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Quickfire Questions #37: Glen Power of the Script

By on Thursday, 15th November 2012 at 11:00 am

The Script are one of my favourite bands, so when the opportunity rose to ask their awesome drummer Glen Power some questions following their show in Washington DC on 7 November, I took it of course! First, we present you today his answers to the TGTF Quickfire Questions. But stay tuned here to TGTF, because we have a wicked full interview with Glen posting tomorrow morning.

Many thanks to Glen for answering our questions and Taylor for sorting this for us.

1. What song is your earliest musical memory?
Listening to a Beatles vinyl on my parents’ vinyl player.

2. What was your favourite song as a child?
‘Twist and Shout’ – The Beatles.

3. What song makes you laugh?
‘Don’t Worry Be Happy’ – Bobby McFerrin. [Editor’s note: sorry to those who don’t like this song, but come on. The video has Robin Williams in it. We had to embed it!]


4. What song makes you cry?
‘All by Myself’ – Eric Carmen.

5. What song reminds you of the first time you fell in love? (It’s up to you if you want this to be sweet, naughty, etc.)
‘Misty Blue’ – Dorothy Moore.


6. What song makes you think of being upset / angry? (Example: maybe you heard it when you were angry with someone and it’s still with you, and/or something that calms you down when you’re upset, etc.)
‘Wash me Clean’ – k.d. lang. It calms me down every time.


7. Which song (any song written in the last century) do you wish you’d written yourself?
‘Yesterday’ – Paul McCartney.

8. Who is your favourite writer? (This can be a songwriter or ANY kind of writer.)
George Michael.

9. If you hadn’t become a singer/musician/songwriter/etc., what job do you think you’d be doing right now?
Trying to be one of the above.

10. If God said you were allowed to bring only one album with you to Heaven, which would it be and why? (Sorry, but double albums do not count.
Jeff Buckley – ‘Grace’.


Live Review: The Script with Tristan Prettyman at DAR Constitution Hall, Washington, DC – 7th November 2011

By on Monday, 12th November 2012 at 2:00 pm

It had been over a year since I’d last seen Dublin’s the Script perform in Washington DC. This time, they had a new album, ‘#3’, to play, and after the show, I reflected that my thoughts about the album last month rang true in their song selection for the evening. Though I think it best if I start from the beginning…

Tristan Prettyman opened the show last Wednesday night. She’s a singer/songwriter with a major label deal here in the States (Virgin Records) and has put out three albums already, which means she’s doing pretty dang well here. My guess though is that she is probably unknown in the UK, except for these two facts: she previously dated Jason Mraz and was engaged to him for a time, and she used to be a model, so you may have seen her sporting Roxy’s surfer togs at some point.

Prettyman plays a passable, if not incredibly exciting style of folk / pop guitar rock; I found her stage patter more interesting than her actual music. She explained that her t-shirts read “Peace, Love and Tacos” because that’s the kind of girl she is (all down to earth); she also stated that the Script were better at writing songs that meant something versus herself, who preferred to harass ex-boyfriends in song. (Ha!) ‘I Was Gonna Marry You’ is a standout from her current album ‘Cedar + Gold’.

I find it pretty unbelievable that the first time I saw the Script was 2 years ago at the 9:30 Club, standing on the end of the barrier down the front, that close to the band. Now they’re playing Constitution Hall, and you’re never going to get a chance to be down the front; I can’t stand industry folk who have been given front row tickets, which my guess includes most of the people up front; not wanting to put labels on people, but I really doubt that middle-aged men are massive fans of the Script. Still, I was bowled over by their U.S. label giving me a sixth row ticket to enjoy the show after I finished shooting the show from the same unsheltered platform as last year.

With three albums under their belt, the Script have a lot of flexibility for their set list, but as I had guessed correctly, they chose the strongest songs from the new album ‘#3’ – ‘Hall of Fame’, ‘Six Degrees of Separation’ – to grace Wednesday night’s show. They began the night with the local (pub) ready ‘Good Ol’ Days’, which got singer Danny O’Donoghue out on the floor straight out of the gate, improvising with a man with a white hat and asking miscellaneous excited girls to sing along with him, while other fans looked on and squealed with delight. Another unique moment was when the girl in the row behind me rang a lover that jilted her (supposedly) and O’Donoghue sang to the person while holding her mobile on stage. Evidently, Washington holds a special place in the band’s hearts, as O’Donoghue recalled that at the previous gig, the audience sang along so loudly to ‘The Man Who Can’t Moved’, he joked that he considered packing up his gear and leaving. Not so fast, Danny. While this was the biggest sing-along of the night, there were more highlights to come.

‘Talk You Down’, which has been a mainstay of their live shows, sounded great, and I breathed a sigh of relief when O’Donoghue took his rightful place behind his keyboard. (I was so surprised when the show began and he walked the length of the stage, mike in hand, and didn’t play the amazing melody of ‘Hall of Fame’. (Thankfully, they have another keyboard player in the background, so the melody was still being played live, just not by Danny.) The tearjerker of the night was ‘If You Could See Me Now’ (video below); I honestly didn’t expect them to play this live, since it was my impression from the research I did for ‘#3’ that it was just too painful for them to perform. Really, I feel blessed that I was there to witness O’Donoghue and Mark Sheehan’s heartfelt messages to their departed parents. There is a series of lines that O’Donoghue sings about how his father inspired him to write songs that is heart-wrenching.


I don’t cry too often at gigs, but I cried a grand total of three times this night because I was just so emotionally overwhelmed by the performance. ‘You Won’t Feel a Thing’, the opener of second and my favourite album of theirs, ‘Science and Faith’, had a brilliant flashing light display that enhanced rather than detracted from the touching nature of this song; it’s basically talking about how you would give everything to protect the person you love, including absorbing all the pain they have felt. While the encore of ‘Breakeven’ and ‘For the First Time’ no doubt are the populist favourites among fans, this stands as one of my absolute favourites of theirs. I discovered the Script when I needed them 2 years ago, and I’m pleased that they’re still cranking out songs that sound massive and they have the opportunity to play venues like this.

After the cut: the Script’s set list. More high-res photos of this show can be viewed on my Flickr here.

Continue reading Live Review: The Script with Tristan Prettyman at DAR Constitution Hall, Washington, DC – 7th November 2011


Video of the Moment #1031: The Script

By on Thursday, 8th November 2012 at 6:00 pm

The Script is currently on tour in America, where they’re doing a benefit concert benefiting the Long Island Red Cross for those affected by Hurricane Sandy. (They shoe-horned this charity gig into their already pretty full schedule – what fine lads!)

Below is the new video for ‘Six Degrees of Separation’. No Kevin Bacon appearance, but because of the use of an expletive in the chorus, it’s deemed explicit content by the censors, so if you’re offended by that, you’ve been warned. There is an amazing key change in said chorus, so if you don’t watch it, you’re missing out – just sayin’.



The Script / March 2013 UK/Irish Tour

By on Monday, 8th October 2012 at 9:30 am

The Script, who have just released their third album ‘#3’ on Epic (review here), will be doing a UK and Irish arena tour in March 2013. Tickets are on sale now.

Friday 1st March 2013 – Dublin O2
Monday 4th March 2013 – Belfast Odyssey
Friday 8th March 2013 – Liverpool Echo Arena
Sunday 10th March 2013 – Newcastle Metro Radio Arena
Tuesday 12th March 2013 – Glasgow SECC (sold out)
Wednesday 13th March 2013 – Aberdeen AECC
Friday 15th March 2013 – Sheffield Motorpoint Arena
Saturday 16th March 2013 – Birmingham LG Arena
Sunday 17th March 2013 – Manchester Arena
Tuesday 19th March 2013 – Cardiff Motorpoint Arena
Wednesday 20th March 2013 – Brighton Centre (added 23/10/2012)
Saturday 23rd March 2013 – London O2


Album Review: The Script – #3

By on Wednesday, 3rd October 2012 at 12:00 pm

The Script’s lead singer and keyboardist Danny O’Donoghue has been in the public eye, in his very high-profile position as one of the guest judges on The Voice. After the last Voice season wrapped, O’Donoghue got together with guitarist Mark Sheehan and drummer Glen Power to write and record their third album, unimaginatively titled ‘#3”. Or maybe that’s not lack of imagination and instead an attempt to be more relatable?

Either way, they didn’t have to worry about sales; the album already hit #1 in Ireland and #2 in the UK, bolstered no doubt by their legion of fans. As a fan myself, I wanted to see what parts of this album could be appealing to people who might never pick up a Script album. So this review will seek to explore those parts…and the parts that conversely might turn someone off.

Having played for many years in my childhood, the clearness of the piano notes was the first thing I really loved about this album. Many people will have heard this already via ‘Hall of Fame’, the first single released from the album and also the band’s first #1 in the UK. It’s also the most high profile of the songs, with a collaboration with Black Eye Peas’ will.i.am. What’s kind of strange about his collaboration is it’s really unnecessary when it comes to the Script. When Keane decided to work with K’Naan for ‘Stop for a Minute’, it was unique because that was Keane’s first foray into r&b; O’Donoghue and Sheehan have been doing r&b long before the Script’s debut album. . (‘Broken Arrow’ on this very album shows Sheehan’s own great ability with delivering rap lines, and in a fashion that I’d venture would appeal to Example’s fans.) But we can just guess that ‘Hall of Fame’ happened during the downtime of The Voice. It’s just that will.i.am’s contributions, including half-hearted “yeahs” during the second chorus, are too phoned in to make the track really compelling.

The direct opposite would be ‘Six Degrees of Separation’, which is not a track waxing philosophical about Facebook and Google +, but instead a song about – no surprise here – a break-up. (In case you didn’t know, the Script are best known for their songs about relationships gone awry, such as ‘The Man That Can’t Be Moved’ and ‘Nothing’.) The crisp notes of piano are present again, and in the same vein of their biggest break-up hit ‘Breakeven’, it concludes that a broken heart is just that. Broken. I also noticed that the chorus bass line of the two songs are the same. Coincidence? Not sure, but ‘Six Degrees…’ is a good song, even if its too complex storyline won’t make it a classic like ‘Breakeven’.

Which brings me to ‘If You Could See Me Now’, a heartful open letter to O’Donoghue’s late father and Sheehan’s parents who passed away when he was 12. It is a heartstring-pulling and possibly sob-inducing number briefly touching on the two songwriters’ memories of their parents and how badly they wish they could be here now to witness their success. Sheehan has stated he doesn’t think they’ll ever play it live because he becomes too emotional thinking about it. “Take that rage / put it on a page / take the page to the stage / then blow the roof off the place“ are the most powerful words of the song and showcase the band’s strength in songwriting.

Unfortunately, this strength isn’t on show on the rest of the album. ‘Good Ol’ Days’, the opening number on the album, is a boozy singalong that is fun but unimpressive. ‘No Words’ is a passable but cheesy love song. ‘Give the Love Around’ is so filled with words, it’s ridiculous; it might have been passable as well if the melody went somewhere. O’Donoghue’s piano is commanding in ‘Glowing’, but the slight stalkerish bent is uncomfortable (“you’re trying to save me / from your past of your bad decisions / but my decision’s always gonna be / to follow you”) and the strange end of “we’ve got everything we own / in a cardboard box” leaves a bad taste in the mouth. And the album ends with the forgettable ‘Millionaires’. While there are some bright spots that will work wonderfully on radio, the listener is left wondering what might have been.


The Script’s third album, unimaginatively titled ‘#3’, is out now on Epic. Watch the video for ‘Hall of Fame’ featuring will.i.am below.



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’.


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?”


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.


About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours 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 no-one's watching.

TGTF is edited by Mary Chang, who is based in Washington, DC. She is joined by writers in England, America and Ireland. It began as a UK music blog by Phil Singer in 2005.

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