Out today for Valentine's Day is a new Euan Blackman song called simply & appropriately "Love".

If you are interested in Euan's work then on this occasion you need to head over to his Soundcloud page as it's exclusive to that platform: a gift for his fans.

Written over Christmas and utilising "the old family piano" at his parents' house, this modestly released and self described track is actually up there with his best in my opinion.

Utilising his skill at underplaying emotions & keeping the arrangement simple and unpretentious, he strips away potential layers of unnecessary augmentation of composition and production to present us with a beautiful little gem.

Just as Christmas singles tend to fill the reviewer with foreboding of the festive cliches of words & arrangements, so do (in their own way) Valentine's songs. Beware of platitudes & hideously worn out phrasings.

Not so "Love": it's fresh & charmingly unassuming yet obviously sincere & expressed with originality.

Conceivably Euan isn't keen on wearing his heart too openly on his sleeve, but in all honesty it deserves more exposure than its creator seems inclined to afford it.

Pop over and have a listen and hopefully you'll hear what I hear

If I told you that I was reviewing a single called "Bury The Hatchet" then you might make the reasonable guess that its creators were Massasauga. Given their history telling us about switchblades, ripping heads off, exorcisms, wishing wizards ill and so on, the subject matter fits their profile more closely than any others we cover.

And you'd be right: it is by Massasauga and comes out on February 28^th. I have come to the conclusion that guitarist/vocalist Conrad Lummus and drummer Adam Stewart write these powerful songs & then spend long hours effectively distilling them down into ever more concentrated forms: how else to account for the potency of the output of just two players? They disdain any suggestion of augmenting the lineup & frankly it's hard to see anyone else getting a foot into these dense arrangements.

With this level of sonic intensity of course you require equivalency in the lyrical themes: hence the subjects cited above. Using the Massasauga approach to try & evoke a glade of snowdrops within a forest is likely not to work too well.

"Bury the Hatchet" smoulders with the resentments of personal betrayal : there is a thin line between this & revenge and in this case I think we can take the meaning that while the title phrase is generally taken to indicate putting weapons out of use, in this case it can also refer to burying it into the person of another. And is indeed more likely to.

 That the vocal is dispassionate, amplifies the sense of remorselessness and of "revenge being a dish best eaten cold", as does the relentlessness of the instrumentation: their doom is sealed & beyond dispute. Well maybe they shouldn't have betrayed the singer eh?

 Unfortunately I doubt if a suitable sound could be obtained from an actual hatchet (it's hardly a resonant object is it?) but the general clangour contains plenty of metallic alternatives conceivably forged in places where the titular implement could have been. They cite "sledgehammer" riffing which is certainly of that ilk.

With Valentines Day upon us, it's a warning to stay true or face the consequences….

Strange Adventures - Jackdaw With Crowbar, Satsangi, The Rollocks, Strip Search Tramp & Trojan Pony DJs - The Tin Music & Arts 15/03/25

THE EDGE IS WHERE IT BEGINS!

Strange Adventures entering darkness lit only by glistening sequins, tripadelica riffs, heavy bass and rock n roll psychdrama. Your tour guides are Jackdaw With Crowbar, Satsangi, The Rollocks, Strip Search Tramp, and Trojan Pony (DJ Set).

JACKDAW WITH CROWBAR, Because You're Worth It.
‘Bass culture meets EDM and co in a dark alley full of sequins' Expect dramatic shenanigans on and off stage, including and for the 6th time since the ground breaking show with Stewart Lee back in 24 they are introducing new permanent collaborators Aitch Bembridge (Selecter) and visual artist Paulina Kalwarska. Entering their 8th dimension not only are they presenting some familiar classics and a healthy dose of new audio and visual material there's a treat in store for anyone that likes to mix their music with live media manipulation!!!

"The best thing to come out of Leamington since the Grand Union Canal" Stewart Lee

"The guitarist plays magnificent slide and shred" Thurston Moore

"Tonight I thought they were shit, they thought they were shit, the audience thought they were groovy" Steven Wells NME

www.jackdawwithcrowbar.net
 

SATSANGI
Blending indie riffs to tripped out psych-n-roll, often raucous sometimes serene.

Satsangi have performed internationally and throughout the UK, as headliners at venues including Leamington Assembly, Ronnie Scott's Jazz Club, The Web, Lusaka, and invited to open for artists such as The Dandy Warhols ,The Kills, Dirty Sound Magnet.  Rolling Stone Magazine reviewed Satsangi's debut album and they are currently recording their 5th studio album. Satsangi's videos are broadcast globally on MTV and by the BBC.

"Iodine is an awesome song" Talvin Singh

"Hi Su, listened to 'Iodine' again and I must say it's really wicked. Your track reminds me a bit of Sonic Youth, but with infinitely better singing and a tough sax break that reminds me of X-Ray Specs. The whole thing sounds nervy, dislocated and very tense, just the way I like it!"
Steve Chandra Savale, Asian Dub Foundation

"A wicked bass line, timely sax breaks, and pace-setting rhythm guitar sections. Richard Heath needs special mention for his swiveling spin of a solo on sax. This is a find!"  Rolling Stone

"I feel I could play that for the next hour or so, but the I'd lose my job, she sounds brilliant her name is Sujatha Menon, she's the lead singer of Satsangi".
Bobby Friction, BBC Asian Network 

www.satsangiband.com

IODINE
https://www.youtube.com/watch?v=DDtZ61VEfEk

ULTRAVIOLET
https://www.youtube.com/watch?v=tQ5-rWBz4ek

YOU SAW SOMETHING:
https://www.youtube.com/watch?v=U4p0b3F0Pf0

THE ROLLOCKS
Formed in 2022 in the murky underbelly of Coventry's local music scene,

The Rollocks bring the power and the party with their relentless rock 'n' roll rampage! The sound of this working-class quartet of bohemians and rogues is like Tina Turner selling her soul to Black Sabbath—or Etta James arm-wrestling Motörhead. Swaggering with sass along the tightrope between beauty and chaos, The Rollocks are a gang of misfits and rebels providing the soundtrack to a collapsing world. And they're doing it all with a grin on their faces and a spring in their step. Hop on board and let The Rollocks steer you down the rivers of rock 'n' roll oblivion.

Up The Rollocks!

www.the-rollocks.com/


STRIP SEARCH TRAMP
Having landed a full disaster-vision, Strip Search Tramp (SST) have been building a solid reputation on the Uk live circuit with their visually enhanced, blistering Sci-Fi, B movie inspired punk & roll show. SST is not your usual punk band SST songs trawl a wealth of obscure musical cultural references.

With the release on Bandcamp in 2024, the debut album "B-Movie Disasters" delivers 12 tracks of musically diverse garage punk. The album draw on themes such as Voodoo, Serial Killers, Yakuza, Climate Change, and of course "Escalators". The band's influences include: The Damned, Killing g Joke, Hawkwind and The Cramps to name a few.

https://stripsearchtramp.bandcamp.com/album/b-movie-disasters

When the live music finishes there will a DJ set from TROJAN PONY

All for dreaming of a better world

Presented by Catch 22 Promotions & APE Promotions.

Project Overload have been dubbed "Coventry's best new band" by observers & it's not difficult to understand why. I've been a champion of their music on record and stage from the moment I heard them: I didn't need any persuading and it seems no one else does too.

Although their debut album ‘New Beginnings' which came out last year to considerable acclaim (not least in ‘Hot Music Live') featured tracks recorded both by the current "classic" lineup and a few by a slightly different embryonic one, it's worth considering the confidence of a band in their teens & the belief of producer Mason Le Long in them to put out such a collection so early in their career. This band have always been able to come up with consistently high quality original material. Not for them the (understandable) need to reinforce their sets with covers, though the occasional one is performed with as much aplomb as their own.

In fact Emily, Callum, Joe, Tom and Lucas, as the release of their second album looms, already have more original songs than an average setlist can accommodate. However this did allow them the opportunity of a ninety minute (yes really) set at Also Known As in Banbury at the end of January

As a harbinger of that next album, their new single "Silhouettes" is released on Valentine's Day. If you've seen them live recently, then you'll have heard them play it (though the title came to them after it made its first appearance in the setlist) so it's been honed through performance & then further polished to perfection in the studio with Mason. You may have also already heard it on BBC Radio: another testament to the regard in which they are held.

As with the best bands, Project Overload, despite having made their name with a signature sound, don't want to have a formula and so "Silhouettes", while retaining all their strengths as a band, offers a different sound & demonstrating their range and versatility.

The jangle-pop-rock combination is in evidence, but the tempo has been reined in a bit: with the band "..pulling back a bit, slowing it down and letting Emily's lyrics breathe.." as guitarist Tom says. He also offers the adjective "languid" which is just too good a description not to pass on: I can't better it.

The process of allowing space into songs is, in my opinion, a characteristic which kicks in with the best quality bands once they have developed the necessary self confidence. Initially billing themselves as "bright janglepop with sharp elbows" the brilliance & jangle are still in evidence but this time round the elbows are furled. They perhaps needed them at first to work their way through the crowd but they have everyone's attention now.

That the single eschews the convention of a chorus must also be a signifier of that self belief.

The jangle too works well in this format: in fact the greater space lets it resonate. That said, don't please take the impression that this is necessarily a sparer production. Quite the reverse. Here's more from Tom "we're being more ambitious in the studio and we're challenging ourselves to change the way we play and how we sound" and this includes their first major explorations of overdubs with synths and glockenspiel (which of course complements that jangle well) entering the sonic picture and while Emily's voice still expresses that trademark sense of vulnerability, there are now layers of vocals to hear.

In fact, the creative decisions around the single & Mason's skill in realising them gives us the best chance yet to appreciate the subtleties of the musicianship of each member as well as the overall collectivity.

In fact the evolution of arrangement & this vocal approach articulate the lyrics most effectively: it's a love song (the release date being no coincidence) and optimistic in tone. While audience favourites like "Society's Standards" tend towards coruscating critiques, "Silhouettes" shows the band possess multiple emotional perspectives. I look forward to them unveiling many more as the years go by.

"Silhouettes" is yet another stepping up of creative gear by Project Overload who tend to do so with each move they make. Superb as it is, the exciting thing is knowing how many more heights they have before them.

You can catch Project Overload next at the ‘Hot Music Live Presents' curated fundraiser for The Tin on February 21^st where they'll be joined by The Upsiders, Loophole & Luminae to help raise funds for their "spiritual home"

Tickets are available here:

https://www.ticketweb.uk/event/hot-music-live-presents-project-the-tin-at-the-coal-tickets/14236083

Out now is "Drinking in the Morning Sun", the latest single from (Dan) Bygrave on  Beat Rebel Records.

Dan inherited two guitars and a book of lyrics from his grandad and used the latter (I suppose he might have used the former too) to build the song he's now sharing. We don't get too many tracks with this level of emotional investment and so it's a bit extra special. 

If you check out the accompanying video at: https://www.youtube.com/watch?v=eQVibSxQ4uA then you'll see that the sense of familial connection extends to a fourth generation               .

Unsurprisingly therefore the song concerns family & taking the long view of history with a sense of optimism and of enjoying life's small moments of glory in knowledge of bigger pictures. The video, taking in many local landmarks which have seen generations pass through them amplifies this while suggesting that many more will follow in their footsteps over time.

I've said so many times before but the strength Dan possesses is to take a very contemporary sound but use it for completely different uses to his less imaginative peers. He is again more melodic than most & makes more use of space and sense of time and place.

Listening to the words, it struck me that there is an artistic lineage here much longer than a few generations: the sentiments expressed through the words of both lyricists would not be out of place in a classical poetic ode: couched in the language of today maybe, but ideas Keats and co would have considered fit to write about.

Credit too to Ryan Stanley for his musical contributions and to Josh Burnham on the production side.

This is a sophisticated & mature track with much to offer beyond its immediate qualities: hopefully it will chime with many who like a bit of depth in their music.

Recent events in our area & the focus of Independent Venue Week have brought home some stark truths about the sort of places where the type of artists we feature in the magazine can play in welcoming spaces, sharing original music to appreciative audiences. There were insufficient and the numbers are prone to diminution as so many are community spaces with fragile finances.

The pressing need to replace their façade has made a fundraising drive essential for The Tin in Coventry. Though thankfully that has now been successful, funds are still needed to replace & repair equipment whose usage has worn it down. For many others, the issue remains existential.

I'm so proud that so many of those we applaud for their musicianship are also caring & have given their time & talent to help. Some of the events to raise funds are under our curation which again is a source of much satisfaction. The first was held last night & involved Duck Thieves, HEK, Ace Ambrose & the Oddity and Ben Monkhouse.

If the situation of the venue encapsulated a wider truth, then the evening too was a microcosm of much we can celebrate. Firstly the quality of the current local scene: platinum standard music  from start to finish. I have already lost count of comments on this made directly to me on the night & via social media since. Secondly, the diversity: the artists shared the characteristics of integrity & originality, but each sounded unique & true to themselves. Thirdly, the music was almost overshadowed by the palpable sense of community : artists supporting & enjoying each other's sets (I think I was the only person present who'd experienced them all previously so there was a lot of new experiences) and congratulating others. There was a genuine love of the work of others and no wonder these people gave of their time.

Ben was probably the least known to those present (even though he had played The Tin once last year) and so it's hardly surprising the number of comments & plaudits as he won over new fans. That he opted to cover Nick Drake's "Pink Moon" gives you a pointer towards his sound & guitar talent: but his own songs are deep in sentiment and exquisite in realisation.

I'm pretty sure I have rarely heard Ace play any song twice in the same form. Accompanied on this occasion by a configuration of The Oddity I'd never seen before, the versions performed were a revelation. This may be the strongest lineup she's had to date (and in true Ace style it's actually an interim one) and I'm pretty sure that reflects her own analysis. You'd have known all the songs but they were taken to new places, explored in depth and generally ran to much longer than the studio versions: but not in a self indulgent way. The band seemed to enjoy what they were doing so much that they didn't want to stop any song. The biggest surprise perhaps was a take on her "His Name Was Susie" which like me you'll know from acoustic shows but this time was performed with ferocious intensity by the band: I think Ace feels that at last it's getting near the shape she has had in her mind to record it. This is certainly Ace & her band at their hardest rocking bravura best.

This idea of artists so obviously enjoying playing their songs applied all evening: certainly with HEK and again they were happy to take tracks along however long a road to see what they could find there. The results again were performances of skill & nuance but with yet more astonishing power & intensity. No wonder this band is frequently mentioned as one to catch live and one who should make big career strides in 2025 once the word spreads. That they have gone straight from the stage to the studio today speaks much of their creative ambition & work ethic. I look forwards to telling you of the results.

Those of you aware of how Michelle injured herself at the Duck Thieves' tenth anniversary gig at The Tin will probably have been surprised (and pleased) as I was when she passed herself as fit to play on this occasion. When she then fell ill on the day of the gig, how gut wrenching must that have been for her? She was so keen to play & had been responsible for the best & most social media posts promoting it.

This did not stop the band however though it meant some set and arrangement revisions and naturally asked more of Diana in order to cover two vocal parts: a challenge adroitly met. The Duck Thieves being the Duck Thieves though, they still managed a left field surprise & turned a challenge into an opportunity. Joining them onstage for "City of London Love" was Liz, whose dumping of Justin inspired the song. Who could have seen that coming? Certainly not me.

That they ended with singing of "For The Love Not The Money"  was certainly appropriate and summed up the occasion. There was so much love around along with top quality music.

We cannot afford complacency though: to sustain venues like this we need to nurture & support them regularly. Lurching from crisis to crisis is no plan & cannot be good for the morale of the team there. The latter don't get the thanks they merit: last night could not have worked without the inobtrusive but vital professionalism they demonstrated. The sound was pristine despite the challenges of such very different acts & technical changeovers slick & absolutely to the timetable with no sense of rush: big thanks to sound engineer Michael Price.

The next in this series of ‘Hot Music Live Presents' fundraisers for The Tin is on February 21^st and features Project Overload, The Upsiders, Loophole & Luminae.

However please check the schedule for The Tin & try and get along to some of their many events as well as the fundraisers: they all help as well as being cracking evenings.

Out today is a brand new Primitives single: or arguably two since "Sweet Sister Sorrow" is available in "Symphonic Dream Pop" format in addition to the standard one.

In addition, both of them will also appear on the forthcoming double album  ‘Let's Go Round again - Second Wave Singles And Rarities 2011 – 2025'

This of course opens the way for me to express my default Primitives review argument that since reconvening the band have been as good if not better since reconvening as before they took a career break. But what else can you say in the face of songs this good? It sets me up too for my other regular assertion that they have had a really long career & never produced a weak track.

One interesting thing about the band is although quite understandably seen as epitomising perfection in pop, their best songs (well in my opinion) seem all to incorporate some element of melancholy (even their biggest hit is a song of regret and warning). These all tend to boost the beauty of the tracks & make some hard listens on the heartbreak scale. Even apparently uplifting ones like the magnificent "(We've) Found a Way (to the Sun)" don't leave many dry eyes in concert.

As the title suggests, "Sweet Sister Sorrow" has this trademark duality of emotion & benefits from it. Delivered in classic Prims style in the first format, the band dive ever deeper into their experiments with just how much space they can inject into a song & just how ethereal the guitar & vocals can get while still coming out with a top pop song with bounce & melody. Like I say, the second wave just sees them refine their art more & more.

With the passing of Marianne Faithfull this week, it's tempting to imagine that the second version is a tribute to her early 60s work… I suppose given their penchant for covers of the era that it might be so, even if they didn't anticipate losing her just before release. It certainly evokes the sensibilities of that era though and was well worth making.

Presumably we'll get the first version live and it will without doubt become a popular addition to the setlist, even if another gem needs displacing to find room for it. Must be hard devising the programme when you have so many top options, but a good problem to have.

Out today is the brand new single from Katherine Abbott and its title is "Freedom".

When its predecessor "Wings on Fire" came out back in November, I rather lamented the relative rarity of her solo releases while rejoicing in their quality. Back then I provided context to the situation & such has been the quantity of WLDFLWRS activity calling on her time & talents, it's hardly surprising. Not only has their debut EP come out in the meantime (please see the review in the magazine) but they have been playing live including one very special gig in Halifax.

On Saturday 22^nd February there is another special gig in Luddington with a WLDFLWRS set being preceding by solo ones by Katherine, Jack, Wes & Jono: hopefully you'll get to hear "Freedom" in its live glory as I did when Katherine played at Izzie Derry's Christmas concert.

As I said before, when a writer is this much of a perfectionist & each moment within a song receives its own minute polish, songs only appear in public when their creator is themselves fully satisfied, so that factor cannot be underestimated either.

All Katherine's songs seem to be wrought of steel but then she swathes them in gossamer veils so your first impression rather conceals the profundity of the sentiments at its heart from immediate view: then with a jolt you realise how you've been seduced into a state of complacency.

At her very hypnotic best, this accentuates the sense of the song being an emotionally complex one which you need to engage with & apply to your own circumstances: you cannot, if you have any sensitivity just stand back & admire "Freedom" from a distance.

No doubt influenced by her Stateside sojourn & the Americana slant of WLDFLWRS, Katherine mesmerises us via her own soft finger-picking augmented & complemented by touches of subtle slide guitar courtesy of producer Joshua Woolf plus drums & piano credited to Dead Herring: all applied with the lightest of touches to enrich the song and not overpower its delicacy.

A series of meditations upon the subject of freedom & free will, it comes across as deeply personal (as I'm sure that it is: she's not the sort of artist to fake anything). These liberties require work & self-education and the song uses the idea of a journey towards the goal as the mechanism by which it might be attained. She wishes us to be under no illusion that freedom will be handed out to us easily nor that the road will be sunlit and smooth underfoot. The trials will help bring us to an earned conclusion.

To this end, it would seem that Katherine writes & sings as much (if not entirely to be honest) of an internal freedom of mind & self-discovery as she does of material, earthy freedoms. The buzzword "freedom" as chanted by libertarians of the conservative right has no connection with this song. It's probably beyond their comprehension.

"Freedom" is a song to immerse yourself in & once you emerge you might be a more complete version of yourself

For those of you tracking the Daffod'i'll solo releases saga, we last checked in with album number 191 ('Pluto').

Since then, 192 ('IMAC'), 193 ('IMESSAGE'), 194 ('IPOD'), 195 ('IBOOK') & 196 ('IPHONE') plus a 'Best of Albums 182 to 191' have come out on his own Iconoclast Records label.

These are all now available (as his his considerable back catalogue) on a "name your own price" basis via Bandcamp.

Out this morning is the brand new Noah Seleno single "Regret/Forget": her first since "Lips" in 2022 (and you can also check it out on ‘Hot Music Live Presents Volume Nine')

Quite apart from the rarity of reviewing a song featuring an oblique stroke in its title (usually an indicator something interesting), Noah's releases come along less frequently than blue moons which adds to their anticipation and rewards the listener all the more when they do reach us.

One factor is that she has to balance her musical career with her studies, but as far as creativity goes, she is one of those perfectionists who may frustrate us slightly while we wait, but whose artefacts delight us all the more on arrival when we realise just how good they are & how much love & sweat have been expended on their creation.

They also inspire much pondering & profound engagement: I've previously described them as being "…. very strong songs, highly idiosyncratic & occasionally a bit strange…" but that's because Noah's lyric writing is primarily poetic is style and hence much more allusive than determinedly mundane. There are meanings behind them which she believes in deeply and she's presumably not setting you a challenge to figure them out: it's just that these reflect her own thoughts & she has worked hard to express herself in her own words.

That said, on this occasion her title doesn't so much offer clues for decoding as provide a clear & simple prompt for what follows. As she told me, it's a song "..about the dissolution of a friendship and the grief and regrets it left behind.." so we're talking a deeply personal experience for the writer yet one all listeners can understand, identify with and empathise with. Details would be both intrusive & redundant: this is about emotions not tabloid gossip.

The artistic tension is heightened by the delivery though. Founded as the song is on true human interactions & responses, Noah, as always, injects elements of the mystic and supernatural through both words & music (it's about living people but ghosts come into the picture too). Noah seems most at home in an alternative dimension at times: most notably a dreamworld as she is here.

Once again she takes her already unique singing style and adds to the originality of the delivery by adopting an unusual strategy: a sort of breathless, staccato evocation. Her music, again as is her signature, is that simplicity of instrumentation played clearly & honestly yet in that hypnotic style which underscores the words.

One doesn't often get a Noah Seleno single (though she promises her fanbase that she intends more regular releases) so all the more reason to relish "Regret/Forget".

After a string of releases in collaboration with guest vocalists ("Here and Now" with Brudez, "Perfect Imperfection" with Princess D Krazy and "Bring Me Closer" with Shanade Morrow), bassist, producer & songwriter Justin Bygrave will on 30^th January share with you "Mankind" on his own Beat Rebel Records label, this time taking lead vocals himself for the first time this century.

Describing it as "..a lot more underground track,  bit political this one.." I really enjoyed "Mankind". It helps that soundwise & lyrically it ticks many of my personal boxes, but I should like to think that I'll not be the only one. He's not anticipating much radio play & I agree that it's not mainstream orientated but I'd like to think that community & alternative stations will give it an airing.

I try hard not to offer direct comparisons in my reviews too often and so by all means level the charge of mild hypocrisy at me for doing so on this occasion. The first thought that went through my head on playing it was "Jah Wobble": not for one factor but several. The dubwise bass sound, the experimental sounds, the attitude, the theme and of course the idea of a renowned instrumentalist blossoming into a singer too. There's a lot of points where the two touch.

That's not say that the song reminds me of a particular one of his: both are committed to original music & not repeating themselves so that's not going to be the case. But they both are reading from the same philosophy I think. If I'm not being clear enough, that's all intended as high praise.

"Mankind" is already one of my favourite singles so far this year: it's subtle, persuasive & you're going to have to seek it out rather than have it spoon fed to you via conventional media, but knowing "Hot Music Live" readers, I think many of you will get what he's saying.

As noted previously, 'Hot Music Live Presents Volume Fourteen' is dedicated to the memory of William Douglas Armstrong (aka "Doug") (17th June 1951 to 4th December 2024)

Although, as always, tracks on 'Hot Music Live Presents Volume Fourteen' are available as free downloads, there is the "name your price" option: if you'd like to use it to make a donation, all proceeds will, at the request of Doug's family, go to The Shakespeare Hospice.

https://www.theshakespearehospice.org.uk

Doug was passionately involved in music: for example running Stratford upon Avon Folk Club (where you'd find literally the biggest names imaginable in folk music playing alongside local talent) and his "Music From Big Pink" show on Welcombe  Community Radio: " a show aimed to celebrate creativity, shared experiences and community – reflecting the ethos of the album of the same name written and recorded by The Band so many years ago".

However his concern for the vulnerable & isolated in society was perhaps even greater and his founding & organising of the Street Arts Project, which has been covered many times in "Hot Music Live" will be his legacy.

"We are all heart-broken to have lost our dear friend Doug.  Helping the vulnerable was a path that Doug had followed all through his life. His kindness, genuine care and compassion made him loved and respected by all that knew him.

His equal love for music has also made him a humble legend amongst musicians far and wide and helped many on their own difficult journeys.

Above all he was a loyal and strong Northumbrian warrior that will be missed and remembered forever". (Jackie Lines, co-founder of Street Arts Project)

"It's difficult to imagine a world without Doug Armstrong.

He was the glue that brought us all together. He taught us to look after each other and showed us that a kinder and more compassionate way is possible. He encouraged us to get on stage and share our songs with the world. He taught us to think outside the box and that everybody, whatever circumstances life has thrown at you, deserves to have their stories told and art created from them. He showed us how to hold people to account, but also check in on them if they are struggling.

The Street Arts sessions he ran were a joy, at times a real challenge but every week we ended up with a song. I think that is the best way to remember Doug, in the way we treat others and in our songs"  (Jack Blackman Street Arts Project musician, solo artist, leader of The Beautiful Wreck & a member of  WLDFLWRS)

"It seems only right that this collection of songs curated by Andy Holdcroft representing musicians in Coventry and Warwickshire should be dedicated to Doug Armstrong who always championed musicians and believed in the power of music to unite people.

When the music industry can feel competitive and cold at times, Doug made it all about community and inclusivity.

Speaking from a personal point of view ; Doug changed my life for the better ; gave me back confidence I'd lost, a sense of belonging when I felt isolated and introduced me to some lifelong friends whilst becoming a lifelong friend himself and I shall certainly remember him as a great friend for as long as I live. The fact is ; mine is one of multiple similar stories. It's quite unfathomable to me how one man can be there for so many whilst being a devoted husband to Aly, a loving father to Jess and James, Grandad to Lara, run Street Arts Music Charity and grow his own vegetables! He can only have achieved this by always putting others before himself.

The last time I saw Doug was at a Robin Williamson gig he'd booked at the Playhouse in Stratford which I remember him being excited about for months being a long time fan of the Incredible String Band. I observed how Robin seemed just as pleased to shake hands and have his photograph taken with Doug as visa versa.

Doug also loved Bob Dylan and I got to thinking any one of Doug's heroes would be equally thrilled to make his acquaintance as he theirs if they only knew of the countless good deeds, the selfless acts of kindness & the mentor, friend and teacher to so many that was behind the unassuming smile, the twinkling eyes and the soft Berwick twang.

Rest in Power Doug" (Katherine Abbott, Street Arts Project musician, solo artist & a member of  WLDFLWRS)

 "Doug was an inspiration. He had time and empathy for so many people. He helped people experiencing homelessness and set up music courses for them in Stratford upon Avon. That is where I met so many new musicians and vulnerable people. We wrote songs about their experiences. We did concerts to raise money and awareness we recorded CDs with the songs we had written.

All of this was organised by Doug. He will be sorely missed in the town of Stratford. I will miss Doug's positivity and enthusiasm. I will miss Doug as a friend and a mentor. He helped me when I was down. We all have a lot to thank Doug for." (Nigel Clark, Street Arts Project musician, member of Dodgy & solo artist).

"Doug was a proud husband, parent and grandparent. He was a great man and more importantly, to many people he was a great friend. Doug was an inspiration.

He would do anything for anyone: he was somebody who would draw out potential that people didn't know they had and he always championed the underdog.

Doug's impact was felt right across Stratford from the terraces of his beloved football club to the many music festivals and events that he used to organise.

He also created the Street Arts Project with Jackie Lines: the not-for-profit organisation supporting the vulnerable and socially isolated. His incredible drive and dedication to help people will be missed. Stratford has lost an icon". (Jono Wright, Street Arts Project musician, solo artist & a member of Mos Eisley Bros & WLDFLWRS).

"William Douglas Armstrong moved to the Midlands from the North East during the 1970s. Known by everyone as Doug, he was a wise and compassionate person who encouraged, guided and lifted people. He co-founded the charity Street Arts Project and ran many live music events in the local area, all the time supporting musicians and aspiring musicians, all the time championing the overlooked, the disadvantaged and the isolated in his community.

This year he lost a long battle with cancer and is sorely missed and very fondly remembered by many in the music community and beyond who he met along his journey." (Wes Finch, Street Arts Project musician, solo artist & a member of WLDFLWRS, The Silver Wye & The Mechanicals Band).

‘Hot Music Live Presents Volume Fourteen' can be downloaded for free or you can donate to The Shakespeare Hospice, via this link:

https://hotmusiclivepresents.bandcamp.com/album/hot-music-live-presents-volume-fourteen