#glasgow concert hall
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At the top of Buchanan street you can find the Glasgow Royal Concert Hall, the location of choice for many events, conventions, and (of course) concerts. Zhou Guanyu was spotted looking dapper as ever in a brilliant white suit on his way to an event. He'll certainly have stood out in the burgundy interior!
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Hulk City | Glasgow | 1o.2o22
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CONCERT REVIEW : Queen Machine with the London Symphonic Rock Orchestra and featuring Kerry Ellis. Glasgow Royal Concert Hall, 20th September 2022
CONCERT REVIEW : Queen Machine with the London Symphonic Rock Orchestra and featuring Kerry Ellis. Glasgow Royal Concert Hall, 20th September 2022
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14 March 1974, Queen performed @ Cheltenham Town Hall, Cheltenham, UK 🇬🇧 ‘Queen ll’ Tour.
The first as headliners
The opening band, Nutz, didn't make it to the gig because their van broke down.
Queen ended up playing an extended set for the appreciative audience. 💛 No complaints there
After this concert, the lighting crew quit following more than a few internal problems and arguments. Trident, however, called in lighting director James Dann who took over at short notice and the shows went on.
The following night’s gig was at Glasgow University - where the lighting rig, for the first time on the tour, played up. It was later discovered that it had been plugged into the University’s ordinary mains supply, overloading the circuits and causing the fuses to blow - with unavoidable breaks in the show.
Still in Scotland, the band went on the next night to Stirling University. The gig itself went without incident, and the audience were in high spirits by the final song. The band left the stage, the crowd stamped and yelled for more, and were given an encore. They continued to shout for more and back came the band for another two - but it was after they refused to come back for a fourth that trouble flared. Fights broke out in the crowd, the police were called and for their own safety the band members were locked into a backstage kitchen. Two members of the audience were stabbed and two of the road crew, who tried to intervene to calm the situation, were hurt and taken to hospital. It took the police and security some time to bring a stop to the outbreak, and it was decided that the next night, due to be played in Birmingham, would have to be cancelled and rescheduled for the end of the tour. This brought the band sudden, huge publicity in the music press, with headlines of ‘Queen Concert Riot’.
This wasn’t the only untoward event in an otherwise triumphant tour. After their gig at Manchester University it was discovered that thieves had broken into the band’s vehicle and stolen John’s case. It had contained personal items, including some treasured photos that he had taken in Australia. The police were informed but nothing was ever found!
Source: ‘Queen As It Began’ by Jacky Gunn & Jim Jenkins
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On 26th February 1950 the entertainer and songwriter, Sir Harry Lauder, died.
Born in Portobello,the first of seven children. His father died in 1882 and their mother moved them up the coast to the village of Arbroath where he worked in the mills aged just 12 before spending ten years in the coal mines after the family went to Hamilton, South Lanarkshire.
Lauder often sang to the miners in Hamilton, who encouraged him to perform in local music halls. While singing in nearby Larkhall, he received 5 shillings—the first time he was paid for singing. He received further engagements including a weekly "go-as-you please" night held by Mrs. Christina Baylis at her Scotia Music Hall/Metropole Theatre in Glasgow. She advised him to gain experience by touring music halls around the country with a concert party, which he did. The tour allowed him to quit the coal mines and become a professional singer. Lauder concentrated his repertoire on comedic routines and songs of Scotland and Ireland.
Lauder's range varied, from When I Get Back Again to Bonnie Scotland to Roamin' in the Gloamin'. He frequently took his act abroad, touring the United States no fewer than 22 times, in addition to tours to other English-speaking countries, e.g. Australia and South Africa.
During World War One Lauder worked tirelessly to organise and recruit performers for shows given to troops serving abroad. His own son, Captain J.C. Lauder, was killed on the Somme shortly before New Year 1917.
Despite his son's death he continued to publicly rally support for the war, ending each of his wartime shows with his theme tune, Keep Right on to the End of the Road. He once again entertained the troops on the outbreak of the Second World War in 1939.
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Here's just some of the new items I'll be selling this weekend!
Saturday- Glasgow Comic Con , 10am-5pm, Royal Concert Hall
Sunday - Cymera Festival , 10am-5pm, The Pleasance, Edinburgh - FREE ENTRY!
Come along and say hi!!
I'll be putting any items remaining after the weekend into my shop update for Tuesday 13th June! Along with plenty of other bits and pieces not pictured here >:3
#arty swirls#glasgow comic con#gcc#gcc23#gcc2023#glasgow comic con 2023#cow#dinosaur#ducks#lino print#rose#peony
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Hello, Monsieur! I'm sorry for my much questions, but the chance asking you them is simply too overwhelming and nice!
Well, I am interested about your concerts you gave during your live time. When and where - and that all - I mean. Is there a good website with a list or similar?
Good afternoon mon petit élève, never be sorry for asking questions, I enjoy answering them!
As far as I’m aware, there’s no definitive list of my concerts, but I’ve tried to remember when and where I performed during my lifetime for you. The list only includes concerts, not events such as soirées, balls or bazaars… And nor does it include the specific concert halls for it has been too long for me to recall such small details.
My concerts:
11 August 1829 Vienna
18 August 1829 Vienna
17 March 1830 Warsaw
22 March 1830 Warsaw
8 July 1830 Warsaw
11 October 1830 Warsaw
8 November 1830 Wrocław
11 June 1831 Vienna
28 August 1831 Munich
25 February 1832 Paris
20 May 1832 Paris
March 1833 Paris
3 April 1833 Paris
25 April 1833 Paris
15 December 1833 Paris
25 February 1834 Paris
14 December 1834 Paris
25 December 1834 Paris
22 February 1835 Paris
15 March 1835 Paris
4 April 1835 Paris
26 April 1835 Paris
31 March 1837 Paris
3 March 1838 Paris
12 March 1838 Paris
29 October 1839 Paris
26 April 1841 Paris
21 February 1842 Paris
15 January 1843 Paris
17 March 1843 Paris
16 February 1848 Paris
23 June 1848 London
7 July 1848 London
28 August 1848 Manchester
27 September 1848 Glasgow
4 October 1848 Edinburgh
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THE STORY OF MILEX
16th of April, 2007
Carling Academy in Newcastle.
Unfortunately, this is a very meager gig for information.
There is only NME article in which The Little Flames are announced with Arctic Monkeys on whole tour.
There are no photos or reviews yet either.
As a consolation, let's at least watch video of the song Do Me A Favor from this gig.
17th of April, 2007
Milex and their bands are moving to Scotland and giving a gig at Caird Hall, Dundee.
The same silence according to reviews and photos.
But there are a lot of videos from the concert.
As a consolation, this time we will look at the good old Mardy Bum.
This day is also marked by the release of the single Brianstorm!
April 18, 2007 is next.
Barrowlands, Glasgow. Scotland.
Alex in pink 👙Oops👚
Photos by J Easton
Yeah I know, it's pink, mutters Alex Turner by way of a greeting, as he pre-empts any potential teasing regarding the rather luminous t-shirt he's decided to premiere in Glasgow tonight (i love him!)
But more importantly, the audience accepts new songs of Monkeys!
And in general, the Scots are well done!
To be continued…
#arcticmonkeys#arctic monkeys#alexturner#mileskane#milex#milexhistory#milexstory#miles kane#alex turner#thelittleflames#the little flames#thestoryofmilex#tlsp#history#fwn era#fwn#fwn tour#favourite worst nightmare
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This New Noise - programme notes
Dear Listeners,
I thought it might be useful for those of you listening again (or watching again, once it goes live on Friday 2 September) to our BBC Prom, This New Noise, to make the programme notes accessible. These were printed in the programmes on the night so those in the room would’ve got them, but for everyone else perhaps they’ll provide a bit of helpful context. Here we go...
THIS NEW NOISE
It is both a tremendous honour, and tremendously daunting, to have been asked to write a special piece in recognition of the centenary of the BBC; not only to write it, but to perform it with a group of musicians as talented as the BBC Symphony Orchestra under the guidance of conductor Jules Buckley, performed at the Royal Albert Hall. As a group, we’ve often tackled big subjects before, but there’s something uniquely intimidating about trying to reflect, in musical form, all of the BBC’s history and influence on our own country and the wider world. The question of knowing where to start is often the hardest obstacle to overcome.
In the case of This New Noise, that question also became the answer, in its own way. It sounds obvious, but: start at the beginning. How did the BBC start? Why? What did its creators and original managers, directors and creative thinkers think it was, and what was it going to become? How did its many technological and practical innovations change the course of the country’s history? How did it become, in the words of Charlotte Higgins’ book, whose title we have very appreciatively borrowed, ‘the greatest cultural institution our nation has known’?
To my mind, the biggest answer to the first of those questions (and one which may disappoint any Proms-goers hoping for a kind of ‘greatest hits of the BBC’s TV theme tunes’ compendium this evening) is that most wondrous of inventions: the radio. It’s easy to forget now how truly otherworldly these devices must have seemed to ordinary people. For the cost of a radio set and a modest annual sum, a new machine would enter your world; switch it on, and human voices, music, the miracle of sound would suddenly manifest themselves in your home, transported via the ether. That is how our concert tonight starts, an attempt to remind us all of the apparently simple but world-changing magic trick of transmitting and receiving radio waves, and featuring a recreation of the first transmission made in the name of the BBC, then 2LO in London.
From there we launch into the bombast of the title piece, a musical attempt to recreate the chaos, confusion and opportunity of the early days of broadcasting and featuring some of the musings of first director general Lord Reith and, then, former chairman of the Board of Governors of the BBC J. H. Whitley on the purpose and duty of broadcasting as an idea and an ideology.
Reith is a towering figure in the history of the BBC (and therefore this nation), and the third piece (‘An Unusual Man’) seeks to portray the kind of man he was, and the skills which he possessed and brought to bear on the nascent Company (later Corporation). The BBC still has, to this day, an air of ideological, quasi-religious fervour to its mission and purpose, and Reith’s childhood as the son of a Presbyterian minister in Glasgow, coupled with his unique qualities described in the piece, helped shape the BBC more than any other person in its history. He was only there for sixteen years but his influence and thinking have echoed down the corridors of Broadcasting House for decades since.
Reith’s BBC arguably did more to unite the country (and later, the Empire) than any other twentieth century institution. The opening of the transmitter at Daventry in 1927 enabled listeners across the whole nation to listen to the same broadcast simultaneously, for the first time. It also, depending on the atmospheric conditions, drew in listeners from further afield. Seth Lakeman guests on the fourth piece, A Cello Sings in Daventry, featuring the translated poetry of German poet Robert Seitz, who tuned into the first broadcasts from Berlin and found himself moved enough to write these beautiful words.
We are also taken on a guided tour of the venerable ‘temple of the arts and muses’, Broadcasting House, courtesy of the GPO film ‘BBC: The Voice of Britain’. The inner workings of this most innovative and august of buildings, the beating heart of the company even to this day, are revealed via Stuart Legg’s film, as well as a radio documentary from the early 1930s.
The Corporation had significant time and resources with which to attempt to overcome many of the technical and technological hurdles it faced. Expensively imported ribbon microphones were one such hurdle; such was the BBC’s scale, it simply designed, manufactured and subsequently sold its own Type A microphone, as well as countless other innovations. George Bernard Shaw’s amusing observations about the power of the microphone are a nod to the BBC’s influence in this quarter; and, having been forewarned about the dangers of taking a drink and then taking to the airwaves, it felt only right to revisit one of our earliest tracks (Lit Up) and the gloriously, and occasionally profoundly, drunken commentary of Thomas Woodrooffe.
Penultimate piece A Candle Which Will Not Be Put Out seeks to address the unique lines along which the Corporation was instituted, with a heavy emphasis on public service and a disavowal of capitalist influence on the almost sacred rights and duties for which the BBC assumed responsibility. Its mission statement, as reported here by such luminaries as Sir Ian Jacob, Basil Binyon, William Haley and Lord Reith himself, could not be further from James Murdoch’s infamous Edinburgh Television Festival address over 70 years later (‘the only reliable, durable, and perpetual guarantor of independence is profit’, he informed us in 2009).
Attention in the final piece of the evening turns to the events to come. ‘What of the Future? (In Touch with the Infinite)’ are the titles of, respectively, the final chapters in Arthur Burrows’ book ‘The Story of Broadcasting’ and Reith’s ‘Broadcasting over Britain’. It is, in my view, a simple and inarguable fact that if the BBC continues to be whittled away at by governments on either side of the political divide, and even - potentially - expires, there will be many areas which it covers, and functions which it provides, which will simply cease to be. No private organisation, motivated by profit alone, would fund the BBC Proms season; nor Radio 3, nor 4, nor 6Music (without whose patronage our band wouldn’t exist), nor the various BBC orchestras (including the one performing so skilfully tonight), nor any of the multiple commercially unappealing but culturally vital services it provides to us on a daily basis for what - when compared with other, much-lauded delivery systems - amounts to a pittance. It will leave a vacuum, a void; there will be no more ripples in the ether, no more public-minded attempts to improve the education and experience (and cohesion) of this country. No organisation will truly take the BBC’s place; there will simply be an empty stage, and perhaps its influence and importance will only be truly felt if - and it sometimes feels like when - the BBC disappears.
I’d like to dedicate this piece to the memory of my friend Rebecca Teulet, and her family, some of whom I hope will be in attendance this evening. Rebecca worked for the BBC and believed passionately in its mission and purpose, even if, like many, she was occasionally frustrated by the way in which it functioned. I hope our concert is a fitting tribute to her life. She is much missed.
J. Willgoose, Esq.
London, August 2022
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There are two major organs in Christ Church Cathedral
There was a moment on Easter Sunday when I wondered if I would ever be able to have another alcoholic drink again. It was around the time that instead of being at the Glasgow Royal Concert Hall watching Ryan Adams perform an intimate three-hour set I was hunched over the toilet in a city centre Premier Inn throwing up for the fourth time in as many hours. I couldn’t face going to the gig, so I…
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CONCERT REVIEW : TRAVIS, GLASGOW ROYAL CONCERT HALL, 22nd MAY 2022
CONCERT REVIEW : TRAVIS, GLASGOW ROYAL CONCERT HALL, 22nd MAY 2022
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Michael Ball appreciation post
Theatre Roles:
1984 Godspell (John the Baptist/Judas Iscariot) Aberystwyth Arts Centre, Wales [14 July 1984 – 25 August 1984]
1985 The Pirates of Penzance (Frederick, the Pirate Apprentice) Manchester Opera House [Summer Season 1985]
Les Misérables (Marius Pontmercy) Barbican Arts Centre, London [8 October 1985 – December 1985], Palace Theatre, London [4 December 1985 – October 1986]
1987 The Phantom of the Opera (Raoul, Vicomte de Chagny) Her Majesty's Theatre, London [12 October 1987 – 10 October 1988]
1989 Aspects of Love (Alex Dillingham) Prince of Wales Theatre, London [17 April 1989 – January 1990]
1990 Aspects of Love (Alex Dillingham) Broadhurst Theatre, Broadway [8 April 1990 – 29 September 1990]
1995 Les Misérables: The Dream Cast in Concert (Marius Pontmercy) Royal Albert Hall
1996Passion (Georgio Barchetti) Theatre Royal, Plymouth [17 February 1996 – 24 February 1996], Palace Theatre, Manchester [27 February 1996 – 2 March 1996], Theatre Royal, Nottingham [4 March 1996 – 9 March 1996], Queen's Theatre, London [13 March 1996 – 28 September 1996]
2001 Alone Together – One man show (The Performer) Donmar Warehouse, London [17 September 2001 – 29 September 2001]
2002 Chitty Chitty Bang Bang (Caractacus Potts) London Palladium, London [19 March 2002 – 19 July 2003]
2004 Alone Together – One man show (The Performer) Theatre Royal Haymarket, London [27 September 2004 – 9 October 2004]
2005 The Woman in White (Count Fosco) Palace Theatre, London [10 February 2005 – 30 April 2005]
Patience (Reginald Bunthorne) New York City Opera, New York City [10 September 2005 – 5 October 2005]
The Woman in White (Count Fosco) Marquis Theatre, Broadway [28 October 2005 – 19 February 2006]
2007Kismet (Haji / The Poet) London Coliseum ENO, London [25 June 2007 – 14 July 2007]
Hairspray (Edna Turnblad) Shaftesbury Theatre, London [11 October 2007 – 25 July 2009]
2010 Hairspray – UK Tour (Edna Turnblad) Wales Millennium Centre, Cardiff [30 March 2010 – 24 April 2010], Clyde Auditorium, Glasgow [28 April 2010 – 8 May 2010], Mayflower Theatre, Southampton [11 May 2010 – 29 May 2010], Manchester Opera House [13 July 2010 – 31 July 2010], Grand Canal Theatre, Dublin [16 November 2010 – 27 November 2010], Edinburgh Playhouse [14 December 2010 – 9 January 2011], New Wimbledon Theatre, London [15 March 2011 – 26 March 2011], Bristol Hippodrome [12 April 2011 – 30 April 2011]
2011 Sweeney Todd: The Demon Barber of Fleet Street (Sweeney Todd) Chichester Festival Theatre, West Sussex [24 September 2011 – 5 November 2011], 2012 Adelphi Theatre, London [10 March 2012 – 22 September 2012]
2015 Mack and Mabel (Mack Sennett) Chichester Festival Theatre, West Sussex [13 July 2015 – 5 September 2015]
Mack and Mabel – UK Tour Theatre Royal, Plymouth 1 [October 2015 – 10 October 2015], Manchester Opera House [12 October 2015 – 24 October 2015], Bord Gáis Energy Theatre, Dublin [27 October 2015 – 7 November 2015], Edinburgh Playhouse [10 November 2015 – 21 November 2015] Theatre Royal, Nottingham [23 November 2015 – 28 November 2015], Wales Millennium Centre, Cardiff [1 December 2015 – 6 December 2015]
2019 Les Misérables – The All-Star Staged Concert(Inspector Javert) Gielgud Theatre, London [10 August 2019 – 30 November 2019], 2020 Sondheim Theatre, London [5 December 2020 – 16 December 2020]
2021 Hairspray (Edna Turnblad) London Coliseum, London [22 June 2021 – 29 September 2021]
Upcoming role: 2023 Aspects of Love (George Dillingham) Lyric Theater [12 May 2023-11 November 2023]
Albums
Michael Ball (1992)
Always (1993)
One Careful Owner (1994)
First Love (1995)
The Musicals (1996)
The Movies (1998)
The Very Best of Michael Ball – In Concert at the Royal Albert Hall (1999)
Christmas (1999 & 2000)
This Time... It's Personal (2000)
Centre Stage (2001)
A Love Story (2003)
Love Changes Everything – The Essential Michael Ball (2004)
Music (2005)
One Voice (2006)
Back to Bacharach (2007)
Past and Present: The Very Best of Michael Ball (2009)
Heroes (2011)
Both Sides Now (2013)
If Everyone Was Listening (2014)
Together with Alfie Boe (2016)
Together Again with Alfie Boe (2017)
Coming Home to You (2019)
Back Together with Alfie Boe (2019)
Together at Christmas with Alfie Boe (2020)
We Are More Than One (2021)
Together in Vegas with Alfie Boe (2022)
Concert Tours:
- 1992: first UK tour
- 1993: UK tour
- 1993: Christmas tour
- 1994: UK tour
- 1996: "Show Me" UK tour (filmed for VHS and DVD - "The Musical & More")
- 1997: UK tour
- 1999: UK tour (filmed: "Live at the Royal Albert Hall")
- 2000: Uk tour (filmed: This time... it's Personal)
- 2001: Christmas tour UK
- 2003: UK tour (filmed: "Live in London")
- 2004: Australia tour
- 2004: Salt Lake City (USA) concerts
- 2005: UK "Music" tour
- 2007: Uk "One Voice" tour (filmed for "One Voice - One Special Night")
- 2009: UK 25th anniversary tour (filmed for "Past and Present")
- 2011: UK tour (filmed for "Heroes")
- 2013: UK tour (filmed for "Both Sides Now")
- 2015: UK tour - If Everyone Was Listening
- 2016: Together tour with Alfie
- 2017: Together shows in NYC and Australia
- 2017: Together Again UK tour (filmed for livestream)
- 2018: Together Again shows in Japan
- 2019: UK tour "Coming Home to You"
- 2020: Back Together UK tour (finished JUST before lockdowns happened - also released on dvd)
- 2021: Ball and Boe Chhristmas tour
TV Shows/Guest appearances/acting roles
1985 Coronation Street (Malcolm Nuttall)
1993–1995 Michael Ball (Presenter)
1998 Ball in the Hall (Presenter)
2004–2005, 2007, 2018This Morning (Guest presenter)
2006–2007, 2009 The National Lottery Draws (Presenter, Wednesday night draws)
2007Soapstar Superstar (Judge, Series 2)
2010 The Michael Ball Show (Presenter 30 episodes)
2010–2011 Lorraine (Guest presenter, 6 episodes)
2013, 2016, 2021?, 2022?—The One Show (Guest presenter ??? episodes)
2013 Andrew Lloyd Webber: 40 Musical Years (Presenter, One-off special)
The Paul O'Grady Show (Stand-in presenter, 1 episode)
2014 That Day We Sang (Tubby (Jimmy))
2016 Josh (Paul)
2016 Ball & Boe: One Night Only (Himself With Alfie Boe)
2017Our Friend Victoria (Presenter & guest)
Ball & Boe Back Together (Himself With Alfie Boe)
2021 Michael Ball's Wonderful Wales (Presenter, Four-part series)
Radio
Regular Shows
2008-2011 Sunday Brunch with Michael Ball
2013-2016 Sunday Night with Michael Ball
2016-present Michael Ball Show
*???-2016 Stand-in presenter for Ken Bruce
Specials
Ball Over Broadway
The Greenroom
The Look of Love (Burt Bacharach special) 2004
Books
The Empire (October 2022)
The Empire Part 2 (*October 2023)
Different Aspects (October 2023)
Source: Wikipedia, @thefleetstreetvicomte for Concerts section
#musical#michael ball#west end#bbc radio 2#michael ball show#the empire#les miserables#hairspray#aspects of love#sweeney todd#the phantom of the opera
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youtube
The singer Lonnie Donegan was born on April 29th 1931 in Bridgeton Glasgow.
Donegan was born Anthony James Donegan, the son of a Scottish father and Irish mother. His father was a professional violinist who had played with the Scottish National Orchestra.
He moved with his mother to London at an early age, after his parents divorced. Inspired by blues music and New Orleans jazz bands he heard on the radio, he resolved to learn the guitar, and bought his first at the age of fourteen. He took his first name after a New Orleans blues singer he admired called Lonnie Johnson.
The first band he ever played in was the trad jazz band led by Chris Barber, who approached him on a train asking him if he wanted to audition for his group. Barber had heard that Donegan was a good banjo player; in fact, Donegan had never played the banjo at this point, but he bought one and managed to bluff his way through the audition. His stint in this group was interrupted, however, when he was called up for National Service in 1949.
In 1952, he formed his first own group, the Tony Donegan Jazzband, which found some work around London. On one occasion they opened for the blues musician Lonnie Johnson at the Royal Festival Hall. Donegan was a big fan of Johnson, and took his first name as a tribute to him. The story goes that the host at the concert got the musicians’ names confused, calling them “Tony Johnson” and “Lonnie Donegan”, and Donegan was happy to keep the name.
Donegan recorded a reworking of an American folk tune, Rock Island Line. Decca released the song in 1956, billed by the Lonnie Donegan Skiffle Group. The record, with its talking sequences, homage to Americana, and fast train shuffle climax, became a major hit in Britain and America. Because he was paid a flat fee for the session, Donegan didn’t receive any royalty payments for his most popular and influential song until the label struck a new deal for him 40 years later. However, Rock Island Line made him a star in his own right and would remain his signature song throughout his career.
From 1956 through 1962, he enjoyed a string of 34 British hits including Puttin’ on the Style and Cumberland Gap, which hit number one in 1957, Don’t You Rock Me Daddy-O, which reached number four in the same year, and the raucous sing-along My Old Man’s a Dustman which climbed to the top of the charts in 1960. It’s not hard to see why Lonnie is regarded as the first real pop star, his fans included the likes of Lennon and McCartney, who’s first group, The Quarrymen were a skiffle group. he Shadows, the Searchers, the Hollies, Herman’s Hermits, Gerry & the Pacemakers, and Cliff Richard all began their musical lives doing skiffle.
As the swinging sixties rolled on Donegans hits dried up but he was always in demand for gigs at home and across the world, he also dabbled in a wee bit acting and his own song publishing business, his most popular song he bought the rights for being Nights in white Satin. In the 70’s he popped upon the occasional TV shows during breaks from touring, in 1972 Tom Jones covered one of Lonnie’s songs and it went top 5 on both sides of the Atlantic. As a performer he continued to record and lease unsuccessful sides to Pye, Decca, Black Lion, and RCA.
A 1976 heart attack forced Donegan into an uneasy semi-retirement in California. Two years later, Chrysalis Records organized an all-star recreation of his early hits Puttin’ on the Style. Produced by former British teen idol Adam Faith and boasting duets with Ringo Starr, Elton John, and Rory Gallagher, it was his last major-selling album. Follow-ups with respected session ace Albert Lee and Cajun-fiddler Doug Kershaw seemed to point him towards country music, but a series of heart attacks in 1979 ended his full-time career.
In later years Donegan made a series of guest appearances with old friend Chris Barber including a featured spot on Van Morrison’s Skiffle Sessions: Live in Belfast 1998. Just before his death, he returned to touring full time, exhibiting much of his classic verve and humour before standing-room-only crowds. Donegan died on November 3rd, 2002, in Peterborough.
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We’re All Doomed World Tour: UK leg
26.09.2022, Glasgow
Glasgow Royal Concert Hall
Capacity: 2 475
As of the morning 26.09.2022, tickets are still available
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i saw wear black as an acoustic piano duo back in 2019 and when i tell you it was a religious experience for me...
cemented tmg as one of the bands for me
oh nice! I feel like they must have played it at the 2019 show in Glasgow too, although whether it was a piano duo version or not I can't be sure - or even if they did at all! but can confirm it was a religious experience hearing it last week, especially in the venue which was an old converted church turned concert hall (the perfect place for a tmg show tbh!). I'm glad you had such a wondrous experience too
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we rock honestly
#don’t read the article unless you want a boatload of shite shovelled down your throat but still#whoever you are that made that sign: I wish you well and hope you receive many blessings from the trans gods#trans#lgbtq#terfs dni#uk#uk politics#scotland#me tag
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