YOUNG Thugs Studio is marking the refurbishment of its recording studios in South Bank Social Club, Olvington Terrace, York, with a Saturday launch party from 7pm to 11pm.
This celebration of “some of the best music our region has to offer” will feature feral North York Moors garage-punk psych rock band Avalanche Party and Hull’s fast-emerging Low Hummer.
Formed in 2014, Avalanche Party revel in an “intense and immediate sound, so new yet so familiar, brimming with an urgency that explodes off the stage like the front lines of a war you didn’t even realise was being fought”.
Every note is played through white knuckles, every word spat through gritted teeth, as heard on 2019’s debut album, 24 Carat Diamond Trephine.
Low Hummer’s “woozy indie pop with a beautiful world view” was last heard in York when they opened for Manic Street Preachers at York Barbican on October 4.
Saturday’s gig will be preceded by a formal opening, conducted by the Lord Mayor of York, the Reverend Councillor Chris Cullwick, at 10am that morning.
BAND formed: 2011. Debut album released on major label: March 26 2021. No wonder York alt-rock dandies Bull rolled out a large banner of the cover artwork for Discover Effortless Living from Millennium Bridge today.
“It feels great. I’m really excited,” says songwriter, guitarist and vocalist Tom Beer, revelling in one of the most joyful stories in the history of York’s music scene, as the first buds of spring deliver Bull’s 13-track flourish on EMI Records, in conjunction with York promoters, producers and proponents of potent pop, Young Thugs.
“We’ve been working on bringing out the album all year [since signing to EMI last July] and it’s just exciting that it’s done and ready to go.”
Ten years to reach this zenith, and you thought elephants had a long gestation period. “We didn’t know we’d ever get to this point. We’d never bet on it,” admits Tom, after Bull became the first York act since Shed Seven in October 1993 to sign to a major label.
“It definitely feels all the more significant because it’s not only a year’s work. Everything we’ve done has been incremental, learning as we go, for years.”
Are Bull the hardest working band in York, Tom? “I’m not sure we can be called that! I’ll give that to The Howl & The Hum. Not that we haven’t worked hard, but we’ve always just done what we wanted to do. When you work at something you love, it’s not work, is it?” he says. “I’ve only just started calling it ‘work’ in recent years.”
Bull have hit the roof, in the best way possible. “We’ve just played a gig on the EMI roof,” reveals Tom. When? “Um…I only remember dates in the future.”
Sometime in March, anyway, as Tom, guitarist Dan Lucas, drummer Tom Gabbatiss and bass player and artist Kai West followed in the London footsteps of The Beatles in their last public performance on the Apple offices rooftop at Savile Row on January 30 1969 and U2 in a not-so-secret gig atop BBC Broadcasting House on February 27 2009 to launch their 12th album, No Line On The Horizon.
The Beatles, U2, what esteemed company Bull are keeping. “We’ve actually been called The English Beatles, which we quite liked!” says Tom.
“We had a few meetings at The Golden Ball [York’s first community co-operative pub in Cromwell Road] and came up with a few whacky ideas, and originally we thought we’d just try to play on the roof without telling EMI, just doing it on the day, maybe with the help of the janitor.”
Instead, it developed into a full-blown performance, playing all 13 tracks from Discover Effortless Living. “It will be broadcast on Jericho Keys’ BBC Music Introducing show on BBC Radio York tomorrow [27/3/2021, from 8pm],” says Tom.
“As for actually releasing it, we’re pitching it to various sources, but it will be available to watch via our Facebook site on a date to be confirmed.”
Bull made their little piece of rock’n’roll history on that rooftop. “Apparently we’re the first band to play on EMI’s offices, at the Universal Music building next to King’s Cross [Four Pancras Square, to be precise],” says Tom.
“It was insane! Like, the food that day was better than anything we’d eaten in years! The roof must be 20 storeys up. Brilliant up there, but cold. It was bracing to say the least. We even had a drone photographing us that looked as big as a helicopter! We’re editing that now.”
No fewer than seven singles were released from Michael Jackson’s 1982 album, Thriller, and Bull are on his tail with Eugene this week becoming the fifth from Discover Effortless Living, in the wake of Green, Bonzo Please, Love Goo and Disco Living.
Tom’s mini-symphony of self-flagellation spans the various stages of feeling down on yourself – from lethargy and frustration to anger – using tempo changes to “paint an audio picture”. In its brief visit of only two minutes and 38 seconds, the idiosyncratic song manages to be both melancholy and spritely at the same time.
“It’s a real kick-yourself-when-you’re-down song,” says Tom. “I wrote Eugene when I was feeling dissatisfied with what I was doing. It’s kind of a self-hate song, you know when people talk about self-love? It’s not that. I’m slating myself; it moves through the key changes and different moods, and ends in a way that mocks the sadness, another form of self-deprecation!”
Recalling penning Eugene, Tom says: “I felt rubbish at the time but I did feel better for writing it. The problem is singing it for ten years, still having to revisit that apathy, but hopefully it’s preventative to getting back to that state.”
Mulling over the kick-yourself-when-you’re-down subject matter: “I used to listen to a lot of Elliott Smith [the American singer-songwriter who took his own life with a knife in 2003],” says Tom. “There’s a line in High Fidelity: ‘What comes first? The music or the misery? I had a down year when I wrote Eugene…but I think the answer might be ‘music’, though…”.
Who’s Eugene, Tom? “We used to name a lot of our songs around our original drummer Louis’s friends, such as Eddie’s Cap. We like the idea of giving the song a name, as opposed to lifting it from a lyric.
“Eugene is named after Joe G, Joseph G. Louis used to call him Gorgeous G. So Eugene. My brother Paddy’s band are called Eugene Gorgeous after this guy too.”
The video is an animated gem in a collaboration with artist friends of the band that reflects the song’s different moods. Band members Dan and Kai set the ball rolling with a burst of DIY Claymation before handing over to artists Jack Iredale, Rory Welbrock, Roxy Linklater and Tom’s sister, Holly Beer, who each tackled a different animation style.
“With all those key changes, the song’s a bit of a rollercoaster, and we wanted to mirror that in the visuals, splitting it into animated sections, but we also thought: ‘Does it need something to tie it together?’, so we made the arbitrary decision, or maybe not, that all the animations had to feature a red apple,” says Tom. First Adam and Eve, then Snow White, now Bull!
Summing up the album as “13 songs written and rocked on between the years 2012 and 2020”, Tom elaborates on the origin of the title: “It’s taken from the opening lyric to the final track, Disco Living. We wanted to use a lyric from the album and felt like this was a good one.
” I first saw the words Discover Effortless Living in London, written on the side of a mansion being built and thought it was funny. It also ties in with ideas around class, new beginnings, a golden era of prosperity, and hoping to have life ‘in the bag’.”
What would constitute “effortless living”, Tom? “I just think it’s a contradiction in terms. That’s what was funny about it. Effortless living? I don’t think anyone would want to discover it. Effort is surely worth the effort?” he says.
“My idea of discovering how to live is to take things slowly; finding joy in the little things; having lots of different things on the go at the same time, and not worrying about any of them too much. Maybe lockdown has been a necessary change of pace. A nice change of pace. It’s the first time I’ve had a routine since school.”
Tom finds joy in going for walks. “I love walking in suburbia; it’s my favourite thing. I’ve always loved it. You have really good conversations on walks, and I love discovering roads and parts of communities I’ve not seen before,” he says.
Now those discoveries are as much in Scarborough as elsewhere after moving from York with girlfriend Martha – band member Dan’s sister – a year and a half ago.
“Martha is a midwife and it was either Oxford or Scarborough that she would be working in. It was time we lived together; we both liked Scarborough; it’s close, so I can go to York, rehearse all day, then get back to Scarborough.”
Tom and Martha are living in Castle Road. “We’re south-facing, so out of the window we have incredible views of the South Bay,” he says.
“In fact, Castle Road is where we made the album cover, at St Mary’s Church. We knew we wanted somewhere with beautifully green grass, the greener the better. I called the church up on the phone, to ask if we could use the churchyard [where Haworth novelist Anne Bronte is buried, by the way].
“I said, ‘can we have it between 10am and 5pm, if we clean up afterwards ourselves?’, and this man very kindly said ‘yes’.”
To create the cover image, Bull combined items they found on the street with “lots of flowers we picked”. “I hope they’ve grown back,” says Tom. “A bunch of people came up to ask ‘what are you doing?’, and once we told them, they said, ‘oh, that’s nice’. Some people even sat and watched!”
And so, St Mary’s Church churchyard becomes the second Scarborough setting for a landmark album sleeve, after the Art Deco frontage of the Stephen Joseph Theatre, at the former Scarborough Odeon, graced the cover of Richard Hawley’s Coles Corner, released in September 2005.
The band portrait at the top of this interview was taken in Scarborough too by Amy D’Agorne Craghill. “There’s this amazing place on the North Bay. From the castle, you walk through the castle walls to woodland with all these orange-coloured rocks and that’s where Amy took it,” says Tom.
A further Bull image in Scarborough came about when they stumbled across 100 gnomes in a woman’s garden. Who could resist using gnomes for a picture? Not Bull. Permission was duly forthcoming.
What’s next? Bull in a china shop?
Track listing for Bull’s Discover Effortless Living: Bedroom Floor; Love Goo; Green; Shiny Bowl; Eugene; Eddie’s Cap; Serious Baby; Perfect Teeth; Find Myself A Job; Bonzo Please; In A Jar; Smoke and Disco Living.
YOUNG Thugs Studio, in York, are to run a six-month placement in music production and studio engineering for women and non-binary people aged 18 to 25 under the title of Level.
Working in partnership with the Youth Music Incubator fund, Young Thugs are offering this opportunity to three people in York and surrounding areas to explore studio production and the chance to build skills as a studio engineer and producer.
Participants in this paid placement, funded through players of the People’s Postcode Lottery, will work with industry mentors, led by Liina Turtonen, to acquire knowledge, skills and a CV and gain direct access to industry professionals.
No qualifications or previous studio experience is needed, although basic music software skills are required, and childcare and travel support can be provided.
“These are very exciting times at Young Thugs despite all the Covid shenanigans,” says Dave Greenbrown, co-director of the studios upstairs at the South Bank Social Club, in Ovington Terrace, York.
“Following on from York band Bull’s EMI deal [in tandem with Young Thugs], not only have we now secured our permanent home with a long lease at South Bank Social Club – saving the building at the same time – but we’re also now in receipt of this Youth Music grant to develop a Women In Music programme in York.”
Outlining the programme, co-director Jonny Hooker says: “Over a six-month period, you will receive ongoing one-to-one studio mentorship, personal development, and be given a chance to work on real-time projects with established artists and industry professionals.
“We’re looking for three women or non-binary people who have a passionate interest in wanting to work in a studio environment. It’s OK if you have no qualifications or studio experience, but this opportunity does require you to have some basic music recording and production experience.”
Jonny continues: “Young Thugs will offer a bespoke support package for you that will cover your time, as well as help with things like childcare and travel if required.
“This programme will give you a toolbox, live project experience and could open up opportunities for you to consider further or higher education and employment.
“This opportunity is open to all women and non-binary people who are 18 to 25 and we really want to hear from you.”
To apply, you need to send your answers to the questions below in written, video or audio format to email@example.com by the closing date of March 31 2021.
* Your name, age and location?
* Why do you want to take this opportunity now?
* How would this opportunity help you moving forward?
* What previous music experience do you have?
* What other information do you feel we should know about you?
* Do you have any access requirements?
If you need this information in another format, send an email to firstname.lastname@example.org or call 07812 605833 for more details.
Summing up the Level project, Dave says: “Promoting Women in Music Tech over a six- month period, we will teach, train and mentor three women in music technology and production.
“With a chosen industry mentor and in a safe environment, they will work within a busy professional recording studio, working with female artists or bands to create a series of singles, EPs or an album of their choice from conception to release.”
RUNNING the programme for Young Thugs will be Nordic-born Liina Turtonen, and aptly for an international woman now living and working in York, CharlesHutchPress caught up with her on International Women’s Day.
“I’ve been in York for about four years and in the UK for eight years,” says Liina, from Finland, who lives in South Bank, where she has a home studio. “I first studied in Scotland, in Ayr, when I’d been travelling around the world from 18 to 21.
“I was in Glasgow, and I’d fallen in love with electronic music. I was supposed to be on my way to Australia but never got there.
“Instead, I studied commercial music at the Ayr campus of the University of West Scotland. Commercial music means ‘popular music’, and the course was a combination of many things, but I just fell in love with studios and technology. You’d find me in the basement, on the soundboards.”
Liina decided her next step should be an MA in music production and duly headed south to the University of York.
How did that go? “I would say it was among best things I’ve ever done,” she says. “York Uni was one of the most supportive environments I could have had, and that’s why I’ve been able to make advances in my career so quickly.”
Liina’s own trajectory tells only part of the story, however. “Only 2.6 per cent of the industry are women producers or engineers, and I would say that’s 2.6 per cent of the whole industry across the world,” she says.
“That tells us why something like this Level placement project is necessary and that’s why it’s great that Young Thugs are doing this for young musical talent in York. I think there’s a lot needed to make sure the levels are better for the future.”
Studying music production, “I always felt very alone as a woman”, reveals Liina. “I didn’t have any female lecturers. I’ve never been taught music production by a woman.
“There were two women in the tech department, but for my course, it was two women studying among 15 guys.”
What characteristics are needed in such an environment for a woman to thrive? “I would say one word: confidence…because confidence opens up all the conversations. Everything comes back to confidence,” says Liina. “What you’re up against is the social structure, the patriarchal society.
“The difference between male and female confidence is that, for men, lack of confidence doesn’t stop you doing what you’re supposed to be doing, but not having confidence can stop women from doing what they’re inspired to do. It’s so powerful that it literally stops us.
“It needs so much constant effort, so much courage, to be the minority in this industry. So much so, a woman may not want to go into a studio as the only woman there, feeling you’re not going to know what you’re doing, so you fear being called out. It’s about imposter syndrome, and there’s benevolent sexism too.”
Liina’s own experience affirms why the Level programme is so important to give more women and non-binary people the chance to break into music production to change the prevailing landscape.
“It’s such a strong feeling that even if you know how to do it, like going to university to study – that’s a very encouraging environment, but then you go into a space where you’re the only one that looks like you and people talk to you in a slightly different way, so you start thinking you can’t do it,” she says.
“I would say I’ve encountered that every single day of my career, every day I go into a studio. I go into the studio for the fifth time and I still have to prove that I’m worth it, both to myself and others, which is exhausting. It’s part of my everyday life to prove that I deserve to be where I am, but I have the courage to keep doing it.”
The Level project, with its emphasis on a safe environment to nurture women producers, working with women musicians, is but one avenue for Liina. The musician, songwriter, music producer and educator also hosts LNA Does Audio Stuff, her own music production-focused YouTube channel, featuring tutorials, reviews, vlogs and fun audio challenges.
“I’ve been doing it for two years and it’s one of my key jobs,” she says. “I’ve just published a song made by 90 women and non-binary people, made long-distance with six women producers pulling it together.
“My channel is mostly an educational forum, but it’s also my point of view from my life.”
In addition, Liina is co-founder of Equalize Music Production with Emily Johnson, aka Emily J Electric, a performer, musician and DJ. Proud members of the Musicians’ Union and associates of the Yorkshire Sound Women’s Network, they deliver courses and workshops in music production, song-writing and performance…and creative confidence (that word again).
“Because of that we got to know Young Thugs, and that’s why I’m doing this project with them,” says Liina. “What they’re doing as a male-led organisation is exactly what every studio should do, asking what we need, which is not something I’ve seen before.”
Looking forward to working with three placement participants, Liina says: “I can’t wait to see them, bringing them to spaces where they don’t need to prove themselves every day.
“The great thing is that they don’t really need to know anything in advance; they just need to be passionate. This programme says: ‘Everybody is good enough. Just get yourself in there!”
Creating a safe space is vital. “Even as a professional music producer, I know studios are very male dominated, so many women I know prefer to work from home, but for Level we will make it a very approachable space,” says Liina.
“I feel very comfortable in a studio, and when we feel comfortable, men do too, making such spaces less toxic.
“We’re still far away from it not being like a locker-room male environment, but these projects fight against that environment for everybody. We want great music, great musicians, great producers, great engineers.”
Do apply, stresses Liina: “If there’s someone who really wants to apply, or someone has a daughter who wants to apply, but maybe needs some encouragement, then go on, apply, even if they’re not confident, because it’s an amazing opportunity.
“I wish I’d had this chance when I was starting because my journey would have been easier and more pleasant if it had been easier, and maybe that’s why I always work so hard to achieve things.”
YORK band Miles And The Chain Gang release their second song and video, Drag Me To The Light, on November 15.
Available on Spotify, iTunes and Apple Music, with the video on YouTube, this follow-up to February’s When It Comes To You reflects the experience of the pandemic lockdown in Spring 2020.
“I wrote the song during lockdown in April,” says frontman Miles Salter. “I was trying to capture the emotional feeling of what was happening, the sense of hunger for human interaction.
“We are social creatures and I think everybody felt the absence of human connection and warmth.”
Drag Me To The Light was recorded in June and July at Young Thugs Studio, at the South Bank Social Club in York, where the video was then filmed in September. “I had no idea that when it came out, it would be during a second lockdown,”’ says Miles, musician, writer, storyteller and presenter of The Arts Show on Jorvik Radio.
Singer and guitarist Miles is joined in The Chain Gang by Billy Hickling, drums and percussion, Tim Bruce, bass, and Alan Dawson, guitar.
Swelling the gang on Drag Me To The Light are Sean McMullan, guitar, Holly Taymar-Bilton, backing vocals, Sam Pirt, accordion, Thomas Rhodes, trumpet, and Jonny Hooker, organ, most of them drawn from the York area.
Hooker also produced the track. “Jonny’s really good to work with and Young Thugs is a great facility,” says Miles. “They want to champion music in the north of England and have enjoyed success with York band Bull, who signed to EMI Records this year.”
Drag Me To The Light is “a bit more funky than things” Salter would write usually. “I think playing with Billy, Tim and Alan has opened me up to other ways of approaching music. It has something of a Nile Rogers feel to it,” says Miles, who then reflects on a very frustrating year.
“As a result of the pandemic, we haven’t played any public gigs. We were due to play our first gig in late-March, and then the first lockdown happened. We’re trying to focus on video and reach people that way.
“We’ve had more than 2,000 views of various things, so that’s not bad, and we’re also developing our social-media presence. We’ve made a lot of progress since the start of 2019. Nobody knew who we were then! So, things are building, slowly.”
YORK band Bull are signing to record industry giants EMI, nine years after first forming.
They become the first York group to put pen to such a deal since Shed Seven rubber-stamped a six-album contract with Polydor Records in October 1993, going on to notch up 15 Top 40 hits from Dolphin in 1994 to Why Can’t I Be You? in 2003.
Songwriter and vocalist Tom Beer, co-founder and guitarist Dan Lucas, drummer Tom Gabbatiss and bass player and print-maker Kai West will be working in tandem with EMI alongside Young Thugs: the York indie label, artist managers, recording studio and gig promoters, run by Dave Greenbrown and Jonny Hooker up the stairs at South Bank Social Club in the pioneering, underground spirit of Andy Warhol’s Factory in that other York, New York.
The first green shoots of what the EMI publicity campaign is calling “the start of a beautiful friendship” is the aptly named single Green, a crowd favourite with a history stretching back to 2012, released today.
Depending on which band member you ask, this blissful slice of jangle-pop with a pinch of psychedelia and a grating of scuzzy lead guitar is either a “melancholy rumination on decisions made and the grass always being greener”, or is all about “ripping bongs down at the basketball court when you really should be writing the next great American novel”.
“It feels surreal,” says frontman Tom Beer, breathing in the giddying fresh air of becoming a major label act. “I just didn’t really expect it, to be honest! Delighted as well…and really excited. Lucky too, as there are so many good bands out there.
“The way it worked for us was that we’d been doing a lot of gigs, touring so much, here, in the Netherlands, Germany, America, and when we released songs we had more plays because we’d played so many places.
“Young Thugs and Dave Greenbrown have been so supportive too, and then the MD [managing director] of EMI came to see us supporting Warmduscher at The Crescent.”
When? “I’m not good with dates,” says Tom. “Except in the future. I only remember them when I need to.”
Dave Greenbrown says: “We’ve been working on this for around 18 months. The MD of EMI was looking around for groups and came across Young Thugs two years ago and we’ve been trying to figure out something ever since.
“Clearly, Bull were the ones with the songs and I said to them, ‘I think there’s a chance for you if you can work on your professionalism as you have to be good every night’, and they were up for that and did exactly that.
“I didn’t want the EMI MD to see them until it was the right time, as you have only one chance, don’t you, and Bull took it.
“They write great catchy pop songs; they’ve finished the album, and they’ve signed a one-year deal with EMI: three singles, one album, just royalties off the streams and the sales of their records.”
Bull charged on to the York music scene in 2011, led by Tom and Dan, both inspired by their 1990s’ alt. rock heroes, Pavement, Yo La Tengo and The Pixies.
The present line-up of four Yorkshiremen emerged through friendship and happenstance: drummer Tom joining after he and the other Tom jammed together in bars when backpacking around Thailand; Kai making the giant leap from persistently jumping up on stage to dance in the erratic, blissful manner of Happy Mondays’ Bez to eventually being allowed to play bass.
But 2011 to 2020, Tom, that is an unusually long gestation period for a band, isn’t it? “I would never not want to do this. I just can’t see myself not doing it. It’s how I operate. I’ve always busked…I’ve worked at the Golden Ball, where I put on open-mic nights on Mondays…and I’m good at living on chickpeas,” he says.
“I definitely feel that one of the best feeling you can have is playing music with another human being and I incorporate the crowd in that.”
Apparently, this is “the start of a beautiful friendship”, Tom? “I hope that’s true and I believe that to be true, because it’s always been based on friendships between us and promoters, travelling around and making it happen and it’s been rewarding.”
One such bond paid off, leading Bull indirectly to their Dutch record producer, Remko Schouten. “Whether it was blind faith or fate, we decided on a whim to go to Germany, just after Tom and Kai joined in 2018, and we were all feeling very serious about it, like when The Beatles played Hamburg,” recalls Tom.
“We were playing dive bar gigs, and we went to this bar at three in the morning, where Tom was wearing my hat, and this guy came up and said, ‘Where did you get that hat?’.
“He turned out to be the drummer – and a golfing pro! – for Spiral Stairs and Remko was there on tour with them doing their sound. We put on this house party at a friend’s house in Berlin, in Schoneberg, the area where Bowie used to live, and the next thing we know, Spiral Stairs [alias Scott Kannberg of the aforementioned Pavement] was playing at our house party!
“That night Remko said, ‘if you ever want to record with me, let me know’, and we did, two months later.”
Over the next two years, Bull visited Schouten’s Amsterdam studio four or five times, recording songs over a few days each time, songs that will now form the album whose title and release date are yet to be confirmed (although Dave Greenbrown did mention January 29 2021, so watch this space).
“This was no ‘one weekend, bash it out’ recording session,” says Dave. “This was a proper job, working over a long time.”
The Coronavirus pandemic may have brought gigs to a stultifying halt, but Bull are coping with being a band in Covid-19 times in 2020, boosted by the momentum of signing a record company deal. “It feels OK for us right now because luckily we finished the album the day before we had to flee the Netherlands, returning home instead of playing with our favourite Dutch bands in Amsterdam, but we definitely made the right decision,” says York-born Tom, who now lives in Scarborough.
Green is the first fruit of that record deal. “That song is one of the oldest Bull songs, I wrote it in 2012, and it’s the only song on the upcoming album that was featured on She Looks Like Kim, our first album in 2014, which we self-released,” says Tom.
“We recorded it at the Melrose Yard Studios, the brilliant studio off Walmgate that sadly closed last year, and we launched it with a gig at Dusk, covering the cost of the recording that night.
“Green was the first song on there and the lead single back then too, and we just thought it’s a good song, it’s always been a favourite, so let’s give it a second shot at the big time.”
The accompanying video is the work of Bull too. “We’ve worked on a lot of music videos: the one for Green is the first time I’ve ever used movie software, with the help of Dan [Lucas],” says Tom. “We had a lot of footage from various things that we could use, and there’s even some footage on there from the original Green video, made by Rory Welbrock, our bassist before Kai joined.
“It also features some latex masks made by my sister, Holly, who’s been really interested in making masks for three years – and now masks are everywhere of course, aren’t they!”
Dave Greenbrown hopes Bull’s record deal will be a trigger for more York musicians to find favour with record labels. The Howl & The Hum set the bar high with Human Contact, their late-May album for our disconcerting, disconnected times, and the likes of Bonnie & The Bailers, Fat Spatula and Perspex should be on the radar too.
“I think it’s been really good to be a musician in York. As a child, there were amazing music services provided for you in the city,” says Tom. “I was in a big band, playing the trombone; there were loads of people doing that, like The Howl & The Hum drummer, Jack Williams. He played trumpet.
“I think that’s had a massive impact, because you can enjoy it when you’re little, and then your musicianship progresses and you start playing in bands. For me, it was places like The Woolpack Inn [in Fawcett Street], run by a guy called Sid, who had bands on every night. It made it feel like you owned it, and if you wanted to put on a gig, you could.”
Broadening his thought, Tom says: “I’d like to thank Young Thugs for their involvement; the MD of EMI got in touch with them because he was impressed with what Young Thugs bands, such as The Lungs (Theo Mason Wood and Bonnie Milnes) and …And The Hangnails, and Bonneville, were doing.
“And now, the great thing with the link-up between EMI and Young Thugs is that hopefully it’s going to benefit other York bands too.”
What makes Bull stand out, the way a bull does when frequenting a china shop? The infectious tunes, yes, but also the humour in Tom’s Yorkshire-frank lyrics. “I’m very glad you say that,” he says. “I definitely don’t want to be any one thing in my lyrics – a lot of the time I’m capturing a temporary feeling – but a lot of my favourite songwriters embrace humour…though sometimes it doesn’t want to be too funny, just for the sake of it.
“Pavement’s Stephen Malkmus, one of my favourites, likes to use humour, and Dylan, my hero, is full of it. He plays with words a lot. It’s that thing of, if you don’t cry, you’ll laugh.”
Right now, on Green day, Bull have every reason to be smiling.