Ian Mackenzie—or “Two Tone” or “Sport Coat” or “ Two Fiddy” as I call him—shows us a little behind the scenes stuff and explains how he came to understand why he wanted to create a film that documented the Nights of Grief & Mystery. He was there as close to the beginning as a person with a camera could possibly have been.
Here’s what I learned in Árneshreppur this morning: the word “saunter” has its’ roots in the words “sanctity, sanity, sanitation (ie.respectful cleanliness)” and “terra”. In a nut shell, Holy Ground.
So, to saunter is to proceed as if one is walking on holy ground, taking time, watching where you step, altering the course when need be…walking WITH the place you are, not ON it. From a distance, this can look aimless. Not so.
It’s the more artful approach to any kind of getting from Point A to Point B…and takes into account the territory you are travelling through and the inhabitants of that territory…be that on land, in your thoughts, or in a performance.
Tonight in this village at North 66° 3’ 4.6002” West 21° 32’ 55.5864” we will be doing exactly that.
And so are all great tragedies love stories, too.
All the great adventure stories, all the great comedies, have love at the centre of them.
As does this story that Ian Mackenzie has fashioned into a short film after some panel somewhere deemed him and the concept a worthy thing and gave him a small whack of dough to keep the wolves at bay and hire some folks to help him. Since 2015, when Stephen Jenkinson and I first went out on the road with little but a notion and a Quixotic mutual “I’m in”, Ian followed us with his camera, capturing the ephemera of touring America, shooting some of the shows, and conducting straight up interviews. It was a tough row to hoe because SJ and I didn’t really know what we were doing and while the idea of the author and the singer figuring it out in front of a paying audience was something to see, I’d have to say we didn’t give him much to work with.
Except for the love story.
That handful of concerts Ian shot turned into 15 or so stops in America and then another dozen in Australia then another few in Canada then another 7 in the UK then another 25 in North America then another 8 in the UK and as I write this I am on a plane to Iceland where we will do another three, and then home to do another 25 in North America and then Scotland and then Ireland and then Istanbul and then Tel Aviv…you get the point.
Somewhere along the way we began to understand what we were trying to do, what was possible to do. We learned theatre had a place in this so we added lights that I’d operate with my feet. We learned that pulse was important so we added a drummer. We learned that texture was important so we added another singer and taught her to play keys. We learned that this was something older than theatre, something like ceremony but older still, something like ritual, so we tore the wall down between us and the audience so that the audience is in on the ritual. We learned that every ship needs an anchor so we added a bass player and asked her to sing, too.
So where’s the love story, you ask? Well, let me ask you: why would we wake at ungodly hours to get to airports, suffer the lineups and indignation’s of the security gauntlet, fly for hours and hours, drive for hours and hours, lug gear in and out and in and out and up and down and down and up over and over and over and then crawl into a questionable bed in a questionable hotel only to do it again the next day and the next and the next? Why would we risk the farm and the physical body to fund the thing? And why would we risk stepping out on to stages in (what is turning out) to be cities all over the world armed not with bullet proof grooves full of helium to lift people out of their lives and make them feel better about all the questionable moves we’ve made as a species but instead seek to crack the rib cage open and bathe the heart in songs and tales that are sorrowful, about endings of all kinds, and actually attempt to get people to sink into their sorrows?
Because of the love of the thing. Because of the life-long love of and respect for the alchemy of words. Because the love of the feeling of lungs full of air and the long note wrapping itself around a phrase, singing what life has to teach. Because of the love for the occasional moment where I can hear an echo of a song I wrote bounce of the walls of a strangers life. Because of the love that we have for the audience that is hungry and straining for a tasty groove to free them from the effects of going down that dark road with us. Because of the love we have playing that groove. And because we sure as hell don’t do it for the money, so we must do it for the love.
And because of the love we have for each other on stage. A slow, earned trust. And because of the love we have for life, for living, for getting up in the morning.
This is a love story that Ian Mackenzie has caught. A 25 minute visual poem carved from umpteen hours of footage after he and a small crew followed us on the road last year and captured some ephemera again, conducted interviews again…the same questions but with different answers. This is not a show reel, but a glimpse into the mechanics of the thing. And if he were to train a camera on us again and asked those questions again, we would have different answers again for him because we keep learning about this thing. The Nights of Grief & Mystery is an alive thing now.
Pretty high fallutin’ words, you say. Yeah. Probably. I’ve stopped being perplexed by life and have settled into the reality that, at the age of 55, I might know a thing or two. I’ve grown tired of pretending I don’t. So here I am on a plane with Stephen, Lisa, and Colleen, a few moments out from Reykjavik, flying east into the sun and so there was no real night for us. We will land, bleary, rent the van, gather the gear, and play in a city, try to sleep, play in a town, and then to the edge of the world to play in a 1000 year old village that is dying. For the love of the thing.
Watch Ian’s movie.
Here’s the answer.
When I first stepped into this cathedral in Wales a couple years ago, I was more than a little undone by the 1500+ year story of the place. When Christianity started to move into this part of the world, it often set up shop near or on sites that the more local gods already inhabited…places that were already considered sacred by the locals. St. David’s has our man setting up shop in 500AD or so. The building convulses a few times (conquerors, fire, raiders, an earthquake) but much of the material is hundreds and hundreds and hundreds of years old.
That is a lot of memory in that old stone and wood.
Places like this were mostly about wielding power. Have you ever seen the Welsh coast?? The whole thing is a cathedral and the very last thing one would need in a place like this is a building that god purportedly lives in.
So, to me these places are full of sadness and impotency and I’m sure all us visitors are wading hip-deep through old prayers that were sighed upwards toward the heavens only to be blocked by the cathedral ceilings and fall back to the stone floors. Not to mention the garden variety bad stuff that goes along with places and people of power. All this can make a walk-through more than a little intense, if you’re so inclined.
I am so inclined, so this time I kept my guard up, kept my hands in my pockets, and kept my distance from the truth of the place. I became a tourist. A tourist with a mission: to take a Vain+Alone shot.
Stephen insisted it was a punk club. We did sort of roar out of the gate and then careen off the tracks, which is kind of punk. And the room was underground. And the air was close and it was hot. And it was a black box.
So I guess all that adds up to sort of punk. In fact, the room was part of a local arts organization. Pretty tame stuff.
We were to have played in Canterbury but the host there became ill and it fell on Justin’s shoulders to find us a room to play so we opted to do a second night in London. By this point, Justin’s shoulders were already chock full of other things but he took it on anyway and, in the end, the joint was full.
When I started out with The Stickpeople a million years ago, I had a soundman, Leslie Charbon. He was a part of the band. It was a luxury, something I learned when I started touring without him. Every night became a crapshoot, and chances were that the more competent the person sounded over the phone in the days/weeks leading up to landing at their venue, the bigger the gamble when it came to showtime and the more disappointed I would be. Sometimes it would feel like yelling into the wind for two hours.
As the band has grown for the Nights of Grief & Mystery, it has become clear that we need a sound person, so for this tour we bit the bullet and hired Joe Meekums. I had long forgotten the impact on stage of knowing that shit was being handled out front, that we had a co-conspirator out there with a vested interest in helping us get to where we so deeply want to go every Night we do this.
I am (we are) indebted to Joe (quite literally) for being reminded that the words, lyrics, melodies, grace notes, subtleties, silences and roars are all worth being heard out there in the rooms we play.
Thank you, Joe.