New Normal

This blog's most recent post on March 21st was at the start of lockdown and read somewhat as an epitaph to the experience of attending live music, sporting and cultural events in 2020. Phrases like 'see you on the other side' were used without any real hindsight of what this kind of reality will look like. Two months on and the landscape is still opaque. The anxious punter is armed with only knowledge of what has been removed from the diary and very little on what will, or more to the point can take place in the remaining months of the year. New phrases like 'social distancing' and 'guided by science' are at the forefront of leisure planning alongside the indisputable notion that this aspect of our lives does have a lower place in the pecking order of society's return to some remnants of normalcy.

Out of all the buzzwords to emerge in the Covid-19 pandemic, the phrase 'new normal' is the most fascinating and the deeper you ponder its meaning the more your mind wonders to what the effect will be on attending live sporting, music and cultural events in the future. The antithesis of attending live sport is the concept of 'behind closed doors', which is the only available roadmap for elite sport to make an immediate post-lockdown return. On the other hand, some aspect of culture has been able to continue in a stripped down form using a digital platform, although some may say that virtual interaction is the antithesis of attending a live event, albeit the artist is still practising the art of generating spontaneous content. 

It is fairly certain that virtual artistic performance and 'behind closed doors' sport are likely to be at the forefront of what is going to dealt in the foreseeable future, or at least until the summer months of 2020 subside into a seasonal change. Who knows what role these two concepts are going to play in the 'new normal', but it is going to be intriguing finding out. On the arts side, virtual performance kicked into gear from day one, mainly from a position that it did exist as an alternative mode of accessing entertainment, be it in a limited capacity. 'Behind closed doors' sport is playing catch up from day one and is mainly driven from the commercial pressure of maintaining multi-billion pound industries in a media funded world. The latter is untested in the UK with the only guiding point being Germany's ability to get their Bundesliga football underway.

From the perspective of an active live entertainment junkie, response to these two developments has been pondered over the last two months. Accessing live online music had never been entertained pre-lockdown, mainly on the premise that there was so much of the real thing on offer. This carried over during the first six weeks of lockdown until the gig and festival cancellations mounted up alongside the reality that this could well be a long term thing. So a change of attitude emerged to the extent that I am ready to resume the music side of 2020CMS with reflections of what the experience is like digging deeper into the world of online live music. Maybe it won't be as highly structured as the intended scope laid out at the outset of this blog, but then again we are in unchartered waters and likely to be sailing to a 'new normal'.

The sports content is a little hazy at the moment because in effect you are just duplicating watching a game on the TV. Also the prime driver for the football content was watching my team - West Bromwich Albion - and it is far from clear whether they will even return in a 'behind closed doors' capacity to complete the 2019-20 season. However, as stated in music, the world is changing and the whole concept of watching televised sport in lieu of being prohibited from attending live may be one worthy of reflection. So I fully anticipate some football and cricket content in this 'new normal'.

Of course the year may end on a totally different note and many promoters and venues have either re-scheduled shows or booked new ones for the latter months of the year. There is probably a greater chance of attending a live music gig in the presence of 20 other people than being in a crowd of 20,000 at a football match. The overriding factor in any public event being held is the reaction to regulation and both the practicality and viability of anything taking place. So it may well be the case that the landscape of 2020 will remain either virtual or 'behind closed doors''

Ultimately, and rightly so, sport and culture must be put in perspective as the world deals with a pandemic that has cost so many lives, caused great economic destruction and is likely to need major re-shaping in the the future. The reality is life does go on and both have the resilience to bounce back. The key question is: what form and what will be the 'new normal'. Some may wish the 'new nomal' to be exactly like the 'old normal'. I think that may be optimistic and the remaining months of 2020 will at least provide some pointers to what the future will be like.

So far from the mothballed expectations of darkest lockdown, 2020CMS is set to continue with a different scope. Here's to a new chapter.

The Other Side

Between January 1st and March 10th, nineteen live events accrued a blog post in the pages of 2O20CMS. This was the growing momentum of a twelve month live journey through the worlds of culture, music and sport. One cruelly curtailed leaving a major question mark on when number twenty will appear. Writing this post throws up many thoughts ranging from: will West Bromwich Albion reach the Premier League in 2020 and are the summer delights of leather on willow destined to never make an appearance on these pages, to what live music will re-surface once some element of normality returns. As an unspecified period of fallowness is entered, these questions will remain unanswered. Positivity and optimism can help sustain this period of isolation. There is a determination to be there on 'the other side' in whatever form it takes. Take care and stay safe. 

March 10th: Caledonian Soul: Blue Rose Code - Kitchen Garden, Birmingham

With a headline of Caledonian Soul there only has to be one artist - the one and only Blue Rose Code. The set started out as Ross Wilson on his own, but it wasn't long before the touring companion for this trip - Eliza Wren Payne - was invited to join him on stage and the gig eventually panned out to be one in a duet format. We had already been introduced to the music of Eliza when she opened the evening with a thirty-minute set under the guise of her recording name Wrenne. It soon became apparent that Ross and herself go back a long time with fifteen years being quoted, and a period when they both lived in London active on the open mic scene.  

Times have certainly changed for Ross and his now well-known Blue Rose Code moniker, to the level where he is one of the most respected Scottish musicians plying their trade on the ever widening alt-folk circuit. The Kitchen Garden have been fortunate to host him on several occasions over the last few years often in different formats. It was only twelve months ago when a three-piece line up appeared at the venue to promote THE WATER OF LEITH album. 

This time the gig had a smaller scale element to it with Ross using the set to road test a couple of new songs due to appear on the upcoming next record. The slimmer set up does nothing to diminish the stylish temperance groove to the frequently lo-fi music of Blue Rose Code. Ross has never sounded better and holds an audience in the cusp of his whispering vocals, one adorned with a hypnotic Scottish brogue. 

Ross was certainly in a chipper mood this evening. Adept at mixing wit and just holding back on a self-admitted over candid exterior, he was thankful to the inner editor within, but you feel Blue Rose Code is a stronger outfit when the whole travails of Ross Wilson are poured into it. Those present would without doubt concur with this view.

Blue Rose Code flew on the periphery of my radar for a number of years. Reeling in the music to an accessible point has been a wise manoeuvre in what can be a crowded room. Evening's like this, and any format Ross Wilson chooses to represent Blue Rode Code in, fully justify the decision to take a closer look at someone so respected. You leave the show with the impression that this feeling is mutual between artist and fans. Roll on new Blue Rose Code music and more Birmingham shows. 

Nb. Fascinated to see the Hibernian on tour sticker complete with British Rail sign and 1875 branding never leaves Ross's guitar. A proud Hibee to the core. 

March 5th: The Stage: Bronwynne Brent - Kitchen Garden, Birmingham

With due respect to Bronwynne Brent, the night she returned to the Kitchen Garden may have to take second place in the memory vaults to the birth of the infamous/famous stage. Yes, after a dozen plus years of hosting gigs on the floor of a daytime converted cafe, a new addition has sprung up in the guise of a temporary performing platform. So no more stepping over leads, instruments and any other assorted bric-a-brac, as a part-metaphorical/part-literal barrier now partitions the artist and the ever attentive front row. The end of an era or the dawning of a new one. 

On one hand it's a sign of progress, and logistically it may improve things all round. On the contrary, quirkinesses is at the very heart of the Kitchen Garden gig experience and maybe a little part of that will evaporate with the new addition. Time will tell whether the stage becomes part of the fabric thus consigning the flat floor area to the canyons of history. So please front row, no beer glasses placed on it, and you may even hear yells of joy from those at the back twisting their necks to get better views of the artist. 

Apologies to Bronwynne Brent for the very brief mention, but the night belonged to the stage. By the way our visitor from Mississippi and her touring companions from Brazil and Canada gave a first class performance. Worthy artists to grace the stage on its opening night. 

March 3rd: Fifty Years and Counting: West Bromwich Albion v Newcastle United

Between 1966 and 1970 West Bromwich Albion reached four major English cup finals sharing the spills with two wins and two defeats. Following this FA Cup fifth round defeat to Newcastle, the half century mark has been reached since that last final in 1970 with pointers suggesting the wait for a Wembley return on such an occasion could be an even lengthier process. It can hardly be said that Albion have been continually knocking on the door in the intervening years with only three FA Cup semi-finals and a solitary League Cup last four appearance reaping the rewards of an annual pursuit. 

It is an often mooted statistic that around half the teams in the league have graced a final since the Albion last did, and it has not always been down to the club having a side incapable of surging on a deep competition run. In fact for approximately half of this time, the club has been a top flight team, but still progress seemed to be allusive. This year's FA Cup run ended at the fifth road hurdle with a three-two home defeat to Newcastle, so it is hardly a disgrace to go out to a team from a higher division. 

Despite the difference in league status, a shock would not have been unexpected with Albion riding high at the top of the Championship and the visitors currently on a bad run seeing them slide down the Premier League. The priorities of each club were represented in the line ups with Albion using a keen eye on promotion as a reason to rest a large number of first team regulars, while Newcastle fielded a fairly strong first eleven giving the signal that a prolonged cup run may re-ignite their season. 

The game panned out as per the starting team sheets with Newcastle cashing in on a slightly lacklustre Albion performance by racing to a three-nil lead just after half time. A few adjustments later, Albion began to show why the gulf between the two sides may not be that wide and narrowed the deficit to a single goal before time ran out. 

Post match analysis raised the issue of what would have happened had fewer changes been made at the start, but this was countered by those stating that incurring injuries to key players with just ten games remaining of a promotion challenge would be madness.

Therein lies the conundrum. As much as fans would love a cup run, priorities for the management and the club are in the league especially when you are team like Albion forever hovering between the top of the Championship and bottom of the Premier. So year on year evidence gathers of not taking the cup competitions seriously by continually playing a weakened team and sowing the seeds of always looking like concentrating on the league. Seemingly absurd to the outside, but wholly representative of the make up of modern football and its financial structure.

Is this likely to change in the future? As a football fan you never give up hope. Good luck to Newcastle and their vociferous army of 5,000 travelling fans making an awful lot of noise on a Tuesday night over 200 miles from home. For Albion it is the hope that the jinx may end at fifty one. In the meantime it's fifty years and counting, although the immediate future focusses on that all important promotion push and the proverbial 'ten cup finals' remaining of the 2019-20 season. 

February 29th: Fantastic February? - West Bromwich Albion v Wigan Athletic

Fantastic February was a pre-written headline for this final West Bromwich Albion reflection of the month, though the question mark was added after the team lost one-nil at home to relegation threatened Wigan on the last day of a month extended by one day courtesy of its four-year leap cycle. The word 'leap' only applied to the day and not any league table movements as Albion still head the table, although the lead had been cut to one point from Leeds and six points to Fulham in the all-important third placed position. 

After a successful points haul of sixteen from the month's previous six games, it stalled at this figure as Wigan replicated their recent resurgent form by producing a sterling performance good enough to stifle Albion's attacking potency, and significantly clinical to take the main chance they were offered in the second half. All in all it was a fair result and one maybe reflecting the glut of games teams have to play in a clogged up EFL championship campaign.

This was probably a game too far in February for Albion as both the midfield and strike-force spluttered into only a shadow of their pristine previous performances. The defence was mainly resolute, but keeping a clean sheet was ultimately beyond them. 

The result of this game will likely be large chunks of the first team taking a week off playing duties, leaving a bunch of second string players appearing in the midweek cup match at home to Newcastle. A sad but realistic indictment of the FA Cup in these modern times. 

Of course set backs are going to be prevalent in even the most successful of championship campaigns. So the fact that this was only Albion's fifth defeat of the season with just ten games left is a testimony to how well they played as a whole. Social media reaction to this defeat was philosophical in the main with much credit given to Wigan's set up and execution. Although this was pitched with the warning that this cannot be a common occurrence over the last ten games otherwise the chances of getting caught by Fulham in particular would increase, especially with the two meeting in the third from last game of the season. 

No player mentions in this post game reflection, also probably an indictment on the afternoon. League action now moves into the major month of March with the first home game set to be covered being the local derby with Birmingham on the 14th. In the meantime, it's time to put on our FA Cup hats and rosettes and welcome the Geordies from Newcastle to The Hawthorns on Tuesday night. Will it be 1974 all over again. Check in on Wednesday to find out. Fantastic February? yes, despite today. Marvellous March? that would all but seal it. 

February 28th: Off Piste: Wasteland: Patrick Studio, Birmingham Hippodrome

Wasteland is a dance production presented by the Gary Clarke Company, and scheduled in its UK wide tour were two dates in the Patrick Studio - a performing theatre housed within the prestigious Birmingham Hippodrome. Just prior to the second performance commencing on the Friday night, the audience were greeted by the aforementioned organiser and choreographer to explain the circumstances behind the previous evening's cancellation. The bottom line was that the show had to go on and adjustments were made to go ahead this evening with a plea to be kind and sensitive to the performers. What followed over the next hour and a half was a marvellous performance from the assembled cast, primarily featuring though not exclusive to five dancers, and the challenge to any causal observer of what could have been different to the original planned piece. 

This production is rooted in the resistance people politics of the eighties and nineties focussing on the effects of the pits closing in Yorkshire and how the next generation seemed to hotfoot it into further controversy with the rave culture that spread across the region as the decades bound together. A huge slice of multi-media is incorporated into the performance with video clips used, in addition to the fleeting presence of twin brass players and the vocal content of four more cast members. This helped set the scene for the blistering movement performance of a solo dancer representing an afflicted miner losing his job in the mid-eighties and four younger performers, including the miner's son, encapsulating the next generation and their response to a dearth of opportunities. This culminated with the exposure of the Criminal Justice Bill in the mid-nineties and the reenactment of the new found 'enemy-within'. The politics of this show were quite explicit, just as the energetic way that Clarke choreographed his troupe to project the story in a totally high octane manner.

The core of the ninety minutes was housed within an extensive segment of rave music, perhaps a little off-piste for someone who viewed this musical phenomenon at that time of existing in some alternative universe. While it was essential in telling the story through movement and expression it still sent signals of a genre probably best left to the likes of others, with its in-your-face presence and sound. 

The rousing reception greeting those on stage at the end was full justification of the hard work, endeavour and certain amount of speculation required to make the adjustments successful. Making the effort to sample this exciting production from wherever you exist on the dance appreciation spectrum had its ample reward. Even if rave music was not and never will be your cup of tea, there was still something enriching to take home from Wasteland. Off-piste in small doses can energise artistic experience, though the nature of the term denotes that maybe some exposures are best kept to a minimum.