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A urgent city-wide campaign has been launched to save London’s live music venues, the number of which has declined by 35% in eight years. Since 2007, 50 venues have shut their doors for good, leaving the capital with just 88. Historic venues such as the Marquee Club, the Astoria, the 12 Bar Club, Water Rats and Madame Jojo’s have disappeared from the map, falling victim to high costs, complaints from residents and pressures from developers. Many more are on the brink of closure. S U P P O R T L O C A L VENUES Have your say...@shroprocks facebook.com/shroprocks editor@shroprocks.com For music fans of a certain age it must count as one of the greatest gigs in history. On 4 July 1976, at Shefeld’s Black Swan club, the Clash played live for the rst time, supporting the Sex Pistols on a bill that also included the Buzzcocks. Over the years the Black Swan changed its name to the Shefeld Boardwalk, but its commitment to live music remained undiminished. Arctic Monkeys performed at the club, releasing a demo collection recorded at the venue called Beneath the Boardwalk. The ‘Support Local Music’ horn has been tooted so many times now that people, especially internet people are starting to feel like they have tinnitus. However I am not asking you to go musically vegan, I’m not even asking you to go musically vegetarian, just have that meat free Monday now and again. Buying and supporting local music saves you money, encourages growth and attracts tourism but more than that it helps to develop a sense of community and gives us all something to be proud of, which makes us rich… emotionally. The economic reasons are pretty good too. Let’s be honest, we are all pretty selsh and whether or not that refers to money, most of us don’t really want to just give it away. After all why go out and spend £25 on a band, or £70 for Dolly Parton, when we can all stay at home and watch X Factor, or at least spend the money on beer. Well if you went to see a local band, you could probably afford both a few beers and a cracking show. Local gigs are usually a lot cheaper, the money’s not being spent to get the band there (touring isn’t cheap for international bands). Also, more than likely, the band
isn’t that well established and so are just not famous enough to rip you of your hard earned cash. Chances are they’ll put on a better performance as well, no point getting you through the door and putting on a half-assed show, because next time when they charge £12 instead of £10, you probably won’t go. Bands in themselves are a local business and the more you give them the more they can spend and the more they can improve. This in turn makes everything else better, because that is how the economy works… until the bankers take it all. So, usually the venue will get a cut of the money a band makes on entrance fees, and if not it will probably get at least one or two people having a drink. More money for them! They’ll be able to keep the place up and running and maybe even have more shows. This is especially good for those venues that don’t quite have enough money or a good enough space to attract big acts. However if you don’t go, no one makes money, bands starve, music shops liquidate, bars close, we all go sober – productivity may increase but we will all kill each other in frustration. Let’s not forget the poor record stores, even if you’re not buying a record or CD by a local band, at least try to buy it in a local store, you’re helping these bands in a different way and more so helping a business that will be investing money back into our own economy. You personally will be saving someone’s job and in that case go ahead and buy yourself another congratulatory CD. “ By creating a thriving local scene ourselves we produce something that tourists will want to come and see ” MAR/APR There has been a lot of discussion over the past decade of the Creative Class, a group of people who are the leading force behind economic growth. A wondrous selection of workers that bring growth to any country that attracts them. We obviously want some of that. So in this new age of global economy, we have to shift our focus on retaining big industry and manufacturing, but more importantly start attracting smaller creative rms, the rms all these Creative Class types want to work for. Now there are many, and almost certainly more important ways to attract these people, one of them is to have a thriving local music scene. A city needs to have a sense of self to reel them in, and a scene that demonstrates the cultural and social diversity of a place, is one way to do that. You have to ask yourself, what wouldn’t be appealing about going somewhere with a great local music industry? SHROPROCKS.COM P25
Page 2 and 3: Paul Henshaw Contributors We are in
Page 4 and 5: THE QUARRY, SY1 1RN
Page 6: S P O T L I G H T Jim Hawkins @Jima
Page 9 and 10: M A R K E T D R A Y T O N T F 9 1 J
Page 11 and 12: Evening regulars Lizzie Lane and Pe
Page 13: THE BIG BUSK On Saturday 1st April
Page 16 and 17: Visit: www.nuclearweasels.com @nucl
Page 18: P18 SHROPROCKS.COM MAR/APR
Page 21 and 22: TWO BLANK PAGES www.twoblankpages.c
Page 23: E A K E R S “ The bands efforts h
Page 28 and 29: BETH HEMMINGS WRITES n August 27th,
Page 30 and 31: HAYGATE RD - WELLINGTON - TF1 1QA
Page 32 and 33: S H R O P S H I R E FACTS It's one
Page 34 and 35: Blacksmith SINGLE REVIEW Hill Today
Page 36 and 37: Cooper & Davies Feelin’ Time resh
Page 38 and 39: the sun H o t e l BETH HEMMINGS WRI

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