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:: Posted by thecapitolcardiff1971 on October 17, 2014

Concerning the recent debate why British bands donít play England anymore. Could I broaden the issue and ask why donít British bands play Wales at all? The best concert I have ever witnessed was King Crimsonís date at Cardiff (UK) in October 1971. I hope against hope that KC8 will visit Cardiff in 2015.

Re: A special relationship
:: Posted by gasmrv on October 17, 2014

SnakeCained wrote: "We do however have a strict 85db limit on the sound level, which is funny as I do a bit of classical recording and a symphony orchestra can easily sail pass 105db+."

I saw Tool at the Brixton Academy in London in 2001 (or was it 2002?) and the sound level was easily way, waaaay past 85db ó donít know if such sound regulations were in place back then, but the sound was so incredibly loud, that I had to literally walk out about 15 minutes into the concertóa real shame as I think, and thought at the time, Lateralus is an absolutely brilliant album. (incidentally, Iíve never seen a more engaged, respectful & attentive young audience (at a rock concert) in my lifeóin that sense, Tool fans were simply remarkable)

London 2000
:: Posted by david55 on October 17, 2014

I have the Eyes Wide Open DVD and also a download of one of the London 1996 shows. Playing a single venue, however, does not constitute a tour.

A special relationship
:: Posted by SnakeCained on October 17, 2014

No one wants to tour the UK, why?

Well anyone who has done it before, probably would not want to do it again.

It is very expensive and not profitable unless you play a football (soccer) stadium or two.

Once your on the road in mainland Europe it makes almost no economic sense to come over the water to the UK. In fact you will probably lose money.
In the "good old days" this money was paid by the record company (well really by the artist but donít tell them) based on increased record sales...

There is a real lack of decent music venues, most artist who do play UK end up in traditional theatres, not entirely suitable for rocking out. Transport is expensive (fuel), and hotels are stupidly expensive and rubbish.

And the crowds? Yes we are a bit more "reserved". You are unlikely to hear whooping and hollering and, yes, it is very unlikely that we will come up to you afterwards and tell you it was "Awesome!"

We do however have a strict 85db limit on the sound level, which is funny as I do a bit of classical recording and a symphony orchestra can easily sail pass 105db+.

So apart from being financially unviable, a bit too quiet, and with an audience who you would have to be a mind reader to know what they thought of your show, what possible reasons could you have for not playing the UK?

My next live show is the 1st November, in the UK. It will cost me ;-)

:: Posted by Rockette on October 17, 2014

>"...a large population of enthusiastic listeners who tend to be a little less critical and reserved than the Brits."
>No national stereotyping there then.

Call it what you like, but itís a fact that American audiences behave differently from British audiences.

Live ear survival
:: Posted by toycritic on October 16, 2014

Andyfromozz writes: "Having my ear-drums pummelled by a wayyyyy too loud mix, and/or a too loud and/or muddy and/or distorted mix by Mr Cloth Ears the FOH mixer. Earplugs I hear you say? Like having sex with a condom! fine for some, but not my idea of a íhot dateí."

Though Iím not going to touch the Mr. Cloth Ears part with a ten-foot pole, I do share Andyís concerns about too-loud live mixes. As long ago as the early í80s, I started plugging my ears with whatever was handy: cigarette filters, balled-up paper, etc. In desperation, I once used dollar bills. Nowadays I use silicon gel plugs (sold in NYC by Duane Reade and Walgreen). I wear them on the noisy streets of the city as well as at amplified-music concerts. (At orchestral and chamber concerts, naked ears are fine.)

I do this partly to protect my hearing, of course. But the plugs also help me hear better. Too-loud sound overloads my eardrums and they distort as readily as the cheapest, nastiest audio gear. I lose the top end; it just turns to hash and mush. Even when the quality of sound is good, the quantity often overwhelms me.

While the plugs do change the part of the frequency spectrum I can hear, they also reduce overall level in a way that makes my hearing come alive. I quickly get used to the rolled-off top end because it allows me to hear the midrange better. Bass isnít affected; it enters through the skull and is pretty much a full-body sensation.

I can adjust the frequency response by loosening the plugs. A looser fit restores some of the lost top end, and if the sound isnít too loud or bad, thatís a good tradeoff. During the two Elements shows I attended, I used a loose fit, and I heard everything just fine, except for the bass, which seems to be a recurring problem at the Best Buy Theater, going back to when it was the Nokia Theater.

The only serious problem I had -- on the first night of the New York concerts -- was a pair of yappers behind me. Their constant senseless commentary, coming from behind me, used up part of the brain processing I needed to focus on what was in front of me. Another distraction was the boatload of inconsiderate people who arrived well into the show. The third night was far better: folks mostly arrived on time, mostly kept their mouths shut, and I could concentrate better.

Also, I needed the first show just to start taking the extraordinary music on board. By the second show, my brain was primed, and the venue was free from yappers.

I kept this yapping complaint to myself over the past few weeks because I didnít want to pollute the good feeling being expressed on the Guestbook with a negative element. It was a special moment in time; I relished it while it lasted. But perhaps the pre-show boilerplate on recording and photography might be expanded to include a prohibition on yapping?

pip pip
:: Posted by AdrianReynolds on October 16, 2014

Canít speak for anyone else in Britain, but when I sup my Earl Grey I sometimes tap my feet to drum and bass and other dance musics. And without them, we wouldnít have some of the powerful sounds that emerged during the ProjeKct era, not that the likes of Underworld, Omni Trio and Sabres of Paradise need validating.

UK Shows #KC2015
:: Posted by apisch on October 16, 2014

I vote for 7 straight nights at Moles.  What do ya think, Robert?

Likely Overasked!
:: Posted by GrassySound on October 16, 2014

Iím sure Iím joining the ranks of the illustrious in asking when/if a download from the Elements tour will be available.† Thank you in advance.

At this time there are no plans for a download from the Elements Tour, as the multi-tracks are with jakko, and the band want to go through all the material before any release is made. Stormy

What IS the deal with British bands not touring England?
:: Posted by nungboy on October 16, 2014

Due to the intensity of many recent posts, I promise not to mention DVDs of band performances or to stereotype English audiences.

But what IS the deal with British bands that seem to tour England far less than other countries. This American wants to know. I have noticed this issue with quite a few English bands, both nowadays and in the "olden days." Of course, I know that the USA or Europe might be more lucrative but that cannot be the main reason. Is it due to some issue with English audiences? Tour logistics?

I did notice that when I read reviews of portable speakers (in particular, the amazingly good Minirig speakers made in Bristol) by English people it seems everyone is always playing that terrible drum n bass stuff or other rhythmically relentless DJ-style music. I really donít want to typecast...but is old-fashion (made by real humans) music passe in England? Have DJís made it unrealistic for traditional bands to make a living there?

Iíd be interested in feedback from the folks in the UK. I really am curious. Please do not mistake my naivete as anything negative. Thanks in advance!

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