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.
Friends are forged on the dark road headed out of town, and so we head there again, beginning on June 4, 2019 in Portsmouth, UK.
A quick note from the factory floor here.
There are a lot of things that slay me about touring with Nights of Grief & Mystery, but few more so than what can land on the table when wrestling with language to properly describe the thing. We seem to be learning about “what this is” as we go along. In the beginning, we were happy to admit that we didn’t know and were more likely to be able to tell you a whole lot of “what it isn’t”. The more we travelled with The Nights, though, the more we understood that simply saying “what it isn’t” was, in fact, a cop-out. Follow?
So here’s our latest understanding:
We have an idea where the monsters are. That’s where we’re headed.
You can read the full new blurb at the new nightsofgriefandmystery.com landing page.
The tour will Take us to 28 cities in the UK and North America for 32…shows?Performances? Nights, is what I prefer to call them.
Or 32 chances to get it right. We know what “it” is.
That dark road thing?
That image is more than an image. That is what we do. That is our devotional act. And those monsters? Probably not what you expecting. That’s another thing that slays me about the Nights: mostly they are everything you wouldn’t expect.
See you out there.
Coming off a 25-city tour with Nights of Grief & Mystery, Gregory– along with Lisa Hodgson (keys and vox) and Adam Hay (drums and vox)– takes over the intimate space of The Factory Theatre for his first solo concert appearance in Toronto since 2014, delivering songs from 2017’s Vain + Alone as well as King of Good Intentions, Surgery, and The Beggar Heart.