highlight its necessity. Our retail interactions might seem slight but over time they become genuine relationships and are essential to a sense of wellbeing. They make us feel connected and less isolated, something which is more important now than ever.
One thing that gives me hope is seeing people utilise Rough Trade’s click and collect option to pick up new acquisitions from the shop they literally cannot wait for. It reminds me that for some (myself very much included) music is a necessity not a luxury. Music is the lifeblood that keeps us going. It cannot be extinguished, it gives us energy, it calms us, soothes us, excites us and our love for it will endure no matter what is thrown at us. I know I would not have gotten through this last year without it. So long live Rough Trade and all the other fine purveyors of music for dispensing the tools we need to survive..
And this is the final gallery of photographs in this series which all fall under the banner of random moments in time drenched in a neon noir hue. I hope you have enjoyed looking at these glimpses into the nocturnal worlds I have witnessed. It has been a surreal experience working on this project over last few months as it revolved around nitelife activities at a time when there was none. They are now from a world before this one and hopefully it will also be the world after this one..
And even though, with vaccines on the way, it feels possible again, it’s still going to be a long time before these sort of experiences return. Before we can all be together again, bouncing to the same beat, basking in the same glow, breathing in the same air without having to be kept apart, afraid of what might happen if we don’t.
Divided and isolated is clearly not good for anyone and so we must hang on until we can congregate once more. It has been tough, tougher than even you could have imagined because being together is how we are meant to be. We are mammals. Emotionally connected warm blooded highly social beings who thrive on unity and contact. And so we must do everything we can to be that way again because this version of existence clearly doesn’t work. Not for anyone. It’s just a sadly necessary step on the way back to where we came from which is both our past and our future.
And If you still want to get a print please get in touch via email info@babycakesromero.com – and for the final time…these limited edition signed prints are £100 each, £30 of which will go to the Felix project which will feed 183 people who need it. This offer will end December 15th so please get your orders before then. And just wanted to thank everyone who have ordered prints so far. Looking forward to being on your walls soon!
This gallery is dedicated to the glories of Glasto and the insane amount of innovative large scale production that goes into creating what is essentially Disneyland for wasted adults. As you wander around the gi-normous site at night you can barely turn a corner without finding some captivating bit of eye candy which will no doubt keep you occupied for hours whilst derailing you from your intended destination. Hooking up with friends? Going to see your favourite dj? Trying to find a loo that doesn’t look like an alien exploded inside it? No Chance. All plans evaporate into the ether as you indulge your child like curiosity and your adult like intoxication. Glasto is a tripper’s paradise and a highly stimulating sensory experience like no other. Oh, and I think they have some bands there too…
It was obviously greatly missed this year by its regular attendees who swear by it as not only the ultimate festival but the ultimate antidote to regimented sensible city living. And so hopefully these shots will keep the Glasto flame alive in your minds until we can all be there again…
This gallery in the MNNN series is dedicated to those who live under the brightness of the lights, bathed in the spotlight, alone in the beam except for their conduit companion, the microphone. They stand alone yet are connected to their band and to the audience through the tech that projects their voice. The mic stand supports them both physically and metaphorically. Together they become one, a fusion of (wo)man and machine. A living breathing cyborg illuminated by artificial light projecting the pain and pleasure of being human. We gaze upon them for guidance and to speak the words we can’t.
The featured vocalists are as follows:
1 & 2. Charlotte Adigery
3. Law Holt
4 . Kayus Bankole (Young Fathers)
5. Alloysious Massaquoi (Young Fathers)
6. Horace Andy
7. Valentina (performing with Joe Goddard)
8. Alison Goldfrapp
9. Grace Jones
10. Aluna George (My toys Like Me)
And here comes the deal in case you don’t know already…each signed A3 print (420x297mm approx) in the ‘My Neon Noir Nights’ series is £100 (50% off normal price) and is in a limited edition of 10. And £30 from each sale will go to https://thefelixproject.org/ who are sourcing food that would go to waste and delivering it to those who desperately need it – and there are those who do desperately need our help. With each 30 quid The Felix project will generate a whopping 183 meals which will feed a huge amount of people that wouldn’t otherwise have been fed. Or if you don’t want a print (not trying to talk you out of it obvs) but you could just make a donation…
To order a print or for any more info please email info@babycakesromero.com
To see the full gallery from ‘My Neon Noir Nights’ series please click on link here:
Last year I was lucky enough to document the U.K tour of Massive Attack’s 21st anniversary reimagining of their classic album Mezzanine which both deconstructed the album, performing covers of tracks they sampled on the record, whilst succesfully rebooting it for the modern era. Accompanied by a powerhouse visual show, designed by Robert Del Naja and featuring work from ongoing collaborator Adam Curtis, it felt more relevant to today than even possibly the era it was born out of. And it mesmerised the crowd, transporting them both backwards and propelling them forwards, as the narrative of the show sought to highlight that the current course of the human race was maybe not the most positive trajectory.
It was truly the opposite of the usual by-the-numbers cash-in that many bands do when trotting back out on the road with a past glory. The show itself was incredibly powerful and thought provoking rather than a jolly nostalgic singalong making it a deeper and more resonant experience. The visuals were also stunning in their simplicity and felt very monochromatic which is why I could only really see it in black and white and this gallery very much embodies the concept behind this neon noir series. I think it is also a reminder of how impactful live shows can be and why we must do everything we can to preserve the live events industry for a post-covid era.
Ok, so that’s phase one of My Neon Noir Nights print series. More to come. If you can’t wait and want to see all the shots together from this week and next in one glorious gallery here link here:
And just to recap: each signed A3 print (420x297mm approx) in the ‘My Neon Noir Nights’ series is £100 (50% off normal price) and is in a limited edition of 10. £30 from each sale will go to https://thefelixproject.org/ who are sourcing food that would go to waste and delivering it to those who desperately need it – each 30 quid will generate a whopping 183 meals. Or you could just make a donation…
To order a print or for any more info please email info@babycakesromero.com
(offer ends 15th Dec)
p.s If you want to listen to a spotify playlist of Mezzanine XXI set list whilst you peruse the photographs (full gallery here if you want to see more) you can listen to it here:
This gallery in the MNNN print series is dedicated to Despacio, which I have been documenting since its inception in 2013. In my opinion and each and every one of its legions of fans I have met on its dance floor over the years, it is the greatest sound system and the greatest disco dance party in the world. It is also an extraordinary sensory experience like no other.
The jaw dropping sound being projected from the decks upon which its creators James Murphy & 2manydjs deliver their joy generating vinyl selections, which is then pumped through no less than 40 Mcintosh powerhouse amps, is accompanied by an ecstasy inducing light show channeled through one of the biggest and baddass disco balls you will ever see as its centre point of gravity. It kinda makes you feel like you are being sucked up in a tractor beam into a vortex of wonder and then propelled straight into a celestial spaceship fuelled by pure happiness which is then launched into the stratosphere of bliss and beyond…I might have got a bit carried away there but that’s how it feels..well to me at any rate.
To order a print or for any more info please email info@babycakesromero.com
(offer ends 15th Dec so there is time to get it to you b4 Xmas)
This gallery in the MNNN print series is dedicated to the joys of clubbing which is currently and sadly very absent from our lives. Will we ever feel the intensity of a packed dancefloor again? Swirling together amidst the lights, squeezed into a sweat box, hugging your mates like your life depended on it, punching the air as you go apeshit to your favourite track…is there anything quite like it? Well, if its removal from our lives has proved one thing, no, there isn’t and we desperately need it back. In the meantime we can gaze at a dance dominated life that once was and will be again.
This print series consists of 10 galleries, 10 prints in each gallery, 10 copies of each print = 100 shots at £100 a pop for each limited edition A3 print (420x297mm approx) which is not only 50% off the normal price but also £30 of each sale will go to https://thefelixproject.org/ who are sourcing food that would go to waste and delivering it to those who desperately need it – each 30 quid will generate a whopping 183 meals. So you get a print, 183 people get fed and I make a sale, that’s a win,win,win in my books. Or you could just make a donation…
To order a print or for any more info please email info@babycakesromero.com or DM me on Insta.
(offer ends 15th Dec so there is time to get it to you b4 Xmas)
For the next 10 posts I will be showcasing a new print
series entitled “My Neon Noir Nights” (I know I normally take out the vowels
but it wouldn’t have made any sense ;) These are all shots that I have taken
whilst engaged in and documenting music based fun fuelled nocturnal activities.
Me and my camera have a symbiotic relationship so it somehow
manages to capture the essence of my own experience. The camera never lies apparently
and these pictures are indeed an honest depiction of how it looked and felt at
the time…which was mostly mashed and blurry with intense colours, a barrage of
lights, rushes of joy inside an amorphous dancing blob monster…well that’s
how I don’t remember it anyways ;) How is my camera able to do this? I have no
idea. I’m just glad it can…
So here comes the math…10 galleries, 10 prints in each gallery, 10 copies of each print = 100 shots at £100 a pop for each limited edition A3 print (420x297mm approx) which is not only 50% off the normal price (offer ends 15th dec) but also £30 of each sale will go to https://thefelixproject.org/ who are sourcing food that would go to waste and delivering it to those who desperately need it in London – each 30 quid will generate a whopping 183 meals. So you get a print, 183 people get fed and I make a sale, that’s a win,win,win in my books.
We are in the midst of an economically devastating pandemic
for the financially fragile so if we can just help prop them up and sustain
them during this difficult period they will hopefully be able to survive until a
semblance of normality returns. But you could also cut out the middle man
(that’s me) and just make a donation to them if you don’t want a print. Not
that I’m trying to talk you out of a sale, just throwing it out there..
Crowd Surf
This first neon noir gallery is a selection of crowd shots all taken mid frenzy at gigs & festivals and show how a ton of individuals united by music can become one mass of positive energy with a thousand hands all reaching for the sky in jubilation…or ‘larging it up’ as it is also known.
