Rare Kerr Photos Are Like Buses

Yesterday four arrived and then today, another four! The first one is another from the photoshoot at the Olympic Stadium in Stockholm, and the next is one from the day before the gig, taken on June 8th, 1989. So I kind of now have a complete set of photos of the Street Fighting Years gig for Stockholm.

The next is by a photographer called Ronald Siemoneit. There’s no date on the back, but I would guess by Jim’s hair and what he’s wearing, esp. the belt he has on, that it was taken in 1983. The photographer was based in Berlin, so I would also assume it to have been taken at a German gig, most likely in Berlin. They played Berlin on March 24th, 1983 and Jim is wearing that same white t-shirt with the rolled-up sleeves and that big belt.

Lastly, another Michael Hohmann one from the same gig as the previous two of his that I got. Again, no date or venue but I would say they are from 1980. And most likely either of the support slots they had for Peter Gabriel in Berlin – one on September 4th at the Deutschelandhalle, the other on September 19th at Stadion. Looks more likely to be the former as it’s a smaller venue and indoors.

There’s a possibility it could be Kant Kino but Jim looks more like how he appeared in the latter part of 1980 in the photos. The photos (in the Michael Hohmann set) are definitely no later than 1980 anyway.

Beyond the immediate enjoyment of ogling Jim, I love the history that’s attached to them. I absolutely treasure these things. I love this aspect of collecting memorabilia.

I also did get a copy of Next Big Thing, which I will discuss in a separate and relevant post.

Priptona Talks – To Jaine Henderson: Part Two

Here is part two of my interview with Jaine Henderson.

Sometimes things were not without some bizarre set of dangers, like the time Jaine found herself a hair’s breadth away from being jailed for “possession of a concealed weapon”.

Lights would fuse. Wires would fray. Things needed repairing on the spot and the easiest way for Jaine to repair things was to carry a flick knife. It was easy to keep in her pocket and meant she wasn’t having to carry a bunch of screwdrivers and other tools that couldn’t be as easily carried around as a single flick knife. The flick knife could cover nearly all aspects of repair work.

At one gig, the manager of the venue was unsettled by this finding. “He was not happy that I was carrying a flick knife, despite me reassuring him it was purely for repair work purposes. Seemingly feeling unnerved, the manager asked me for the knife and I gave it to him. Later that evening, the manager walked past me and placed the knife in my jacket pocket. The next thing there are two police officers approaching me, preparing to arrest me for ‘possession of a concealed weapon’. I had to plead my innocence. Tell them that the knife was only for work. That I was a lighting technician and used it purely and only for lighting repair work. I was carrying my passport with me so I could show them who I was. Had I not had my passport with me, they’d have charged me on the spot and I would have spent the night in a police cell. As it was, I was instructed to go to the local police station the following morning. I was then formally charged and summoned to court.”

The case was quashed. Jaine had eyewitnesses to say that the manager had returned the knife to her moments before the police arrived. That there were no threats made to use the knife in any other way than for the lighting repair work. The police retracted their statements which suggested that Jaine had made a threat to use the knife on someone. The judge threw the case out and the charge was dropped.

The Real To Real Cacophony tour saw the band travel over the North Sea and tour mainland Europe for the first time. Starting out in Germany at Kant Kino. The first leg of the tour towards the end of 1979 travelled through Germany and into Belgium before the band take a plane across the Atlantic for what is now a visual landmark bit of history, when Simple Minds perform at the Hurrah’s Club in New York and are recorded for a feature on The Old Grey Whistle Test.

The tour continues in Europe with dates in Sweden and Denmark before the band return to the UK for dates across the country.


Jaine and David Henderson at Jaine’s lighting desk, circa 1979. Photo by Carole Moss.

Midway through the Real To Real Cacophony tour, David left being the sound engineer with Simple Minds and shortly after sets up the Hellfire Club with Jacqueline Bradley. It was an important venue for aspiring new local bands providing much needed rehearsal and recording space in Glasgow’s West End. It was many a fledgling band’s first exposure to recording and production in studio space.

Jaine left the lighting tech role with Simple Minds on the eve of the Empires And Dance tour that set off to continental Europe at the end of August, 1980. It was the band’s most extensive European tour to that date, scoring the coup of being the support for Peter Gabriel.

A natural creative flow in which an emotional connection for a band and its musical style caused a change an artistic direction for Jaine. A short lighting tech gig after her departure with Simple Minds was the turning point. “Bruce [Findlay] had got me a lighting job for a band that I didn’t really know. It was a short tour down the south of the country. I was travelling in a van with a band I didn’t really know with material I wasn’t familiar with and it felt really odd. That was when I decided that I didn’t really want to continue with the lighting tech jobs. I certainly felt uncomfortable at the prospect of working freelance.”

Jaine then started helping David and Jacquie out at the Hellfire Club. One of the bands to rehearse and record demos at the venue was The Dreamboys, a post-punk band consisting of members that included Twelfth Doctor, Peter Capaldi, and “TV’s” Craig Ferguson – mercurial comedian and host of late night U.S. talk show The Late Late Show before James Corden took over the role in 2015. Jaine became The Dreamboys manager but the band were short lived, splitting up as Capaldi got more acting work. The final death knell for the band being Capaldi landing a role in the film Local Hero.


Pictured L-R: Laura Mazzolini (Sophisticated Boom Boom), Jim McKinven (Altered Images) Jacqueline Bradley, Scott McArthur (Graffiti record store and JATSA band manager), Peter Capaldi, David Henderson, Temple Clark, Craig Ferguson (Capaldi, Clark and Ferguson all members of The Dreamboys). Photo by Roddy Murray.

Jaine then worked for a time at the Citizens Theatre in Glasgow in the promotions department. Hearing this had me asking her the question I had posed to Jim several times but never got a response for. Semi Monde, the Noel Coward play, made its theatrical debut at the Citizens in 1977. I had to ask whether she knew if Jim had seen it and if it was the inspiration for the line in Sons And Fascination (this has always intrigued me). She couldn’t say whether Jim had seen the play, but she had been lucky enough to see it herself. “I saw quite a few shows there. My parents would take me to see shows there when I was younger, so when the opportunity arose to work there, I was really excited at the prospect. I really enjoyed my time there. It was hard work, but it was great.”

Working at the Citizens lead on to working for Raindog, the theatre company started by actors Robert Carlyle and Alexander Morton. The name of the company struck initial interest for Jaine. “I am a huge Tom Waits fan, so I asked Bobby (Carlyle) about the name, wondering if he was also a Tom Waits fan.”

Early on during our conversation, Jaine interviewed me as much as I interviewed her. It was a great ice-breaker. These things can be nerve-wracking for both parties. Me, under the pressure of keeping an air of professionalism, but hoping for a smooth and relaxed flow of conversation; Jaine, perhaps apprehensive about sharing certain things and feeling trepidation over questions I may ask, being understandably guarded, living a life in relative obscurity.

We talked about our school experiences. Me relaying my leaving school at a very young age due to bullying. Younger than Jaine herself was at sixteen. By that time she was wary of academia. Her mother, a teacher, was Jaine’s own teacher during her final two years of school. Something one can only imagine is wrought with its own unique set of problems. We shared a common leveller, so to speak, with a common kind of circumstance, but with a different view of pursuit.

I left school early because of the bullying, but felt cheated that I was taken away from the education I craved. I wanted to continue study and I had academic pursuits in mind. My mind, I felt back then, was not the mind of a creative or artistic person. I loved science, mathematics and history. That’s where I wanted my future to be. Jaine didn’t feel the need to pursue higher education. She was good at English and could have followed artistic pursuits at a higher education level, but preferred to leave school and get on with getting out there and living it.

And she made a life for herself getting out there and doing it. One that saw her involved in the arts in one form or another throughout her life.

Asking Jaine of her memories of the tours I asked if she had any favourite gigs from her time as lighting tech. “Les Bains Douche in Paris. I love Paris, and this particular venue was really trendy and arty. It had sunken baths in it or something like that.” (In fact it seems to have been a multi-functioning venue – concert hall, discotheque, restaurant and bar with an in-ground swimming pool as its main focal point). “It was an amazing place to play in. Also Kant Kino in Berlin was very cool.”

My final question to Jaine was “what are your favourite Simple Minds songs of the period?”
“Someone Somewhere In Summertime is one. I really like that. Of the earlier stuff? There’s one called [In Your] Room that’s really good. These two are my particular favourites.”

My thanks to Jaine for affording me the time for the interview. Her time was greatly appreciated.

The final words I shall leave to Jim. What follows is an extract of a post from Simple Minds Official Facebook page in which Jim talks of Jaine on what had been a recent visit to Sicily, highlighting the intrinsic role Jaine (along with others) played for the early Simple Minds.

“They say that ‘No man is an island.’ I would add to that ‘No band is an island’. And what I mean is that for Simple Minds to happen, it took more than just a bunch of musicians (no matter how talented) getting in a room together. That in my view is often the end product.

The real beginning for any artist is the scene that you grow out of. The people you hung out with. Those who influenced, unknowingly of course, turning you on to all manner of new stuff. Could be music, films, theatre, fashion, books. You name it? In doing so they all help create the landscape that gives birth to your own imagination. And at the end of the day creativity is largely all about imagination, and how much of it that you really have?

All I can tell you now is that Simple Minds owe a ton of our success to all the other Glasgow kids that we hung out with back in the day. They all helped set our imagination on fire. That fire still burns and their influence is very much still a part of us.”

Priptona Talks – To Jaine Henderson: Part One

I had the privilege to conduct my first ever professional interview for this blog with Simple Minds’ (and indeed Johnny And The Self Abusers) original lighting technician, Jaine Henderson. Upon gathering my notes to compile the transcript from the interview, what became clear to me was, despite my wanting to talk to Jaine about her work with SM and being involved in the early embryonic days of the band (and those discussions happened), was the fascinating life Jaine has had beyond her brief time as SM’s lighting tech. The interview became less about Simple Minds and her involvement in the early days, and just as much about Jaine herself and her life before and after her involvement with SM.

Brother David got himself a full-time job at the local record store, Graffiti, on Queen Street. Jaine would go in and hang around and help out on a Saturday. Members of the band (as of then, Johnny And The Self Abusers) would come in and be wanting to listen to things and would get chatting to David and from there David started to work as the sound tech and general “ideas man” for the band. He’d travel down to London with Jim Kerr and Graffiti store manager (and indeed JATSA band manager), Scott McArthur, knocking on record company doors, offering up demo tapes.

Jaine went along to some of the gigs and would help out here and there. One time the guy who was meant to do the lighting was a no show, so Jaine stepped in. That was the start for Jaine as lighting tech.

The first official Simple Minds gig was at Satellite City on January 17th, 1978. It was nerve-wracking for all involved. Jim, in a Facebook post on Simple Minds Official in January, 2017 (just a couple of days before the gig’s 39th anniversary) expressed how nervous he was, and what a “big deal” the gig was for the band. Jaine and David had done some rehearsing leading up to the gig. The odd little slot here and there, helping out where they could.

Whilst starting out being the lighting tech, Jaine also helped with the band’s promotional material, creating tour posters for early local gigs. Offered a six month placement at a graphic design company, Jaine enjoyed learning to work in mixed media. One of the early iconic Simple Minds gig posters was her concept, incorporating a photo by Peter McArthur. “I saw the photo and thought it looked really good. There was a screen printer at work but you could only work with one colour at a time. Jim liked the whole ‘Village Of The Damned’ thing, so I had the idea of making his eyes red.” The posters would have a blank space of white at the bottom so information on each new gig could be added.

Such a successful concept it turned out to be that it lead to some official merchandise being made. You’ll see in the video below a badge that worked lenticular, so Jim’s eyes would flash on and off, depending on how the light caught the badge. Retro style badges of both Jim and Charlie with the “red eye effect” can be bought from the official band store to this day.

The lighting kit comprised four lights on a repurposed bread board that David had put together. Lights of various strength of wattage were used, including a 1000 watt floodlight that if used in unison with the other lights could lead to the lights overheating and short-circuiting. Other lights were added over time having been “rehoused” as part of the Simple Minds lighting kit.

The lighting rig got more complex as time moved on and as the band developed and endeavoured to put on more elaborate shows. Equipment got heavier too, and Jaine would struggle sometimes to set it all up herself. It was tough work, lots of heavy lifting and physically labour intensive. More than a solitary person working alone should have to deal with. But Jaine was reluctant to ask for help. “If I asked for help it would be seen as weakness, because I’m a girl, that I couldn’t take it. But it was because things got more complex. It was a job that required more than one person, especially for the physical setting up of the lighting rig.”

Jaine explained there was an element of freedom, and in some respects more control over a simpler lighting set up than what is around today. Most lighting rigs now are controlled totally with automated switches. Fairly much all pre-programmed with the light show being almost “curated” before tours begin to a setlist by the music act sticking to a fairly uniform presentation each night of a tour.

Back in the day when Simple Minds were starting out, new songs were penned on an almost weekly basis. Set lists could change quite regularly. For Jaine that meant that no two nights were ever really the same. “With the lighting set up I had early on I had greater ability, I think, to change with the mood and atmosphere of each gig. I had more control to change the sequence of the lights, and the shadows and darkness between the lights played as much of a factor in how the music came across to a crowd as much as the lighting did itself.”

In Simple Minds’ tour with Magazine, there was one particular occasion when things seemed to go awry, at a gig in London at the Theatre Royal, Drury Lane. Simple Minds were support for Magazine on the tour, and as a support act, they were receiving a good reception from the crowds every night. By some accounts, this seemed to be hacking off Magazine’s manager (contentious as to whether it was the band’s overall manager or their tour manager). At this particular gig, halfway through the Simple Minds set, the power was cut. Off for several minutes without any sense that things were trying to be sorted out, the band embarrassingly trundled off stage. Most in the SM camp smelled a rat. Jim seemed to be of the belief it was the band’s tour manager that cut the power, but the real culprit will never truly be known.

As far as Jaine remembers things on the Magazine tour (and for what was the Life In A Day tour for Simple Minds, the album having just been released as they set off on tour), it was a small blip on an otherwise successful tour. A tour that she remembers enjoying by and large.

Jaine shared with me the story of the pink lamé jacket. She and Jim had seen this wonderful looking, sparkly pink jacket in a shop window and thought it looked great. Neither of them could afford to buy it outright, so they decided to go halves in it. It was an expensive jacket. Some £60! Considering the average weekly wage at that time was around £30, it was quite a sum! “We were going to take turns wearing it, but I ended up wearing it more often than Jim.” Then on the night of the gig at the Apollo in Manchester (a hometown gig for the headline act, of course), the Magazine road crew having seen Jaine wearing the pink lamé jacket had an idea. “Each night on the tour, John McGeoch would have his saxophone brought out on stage and handed to him by a member of the road crew”, Jaine explains, “but this night in Manchester, the crew thought it would be a great idea that I go on instead wearing the jacket, as if in a magician’s assistant guise with a ‘Ta daaaah! Big reveal’ moment that would surprise John. So on I go in the jacket with John’s saxophone and hand it to him. John wasn’t expecting me, so he was quite shocked. The crew and the other band members are giggling away enjoying John’s reaction, and I am mortified being on stage, standing in front 2,500 people, handing John his sax!”

Part two of the interview can be read HERE

Aix-Les-Bains – A Travellers View – Day One – One For “The Bucket List”.

That would imply that it had been “on” a bucket list. But not really. Never had even heard of the place until it was announced that Simple Minds was going to be on the bill at the Musilac Festival being held there. Also on the bill, though…Depeche Mode and The Stranglers. That was one SERIOUS triple bill!

I looked into the logistics tentatively. There is an airport nearby in Chambery, but that is really only open during the ski season. So, then it was looking at the major airports nearest by and working out from there what would, logistically, be easiest and cheapest to go with. There were two choices of airport: Lyon or Geneva.

Flghts seemed cheap enough. And I could use Booking.com to book a place to stay, and not worry about outlaying money until the time of the festival. But, did I *really* want to travel that far for one day at a festival? It was a long way to see SM. But at that point in time, I’d have happily taken a one way trip to Mars to see them.

But it was probably something I really couldn’t afford, so I initially decided against it.

But it played on my mind. It would be the trip of a lifetime! And…to see such amazing acts. And the scenery would be wonderful too.

I went for it. At that point, I had knocked going to Paris with Gillian on the head because…as anazing as her offer was…how could I have someone pay my way for Paris?

The only things I had to make sure I secured for Aix was A) The ticket for the festival. B) Deciding which airport to go and buy the return fare before it got too expensive. C) Use Booking.com to secure a place to stay, whilst deferring payment until the time of the stay.

Once those things were taken care of, I could take my time to prepare the rest in the ensuing months.

When the day came for travel…it was with a heavy heart that I had reluctantly decided I must go. On the days leading up to it, I had a falling out with Jim. I won’t play the innocent party here. I am NOT that kind of person. I will not shift blame. I know I said hurtful things, but I was hurting. A lame excuse…but it is the truth. My emotions were running high, and I suffered the consequences for sealing my fate.

So, from this point on, I pray for one of two things to happen. Jim forgives me and I am allowed to return to Simple Minds Official…or I find a way to enjoy it now for what is left of it.

My interactivity with Jim was a HUGE part of what made being a Simple Minds fan so wonderful. To be able to talk to him, tell him about the things I love about the music. Sharing what the songs meant. The excitement of “gig day”. Expressing the joy of travelling, meeting up with friends and know that I was going to have the most amazing time. To express that to the man who is at the head of it all was priceless.

Should I even go at all? I had committed so much, financially. The flights were paid for. The coaches from Geneva Airport to Chambery to Aix (and back again) were paid for. The hotel was now paid for (the day before the falling out!). The festival ticket was obviously paid for. So, had I decided NOT to go, I’d have squandered at least £300. Money I really could NOT afford to squander.

Do not misconstrue my words. I do not expect recompemce for what I had spent out following Simple Minds and going to gigs. I did it happily and willingly.. I’m just highlighting what an outlay it can be. But the biggest investment is still the emotional one.

Day One: Travelling to Aix.

The flight Geneva was departing mid afternoon, so I had the chance to try and rest well the night before. I was ssooo apprehensive about things. Normally I’d be bubbling with excitement.  I might be a little concerned about things…but always at the end was that Glittering Prize of seeing that amazing band, and most beautiful man. I would never be scared, really. I would always be happy, knowing I was going to see them and him again.

The flight to Geneva was slightly delayed, but we still landed on time. I was through the airport in no time at all. Swiss efficiency, see?! I got through border security in minutes. Hell, did I need that time on my side! Could I find where the coach to Chambery was leaving from? Could I heck! I was out of the airport at 4.45pm. The coach was leaving at 6pm. By 5.15pm, I had still not found the coach stop. I called Ouibus to try and get directions. The woman I spoke to was of no help AT ALL. Finally I had spotted an airport attendant organising the taxi rank. I asked for his help, and he knew exactly where I needed to be. He pointed me in the right direction (there was an underpass below the airport, and that’s where the coaches left from. I could not see this underpass area from outside the airport building, as it was directly underneath it.


5.30pm and this coach pulls in. I’ve never been so happy to see a coach! At 6pm we’re on our way to Chambery. We need to be there by 7.30pm for my connecting coach to Aix. I hope I timed it to perfection. I sit back and marvel at the scenery outside.

I hadn’t listened to any Simple Minds for a week. I certainly couldn’t bring myself to listen to Walk Between Worlds. But every time I travelled anywhere, Sons And Fascination/Sister Feelings Call was my soundtrack. So obligatory in fact, I found myself digging for the iPod Touch, opening up Spotify and starting up Boys From Brazil. I could feel just about detached enough to listen to a young Jim. Because…that was him then. What had happened between us was today’s Jim…WBW Jim. I’m sure this makes sense to nobody but me.

And, as I said, Sons and Sister had always been the “travelogue” album(s) for me…Empires And Dance also.

I listened to Boys From Brazil, Love Song, This Earth That You Walk Upon – which took me back to February and Barras and that amazing night and how wonderful it was, Sons And Fascination, Seeing Out The Angel and the remix of Sweat In Bullet.

Now I was starting to watch the time and panic. We had only just arrived in Chambery and it was 7.20pm, we had to be dropped off at the city post office to get the connecting coach. We were still minutes away and there was traffic about.

I alighted the bus at 7.35pm and all I could do was pray that, like this coach, the coach to Aix had hit traffic and been delayed. A few miniutes ticked by and I was starting to convince myself I had missed it and my anxiety levels started to go through the roof. I had to be at the hotel in Aix by 8.30pm to avoid paying a late arrival subsidy. If I was not at the hotel by 11pm, I would be refused entry! If I missed the coach, it was another hour for the next…and I would most likely have to buy a new seat at lord knows what expense.

Even more so than earlier…I have NEVER been so happy to see a coach in all my life! The coach to Aix pulled in to the bay just three minutes after the Chambery coach left. Now I could FINALLY relax some. The journey from Chambery to Aix was a short one. Only around 20-25 minutes. I knew I’d make it to the hotel as it was just a short walk from the coach stop.

Once off the coach, it was time to take a few quick snaps of the view in front of me.

As I rounded the corner to make my way up to the hotel, that beautiful golden hued mountain shone in front of me. What a breathtaking sight! A little further down the road, I saw the poster for the festival. As it transpired, they were plastered all over town…just in case you forget there was going to be a music festival on this weekend.

I got…a little sidetracked getting to the hotel. As I approached a park near the hotel, I could hear live music. I went and took a quick look.

After finding the hotel, I shared the hotel view and how the room looked. Said hello to everyone on FB.

And one final little clip of me making my way into the town to find something to eat…and talking of “crowded swallow skies”, even though the birds are swifts…

I did find a nice place in the end. Affordable and tasty. Very filling, and the waitress spoke some English, so it was all good!

The place was called L’Aixpress Pizza on the Rue des Bains. Cheap and cheerful. Even watched the football in there.

And that was day one done and dusted. I felt happy to have made it there safely and with nothing going wrong. And I was feeling quietly hopeful for the next day.

The Set List Song Juggle

I had been made a bit world weary of Jim’s talk over the past few years of the “ever-changing” set list. Swapping one song over for another after a week or two in an otherwise unchanging and fixed list barely warrants that kind of bold statement.

The two most recent examples I can give are…the Acoustic tour…the cover song towards the end of the set changing from For What It’s Worth to The Cross to Dirty Old Town, etc. Other than that minor change…the set pretty much stayed as is. The nine gigs I went to pretty much stayed constant.

Again, in February, it was fairly much a constant. Yes, it needed to be for the Walk Between Worlds element of the set, naturally…but of the four out of the seven gigs I experienced, only one song alternated…Mandela Day in Paris for Dirty Old Town.

But now they are back on the road doing these summer festivals and HECK! they really ARE mixing things up now! And it’s great to see.

Of course, if you’ve got a set that works, you’d be reluctant to change it…but you’d get bored with it. The audience would get bored of it too! If aspects of the set work…don’t change them! I was absolutely blown away by the opening pairing of The Signal And The Noise followed by Waterfront. It was AMAZING to see on TV as part of the BBC’s Biggest Weekend festival and then at Wentworth the following day. To see just how much the band bloody nailed it, and how mental the crowds went for it was fabulous, esp when experienced first hand.

So when it came to Podgorica, Montenegro the following week, as glad as I was to see the mix up of songs…I was miffed to see a change in song order. Waterfront didn’t follow on after The Signal And The Noise, Big Music did. Say whaaa? Now, you can have Big Music in the set list if you like…I ain’t gonna dictate what songs you guys choose…but to perform it after TSATN when Waterfront coupled it so well…and kept the crowd pumped? No way!

Thankfully by the Harley Davidson Eurofest in Grimaud, it was changed back to those twin openers. Yaaas!

From the PGA list to Podgorica – The American, Promised You A Miracle and Stand By Love were dropped and Sense Of Discovery, Mandela Day and Barrowland Star came into replace them, with the song order being swapped about also.

*** There was no Someone Somewhere In Summertime performance at Wentworth ***

On Thursday, June 7th, was the Caribana Festival in Switzerland and the shortest set (apart from the obvious very short at the Biggest Weekend in Perth – only 8 songs there…but there was a BIG lineup of acts) to date – just 14 songs! No All The Things She Said. No Sense Of Discovery, either, or Mandela Day, but Big Music still the second song.

And on to Grimaud and the HD Eurofest…and YAAAAS! Waterfront was back as the second song performed. Sense of Discovery, Mandela Day and All The Things She Said are back, but Barrowland Star gets bumped again for Stand By Love.

And then for Barcelona on Monday, the biggest shake up, yet! Grimaud had only a 16 song set (as did Wentworth, actually), and Caribana shorter again at just 14! But Barcelona get a whopping 18 song set! Lucky sods! The American is back! Bye bye Hypnotised! Bye bye Stand By Love. Hello See The Lights and Let There Be Love.

This time Jim really *is* being true to his word. The set lists are really being juggled about. Altered in style, song choice, song order…everything. But…it HAS to be happening NOW! This summer! During European festival dates, and during a time in which I am seeing fewer Simple Minds gigs. DAMN YOU, KERR! Fabulous that you are doing it, of course…but I wish I was reaping the benefits of it some more. But that’s my spoilt little gripe about it. But it really is lovely to witness such a proper shaking up of things. Keep us guessing, boy! Keep us on our toes, god love ya! May you long continue to be a man of your word. I love you best when you are! You promised us (me) an ever-changing set list, and at last it seems you are FINALLY delivering on that. I could kiss ya, boy!

Thanks to Catherine Anne Davies and Lor Na for the set list pics.

Night Of The Proms – Pre Christmas Gigs!

I WANT TO CRY! Jim & Charlie are doing NOTP gigs in Luxembourg and ALL OVER GERMANY prior to Christmas. If I tried to organize going to one…my whole 2017 gig budget would be well and truly blown (and then some)!! 

Oh, well…


Here are the dates. Click the picture for further details…