Latest / You Call That Radio? / 'Not Funded by Creative Scotland' w/ Darren 'Loki' McGarvey & Becci Wallace

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'Not Funded by Creative Scotland' w/ Darren 'Loki' McGarvey & Becci Wallace · You Call That Radio?

• 0:01
  Speaker A: As you call that radio audio podcast season 4 episode 27 today's guest is the jaw clamping, moth pumping, Orwell prize winning Darren McGarvey, aka Loki. He's joined with Becky Wallace who helped record and produce the forthcoming album not funded by Creative Scotland. The album launch is 28 December 2024 at Ivory Blacks and that will include the live set from Loki with some special mystery guests, support from Gyro Babies, acoustic unplugged set from the Gyros and I believe we can reveal that Gasp is going to perform with a live drummer, which sounds amazing. A couple of tickets left, but it's going to sell out. If you're a patron, there's a discount code. Check patreon.com/forward/ you call that radio. There is a discount code there and there's a couple of guest lists available as a thank you for supporting the show. And yeah, that's a really good conversation always as I mean this is a. Dan's been on the show a few times now, but it's been a while since we've had them on the show. And we'll talk about. We'll talk about funding or the lack of funding, especially for working class artists and hip hop artists. We talk about the. The negatives and the positives and how maybe things are changing and how it can change. We also discuss the early days of Loki. We look back in time because according to Darn, this is the last ever Loki album. So we talk about that, how he got into it and he name drops some of the many big support slots that he's had over the years, the ones that he can remember. He talks about the regaining of confidence after getting sober. He talks about getting cancelled, class politics, how this is his first ever vinyl release. Him and Becky, I've got a homemade T shirt printer. We talk about that. We talk about filling out forms, Celtic connections and why views and streams are not as important as respect. We also premiere about five new songs, just snippets of the new songs that nobody's ever heard before. So we've got an exclusive premiere of some new music for you as well. As always, this show is only possible thanks to the support of the patrons. So if you enjoy the audio podcast, if you enjoy the YouTube channel, if you enjoy the daft memes in Facebook or any of the events that we put on, then please do consider joining the patreon@patreon.com forward slash. You call that radio? We do discounts, we do freebies and bonus material over there as well. So it would be great to welcome you into the Mincing Tatis crew and that is the only way the show is possible. Because we are not funded by Crate of Scotland, we have no sponsors, and as you're about to see, there is going to be no adverts throughout this show. It's just a podcast and it's a good one because we have Dan McGarvey and Becky Wallace on the show. Enjoy.
• 3:30
  Speaker B: Strange mood of our time. You call that Radio Makes Coherent Sense.
• 3:39
  Speaker A: As she called our radio. We are going live with Darren McGarvey, who is about to release his last ever album not funded by Creative Scotland. I think we can go to him now. Oh, it's Team Loki. We've got Becky Wallace in the house as well. How he's doing?
• 3:58
  Speaker C: Hi.
• 3:59
  Speaker B: We're good, mate. How are you? Good.
• 4:01
  Speaker A: I'm well also. So. So. So. But it's Christmas, so that's good, doesn't it?
• 4:08
  Speaker C: I think it's good.
• 4:11
  Speaker B: I'll get there. I'll get there.
• 4:15
  Speaker A: Do you like a Christmas, Becky?
• 4:17
  Speaker C: I'm a big baby when it comes to Christmas. I. I'm all about the. The cheering, goodwill and looking after all the lost boys. That's my vibe.
• 4:26
  Speaker B: Yeah.
• 4:26
  Speaker C: Quite happy.
• 4:28
  Speaker B: Well, it's just.
• 4:28
  Speaker A: It's not. I. I'm. I'm in a flat and I'm just living. I'm just living on a flat moon just now. No, I didn't think the Christmas tree was necessary just for me, so. But yeah, it's good to see some tinsel in the background. Christmas is a thing all over this house.
• 4:45
  Speaker C: It's horrific. By the way. I've not Yoko Owno da. Darren asked me to come.
• 4:49
  Speaker B: No, I'm back on. Because she's been central to the whole process of this album in terms of the recording and a lot of the other stuff that's going on around the marketing and the vinyl and stuff like that. So I thought it'd be good just to get a. She might have some interesting things to say. Are we snuffing the wall, though? Yeah.
• 5:08
  Speaker A: I don't know what that means, but I'm sure I agree with you. We're going to talk about the. The last ever album. It's where I've got the graphic here, I believe. Is it Marcus done that work?
• 5:22
  Speaker B: It is, yeah. And he's my go to guy now for the last few years in terms of just quick turnaround. Always got great ideas and he just always knocks out the park for us.
• 5:34
  Speaker A: Absolutely. In fact, Marcus did, or we. You Call that radio logo very quickly. As you can see there, that's the Tortoise Gasoline company. As he's a Facebook business page. If you want to show support or get some graphic designs, he's got. I'm sure he's got a sale on. It's Christmas time with patents for sale if you want to get something for that.
• 5:53
  Speaker C: Yeah, he's so good, man. We've brought so much stuff off him over the years.
• 5:58
  Speaker A: Why is this the last album?
• 6:00
  Speaker B: Well, it's the last Loki album and that's really just. I mean, to be honest, it's just I'm at a point in my own life where there are certain headspaces that are no good for me to get in. And when I get any. A walkie headspace. It's a very specific set of skills that I'm drawn on. And I just. I decided kind of a few months back just I need. I need to try and get myself into conflict so much, especially in the public arena. And Loki's one of the main vehicles historically in my life for doing that. So really it was kind of, for me, just on a personal level, it was trying to open up a new frontier creatively where I don't necessarily need to consider the politics of a hip hop scene. The expectations of a hip hop scene where they are fat and a pop scene, because it gets less and less authentic as I get older and longer in my recovery, but they're not the. The issuer in Creative Scotland, I thought, provided a good muse for a final album because I think the local material always becomes more alive when there's a. When there's a target.
• 7:18
  Speaker A: Well, that was going to be my next question. Why are you attacking Creep Scotland? If I was going to actually confirm, I was assuming that you were attacking Scotland because I didn't want to jump to conclusions. Are you attacking Creep Scotland? And why?
• 7:32
  Speaker B: No, really, it's just using. It's using creative. They're not funded by Creative Scotland as a kind of provocative hook for people. Because the album, obviously, as you've heard, it's really a commentary on how people from working class backgrounds and artists from working class backgrounds can feel that they have. They exist on the outside of that sensibility and house style and those cultural networks and connections. And also it makes illusions in the beginning to me and my issues with the arts. But as the album expands, really, you see that what I'm talking about is hip hop. I'm talking about the hip hop scene, the impact that said on me, and the fact that hip Hop's never been formally supported as an art form in Scotland. So the title's got a lot of different meanings depending on how you listen.
• 8:22
  Speaker C: Unless it's supported because it's en vogue, because like, does this kind of like movement to support hip hop now, which has come for like years and years of a kind of backlash, but it's more because the cultural kind of literati or like aware that it's. That it's in vogue to support urban music or it's in vogue to support working class music. So yeah, it's a weird one. And then I'll shut up about Kate Scotland for now.
• 8:49
  Speaker B: I mean, it's fine. I mean there's a lot. One of the things I wanted to do, Mark, was I know that even for some artists just even signaling public support for this album as a political minefield in their mind, because a lot of artists have got funding beds ongoing. A lot of artists are involved in Creative Scotland. So really by calling it not funded by Creative Scotland, then you're, you're, you're, you're, you're creating, you're taking it just to a music you're making. People sit and consider, why am I listening to something that I think is good, but I can say publicly that I think it's good? Or if it happens to appear on the the Sea Awards judging panel, what sort of questions will it raise in the minds of judges?
• 9:33
  Speaker A: Do you think that's going to happen?
• 9:35
  Speaker B: I don't know.
• 9:35
  Speaker C: I mean, it will have to get, I mean, yeah, it had to get. It has to get considered. If it's out there between a certain day and it's valuable. I don't know. I'm definitely going to put it in for Darren and see what happens.
• 9:47
  Speaker B: I, I was thinking about, I was thinking really about expanding it because obviously it's the final album, but there's no timeline on all the ways that I can spin it out. You know, there's all sorts of things I can do. I can do sketches, I can do like many documentaries, filling out Creative Scotland forms and really draw attention to aspects of the, the arts and the process, leveraging my profile in other areas to, to kind of pull focus on that stuff. So I'm kind of got ideas right on a run. But really I'm putting the kind of first version of the album. It'll be followed by a director's cut, which is an expanded version in the vinyl and then really I'll gauge the responses or, or lack thereof and then that'll dictate the direction that the project might take then, but it's definitely more than just just music.
• 10:33
  Speaker A: So do. So do you think. Should we just clarify? It's not funded by Creative Scotland?
• 10:39
  Speaker B: No, it's. It's funded by Darren McGarvey, like every other thing that I day, apart from books and TV work and actually, you know, there is, there is, there is something to be said for artists like ourselves, Mark, who have a fan base, who are able to sell records, who have toured around and been around and done a lot off our own backs and took in the taking the risk of being seen to fail in a way that is not really possible. If you're indemnified, fulfill your by Great Scotland backing and that's not a dust to anybody who gets public funding. I support public funding. I've campaigned for increased public funding. But also it's, it's, it. Sometimes it bothers me, maybe in an egotistical sense, it bothers me when those artists cutting about and they want to be in the same conversation as other artists when we're in two totally different tracks. Do you know what I mean? Like, when you, when you don't have access to that network, then you're having a day a lot more graft and you're having to take a lot more risks and you're learning a lot more to be fair as well.
• 11:51
  Speaker A: Well, I've never had any Creep Scotland funding, but I've never filled out a form. However, I did apply with for the British Arts Council funding earlier this year to try and do a Mexico Scotland swap. So we set the connections up and we didn't get it. So because I filled out the form. Well, actually somebody else filled at the form and didn't they get it? So because of that, now I can say it's all clicks. They're all bastards. I was like myself, look, because I hated them. For a while I felt like I wasn't part of the gang, but then I was like, you've never filled out a form. And now I have filled out the form and I got the knockback. One form, one knockback. I hate them all.
• 12:35
  Speaker C: But I think that in the music wing of Creative Scotland genuinely fake this, there's been a lot of reform and there's been a lot of goodwill from good people because, I mean, people like Steggy advising that wing, do you know what I mean? And like people that are genuinely underground and like, want things to change. And the head of that, the head of the music wing, Jamie, he's, he means it, you know, and he wants to he wants to make it more accessible, and I believe that. But. But you can also see across the whole company that that is not how it is all the way.
• 13:09
  Speaker B: And also the other thing is, as an activist and a campaigner, I'm aware of the role that I should play in the dynamic. It's no. For me to go into Creative Scotland and talk things through. I've got a profile where I can leverage a wee bit of eyes and pressure on them. Known again and have done since, you know, 2016, 2017, in different ways. And that's the. That's a. That's a traditional role that certain artists always play in this kind of dynamic. So I'm. I'm. I'm. It's less about me having powerful, strong feelings against Creative Scotland and more about me observing the landscape and going, here is a way that my art at this age, in my life, can still have a function and in our culture. And it's. And so once, once the idea came together, the rest of the album, I knocked it pretty quickly, you know. I know I must have knocked out five or six tunes right. In the last full long of this process. It's some of the best stuff I've wrote because I just had that clarity, I thought, because the target was clear. Do you know what I mean?
• 14:12
  Speaker C: And it's a kind of a metaphor for all of that kind of the Scottish culture in it.
• 14:16
  Speaker B: Yeah.
• 14:16
  Speaker C: Because you have the burden of being a poet.
• 14:21
  Speaker A: I shouldn't have enough pop at the poets of the day. How do you remember all your lyrics? Because I'm not lazy. Let the poets. You just won't let that. That beef with the page poets go, will you?
• 14:30
  Speaker B: No, I can't, because it's. It's too. It's too. It's too much an opportunity to be petty.
• 14:36
  Speaker C: It's four lines in the.
• 14:39
  Speaker B: It's lazy. Is it? I'm amazed that people are so amazed that we can remember our lyrics because it shows a complete lack of understanding and the utter dedication to the craft of rapping that we have and that. So, so. So really, that's what I'm alluding to when I say that about the page poets, because it's not that hard to memorize stuff, and I don't mind them reading out their books, but it's like, you know, don't. You know, don't. Don't overstate how hard that is to memorize a quite short, sparse collection of words. Do you know what I mean?
• 15:15
  Speaker A: Like, it's shorter than the wraps.
• 15:17
  Speaker C: I mean, some of These saying each word as well. It's not like you don't have to come in on the beat with the rap.
• 15:22
  Speaker B: It's like you can be like, I'm a lazy poet. I can be asked. Learning nice.
• 15:34
  Speaker A: And I'll repeat that line to make it seem more important. Shout out to Sam Small. That was always a. I always like that one. But yeah, it's an interesting point that you said there. So that. I mean, there is going to be people who are going to listen to this album, enjoy it and they'll be too scared to share it because they're worried that it could affect like, I don't see the skinny or the list or certain people, music festivals that are relying on income from. And to be. I suppose it's quite unusual. There's not many of us who are independent artists who do this career that don't have any funding.
• 16:07
  Speaker B: Yeah.
• 16:08
  Speaker A: So it's quite a dangerous thing you're doing. But because you've never had any funding, it's. You're quite. You're in a. You've got your fan base already. Is there. Was there any concerns about doing it at all? Or did you just think this is ideal? And I mean, I remember you first floating this idea of years ago. You were going to do a tour then, not fund, not funded by Crepe Scotland tour. But I don't think that happened.
• 16:28
  Speaker B: No. The idea has obviously been percolating for a while and I think with this year, there was just. There were certain controversies around Creative Scotland that caught my attention more so than others in particular. Just, you know, some certain groups within certain communities leveraging their minimal influence to try and stop or interfere with other people's work because they have different opinions about things. I'm looking into that in too much depth. I've experienced that and I was a kind of prototype for that back in 2016, where just some people just decided that I was dangerous. And then I lost a book deal. I was blacklisted by a lot of promoters and generally the chat on the scene was that I was a kind of person who should be excluded. And since then I've had various skirmishes and words got back to me for people who work within Creative Scotland, you know, them trying to set up a panel with me and academics to take me down because of my controversial opinions about Scots language and just, you know, just we. Things you hear. So I like the fact that if I announce I'm putting an album called that, people there are going to hear about it, they're going to talk about it. And that's a privileged position for an artist to be in, do you know what I mean? Because at the end of the day, if I wasn't so passionate about music, I would have gave it up. Because everything else I did is for me lucrative. But I use them. I use a lot of the proceeds for the other work that I do and invest heavily in my tour and my fringe and, and know my actual fringe and, and, and the music. Do you know what I mean? And, and so that, that's, that's, that's how serious I, I am about it.
• 18:13
  Speaker A: So what you're basically saying is once you've been cancelled, once you get used to it.
• 18:18
  Speaker B: Well, the hang is it was a.
• 18:22
  Speaker A: It was a bad, it was a bad canceling. That was obviously. That was a terrible, that was a terrible one. And I remember that being an upsetting time. What would you say in general when it h. I mean, when it happens, does it bother you as much or does it still get, get to you?
• 18:37
  Speaker B: It bothers me. What bothers me is that the people who try to do that to other artists, they're, they are, they're living off of public money. And I don't think that the public would be happy to know that they're subsidizing, not art. Most people accept we need to fund the arts whether we like it or no, whether we agree with the principles or not. But trying to stop other people from earning 11 while you yourself are drawn from the public purse, I think is, is an old Is exhibits a sense of entitlement to public money that's really indicative of privilege, ironically, the sort of privilege that certain people are always calling it and everybody else. I mean, to be quite frank, you've got a section of this art scene which is very middle class, university educated, to a very high level, very sheltered, but because they've adopted certain narratives about their own vulnerability and fragility and they wear them as badgies, we're all supposed to believe they're no heavy posh. Do you know what I mean? And I'm not saying you kind of go through hardship if you're posh, but see, when you're leveraging certain facets of your identity as being part of protected groups, but you're not talking about the truth of your class status and the privilege conferred upon you by being born into a family where I bought horse and two motors and that's that, and the next thing, then you're not really any intersectional analysis. You know, I mean, you're in a Very selective. Here are the parts of my story that I want to tell and here are the parts of my story that I'm going to keep quiet because there's.
• 20:13
  Speaker C: A narcissism in it as well. Because there's just this assumption that that action 2016 I'm talking about that the actions would be enough to silence Darren and make him disappear or stop creating art or like just this kind of idea that, that, that judgment is all seeing and all knowing and then suddenly you've been kind of folded up and put away and dealt with as if you're like a problem to be solved when you're just trying. I mean the piece of work that was the, the root of all of that. We won't get an ex. We don't want to start another cancellation.
• 20:46
  Speaker A: Don't start it again.
• 20:50
  Speaker C: And so thought out and just like genuinely meaningful and trying to like, you know, spark conversation. I certainly did that.
• 21:01
  Speaker B: It's the high price you pay for making honest mistakes, you know, like a turn a phrase that maybe betrays a lack of understanding of what the most up to date way to talk about a certain sensitive topic is. So all of your intention that gets forgotten about and everybody focuses on a thing that they've decided is a red flag. And if you don't have the savvy of how to navigate social media as I didn't back then because I had no experience, I was only moderately well known in certain circles then I just made it worse with the way that I tried to do it because what I didn't understand back then was that when people like that decide to come after you, it doesn't matter how much you apologize, it doesn't matter how much you offer it can to reconcile or understand. They want complete submission, complete capitulation, and in it and less than that they take as traumatizing. So you just end up really, what you're dealing with in a way is a kind of, as a, as a kind of. As a sort of collective personality disorder within a specific type of ideology. And it's weird because politically I align a lot with what people would call woke in terms of my beliefs in the way that I've tried to conduct myself in life. But there's a certain emotional signature that some of this activism has, which is a feature of it being done primarily online. And it is a sense that I will feel no consequences for my behavior. So there are no constraints on my behavior. And so, you know, we, me, hopefully people learn that there are consequences. Do you know what I mean?
• 22:36
  Speaker A: I Think we're gonna. The album is brilliant, man. I've been listening to it. Super piece of work. I've got some, I've got some snippets lined up I didn't want. I didn't know if you were going to be all right with me playing full songs or whatever. That's a podcast. Don't I play too much of it? We want people to go to the album launch in the 20th of December. Everybody there will get a download code so you'll be the first to hear it by going ivory blacks or, or pre order the vinyl as well you.
• 23:03
  Speaker C: Won'T be able to hear the album. If you go on the 20th of December, you'll be the first people to hear the album. Won't be able to hear it for a good few weeks after that still.
• 23:15
  Speaker A: It's not going to go on the streaming platforms. It's not going to be. It's going to be.
• 23:22
  Speaker B: Basically the, the idea is for the people who come to the launch, the people who've pre ordered the vinyl, they're going to get a free download code for it on launch day and then we want them to become part of a campaign to build anticipation for a general release. So it's happening in phases where we want to really anybody who wants to take a plunge and support it up front in some way, we want to reward that by saying you get exclusive access to stuff before it goes out. Because to be honest, I'll tell you the truth, the people that I'm most interested in hearing what they think about this as the sort of people who have been listening to my music, I would be cool if that Galloway likes it or Jim G likes it or some at the Skinny, you know admits that they like it by mistake, whatever but the truth is, you know I'm. When I'm writing a song I'm thinking, I'm thinking I like gasping physics or you like sitting in your room listening for the first time and putting their faces on that I recognize and remember back in the day when I knew I had wrote a belt or a tune. Do you know what I mean? Because cuz I'm, I'm, I'm, I'm. I'm no scene as much now I don't get that kind of immediate feedback. So it's took me a long time to create the album because I need to find a new way decide if it's good or no that's no based on only metrics but there's nothing Merri I buzzed in me than seeing in Somebody I know's face. Hell D, you've knocked this one at the park. Do you know what I mean? And. And that's just. That's always. That's always been my idea to be honest.
• 24:57
  Speaker C: Just wants to be a good rapper.
• 24:59
  Speaker B: Be a good rapper. I just want. I just want to see. I'm a good rapper.
• 25:04
  Speaker A: The prize. We just want a part in the back for the scene.
• 25:09
  Speaker B: Exactly that.
• 25:11
  Speaker A: That. Well, I think you're going to get that.
• 25:13
  Speaker C: It comes down. That's what that whole book was actually about. Like the social distance between me and the scene.
• 25:19
  Speaker B: And the scene.
• 25:21
  Speaker A: Can we. Well, hopefully we'll get some instant validation. Just now we've got people tuned in. I know that there's comments coming in. Sometimes I get distracted because now that I've started listening to the audio podcast, after I do live streams I'm going to go through the comments towards the end. So if people get questions and stuff I'll try and read them out. But we'll give the instant feedback to the song. I'm going to start with a snippet of not funded by Creative Scotland which is the. The leads, which is the title track. Obviously. I just want to give this a reintroduction.
• 25:48
  Speaker B: I man like this is one that came really late in the day. I discovered the beat for this when we were on the train down south for some work I had done there and then it sort of set off a chain reaction. Once I got a vibe I thought that the song. The album starts quite tense and I need a song and kind of create a bit of an opening and the music just for a bit of that fun and laughter and comedy come in and. And. And that was the perfect vibe for it. Man. So it's just like kind of Loki on steroids for people who listen to my monster.
• 26:22
  Speaker D: Please know it's not a corporate sponsor when I'm taking DS I'm more talking concerts.
• 26:26
  Speaker B: Copycats knocked off of your roster as in a syndrome.
• 26:29
  Speaker D: You're a proper imposter. Every cul de sac I've been doing I've been ranked shops on and I haven't seen you.
• 26:36
  Speaker B: I know I only keep steam for the record.
• 26:38
  Speaker D: I hear everybody in the green room.
• 26:40
  Speaker B: You can keep your headstone in a similarity between me and you.
• 26:44
  Speaker D: Heads up. Here's a two minute warning. This is more than an audio recording. Background music While you're for your forms and not funded by Creative Scotland Going out to my cultural orphans. Get your horns up to the sawn off shotgun. I love a smell of bureaucrats in the morning. Not funded by Creative Scotland.
• 27:03
  Speaker B: Shit, man. We're going to need like a female on her car, BBC and tradition who never for yet, man. Go get me a female. Okay, that's enough, that's enough.
• 27:18
  Speaker D: All right, walking, mate.
• 27:19
  Speaker B: How's it going, man?
• 27:25
  Speaker D: The first of december. No, not November, part.
• 27:34
  Speaker B: Yes.
• 27:34
  Speaker A: No, not funded by Creative Scotland. Just a wee snippet. Absolute banger. Where'd you get that, Beefy?
• 27:43
  Speaker B: A lot of the production I purchased online. There's many, many different sites now where you can just. You can just deal directly with producers or in the world. And I've found that actually, that, that is for me sometimes more convenient because I can just go, what is a vibe I'm looking for? I can go in there. I did specific search and then really, for me, it's just a question of what's the quality of the beat, do you know what I mean? Because a lot of the beats, sometimes, especially producers in their early days, they're putting their beats up there, but they're really over producing, squashing it, man. They're over. So sometimes you just stumble across a V gem and you're just like, ah, this is pushing my system. I know the right ways. And it's. And it's got. And it just has character. You can tell the producers expressing themselves through the beat rather than just, you know, I can paint by numbers, or here's a trap beat, here's a drill beat. And so once I kind of. There's a few producers that reoccur on the album multiple times. And that's because the audio quality of our stuff was top tier and also because this stuff had a unique character. Because I think my early stuff, like the first two albums, I think before the influence of other MCs in the scene and the influence of what then came to understand is underground hip hop, they were a bit more diverse musically because they reflected a lot of the music that I grew up around or my other interests before I became specifically a rapper. Do you know what I mean? So I thought it'd be good to go back to thinking in terms of what did I want today, rather than what do I think people would like to hear me rap on, do you know what I mean? And so I think that's reflected in other production.
• 29:22
  Speaker A: I remember you saying once that you found an old lyric, yours, and he said it was like finding a cheat code, really.
• 29:29
  Speaker B: I.
• 29:30
  Speaker A: In terms of this, I think. I don't know, just. I think just a. I think just. It was just a wee throwaway hang, you said, but you found like an old something, an old pad or an old lyric yours, and you went. It's like finding a cheat code because you're finding your old self. Writing in a. Rhyming a certain way. Was it. So was it. Was the older you an influence? Because there's parts, and I think a couple have told you this already, but there is parts where it feels like young Darren is there.
• 29:57
  Speaker B: Yeah. It's because I've found a way to bring the emotion without needing alcohol to access it. And that's taken a long time because I still am quite an emotionally open person. But I have found that even if I'm feeling really, you know, angry, sad, whatever the emotion is, there's something about sobriety where there's like a glass ceiling on what I can actually express sometimes, which can be quite frustrating. But the key with this album was one realizing what the target was and then making the mold and then pouring everything into the mold. So all the songs touch on the same themes but for different perspectives and angles. And also, once I sort of realized this is not just a commentary on class and culture, this is a love letter to the hip hop community. And once. That's really when the emotions start to come through because you know what other people think of me or feel about me. And I know there'll be varied opinions based on what era life I interacted with you, but for me, I hold it dead close to my heart. Do you know what I mean? It's just. It was the most profound, transformative experience that I went through in my life at a time where I didn't know where I was going. I didn't have much. I was on my own in the world at 18 years old. But this passion for rap and that scene where I could go and just be myself and be artistic and no get slagged like you did. Schemes for being creative or dressing different. It gave me a quality of life that far exceeded materially what I had. And so, you know, and I just. I felt like I've never really properly sat down and thought, how could I convey my gratitude to the whole community for that? And I think that's. That was one of the big kind of artistic objectives of this album, was that everybody on the scene felt was talking directly to them, do you know what I mean? And saying, thank you for everything. And I'm getting emotional. There you go. Look at that.
• 32:05
  Speaker A: And it's going to be emotional. Ivory blacks in 28 December. The first. Your first ever venue, your first Ever gig was there, Kelvin's still there. Shout outs to Kelvin, by the way.
• 32:16
  Speaker B: Kelvin really is just top class man. When I got in touch with him I thought, because obviously I could have done some looks or something like that, you know what I mean? But I like Saint Lux as a venue and I like some of the people that I deal with there. But sometimes when I've been in there, then support slots, I've not. I've not liked the. I've not liked the feeling you get. It's like suddenly. Cause you're doing a support slot. It's like, I don't know you, you're an economy class or something in terms of the level of service you get for the venue and the way that people talk to you. And it's not like I'm going in, in terms of, look at me, I'm dad in the Garvey. I would say that about any support act, do you know what I mean? And so I thought, you know what, man? Somewhere I know where I would get a warm welcome would be Ivory Blacks. Let me give Kelvin a shout. And he was pure chuffed to hear for me and was. Was really kind of keen today, do you know what I mean? So once we secured that kind of day in between Christmas and New Year, then that gave me a deadline which then spurred on the creative process and the final kind of stages to get the songs finished. Obviously Becky's been just such a big help, you know what I mean? Because we've got brains that are different for each other and there are some things that I really struggle with that normally I outsource to other people or I don't dare at all because it's just too much to think about. And luckily a lot of a things Becky is not only good at, but actually finds interesting because they're challenging and so end up with a kind of good but a creative chemistry going on where I. I feel supported and what I'm trying to day and feel challenged to get things done in a certain time frame. And basically kind of she's using me as a guinea pig for what's what she's got coming forward with her own album.
• 34:02
  Speaker C: Also taking things seriously, do you know what I mean? Because I mean, obviously Darren, this musical will be available at some point, but Darren's done what, 17 albums. They've all been free access, do you know what I mean? And it's not that this one would be at some point, but just thinking of, well, you know, let's, let's take this really seriously. Let's actually think about putting it up in certain ways. Let's think about staggering it. Just taking that kind of like the, the what a publisher would do for his book and putting that and what, what we should do for the music. You know what I mean? And obviously that's an area that I'm. I love because it's actually dead creative. You know, try to find out cool ways to do that and make things stack and you know, and it's fun doing it for somebody else. It's not fun doing it yourself.
• 34:45
  Speaker A: No, absolutely. It's a difference. There's a difference in there. Well, it's hard to do it for yourself. Absolutely. But it's a no brainer. I think it's a really good idea to do it this way because really the only downside to doing it this way is that it affects your. Your Spotify streams and Dan's Spotify anyway, you know, so it's not really going to affect your numbers.
• 35:06
  Speaker B: Here's the thing, and I don't mean this as a. It comes across combative. Right. Because I'm saying it so some rappers will feel like it's a slight against them. But your streaming numbers are an important metric to gauge the level of interest out there. And what you did when all you need today is pick up a phone and press play. I don't have streaming numbers that could compete with a load of the Scottish artists that are out there. But I can fill a venue with 400 people consistently, sometimes multiple times a year and I see all the proceeds that come back from that and that gets reinvested into my art. For years and years and years I've been doing that. So you don't see me posting all these big achievements every year because I'm just too busy in the process. It doesn't matter to me really if people know what I'm doing. I make a decent living off of all the different ways that I've diversified my hip hop and my rap. Taking anti theaters, taking anti comedy clubs where there's a different context so the audience is primed in a different way than they are if you're just presenting them with a hip hop video where they already feel in some way superior to it. You did in a theater. It primes an audience in a different way because they think if I don't get this, I'm no smart or I'm not sophisticated. So suddenly you've got them eating your palm and maybe questions the accent. Yeah. And so it's just like. And you know yourself, Mark, because You've been doing live gigs and putting on gigs in a promoter since before I even knew you you were doing that. And it's a different game. Yeah, it's a different game when actually people are willing to get up, put their J on, travel to somewhere and pay money to watch you. And that doesn't mean a stream's worth less.
• 36:55
  Speaker A: But if you're not, I mean literally, stream is wor.
• 36:57
  Speaker C: Less worth, less worth.
• 36:59
  Speaker A: It's worth 0.001 p. And by the way, streams are all very good, but we can tell who's buying them by the way you're feeling. Nobody, anybody. We are brain knows.
• 37:09
  Speaker C: We can see people say you can't make money from music anymore. And all right, you might not. Us as artists might not be able to make millions, do you know what I mean? We can get our five grand for 1 million streams, you know what I mean? But it's nothing to live off. But actually you can have a sustainable career in music. You can have a sustainable career as an artist. And it is graphed but if you put the work in it is there. So with darn stuff it's a no brainer to do live shows, do you know what I mean? Because people want to get that experience, they want to meet them, they want to come and see them. So, you know, and then we're doing all these silly wee things like making merch for home, do you know what I mean? That we know we can take it out and sell. I bought a T shirt printer. So we're printing T shirts, do you know what I mean? Like we'll just like let's just economize it on this.
• 37:53
  Speaker A: If you go, if you got that new T shirt close by. I did see a picture.
• 37:57
  Speaker C: I made that, I made that myself.
• 37:59
  Speaker B: She made it on the fly and presented it to me. She sent me to the shop and when I came back with the bevy.
• 38:06
  Speaker C: She presented it wasn't going to get it if it didn't bring the baby.
• 38:09
  Speaker B: She presented, she presented the T shirt but it was great, you know what I mean? Just to see it because it's, it's one of the best things about the creative process. And I think for me I've, I've just been stuck for years with the music. You know, I was watching Movie David and, and you know, 2017 to 2019 with that petty shirt. I used his music in my first TV series and, and I had been, we'd been talking about at the time, you know, like just kind of bringing him in to central in my whole creative process. And then with the tragedy, I had passed in the way that he did. And then you had the COVID pandemic. And just. It was like everybody experienced different types of disruption in a life. No, whatever your area life or family. And for me, the disruption was every time I felt I was ready to pull the trigger with a new album, something fundamentally happened to disrupt it. And I just lost confidence. But really, the general event of this project began when Seis got in touch with me to go into Riverside Studios today. I kind of film a live session in there. And that was the first time, really, I had had contact or ability to preview music for somebody in a studio environment who knew me since I was a kid. And so I could tell straight away when I was playing on some of the stuff I was working on that he could see where I was going with. But it wasn't hitting them the way I expected it to. And that's when I realized that I had almost written a full album. And I tinkered with it so much that I changed it so much that it was unrecognizable. So when I saw says no give me the reaction that I wanted, suddenly I was like, let me play the original version of this. And when I started to play the songs in their original form, then he was like, yes. And so that created a kind of impetus where I started to rebuild my confidence. And Becky's always been on at me, you know, when are you going to do these tunes? When are you going to do that? When are you going to do that?
• 40:12
  Speaker C: I just nagging them all the time thing. But what he does do is because he. Because he goes out the scene so much, then he thinks, all right, well, I better release a battle song. Because all you rappers are like, right, okay, well, I need to show everyone that I'm still the man. So you just get like battle EP after battle EP after battle ep. But since Trigger Warning, I think this is like a proper concept EP that's got a story from start to end. Sorry album, Sorry album.
• 40:39
  Speaker B: People are worried. They're worried they're going to get short changed.
• 40:42
  Speaker C: Three songs do it.
• 40:45
  Speaker A: Well, there's actually too. There was too many songs to fit in the vinyl.
• 40:48
  Speaker B: Weren't there with the vinyl, really. I was just thinking of DJs. DJs want bangers. They want tunes that slap. And So I chose 10 tunes, the 10 kind of bangers on the album, and also added exclusive track to the vinyl, which you is not going to be on the first version of the album. It will be on the director's cut. And, and, and I so really just, just, just. I've always been asked, am I going to put a vinyl up? And then it was. Becky just kind of spurred me on because she was like, look, we'll be able to sell enough pre orders to pay for it. And that made sense, mere financial sense to me because I've seen so many losses with the music early years, as always have, who funded ourselves. I just wasn't prepared to, to, to do that again. But actually it's looking like it's gonna, it's gonna kind of maybe break even for once. But that's before you start adding in the shows and different versions in the material and different contexts, you know what I mean? But I think like the amount of interest I've seen in it already, I think it could shape up to be probably my most successful music project. Which is a nice thing. 20 years.
• 41:54
  Speaker C: Something about like the physical because obviously we see these dying out. You know, there's a sense that people don't want that or it's hard, harder to kind of shaft like get rid of a physical artifact. But there is something about holding something in your hand. Do you know what I mean? That's like, that's, that's exclusive to an artist. So I, I think it'll be cool man, just. And there's only going to be limited copies as well. So once the vinyl's out there, you know, it's more of an incentive to go and get, go and get it and then maybe after that put on Spotify.
• 42:23
  Speaker A: Maybe, maybe, maybe Spotify. Because that's just the numbers. Like if I did, if I'm putting, I've got, it's interesting watching news because I've got the same album thing happening in March and it's like if I put it all in Spotify first, then the numbers are going to be great and then. But if I put it in band camp two months before then everybody's going to listen to it and have downloaded it. And basically why did I give a. About the numbers?
• 42:50
  Speaker C: You shouldn't. You don't need to be.
• 42:54
  Speaker A: Great numbers anyway. But you know the only time with a single in January, Landfill culture that get 20,000 hits just organically and that was quite a nice feeling. And then the follow up single a couple months ago, still my sleep get 2000 good numbers.
• 43:10
  Speaker C: I mean it depends what your, your, your metric for.
• 43:14
  Speaker A: You know what you said there's a difference, you know, you know it's a banger and what's not, you know, three minutes long. People are gonna like that.
• 43:25
  Speaker B: Respect, mate. Do you know what I mean? Like I think that matters. Do you know what I mean? Like the respect among musicians who know the script. It's really important. It's important, do you know what I mean? Like the Gyros are respected and you're respected as a songwriter, as a musician, as somebody who enables other musicians who's never been stingy with your platform, who's always been being kind and generous to say look, let's bring this into the mix and, and like, you know, a person like you and a cities music scene is absolutely essential. But unfortunately sometimes the price of being that person who actually lives it, do you know what I mean, Is that there's big fluctuations in your experience. You know.
• 44:15
  Speaker A: Just now on a load just now. But ladies. But I'm old enough to realize that, you know, I was very lucky the last couple years and then it's just if you're free once and you're an independent musician because I've been making a living off of music or in a sideways with podcasts and just when you add it all together doing lots of different things and I've been very lucky but now that's because I put so much, I put time and money into making the new Gyros album. So hopefully pre sales commit in January and hopefully people pre order investment.
• 44:45
  Speaker B: See the other thing is we're new in an economy that's named after what we've all been doing for 20 years. So now everybody else has to treat every job they deal at a gig and they get treated like freelancers. And we've got 20 years of experience in that shape. So we've actually got a head start in this world that's emerging in terms of there's no steady income as up and doing. One minute your skills are sought after, the next minute you can get to some other young pups coming in and like as much as it's shite as as shite, it's sh for people who maybe thought that they were sitting pretty and the analog world before, who haven't skilled up, who haven't had to fill invoices and file accounts and do all these pain in the ass things, it's still a pain in the ass to date. But actually in a competitive marketplace without using all the capitalist fucking jargon then actually a lot is it been doing this a long time. I've already had a head start and the fruits of that will bear at.
• 45:44
  Speaker C: Some point you kind of there is a generational shift as well. Do you know what I mean? I know it's boring chat, so it's not a lecture, but there is, like, a generational shift happening now. And that. That hard work you've put in means that you're the guy that people will go to when they need advice or they want to understand something, because you've paved that way. So I think it just depends if you're an artist or you just want to make money. And those are two different things. Do you know what I mean?
• 46:11
  Speaker A: Very, very different. Very different. There's a million ways you could do it. You could do. You could advertise pube trimmers. That's a hang. I've got a question for the. The people that are watching back home. For everyone watching this, a question for you.
• 46:29
  Speaker B: Hey, fancy another one?
• 46:32
  Speaker D: Do you want another one?
• 46:36
  Speaker A: Another one? Do you want another one?
• 46:38
  Speaker B: I have to say, she's cool.
• 46:40
  Speaker A: Shout out to Davina. I think it's time for another one from the album. I've picked one. You've been playing this live a lot, and it's just probably one of the best tunes I've ever made. Just snap it. I feel wrong to snip this one, but I'm trying to keep everything to about a minute, under a minute for each song. So this is Traveling Circus. Can you tell us a little bit about that?
• 47:05
  Speaker B: Hi, man. I mean, really, really. That was the first tune where I started to kind of be able to access the feelings and emotions and what I might want to say about a record that was about melon, as Becky says, demonstrating lyrical proficiency. Do you know what I mean? So there's still that attention to detail in the lyrics, but it's really about something, and it's about the transition that I've went through all these years as I've became kind of untethered for the scene and untethered for what was familiar and received a bit of status. And. And. And. And. And while there's been perks involved in that, then there's also other downsides to it, which people will know about. Hearing other people complain about achieving moderate success. But I thought that it was a way for me to kind of start talking a wee bit about some of the hangs that I've experienced and the impact the. The transitions that I've gone through these last few years. I've heard. And. And then when I discovered the production for it, I think that was the icing on the cake because it just. It really does accentuate all the different vibes in the lyrics.
• 48:13
  Speaker D: A new life for some old friends misconstrue my absence. This triggered hippocampus.
• 48:19
  Speaker B: It's a big hit on campus with.
• 48:22
  Speaker D: The middle classes Amygdalas, integrilla tactics Sleeping.
• 48:26
  Speaker B: Giant in the pit of Lazarus with.
• 48:28
  Speaker D: Paralysis drippers let a zipple Gases spilled.
• 48:30
  Speaker B: On linen canvas and ink with matches.
• 48:32
  Speaker D: Still use Actress think it's glamorous Twitter.
• 48:35
  Speaker B: Addicts think it's madness When I jump out the timeline swinging ratchets I picked.
• 48:39
  Speaker D: Up these machismo habits as a kid Calling bingo for crypto fascists I wonder.
• 48:44
  Speaker B: What my kids would tell therapists about me. Was that patient overbearing, scary and shouty? Did I make a public virtue out a life of doing selfless deeds to cover the fact I resented putting others ahead of my selfish needs?
• 49:01
  Speaker D: The plight of an author.
• 49:03
  Speaker B: You're right.
• 49:04
  Speaker D: I'm softer, I hope.
• 49:05
  Speaker A: Yeah. I hate to cut it off, but you just got a N. Pre order the album, guys. That's just a wee. It's a big hit in campus. That's a good line.
• 49:13
  Speaker B: Yeah. Cheers, mate. Cheers. The thing as well. The. When. When. A lot of these. A lot of these songs, they were fragment. Different fragments of different things I was working on. People who follow everything that I put out, including demos and stuff like that, they'll see. They'll hear passages within the album that they might have heard before. And the reason for that is that there came a point where I was so kind of brow beating and no confidence that I started using some of the material from the album for other things. And then once I saw the idea, the album came into play, I was like, no, let me reassemble all that stuff the way it was originally intended, which was the really strong themes about class and touching on, you know, a lot of the contemporary discussion among masculinity being toxic and the refrain that are eternity Lyrically, with almost every track, as. Here's a bit of insight about why I might find you annoying, you fucking middle class cunt. Right? Going on about your trauma all the time. Here's a normal day and my childhood and. No, tell me about your triggers. Do you know what I mean? And just. I know that sounds a bit kind of confrontational, but I think in the album, what I'm trying to do is articulate something that maybe a lot of working class people who get irritated by what they hear is woke culture. I'm trying to say, I think this is why you're annoyed about it. And it's. No, because you don't like Minorities, I think it might be, actually you're just agitated because the worst things in your life have already happened to you, while these people keep on talking about things that haven't happened yet that might happen, that frighten them. And there's just a big cultural misalignment there, partly just due to class disparities in the prominence that certain classes get over others. So it's a different juggle. Difficult juggling act today. But I can bring it, bear all my experience of dealing with class politics at different levels of discussion and really just pour it in hip hop aesthetic and translate it into that language, which for me is. Is a lot of fun.
• 51:15
  Speaker A: We're getting some. Mark McInnis is going to add. Is adding it to his vinyl collection. I'm just going to. Becky, could you put the. The final one. I've got the link in the comments.
• 51:28
  Speaker C: I'll put it in the chat to say.
• 51:29
  Speaker A: Put it in the chat and I'll bring that on the screen for people to order it because a few folk. Here's some instant feedback for you. You've got Joby Cannon sounds great. Ben Wrong says. BANGING get the fire emojis for gbh. MARCO SHOUTS gbh, man.
• 51:48
  Speaker B: Like, he's just always been a solid, you know, whenever you run into him and like really any, you know, ham gupsy just really anti lyrics and really antibas and really study lyrics. So when you get a compliment for them, it always has an extra premium on it. I mean, because, you know, they listen to good.
• 52:09
  Speaker A: Absolutely loves. Except pop. Also, we got scheme hang. I don't know if that's Joey or Jam, but the CCTV are in the house.
• 52:17
  Speaker B: Yeah, I remember them before they had facial hair, man. Honestly.
• 52:25
  Speaker A: I interviewed him on Friday, but I gotta get distracted because I started off with Jam and J Week, he went. He broadcast live from the Four Corners. And then I just kind of got, you know, the two of them just basically started building me, you know, I mean, I couldn't. I couldn't. I lost control with Interview for a bit. But I remember, I think the first time I met them is that the Moggs Mog was doing a wee gig at the Hidden Lane.
• 52:46
  Speaker B: Yeah.
• 52:46
  Speaker A: And I remember them then, and I just thought they were shoplifters, man. But it turned out they were. They were big hip hop fans and both of them just released banging tunes. If you don't know to check out Jay Lee and Jam's new singles. Absolutely smashing it. Jim Moran's pulled me up for calling you Young Darren sake. I'm Jim61 govern hell.
• 53:08
  Speaker B: All right, Jim. How's it going, mate? We'll have vivid memories. When they saw when the socialist party still was happy to be associated with me when I was young and malleable and angry enough that it didn't really matter except the kind of outward presentation of a furious radical. And I did a lot of stuff with the SSP and the young ssp and until obviously we all started eating each other and ourselves, you know what I mean? As all good socialist collectives like to do that.
• 53:45
  Speaker A: Sorry, that video went. Could you send it in the private chat, Becky? Because I think it automatically bans a random person sharing a link.
• 53:52
  Speaker C: Actually accidentally said link to vinyl free order.
• 53:55
  Speaker A: Anyway, all right, I should have just did it anyway. I just. I just thought it'd be quicker. Save me. So I interrupt the interview by typing.
• 54:02
  Speaker C: I'll do it.
• 54:03
  Speaker A: But you know what? Question for the audience.
• 54:08
  Speaker B: Hey, fancy another one?
• 54:11
  Speaker D: Do you want another one?
• 54:16
  Speaker A: Right, okay, I think we're gonna go for we run it.
• 54:21
  Speaker C: Yes.
• 54:22
  Speaker A: Are we? Snippet of we run it. Wait, could they get a reintroduction to we run it.
• 54:28
  Speaker C: Can we get an introduction that mark's talking to you.
• 54:31
  Speaker B: Oh, sorry. It's because I can't see you. And yeah, hang on a second. We run it basically as my attempt to actually write an official anthem for the whole Scottish hip hop scene that everybody from every generation and everybody from every style can get behind as a historical document that charts the. The a bit of the history of hip hop and the interplay between hip hop culture and actual property culture and inverted commas. So comments on young graffiti artists not getting into the Glasgow School of Art because the people over there didn't understand the graffiti was an art form. And then the irony of the fact that murals knew are the big Glasgow centerpiece in that graffiti's been embraced when in fact, actually, you know, councillors and council leaders for years have been calling graffiti writers vandals and neds and bombs. So it's a kind of. It's a really cheeky kind of tongue in cheek thing about the Scottish accent, the cringy feelings that some people feel for some reason about it. And really just leaning into that sort of low key sarcasm, like having the last word type thing where I pure bang and beat and some amazing scratches at the end for Crash Slaughter as well.
• 55:48
  Speaker C: And it sounds like the most modern tune you've ever made, which is funny. I think that's meant to be sarcastic.
• 55:54
  Speaker B: Trying something new lead single N swearing. I can write a pop tune if you Want me type of vibe but actually it's a boot stuff. Do you know what I mean? Like it's a boot stuff.
• 56:11
  Speaker D: Secondhand gear passing for new clothes cleaning up the only pair of kicks you owned Toy toe represent your scheme it was about taking part not worshipping who sold to four it is a power cut into a tone Pioneers got it laying down a smooth road for an art form for poor folk but every club I seen got a foothold and got windows the GSA didn't hand graffiti was a discipline so many young grapplers that they wouldn't enroll. The irony is twofold.
• 56:39
  Speaker B: Now they send all the students out.
• 56:40
  Speaker D: To study all the murals no authorities body body us now the academics want to study us all Lucky K you plumish mocks one too many See your time they are put some money up I never like valley or problems I being force fed Middle class day I record need vocals nothing else matter with focal Scotland I've got a proposal Stop sleeping on his wheel Top of the.
• 57:07
  Speaker B: Body'S raging Everybody was getting into that there.
• 57:12
  Speaker C: We can hear you.
• 57:17
  Speaker A: Well it's because a. I didn't have the microphone and beer that I was unmuted as well. So that'll be why. But I was just saying that the reason they're cutting off at the right at the good bit is just because you've got to pre order the vinyl.
• 57:30
  Speaker B: Yeah, yeah.
• 57:31
  Speaker A: Now the academics want to study. This is Canine Cave. Shouts to Canine Cave.
• 57:35
  Speaker B: Hello. Quickly. Lily features on one of the songs. She does a backing vocal or not funded by Creative Spotlight.
• 57:42
  Speaker C: She also recorded that. She pressed all the buttons to record it.
• 57:45
  Speaker B: She was.
• 57:45
  Speaker C: She, she.
• 57:46
  Speaker B: She was happy to be a. A kind of studio assistant that night. She was bringing me sweets. She was giving me good.
• 57:53
  Speaker C: You're the talent. You're the talent, daddy.
• 57:56
  Speaker B: Yeah, that's what they say. That's what they say.
• 58:06
  Speaker A: Is I think lo a starting to make it as well. Is she singing? She. She jumps. She's got the diva.
• 58:14
  Speaker C: Both our wins have bands.
• 58:16
  Speaker A: Yeah.
• 58:17
  Speaker C: One of them get merch who's banned.
• 58:20
  Speaker B: It's funny the way kids talk about music now though, because they talk. They talk. They talk in all the capitalist language because to them that's just the normal lexicon and a neoliberal post apocalypse, you know what I mean? So they. They talk about before they've even wrote a song. They're talking about merch and they're talking about Brandon and. And, and like it's imprinted in them. That's just normal. And then, then the Music comes after that, you know, so we're trying to get the balance with them be saying, hey, that's cool, but let's remember the tunes need to rock and that's the most important thing.
• 58:55
  Speaker C: The music still hasn't come. I mean, it's been six months and.
• 58:58
  Speaker B: They'Ve got T shirts so not good on them. They all talk like YouTubers. They all talk like Minecraft YouTubers. No, my boy, My boy just. He said sometimes he just sounds like he's broadcasting permanently on Twitch or something. Do you know what I mean?
• 59:15
  Speaker A: I seen looks or. Who was it you? I think you were supporting Souls of Mischief. Yeah, you did. You did a video to try and explain to him that you're a rapper or something. Am I getting that right?
• 59:31
  Speaker B: What was that?
• 59:32
  Speaker A: I think you were on stage and you took a video with the audience to prove to your son that you were actually a rapper.
• 59:38
  Speaker B: I showed him when I got him because I. I hadn't played. Ever played him a song of mine. You know, we were on holiday last year and like he started listening like Eminem and that was just constant n. Like he was wanting to listen to like Godzilla. And it was. The interesting thing was how Captivating Eminem at 50 years old is for an 8 year old child. Do you know what I mean? That was the mad trap that was just like, oh my God, I can't believe stuff.
• 1:00:08
  Speaker A: They kind of neur.
• 1:00:10
  Speaker B: I was like, son, you need to listen. Yesterday I made him a playlist on Spotify with like Brain Damage and all that and all just classic stuff, do you know what I mean? And he just. It wasn't grabbing them as much, do you know what I mean? So anyway, we will do. What was it we were talking about there?
• 1:00:23
  Speaker C: You were trying to show them?
• 1:00:24
  Speaker B: Oh, I saw at the, at the launch I thought I would film the audience and then say, I told you I was a rapper and get the audience to already act in the background. So when I came home, I showed him it when he was in his bed. He wasn't really that impressed.
• 1:00:38
  Speaker C: Didn't care.
• 1:00:41
  Speaker A: Well, so who were you supporting that night?
• 1:00:44
  Speaker B: So the Master, the Name Drop.
• 1:00:53
  Speaker A: We love a name drop. We love a name drop. When you call that radio. So what we're talking about the. The end of the day, sort of the end of Loki. What is. You've supported loads of people over the years. You want to just give us a wee name drop?
• 1:01:07
  Speaker B: I wasn't always in the best condition.
• 1:01:11
  Speaker A: It's not about whether you were good or not.
• 1:01:14
  Speaker B: I can Remember who I supported? I supported Royce to 59 D12 the far side. Ultra Magnetic Cool. Keith, obviously Souls of Mischief. I think Leaders of the Underground. Maybe. I mean, I mean there's double that. There's double that. I spoiled Akala four nights. Yeah, I've done events and stuff with Loki, Professor Green, Abs. No, me deliberately name dropping. Do you know what I mean?
• 1:01:46
  Speaker A: But I told you, name drop.
• 1:01:48
  Speaker B: I've done quite an extensive bunch of support slots. But the problem is it was at a time before everything was documented on social media and I don't have the memory to remember because I was probably about put my N on the night. But I. It's. It's interesting when you do international support slots because. Or Rugged Man. I actually as well, you, you, you. You get an audience that's there for underground hip hop, but still hasn't really made contact with the local scene. So what you get is an audience that's more receptive than a general audience because they understand the key cornerstones are hip hop. So even if the accent's a bit weird, they recognize your technique, they recognize the way you carry yourself. So it's an interesting challenge doing like a proper golden age hip hop support slot like Souls of Mischief because the people are already primed really to. To be any proper hip hop.
• 1:02:46
  Speaker A: Just listen Spanish hip hop. I love Spanish hip hop. In fact, that's a really good channel on Instagram. Hopefully remember it, they'll come back to me. But what they do is they do Spanish versions of. I think the one that had it this week was Warren G. Regulate. But it's, you know, it's in Spanish.
• 1:03:03
  Speaker B: Amazing.
• 1:03:04
  Speaker A: It's like a really good way for, you know, learn the language with a younger man. I was a class clown at school saying, what did I need to learn Spanish for? Absolutely. I really wish I learned Spanish, man. Everyone speaks English. What a. What a horrible, ignorant. Well, I mean, Canary Islands in January. That's usually. January is usually when a month I have after and it's. Usually it's warm and I can afford to go here. Then obviously went to Mexico and. But listening to Spanish is great and it's a good way to pick up like Cypress. I had that album El Coco, El Loco. You know, for some reason it still rhymed in Spanish.
• 1:03:44
  Speaker B: And it's. It's amazing that no matter what language or culture you hear it and the fundamentals are always the same. Do you know what I mean? And that's like. That just shows that. That just shows it as a global phenomenon, you know? I mean it has been obviously new for 30, 30 odd years, man. @ least.
• 1:04:02
  Speaker A: I'm going to play one more. I think we're a bit annoyed. I don't want to take up too much your time. I've got the one I picked. I wanted to pick. I'll show you something to cry about but there's no way that I could snap that. That's. People need to hear that and I wanna. That is a very. You know that, that. That grabs you an emotional song. So I didn't want to skip that one. But that's an amazing piece of work. So I've actually went for Ma and Po because you. You sent me an early copy of that. I don't know when that was, maybe the start of the year or. I don't know, it seems like a while back now.
• 1:04:36
  Speaker B: I sent. I sent you the first demos like six months ago or something. Yeah.
• 1:04:42
  Speaker A: Yep. So. So I've actually played that one a few times and it still bangs. It's great man. I just think it's really well written. I. It just what it gives a introduction to that and I'll. I'll play a wee minute of that.
• 1:04:53
  Speaker B: I sound man, I mean just. It just. Just felt like cuz I was delving into some of the origins of things for me and gone full circle with it that I had to have something that was specifically about Pollock. And I start the tune kind of tongue and cheek when I'm like ah. Don't know if you guys know but I'm Paul, do you know what I mean? I don't talk about a lot but actually like as much as a lot of. A lot. A lot of the. The stories about the difficulties I had are based around Paul. I thought that there was a way of Dana tune which was kind of nostalgic for people who grew up at a certain time, you know. I mean at the cusp of the millennium, you know. So I say a lot of different things that people for that period will remember. Like when we all got green bins and we all got double glazing Wendy's because Tories got up and what dinner halls were like and schools and there'll just be a lot of stuff that people been odd in a lang. You know what I mean? But it's also a be tribute just to the schema that I come fairly.
• 1:05:48
  Speaker D: I'm running straight up all look as it's hostile full of head honchos Born in a foxhole Raised in a war zone underneath a bun Motored in a porthole Playing five a side on a picture broke bottles big Sophie dang bear got rock post thumb through the catalogs fog through the pawn shops pound shop teddy boys talking through the nostrils Sit down if your tall kills full of plot holes packed on if you talk low packed off if you take a wrong tone Gun down in broad daylight a one shotted with a sword or a tackle you should have squared up pronto Bubs chop cocks crow cops drawn eyes in the sky never off patrol I gone so horror show I'm in the wrong row that walk my drunk normal CB radios drunken candlelight wishes education courtesy a sky satellite dishes Rick blicking meters frost on thin frames Tony go to to zoo we go double glazing Wendy's dinner ticket sticker books nicknames yeah.
• 1:06:47
  Speaker A: You need, you need to. You need to pre order the album 100%. 100% ivory blacks. I never even finished my question about Ivory Blacks learn because we got carried away talking about the legend of Kelvinism. There's a few people agreeing. See Stacey in the comments agreeing as well. But Kelvin, can you tell us what it was like that. That first night Ivory Blacks? Because I'm assuming this is before you. You really knew anyone in the scene or.
• 1:07:13
  Speaker B: I had turned up to a few mics so I done my very first thing was in Maggie Maze and Paisley which isn't there anymore and Big Dev was doing has North Northside EP launch in there. So Black Cart and homegrown farmer supporting him. So that was the first time I met what some people who would later come on to be some of my dearest friends in life. Do you know what I mean? Like Marik for example. I met the Black Cart boys, Ian Tank, Colin, who I was really connected with for years while I was living and they supported accommodation or Arkham as my fans will know it. And, and basically then I did the cluth of all open mic night which is where I first ran into Gasp and a lot of the er boys in Dunhammer and, and then, and then, and then I got, I got invited up on Dev set Strawberry Fields. We were doing so many gigs then we were smashing it and I got heckled and, and, and I ripped the heckler for the stage and that was when basically I just won the whole scene over. Do you know what I mean? Because I did a 16 bar destruction of this person who was trying to make me look I couldn't in front of everybody when I was just a new kid on the block. And so after that I got my own first set and Ivory Blacks. And that was a real peak for the scene in terms of all the people that were coming out to gags and the feeling that we were all part of something new and it was a proper community. Do you know what I mean?
• 1:08:40
  Speaker A: Yeah. Because at that time I mean, well. So that's before I knew you as well. I was in college. Try this is how old I'm trying the Internet for the first time in college got, you know, we saw my Simpson intraday. I was like, so is this. I typed in Pink Floyd lyrics because I was a smoker at that times and Celtic I think that's what I take that. I didn't really know what I was doing but at that point I thought I'd like most people my age. There's a few. It's a similar story that I thought I'd invented. Scottish hip hop started off with American accent. Then I thought no, I'm going to make it Scottish. Obviously there's loads of stuff before that by the way. We don't. We're not going to show you two to one committee per cut productions. We could go on all day. There was loads of stuff. But before Internet it wasn't really all time high. We're just running the what a few towns away from me as well. But I didn't know.
• 1:09:33
  Speaker B: The thing is, see, once I found out and it was really. This was Devs influence because I was still around the American when I came into contact with Dev and that it was Dev that put me on what nights were happening and then I would just start traveling myself or with my mother at the time. And that was the kind of beginning of the realizing I'm actually part of a hang that's been going on and out that interested me. I wasn't disappointed that I wasn't inventing it. I like the idea that all right, I'm party. I can. I've entered this at the lowest level and if I'm good at this and I stick to this, then I'll get the kind of same respect that maybe somebody like Big Dev or the freestyle master or Stag or Bose or Defy get just by walking in a room. They don't need a cipher, they don't need that. People just treat them with respect.
• 1:10:23
  Speaker C: I liked what you said about like those guys representing like the American archetypes. So it was like rather than being like oh, I need to be like those guys in the States, it's like no, this.
• 1:10:34
  Speaker B: That's how I thought they were cooler. Do you know what I mean? No, cooler But I just identified me with this idea of that they have a message to carry and how they are very disciplined and specific about their adherence to proper hip hop. And so it gives you a very clear template of what's expected and then you can diverge for that and, you know, the mere cache that you get in your cell, you can go your own way. And I certainly did that. And I was probably quite challenging for a lot of the artists that were established when I started coming up because I'm just kind of disruptive by nature. But. But I always had so much reverence, do you know? I mean, even my first album, there's a track on it called Rebuff, which is just a big list of shoutouts to artists that came before me. Do you know what I mean? So that's all been part of my whole style, man. Just making sure that people that I respect know that I respect them. Do you know what I mean?
• 1:11:26
  Speaker A: So how long after it was because. Because when I. I just googled what Scottish rap. What's the best album in Scottish rap? Because it's actually my sister's power went, I'm one of these hip hop with Scottish accent, juice for Edinburgh. He's like, oh, that's original. And I was like, wait a minute, there's something going on. And I googled who is the best was the best Scottish rap album. And it came up Friendly World.
• 1:11:48
  Speaker B: Oh, really? I.
• 1:11:50
  Speaker A: Well, well, that was a forum. It was a forum. It was just a bunch of people agreeing it was Friendly World. So that was the first proper album I listened to for start to finish. And it blew me away. I was going to say inspired me to that, but actually stopped me rapping because I knew I was nowhere near good enough. And the production that I've done as well was incredible.
• 1:12:07
  Speaker B: And that was when. That was like. That was when I started coming into contact with BA and Friendly World. What you can hear is my level of my frame of reference artistically expanding because of the influence all these new people around me. So you had the lucky me influence. You know, I had a beat for Hudson Mohawk on there before he was even called Hudson Mohawk. Do you know what I mean? Someone did most of the production on it. And then obviously Dev was just there to kind of oversee a lot of that, say, Studson contributions there. But you can hear the influence that other MCs that I'm. You can hear my influence on them as well. We really started to cross pollinate, and that's where the bean really came for was we were all Hanging a book. We were getting high. We were having these amazing experiences together and we were really, like, really getting a buzz, like getting in each other's taste and music and why we were into certain things. And we all got the joy on, you know, getting the proverbial aux cable. Back then it would just be CDs, you know what I mean? You'd be putting them in and playing them and g your presentation about why the tune is so good. And listen to this and rewind it, rewind that, listen to that, draw. And they were just honestly, those years, man, do you know what I mean?
• 1:13:15
  Speaker C: Like, and all secretly up in your games based on each other's music as well, do you know what I mean? Just like, I need, I need to meet that bar that Gas just said.
• 1:13:23
  Speaker B: Exactly. Imagine, Imagine being there when gasp comes in. Do you know what I mean? Where. Where a song that he's written or a verse that he's written that people in the scene will know just that, that listening stuff will just know. Like, that was like early gasp, you know what I mean? Because GASP style evolved a lot. And imagine what it's like when you're sitting and somebody comes in or ba. Do you know what I mean? And they drop a tune, listen to this, and you're sitting, listening it, and you're like, ah, this is amazing. And then you go, him. And you're like, I want them to have that feeling I got. Listen to their tune when they hear my tune. And that's really when a crew is really like firing on north cylinders, you know, I mean, the Bucky Cut is doing in the end as it does. You get a good run. But I mean, in terms of Cruise and the impact that pop crews have had, I think the being has probably touched more people in terms of that first contact with the Scottish accent and music. Just because we were such a big collective and there was a time where we were fighting so many tunes. And so even though we never even got rooted putting out a proper album, we're sort of like an entity rather than a proper crew, which is what the being was. It was, it was fair. An old VHS and a flat we used to party under incest called Lindo Place. And it was like a B movie called the Bean. It was just this entity, this blob that was just going around just making a mess everywhere.
• 1:14:47
  Speaker A: Younger than my mate Ben Steep Dick. Is that for that way?
• 1:14:51
  Speaker B: I I so it's like, it's, it's, it was just. We were just, we were, we were young, we we didn't see any limitations. We were just, we were just loving life, man.
• 1:15:01
  Speaker A: That's J Lee. No Way Back was the first tune he'd ever heard. Scottish hip hop tune K9 Kev shouts to K9 Kev who had some good news last week.
• 1:15:11
  Speaker B: I'm glad you're glad to hear it, mate, he said.
• 1:15:15
  Speaker A: Loki Speech therapy and Big Dev. And is that use, is that use done? Is that use running at a time.
• 1:15:23
  Speaker B: 5, 10 minutes if you want, you might have Wayne running a bit in the background.
• 1:15:31
  Speaker A: Okay, I'm gonna, I'm gonna end it with a question. We'll go back to the full circle to the Creep Scotland thing. How could, how could Creative Scotland be better? How could they do it better? Which one thing that I do, what you mentioned earlier on about how Sonny Govan are given a bit of money to decide who gets it, that seems like a positive way of doing it, where maybe people that are actually doing.
• 1:15:56
  Speaker B: Stuff, what they're addressing doing that as a proximity gap culturally between Creative Scotland and the hip hop community. So what they're looking for is immediate it, close that gap and that is a good temporary fix. But what you really want is something like stead g getting a job at Creative Scotland, do you know what I mean? And having escape being given a secure income to properly work on and develop something like says, do you know what I mean? Says Lockhart, who anybody in the scene or, or in the wider music industry will know. Normally a competent musician of industry standard, but also an educator, also somebody who's mentored a lot of artists that came through. I mean that's when I met Mark. We went through the Trialect project. Me, Dunham, Mog, Taj, Emma Gillespie dc who maybe some of you won't know, but there was a big troop is where we were Getting industry standard EPKs and all that done for us. So it's really that there's people in Creative Scotland to have real deep insight into specific sections of the arts because they come for that. And so you need someday for the hip hop scene really and on the inside because it'll be a cross pollination that occurs where they will, just by virtue of their existence, really educate and enlighten people about the power of hip hop and that's really how the respect for it starts to grow. And there's always going to be purists who don't want to with institutions and they're going to be outsiders and that's the status and they're happy with it and that's totally Fine. But there are other hip hop artists, I think, that could be supported with the right encouragement. And so, you know, rather than farming out the difficult decisions about who to give the money, you need, you need to, you need to integrate it in more democracy.
• 1:17:32
  Speaker C: It's like anything, if anything stays the same for long enough, it's going to end up, up being, you know, in some way either gatekeeped or, or it's going to end up being kind of, you know, ruled by a certain few. So it's just about like listening voices that are, you know, representing different areas of the scene that matter. And what I want to do is get. Sorry here, I've been asked on this, obviously defend them, but a lot of what they do is great, you know, so it's about just, I guess those voices being more heard as well, you know, because, you know, they fund a lot of charities, but then some years those charities won't get funding and some, some big band will get the funding to make an album, you know, and so you got to ask yourself, where's the parity there in general? So I think anything that's get more community focused and anything that's more community driven is going to be more representative.
• 1:18:22
  Speaker B: And I talk about this in the album, specifically on a couple of tracks. Hip hop, the hip hop scene, it turned my life around. It turned my life around because it gave me focus. It was the first genuine literary experience that I'd had. So it gave me more of an interest in writing and being expressive and creative in ways that I didn't feel comfortable to be. And if people start to understand that if they've got all these targets they're trying to hit in terms of engaging people on grounds of literacy, on grounds of confidence and, and, and building self esteem and being part of community harmony, H pop's a great gateway drug to that because when people are involved in a hip hop culture, they have a safe space, as it were.
• 1:19:07
  Speaker C: Is folk culture as well, like it's, it's trad and folk culture, which is a weird thing to say, but it is. Do you know what I mean? So it's like, it's like recognizing that those voices are, you know, equally represented for the, of the culture is important the culture.
• 1:19:21
  Speaker A: That's interesting. And obviously the single that you released yesterday detailed the connections and that's the first time I've ever really thought about that because obviously I, I recognize hip hop as folk music. It's folk tales, a modern way of telling stories. And your own accent has Celtic connections ever dabbled with hip hop at all.
• 1:19:45
  Speaker C: Yeah, there was. I mean not as an annexed things. So like they've had like you mark if you go to a festival and you've got a tent and you've got a wee bit more free rain. So there used to be a thing called Hazy Recollections at Finley Napier Run and he made a point of bringing like acts like, you know, Solar Eye, myself, like other people, solar.
• 1:20:05
  Speaker A: I did. Stanley did get an orchestra I think once or so would I. It was standard orchestra.
• 1:20:11
  Speaker C: Yeah. So I mean there was that. But the queen question is, does the. There's so many unknown acts at Celtic Connections that are tradax. So in order for a. A hip hop act to get legitimacy at a space like that, they have to do so much of the groundwork. They're not getting invited then to show their music. Maybe they get a free gig at the Danny Kyle stage or a we shot here or there. Hazy Recollection sadly was part of the ABC too. So that's gone, you know, and like so something watch replaced it. You know, there isn't that accident access point for young hip hop artists to. Or even young, you know, artists in general to interface with something like Celtic Connections unless they meet certain criteria, which they're not always going to. And that's true. Obviously. Everything's got, you know, it's doors that are hard to open. But like to. To dismiss one of the main genres of the city and the city that you put the festival on is mental. Do you know what I mean? It's not representative.
• 1:21:07
  Speaker A: Do you think they're dismissing it or.
• 1:21:08
  Speaker B: Do you think they just know? It's not about dismissing it, it's about. Sometimes what they'll do is they'll make sure if they do bring someone in that it's someone who has some material that conforms to that house style so it's not too challenging for the audience and that's fine. We all have songs that are more appropriate in certain contexts and that's an important.
• 1:21:28
  Speaker C: You've all got your Celtic connections, but.
• 1:21:29
  Speaker B: That'S important for an artist, you know what I mean?
• 1:21:31
  Speaker A: Well, I was actually going to. I just forgot to do it. I forgot to tell my person that my form filler. It's going to help me with the forms to do it. We all agreed that I had a few ideas and one of them was I'm just going to do a mixture of gyros and Jackal trades tunes. We are an orchestra like. Like you said, appropriate. The songs would be appropriate for it. So I strip it back a bit and apply for it. But I forgot. So it's another year. I suppose that's another big problem is is you've got to think ahead. So it took me years to figure it. Festival season starts really early if you've.
• 1:22:03
  Speaker C: Not already because a lot of people.
• 1:22:05
  Speaker A: That are you maybe thinking kill the connections next year. No, I mean 2026 now.
• 1:22:11
  Speaker C: You know everybody does hip hop is working class.
• 1:22:14
  Speaker A: Even I don't and I'm old. What chance a young person got with my. My kind of brain?
• 1:22:19
  Speaker C: It's not. You have to have a lot of time on your hands to pre plan a year ahead for anything. And a lot of people that are doing hip hop don't have that.
• 1:22:27
  Speaker B: No, but that's part of what the skills they need to be taught. You know what I mean? Like how to take things to a professional level.
• 1:22:35
  Speaker C: I know a great university course. They can all come in.
• 1:22:38
  Speaker A: Are you plugging a university course? Go for it. Plug it if you want. Do you do professional. Do you do form filling? They Can I get a. An HND and filling out a form?
• 1:22:48
  Speaker C: Not quite, no. But we'll certainly. We'll certainly support you too.
• 1:22:51
  Speaker A: How can we. How can we fix that? How can we fix the fact that I don't like filling out forms even though. Though I know that it b my interest to fill out a form I might actually get.
• 1:22:59
  Speaker C: Actually, actually a lot of funding bodies now have a video response. Create Scotland don't. So like a lot of funding bodies now have went. If you feel more comfortable talking we want to be accessible. So if you can get your argument together, take some notes and talk to us like this.
• 1:23:15
  Speaker A: I've got a camera here. I can even change my colors, make it a bit more.
• 1:23:20
  Speaker B: Exactly.
• 1:23:22
  Speaker C: But. But not yet.
• 1:23:26
  Speaker A: Blue. Red. Go for red.
• 1:23:29
  Speaker C: That's just actually when it changes. That's very good. It's got to keep it changed.
• 1:23:33
  Speaker A: Very creative. It just shows that I'm creative. I can't even.
• 1:23:36
  Speaker B: I think this point of talking about forms is a real high point in the discussion generally.
• 1:23:41
  Speaker C: What does the audience.
• 1:23:47
  Speaker A: As we spoke spoke to someone who may not. Well they actually said it in the podcast but I don't think I should have. I'm going to repeat their name. They used AI to get a creative Scotland funding application. So.
• 1:23:55
  Speaker B: Amazing.
• 1:23:56
  Speaker C: Nice.
• 1:23:56
  Speaker B: I'll be using AI to assess the forms soon anyway and clearly AI is writing some of the poetry, that's for sure.
• 1:24:04
  Speaker C: I think Jim Monan is an AI. That's what I.
• 1:24:12
  Speaker A: On that bombshell this. This shows Friday, by the way. You're playing a week ago in Friday as well. We warm up gig for anyone that can't make the 28th. You can come along to the Dream Machine, which is part of the space, which is next to the bars and St Lukes and all.
• 1:24:28
  Speaker B: That's not welcome. And I'll just put that out there. Bam's not welcome.
• 1:24:32
  Speaker A: Bam's not welcome.
• 1:24:34
  Speaker B: Yep.
• 1:24:35
  Speaker A: And you got this on Friday. It's byob. It's a tenor in at Boxing Day. We've got gas, Dr. Normal, bucket, cat, callum, ray and more at McNeil's and more to be announced. And then of course, the big. The big one. That's the album launch of all album launches not funded by Crepe Scotland at Ivory Black.
• 1:24:57
  Speaker C: Four tickets left for that.
• 1:24:58
  Speaker B: No, we put. Added more.
• 1:25:01
  Speaker A: They sold it. So we had to. We had to add more. It was skittle sold it. But there was some tickets left at Ticket Scotland, so we did a one, two Buckle My Shoe and moved them over and. But be quick. This is going to sell it and. And I feel like it's been quite good the way that there's been. People have had fair warning, though, if it's sold out in one night, you'd have a problem because you've got so many people going. Oh, I didn't know. We're telling you, this is your chance. Are you announcing. Are you wanting to announce who's playing? Are you keeping that under your hat for now?
• 1:25:28
  Speaker B: No, I mean we can announce it to noon. We'll do a proper one next week.
• 1:25:31
  Speaker C: But.
• 1:25:31
  Speaker B: But for the support we've got Gasp. Who's coming to do this a set similar what he did at the Samas.
• 1:25:38
  Speaker A: So could you just.
• 1:25:39
  Speaker B: Just.
• 1:25:40
  Speaker A: What do you. What do you mean he has drums now? I don't know anything about this. I just know that he played wasn't there.
• 1:25:45
  Speaker B: I've not seen this yet. But he done. He done what I think is probably quite an intelligent move in front of a kind of sama audience which as he went on and under one's Personas. Do you know what I mean? Brian the Vampire and he had Sean Love on drums. So they have a. They have a thing projected on a screen and then he performs with. With some bang music. But obviously where they added intensity of live drums.
• 1:26:12
  Speaker A: He's an amazing drummer. He came out of the way. He played a festival with one day's notice, one hour practice and drove about four hours to Cumbria to play this really weird festival. And it did a great job. He did a great job.
• 1:26:24
  Speaker C: One of those rare metal drummers that can drum across all genres.
• 1:26:28
  Speaker B: Yeah.
• 1:26:31
  Speaker A: Drums man. I'm sold.
• 1:26:33
  Speaker B: And then you're gonna come and do a kind of acoustic gyro set, is that right?
• 1:26:37
  Speaker A: Yes. I, I, we're up for it. We're gonna do stripped back so we're going first. So, so Gas comes in with the drums and yeah, we'll just do it strip back. We'll probably just do a we acoustic thing. Acoustic guitar, maybe some backing vocals or something. We'll keep it nice, easy O start off then Gas with drums and then what can we expect for your set is because obviously people, I've seen people already asking are you doing any of the classics or are you just focusing on the new album?
• 1:27:04
  Speaker B: I'll be deciding this week really. You know I think I've got an hour at a push and I think maybe I might spot the difference and, and prioritize new songs that I know know I've memorized well so I don't have any kind of pre unnecessary pre show anxiety with lyrics and stuff. And for any of the other ones that I'm not so sure on, I might slot in a couple of E numbers here and there just because I know that I may get the crowd hyped up. Do you know what I mean? But what, what, what what? All day I'm sure that everybody's going to be have a great night anyway. Do you know what I mean? Just cause everybody that's going to be there and just the buzzer being in.
• 1:27:41
  Speaker A: Ivory blacks, it's going to be a good night. And also actually Rosie asked me if there was going to be an after party but I think she's got friends coming for it. But I was like I didn't CU it's that time there's got so much stuff going on you don't even know what's the point organizing an afterparty then everybody goes home. But Kelvin, I message Kelvin. There's there's a goth nightclub that's happening.
• 1:28:07
  Speaker B: Right after the gig, right after it.
• 1:28:09
  Speaker A: So we're allowed to stay, hang a bit. They're probably about an hour in between. Maybe I could just put a playlist on or something. Or you could put a playlist on. Done. Play the playlist while they're getting the goth club set up and then you know, put your, put your black eyeliner on.
• 1:28:23
  Speaker C: I am there.
• 1:28:25
  Speaker A: You're going to be there anyway. It's just a case of whether you want to leave.
• 1:28:29
  Speaker C: You're going to Be there anyway you.
• 1:28:32
  Speaker B: Care anyway Stay in the tune that night anyway man just because it'll be a celebration get go up man Y.
• 1:28:41
  Speaker A: Remember thank you very much Dan thank you very much Becky Album sounding brilliant have a good Christmas well maybe see on Friday but if not have a good Christmas and go and order that album pre order on coffee links are all about here somewhere and I think we'll just finish it off with another we clip we'll just go for.
• 1:29:07
  Speaker D: Secondhand gear passing for new clothes cleaning up the only pair of kicks you owned toe toe represent your scheme it was about taking part not worshiping who sold before the days of power cut into a tone pioneer Scotty laying down a smooth road for an art form for poor folk but every club I seen got a foot hold and got gundo.
• 1:29:27
  Speaker B: The GSE didn't hand graffiti was a.
• 1:29:29
  Speaker D: Discipline so many young grapplers that they wouldn't enroll the irony is twofold now.
• 1:29:34
  Speaker B: They send all the students out to.
• 1:29:36
  Speaker D: Study all the murals no authorities body buddy us now the academics want to study us all lucky us you promise Mox want too many see our time they are put some money up and have a valley opera forms I being forced fair middle class recorded vocals nothing else matter with focal Scotland I've got a proposal stop sleeping on his we.
• 1:30:03
  Speaker A: Stuff go and get your last few tickets here from skittle pre order the vinyl and receive a digital download before anyone else@kofi.com Jigsaw Tiger in the house hello looking forward to hearing your album it's a banger of an album fire emojis for Sev great show amazing tune says Joe great show says Stuart shout outs to big Chris shouts to Marco shouts to Ripton Jaylee James maybe as Kelty connections friends will actually somebody has started a facebook group to do that and also big Love's not seen locations assembly rooms need to get tickets to everybody so you better hurry up man the tickets are going and yeah thank you to everyone for tuning in. Remember to like and subscribe if you're on YouTube and if you want to support the show then please do so at patreon.com forward/you call that radio There was no adverts, no sponsors no funding during that show because you call that radio is also not sponsored but not funded by creep Scotland so thank you very much support the support the local album get your tickets pre order the viral and support you call out radio and I'll see you very soon bye.
• 1:31:46
  Speaker B: What is that? Oh what is that?
• 1:31:53
  Speaker A: I have four dogs in my backyard. I'm comfortable pumping Those do. It's good that people are getting. Bombs are clicking because we've not enough for that. This is a democracy. When you call that radio. Three, two, one.