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Morrissey / September 2015 English Tour

By on Monday, 6th July 2015 at 9:00 am

Everyone’s favourite curmudgeon from Manchester, Morrissey, has announced a trio of live dates for September 2015. He’ll be stopping at Hull Arena for one show, followed by two at London Hammersmith Apollo and will no doubt be playing old favourites along with new tracks from his most recent album released last year, the appropriately cynically-titled ‘World Peace is None of Your Business’. Tickets will be on sale this Friday, the 10th of July, at 9 AM.

Friday 18th September 2015 – Hull Arena
Sunday 20th September 2015 – London Hammersmith Apollo
Monday 21st September 2015 – London Hammersmith Apollo


WIN / Tickets to see Morrissey in Cardiff -OR- Birmingham, March 2015

By on Thursday, 12th March 2015 at 7:00 pm

The living legend that is Morrissey begins a UK tour tonight in Nottingham (full list of dates listed below). Yesterday we gave away tickets to a lucky Andy C. off Twitter. Today we’re going old school through the TGTF Web site, giving away 2 pairs each to the Cardiff Motorpoint Arena (Wednesday 18th March) and Birmingham Barclaycard Arena (Friday 27th March) shows taking place this month. We’re really like to give them to TGTF readers! I bet you want to know how to win, don’t you?

You’ll need to fill out the form below, including your full name, your email address (so we can contact you if you win) and you telling us which show you want to attend. Then to make sure you serious about going, you’ll need to tell us the name of Morrissey’s latest album. Figure you must know this, surely? We will then choose two winners for each date out of all the correct entries received.

Get your entries in by noon British time Friday, the 13th of March (this’ll be a quick one). We’ll contact the winners by email. Good luck! Please note: this contest is open to UK residents only who can get him/herself to Cardiff or Birmingham for the show they’ve won tickets to and are subject to any age requirements the venue may have (TGTF won’t be held responsible if you’re turned away at the door for being underage and not meeting the individual venue’s requirement). All duplicate entries will be discarded.

Friday 13th Mar 2015 – Nottingham Capital FM Arena
Saturday 14th Mar 2015 – Bournemouth International Centre
Wednesday 18th Mar 2015 – Cardiff Motorpoint Arena
Friday 20th Mar 2015 – Leeds First Direct Arena
Saturday 21st Mar 2015 – Glasgow SSE Hydro
Friday 27th Mar 2015 – Birmingham Barclaycard Arena

This contest is now closed. The winners will be contacted by email soon.


Morrissey / March 2015 UK Tour

By on Tuesday, 13th January 2015 at 9:00 am

Following on from last year’s release of his latest album ‘World Peace is None of Your Business’, ex-Smiths frontman and musical legend Morrissey is set to embark on a new UK tour in March. Tickets go on sale this Friday, the 16th of January, at 10 AM.

Friday 13th Mar 2015 – Nottingham Capital FM Arena
Saturday 14th Mar 2015 – Bournemouth International Centre
Wednesday 18th Mar 2015 – Cardiff Motorpoint Arena
Friday 20th Mar 2015 – Leeds First Direct Arena
Saturday 21st Mar 2015 – Glasgow SSE Hydro
Friday 27th Mar 2015 – Birmingham Barclaycard Arena


To Glee or not to Glee? – The Permission and Use of Indie Music in Mainstream TV

By on Wednesday, 9th May 2012 at 11:00 am

‘You Are the Quarry’ had been called Morrissey‘s comeback album in May 2004 after the much-maligned ‘Maladjusted’ released in 1997. Things were looking good for the Mozzer; the album was his highest charting album ever in America. Fast forward a couple months and I’m flipping through cable channels to find something interesting to watch and I hear a couple bars of something familiar. I look more closely at the television. It’s the new MTV teen reality show Laguna Beach: The Real Orange County, and during what I’m guessing was supposed to be a tender moment, what do I hear in the background but ‘First of the Gang to Die’.

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Sadly, I don’t have a YouTube video to go along with this; the video above is taken from the film for Who Put the M in Manchester?, filmed live at the MEN in 2004 (I’ve played my DVD of this so many times, my DVD skips, I think I broke it). But in my research for this piece, I also learned it was used in an episode of Date My Mom, such that a boy and the coed his mother chose as his date can disappear into the sunset. By limo. We have no way of knowing if Steven Patrick Morrissey himself approved the usage of this song, but it’s hard to believe he would allow the song, about a kid in a Latino gang who becomes a martyr by being the first in his group of friends to die, to be used in either context. While it is a pop song, it’s not really a song about sunny days and going out on dates.

It seems not surprising that the E4 reality drama Made in Chelsea, essentially the UK’s answer to Laguna Beach with well-heeled rich kids from a posh area of London, also uses current ‘hot’ songs in their shows. I won’t list every artist, but a quick glance at the tracklisting for the first episode of the first series for Made in Chelsea lists tunes form some pretty impressive stars that we’ve written about before: Adele, Dragonette, Morning Parade, Muse, the Script, Tinie Tempah (erroneously credited as ‘Tinie T’) and Two Door Cinema Club (twice!). Either the producers have been reading up on the music blogosphere or consulting with people in the know on ‘what’s hot’ (more likely the latter).

That said, what role – or what rights – do artists have in permitting (or not permitting) the use of their songs on television. The use of Noz’s ‘First of the Gang to Die’ and the Made in Chelsea soundtracks came into my mind when I read that Australian singer/songwriter Gotye, recent Saturday Night Live performer and pretty much world pop sensation, was complaining that his mega hit ‘Somebody That I Used to Know’ was no longer his. Specifically, this had to do with its usage in the American pop tv sensation Glee. You know, that show where famous songs are redone by teen actors and generally speaking, the original versions of the song gain quite a lot of publicity, while the young people of the world get confused about music history. Goyte’s quandary? “I wasn’t sure whether something so mainstream was right for my music and whether it reflected on my music in my bad way. But I think I realised that the song’s so popular, it’s kind of out of my hands, so when something like Glee comes along, why would I say no?”

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The man subsequently whinged on the success of the song, saying, “sometimes I feel like I’m a bit sick of it. My inbox, on any given day, has at least five covers or parodies or remixes of it and there’s only so many times you can listen to the one song.” I don’t know about you, but I can’t even begin to count on both hands how many bands I’ve met over the last 3 years that would love to be a similar position of ‘discomfort’. I guess success – and the happiness you get from success – is a fickle thing; maybe when you have it and realise it’s not so great, you want to bash it and everything that comes with it. Careful though: Goyte had to give his permission to the producers of Glee to use ‘Somebody That I Used to Know’ in one of their episodes. He could have easily put the kibosh on the matter entirely by blocking its use on the popular American tv show; there are probably others, but most notably Kings of Leon and Foo Fighters have refused the Fox tv programme permission. Dave Grohl’s response to the invitation: “It’s every band’s right, you shouldn’t have to do fucking Glee. And then the guy who created Glee is so offended that we’re not, like, begging to be on his f**king show… f**k that guy for thinking anybody and everybody should want to do Glee.”

While I agree with Grohl on this – I personally can’t stand the show and how it repurposes already great music, only to redo them in charmless, overblown, unworthy imitations – there seems to be no right or wrong answer for an artist or band considering allowing commercial use of their songs. Some bands still and will always feel that allowing such permission debases the artistic value of their hard work and inspiration. However, maybe the gold standard yet groan worthy rule of PR applies here: “there is no such thing as bad publicity.” As much as Goyte might complain that the song he wrote no longer belongs to him, ‘Somebody That I Used to Know’ is still #1 on the Billboard Hot 100 for the third week running. Suffering for one’s art? Maybe not so much.


The Issue with Reissues

By on Thursday, 8th March 2012 at 11:00 am

Reissue! Repackage! Repackage!
Re-evaluate the songs
Double-pack with a photograph
Extra track, and a tacky badge

“Best of!” “Most of!”
Satiate the need
Slip them into different sleeves!
Buy both, and feel deceived…

(excerpts from the Smiths – ‘Paint a Vulgar Picture’, 1987)

Rather conveniently, the day after Blur performed on the 2012 BRIT Awards last week, we heard the news from the Guardian that producer Stephen Street is in the midst of remastering the Britpop giants’ entire back catalogue for the band’s intention to reissue all of the albums sometime in the future. Of course, reissuing and remastering is not a new idea at all in rock. Let’s take for example two of the biggest names in rock ‘n’ roll of all time. Jimmy Page famously went to task on overseeing the remastering Led Zeppelin’s master tapes in order to provide higher fidelity sound quality in the early years of the CD for the ‘Remasters’ release in 1990. The Beatles Anthology released in 1995-1996 were three CD sets that culled supposedly rare early recordings, outtakes and live versions of songs from the Fabs’ musical history. So what’s the issue with reissues?

As you’ve read in perfect clarity at the very top of this article two excerpts from Morrissey’s lyrics in the Smiths’ ‘Paint a Vulgar Picture’, most times the purpose of reissues is crass commercialism. For myself, I know I’ve bought doubles of and/or different versions of albums or unusual and rare singles simply because being a fan, I wanted to have them in my collection. (This explains how I have UK, Australian, Japanese, and Taiwanese versions of albums I already own in US formats and why I am rapidly running out of storage space. Yeah…)

Surely, the only limit to your music shopping habits is your own wallet. I’ve drooled in private at Talking Heads’ ‘Brick’, all eight of the band’s studio albums remastered in Dual-Disc format and available at a price out of my budget, just like I’ve balked at the price for a leather bound, signed copy of George Harrison’s I Me Mine. Luckily, I have some willpower…and definitely some prudence.

But I’m not a completist by any means. So when reissues or remasters are announced, I rarely jump out of my seat, unless there’s something new and really great on the new versions. Do record companies really expect long-time fans of a band to fork over change on an album that already own and know by heart? And they think old skool types who still favours physical releases will buy these in droves? Are they anticipating young people to suddenly think to themselves, “ah yes. Blur. That band in the ‘90s that the bloke who fronts Gorillaz used to be in. I should buy these!”

While I concede that record companies are trying every way possible to combat illegal file-sharing by trying to put out releases like reissues that they think are going to move by the thousands, they appear to be barking up the wrong tree in most of these cases. There is no easy solution to this problem; illegal file-sharing will continue as long as there’s an Internet. But surely there has got to be other creative ways to promote an artist’s work than simply rereleasing something that’s already been out before.

Interestingly enough, Stephen Street also has a hand in the reissue of Morrissey’s first solo album, ‘Viva Hate’, which will be reissued on the 26 of March. Moz has chosen to delete ‘The Ordinary Boys’ and replace it with an outtake from that era, ‘Treat Me Like a Human Being’. Which has already been released as a B-side to ‘Glamorous Glue’ when that single was reissued by EMI last year. Follow all that? Street is not happy about the tracklisting change, but I’m not paying attention to that. I‘m a Morrissey fan and I own ‘Viva Hate’ on CD and vinyl. Will I be buying the reissued version of ‘Viva Hate’? Not likely.

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Header photo of Blur’s performance at the 2012 BRITs from Who’s Jack


Live Gig Video: The Chapman Family cover Morrissey’s ‘Everyday is Like Sunday’

By on Monday, 19th December 2011 at 2:00 pm

Morrissey holds a special place in my heart; let’s just say the first boy that really turned my head wooed me with a CD that began with ‘Everyday is Like Sunday’. The Chapman Family have taken on the challenge of covering the song that is so linked to Morrissey and his views on ‘Englishness’ and seaside towns that are forgotten in the off season; watch the video of Kingsley performing it below. Were they successful? Let us know in the comments.

Our Northeast writer Martin traded verbal barbs with the band while on tour in Sunderland in early November; read his insightful and politically charged piece here.

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About Us

There Goes The Fear is where we tell you about the latest tours, gigs, and music we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like idiots.

The blog is edited by Mary Chang, who is based in Washington DC. She is joined by writers in the UK and America. It was started up by Phil Singer in Bristol, UK.

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