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Justin Currie

A founding member of Del Amitri (along with Iain Harvie), Justin has been a constant fixture since the band’s founding in Glasgow, in 1981. (It is said that a teenage Justin, wanting to form a band, put a card up in a music store looking for people who could play; an unspectacular beginning!) Considered the chief songwriter, Justin is often the object of most interviews and has a tendency to lead a non-informed interviewer astray with sarcastic comments and straight-faced lies. Fans often gossip about his ever-evolving hairstyles and his eclectic choice of apparel.

Birthday: December 11, 1964

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Justin Currie

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Live reviews

As a long-time fan of Mr Currie (in fact, I first saw him when his legendary side-burns were rather understated!) I have seen him in many venues and under several guises. With the exception of the long-awaited reunion of Del Amitri back in January, most recent concerts have been solo Justin - though, as with the gig at Oran Mor, these solo shows invariably introduce the talents of a second musician part way through to complement the many talents of Mr Currie. His four solo albums (excluding the Uncle Devil Show offering) continue the quality of the Dels back catalogue with some of the most thought-provoking, insightful lyrics, all delivered with Justin's imperious vocals and underpinned by his beautiful melodies either on acoustic guitar or, more recently, sometimes on keyboards (who knew?!). Oran Mor was a perfect venue for fans of the Glaswegian troubadour - being the right size to be both intimate and atmospheric. The set was broadly in two halves with Justin playing a mix of lessor known tracks, including a few instantly loveable new ones, interspersed with a smattering of hits to keep the chattering of shits (at the bar) entertained...why do people elect to go to gigs simply for a good chat? after about 45 minutes of this engaing blend of the familiar, the vague and the unknown, Justin announced "I'm playing one more new song, then it's hit after hit"...and it was! We had Nothing Ever Happens, Move Away Jimmy Blue, Always The Last To Know, No Surrender, When You Were Young, Everyone I Love, food For Songs and my favourite song of all time by anyone ever Driving With The Brakes On. All told...a truly memorable and enjoyable concert...you always know the best ones - you don't drink 'cos you don't want to miss anything on a loo break!

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Well I’m an avid fan and follower so it is always great to hear Justin sing. Old and new songs in equal measure - great to hear the old Del songs live again, and lovely to see the new material performed on a stage. Went with my son who is a Music BA uni student and he described the lead guitar as ‘dry’ (possibly due to the lack of pedals) but I was particularly taken with the drummer - he worked his socks off!

Have to say I think Justin’s voice is improving with age - he just sounded comfortable in his own skin and calmer than I’ve ever seen him. And he remembered all the lyrics!

Fantastic night. Until next time...!

Justin, again was in fine voice. He performed a mixture of his solo work and songs from Del Amitri and the audience loved it. His music is always fantastic and he had the crowd in the palm of his hand. Coming home to Glasgow he is welcomed by his loyal fans who turn out time and again for him. They do that because his song writing never lets hm down and the crowd sang each and every word with him. I think he was a bit taken aback with the crowd who had a brilliant night. Wish it could have gone on longer!!

Justin Currie was a class act, very underated musician/song writer can't believe he is playing such small venues but it is much better for his true fans, he was just awesome, would love him to play at the Solway Hall in Whitehaven Cumbria x please consider it.played my favourite.... No Surrender

Justin was absolutely on form taking us through the years with some del Amitri classics up to new material from This Is My Kingdom Now. Well worth the trip from Glasgow and look forward to seeing him in October again on home turf!!

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Music + Concerts | Del Amitri’s Justin Currie talks about…

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Music + concerts, music + concerts | del amitri’s justin currie talks about touring america as band comes to la’s roxy, 'we love making money but having a new record makes it feel like we’re touring for the right reasons,' says currie..

And yet… they’d developed a strong and loyal following here and had four Top 10 albums in the U.K., along with a dozen Top 40 singles.

And yet… that wasn’t enough, changes in the music business led their record label to reject dozens of demos which kept them out of the studio for four years until the band “didn’t know where we were going,” according to singer and main songwriter Justin Currie. Where they were going was into the ether: the band ceased simply vanished soon after their fifth record in 2002.

And yet… changes in the music business led to a 2014 reunion tour in the U.K. and another in 2018, and then last year came “Fatal Mistakes,” Del Amitri’s first album in nearly 20 years.

Now the band is even touring America again, including a show at The Roxy Theatre in West Hollywood on March 29th. Currie, 57, spoke recently by video about the strange arc of the band’s career and how he measures success. The conversation has been edited for length and clarity.

Q. You stopped playing in 2002 then got back together in 2014 and toured again in 2018. What changed?

Back then everything had turned to crap – audiences weren’t turning up, the record company turned into a corporate behemoth and we were under a lot of pressure. It was horrible.

Then the music industry turned on its head with streaming – all the money went into the live shows, with ticket prices going up exponentially. In 2014, we were offered a ton of money for a reunion tour. So we thought, “That’s quite a good job turning up and playing old songs and getting paid thousands and thousands of pounds.”

And with no record company and no pressure, we were just playing a bunch of old songs to our loyal fans. We ended up really enjoying it, which we didn’t expect to.

Q. Last year, you released the first Del Amitri album since 2002. Why now?

We toured twice and you’d start to feel like a bit of a heel if there’s no artistic merit in what we’re doing then that’s not what we got into this for. We love making money but having a new record makes it feel like we’re touring for the right reasons, bringing new shades and colors into the picture.

We might be kidding ourselves but it feels more justifiable. And this time we reduced ticket prices, we figured let’s do more gigs for less money, that’s a better experience for us and the audience.

Q. How are your Del Amitri songs different than your solo songs?

My solo songs weren’t vivacious enough for Del Amitri, they were too introspective. The Del Amitri music is more optimistic and decorative. The solo stuff can be quite bleak and without a second voice you strip out color and tension in the music. It’s the great thing about bands, you have these other musicians doing their own thing and you can’t stop them or mold them into something else.

Q. Is it fun knowing your bandmates might change your songs?

It is, and it’s also very practical. If you’re writing a song for a solo album and it’s a bit boring for a solo album you’d immediately throw it away, but with a band, you might think, Andy [Alston, the keyboard player] could do something quite interesting there or Kris {Dollimore, guitarist] could come up with a riff to make it more interesting. Sometimes those become the most fun or successful things on a record, because they’re rudimentary they leave room for the band to add things.

In the ’70s, the music press got obsessed with songwriting craftsmanship but that’s all a bit Cole Porter for me. It’s not just about songwriting, it’s about record-making with the musicians’ parts.

Q. But your lyrics are thoughtful and your songs are well crafted.

I think that’s the reason we’re not more successful (laughs). If the songs were simpler and more fun, the whole oeuvre would be more enjoyable to people. But I’m proud of the fact that what we’ve done is interesting. I wouldn’t want to be Foreigner. That was never our mission.

Q. Your lyrics are often dark or sardonic. Are you that way? 

An awful lot of what you’re doing as a songwriter is inhabiting a character and their worldview. With girls I was in relationships with back then, I’d say, “Don’t listen to that song and think it’s me and I’m so sad and sensitive.” I’m not that sensitive and I’m quite happy-go-lucky and weirdly optimistic despite knowing the world is screwed and is a cruel place.

Still, as a writer, you do put your attitudes and suspicions about the world in your songs, though they may not be things you’d talk about at the pub with your friends. That way you can just write the song instead of obsessing over something.

Part of being a singer and writing lyrics is that you’re trying to get attention. But even though it sounds pretentious try making the world a better place, with a bit of originality, or at least not fill the world with bland wallpaper paste. It’s arguable whether we’re achieving that.

Q. Is Glasgow still central to your songwriting soul?

I wrote almost everything from our early albums in Glasgow and a lot are situated in Glasgow. But I don’t write songs here anymore because I live with somebody and I need an empty house. I’ve been writing on an island off the northwest coast of Scotland where there’s nothing to do except look at sheep and the sea. If you’re by the sea you do end up using natural imagery a lot that you might not if you were in the city.

Q. But there’s no sheep imagery.

No, the sheep have not made it into any of the songs yet.

Q. Is it different touring in America than the U.K., where you’ve always been more popular?

Back when “Waking Hours” went platinum in the U.K., we were on TV a lot – we weren’t pop stars because we were too old and ugly to be in the tabloids, but we got known and we’d tour theaters. But in the States we played in clubs to 350 people and we loved it. It was quite nice having both, constantly changing the nature of the performance and the setlist. Just doing clubs all the time would get really tiring but doing bigger shows all the time would feel impersonal and alienating.

Q. Squeeze and Crowded House, who I see as your musical and lyrical kin, also fared far better in the U.K. Why?

What the bands have in common is that we’re ambitious in terms of the songs and the work we want to do more than we’re ruthlessly ambitious commercially. I think you need to be viciously focused on that to get to the top of the pile commercially in the States.

We did a huge amount of work there in the ‘90s, but we didn’t take it that seriously. Doing things like morning radio shows was so commercial and so vulgar – we shook all the hands, but our tongues were firmly in our cheeks. It’s not for us. If you want to go big-time in America, you’d need to have a steely cold determination. We were on the radio in America and that felt great. We were just happy with less and we didn’t push that hard.

Q. Looking back, do you see a satisfying career with millions of albums sold and a loyal following who can sing all the lyrics at the concerts, or do you wonder about those missed opportunities for more?

I can see both sides. We never wanted to look hungry for more so we were self-deprecating and quick to assure journalists we were perfectly happy when we got asked that weird question, ‘Shouldn’t you be bigger than you are?’

We’d been on the road for years when we had our first hit, so we were pretty cynical, but we also gratefully accepted what we got and didn’t moan about the stupid things we had to do, because it was just so much better than being failures. It’s rough being a failure.

Now, we’re not millionaires, but we don’t care. We’re paying the bills, royalties bought me a house. I can’t complain. Still, everyone has an ego and we believed strongly in what we did. So, I’d have been interested to have gone to another level to see what it was like, even though we might have hated it.

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INTERVIEW: JUSTIN CURRIE, del Amitri – Feb 2023

INTERVIEW: JUSTIN CURRIE, del Amitri – Feb 2023 By Shane Pinnegar

del Amitri [the little ‘d’ is how they prefer it] return to Australia this month for the first time since 1990, when they toured on the back of their breakthrough second album Waking Hours. That album climbed to #8 in the Australian charts, with singles Kiss This Thing Goodbye, Stone Cold Sober and Nothing Ever Happens all hitting the Top 50.

The band released another four albums before taking a hiatus in 2002, selling around six million records all up. Chief songwriter, singer and bassist Justin Currie steered the ship along with guitarist Iain Harvie as other musicians came and went, most notably Andy Alston on keyboards since 1989. Currie’s established a successful solo career since, releasing four albums under his own name, and reunited with Harvie and Alston, as well as former del Amitri guitarist Kris Dollimore and drummer Ashley Soan, in 2013.

It took until 2021 to release another studio record, titled Fatal Mistakes – but don’t be fooled into thinking the title betrays a regretful view of their almost-but-not-quite-huge career. Currie humbly tells SHANE PINNEGAR that he feels very privileged to have the career he’s had and keep doing what he loves rather than having to resort to getting a “real job”.

“Yes, it’s a privilege and an unexpected luxury.

“I mean, really, we’ve just kind of kept the wages being paid by still having songs played on the radio. And that’s just like, you know, that’s not our doing, really – if anything, that’s because the people who worked for A&M [Record label] were so diligent and good at their jobs in the 1990’s.

“So, I’m eternally thankful that I don’t have to work in a restaurant! I mean, I liked working in restaurants when I was young, but I couldn’t do it now.

“Also, what happened in the great internet wars, the Napster Wars, is that all the money and music went out of recorded music and then went into the live arena. So, we were kind of quite fortunate in that we sort of missed out that whole period where music was ostensibly free, and ticket prices were incredibly cheap because they were all subsidised by the Recording Industry.

“By the time we went back on the road, ticket prices were five, six times what they were in the 90’s and we could make a living playing. So yeah – total luck. And I’m forever grateful to the fates that that’s the case.”

Chatting to Currie from his home in Glasgow, it’s easy to see that he’s relaxed and looking forward to heading Down Under for a respite from Scotland’s cold winter, even admitting that he’s “looking forward to packing my shorts.”

One thing he says he won’t be doing is a repeat performance of reliving that 1990 tour – a tour he’s stated in interviews was “one of the highlights of our career.”

“That’s the last time we toured – we did a very brief promo tour in 1992, we were just there for a week. I don’t think… we might have been in Perth, but I only really remember being on the east coast.

“We certainly will not be able to relive any of that,” he chuckles, “because we were in our mid-20s, and we had the energy to do shitloads of promo during the day, do the gigs at night and then go out ‘til four in the morning. And I don’t know how we did it! Well, I do know how we did it – we were young!

“And that tour was just incredibly special. Because we’d had a really busy year, it started when we had a big hit in the UK, and then we kind of got stuck in America. We got stuck on a tour of these sheds and arenas in America supporting an act called Melissa Etheridge, which was a real grind, playing to half empty auditoriums.

“And so, we came right off the back of that, and Australia was just a complete breath of fresh air compared to what we’d been doing for most of that summer. Everybody just seemed so unpretentious. And, you know, I love America, I love touring America: but when you’re only meeting radio guys and promo people, it can start to go a bit Spinal Tap – and Australia, all the Australians we met in 1990, were the complete opposite of that. They were just, like, normal people. So yeah, we’ve extremely fond memories, and we just had a great time, you know?”

After Australia, the band are off to America for two months in June and July. Rather than feeling exhausted by the long stints in hotels and tour buses, Currie says they’re looking forward to the time on the road.

“I think we find it a lot more enjoyable [than in the ‘90s] because we don’t have promo to do during the day. In America in the mid-90s. because we had a big pop hit there that was on the radio – well, it’s still on the bloody radio! – we were doing tons of extracurricular stuff. So, sometimes we’d do morning [radio] shows, we’d do five or six acoustic performances a day before the soundcheck, we’d do things after the soundcheck, we’d have meet and greets with the all the radio people after the shows… and that became incredibly exhausting. And it’s also very hard to do with a beer in your hand!

“So, it just became really knackering. When we came back in 2014, and were touring without a record company, and without any new music, it was just a joy because it was just about the gigs. And also on the last American tour, because we didn’t have promo to do – well, at one point we did the Jimmy Kimmel show and that was it. So, you roll off the bus at half 10 In the morning, go and get breakfast and then just get to explore whatever city you’re in for five or six hours. You can go to an art gallery, go to the cinema, you could go to the park, you know. So that’s really good, because we didn’t really see a lot of these places in the 90’s ‘cos we were just in radio stations constantly.”

Having mentioned Spinal Tap, I wonder if there were any ‘Artie Fufkin’-type Spinal Tap moments he recalls from those 90’s tours.

“LOTS of that, yeah! I mean, the A&M people on the road were really nice. They were like proper human beings, but the problem would be when you’d have all these people your dressing room after the gigs, and there’d be, you know, the radio programmer’s wife’s cousin, who was like a flight instructor, and you just end up speaking to these absolute bullshit artists!

“Like, why the fuck am I speaking to this guy?!?” he laughs.

“So, in those days in America… I’m sure it’s still the same – the whole music industry just runs on meeting people, and you know, you’ve got to be kind of on your best behaviour all the time as well. And it’s kind of not what you signed up for at all, you know, so, yeah, we don’t miss that side of it at all.”

Fatal Mistake was released in 2021, but actually recorded over a three-week period in March 2020, just before the Coronavirus pandemic turned the world upside down.

“Yeah, it was very strange. Kind of, the cordon was closing in as we were doing the last bits of percussion and backing vocals. And then we actually got all the gear out on the Thursday, because we were afraid the gear’s gonna get stuck [in the studio]. Then we scarpered on the Sunday and the [first UK] lockdown started on the Monday – so it was kind of like, ‘get out of dodge!’ It was pretty bonkers. Actually, it was a very, very strange time – as it was for everybody, absolutely.”

Having finished the album, that provided something stable for Currie and his bandmates to focus on as that anxious time and the months of isolation began.

“Yes, it was a relief that we got the thing recorded before – it would have become impossible to record it. Mixing remotely was tricky – kind of mixing by email – it was not easy. It took us four months to mix the thing, it should’ve taken two weeks.

“But yeah, you’re right. It gave us stuff to do, [we could] focus on doing the artwork [etc]. I mean, it was like five months before we could do a photo session, you know!

“So yeah, I kind of enjoyed the first bit of the lockdown. I quite enjoyed being able to walk down the middle of the street in Glasgow with no traffic – that was quite something. But it was a bit frustrating, just on a really selfish level, that the album should have come out in the [UK] autumn of 2020 and it didn’t come out till the spring of 2021. So that was a bit frustrating – but, yeah, there was stuff to do.”

Currie has said in other interviews that he couldn’t write anything of substance during lockdown. It’s a sentiment shared by many artists – all that free time, we thought we’d finish a novel or another album of songs, or paint a masterpiece, when in actual fact the insular fishbowl we were in did not lend itself to creative pursuits as we thought it would.

“Yeah, I did write things. But they were just… they were what any – every – other songwriter in the world would be writing and what every other person in the world is thinking, which is ‘why are we locked up?’, and ‘this is very odd’, you know? So, what I said was that it seems to me that the whole point of writing songs is to write from a personal perspective, but hopefully, find something universal in that. Whereas lockdown was the opposite thing: where the private experience WAS universal, because everybody was experiencing it all over the world, the same thing – they were all leaving the house to exercise once a day, and then we’re going to the bloody shop every five days to buy food.

“So, I just didn’t think there was any space in there to find something unique to write about, you know, and I’ve heard other people say the same thing. I’ve also heard some people say they loved it, and they got loads of work done. I found that I just kind of froze – I found it really tricky. I generally I tend to write after I’ve been in the pub, you know, talking to a stranger. And the one thing I found very odd about Glasgow during lockdown is that Glasgow’s not a city about buildings and architecture and infrastructure. It’s really just about the people. And it’s quite a villagey sort of town, so when you go out – and if you go out a lot – you meet a lot of different kinds of people. And that that really helps songwriting because you’re meeting people that you wouldn’t normally meet, whereas in lockdown everything’s reduced to your close circle of friends and there’s nowhere new to go. So, I found it very uninspiring.

“You’ve got that low-level anxiety all the time, which I don’t think is particularly helpful creatively. And the focus was on domesticity as well, [and] domesticity is not inspiring!”

Never a truer word said. Especially during lockdown, when your faithful scribe was regularly leaving home to buy booze more often than food!

“Yeah – every three or four days, I was running to the off licence, which is not like me,” Currie agrees. “Normally I would go to the pub twice a week, but I just couldn’t take it, I was running to the off licence to get more wine!”

The very long-awaited Fatal Mistakes album did well for del Amitri, rising to the UK Top 5. A couple of years before recording it Currie was on record as being unsure if people even wanted new music from the band. Did that result answer his question positively?

“Yeah. I think when the news came out that we were making another record, then people seemed genuinely excited about it. In fact, I didn’t want to make a del Amitri record at all – Iain did. It took me like a year or so to make up my mind, and one of the things that persuaded me was just speaking to my friends in the pub.

“I thought all my friends were gonna be like, ‘don’t do that, that’s a bad idea.’ But, to a person, they were very enthusiastic, and thought it was a great idea. So really, it was other people’s enthusiasm for it that kind of got me thinking maybe it was a good idea. And it was a joy for me, I have to say, I’m really glad we did it – though it was slightly tough to write because I’d been making solo records. So, it took me a few months to get my head into that space of writing for those specific musicians and writing in a way where you’re singing from a collective point of view, rather than seeing it from a very personal point of view. But once I got my head around that I found it quite easy and quite fun.”

Having had a few people in and out of the band over the years, is it hard work to make sure that no matter who’s playing in the line-up, it sounds like del Amitri and it’s got that del Amitri vibe to it?

“Well, no, because the players that come in are hired because the kind of noise that they make suits us. And they also know what del Amitri is: It’s melodic, it’s guitar driven, there’s a lot of 60’s influence and a lot of 70’s influence, and it’s got a kind of roots element. I can’t think of any musician that we’ve played with over the years that hasn’t come from that sort of a background in terms of what they listen to and how they play.

“Also, when we made this record, we decided who from which line-up was going to be in this line-up. So we knew who the musicians were when we were writing the songs, that was quite helpful, because we were thinking, oh, Ashley could do something really interesting with this, or Kris could do something really interesting here. So that really helped actually, knowing who it was we were writing for.”

Researching an interview is always a deep dive, and a band’s website is a good place to start. From the eloquent and detailed biography on www.delamitri.info, a link took me to Currie’s own website, www.justincurrie.com where the self-proclaimed “attention seeking desperado punting inoffensive balladry” has a wealth of travel diaries, photography, a hilarious complaints page where random fans have sent in rants and he responds with short, laugh-out-loud retorts, and much more. It’s enough to spur the question: does he feel a frustrated travel writer-slash-photographer-slash-stand-up comedian sometimes, or want to have a crack at some long-form prose?

“I’ve not looked at [the Complaints page] for six years! Oh, God, no. I’m a terrible prose writer. But writing a tour diary is a brilliant way of killing dead time. I started doing it just to try and get my website up and running – d’you know what, it was partly because of Myspace. I really loved MySpace, because it was just about music – that was the only social media I ever really got involved with. So when MySpace started failing, my website became kind of the only portal through which I could communicate. So I thought I’d better write something, you know, other than just daft wee jokes and things.

“I don’t find writing prose easy, but I find that easy, because you’re just describing what’s in front of you – you’re just opening the van door and going, ‘oh, there’s a man being sick,’ you know, whatever it is. So, yeah, really brilliant way to kill time. I still quite enjoy doing those. I don’t do them if I don’t feel a sort of calling to do it. I just do it if there’s something in my head that I want to get out, or if I look out the window and see something I want to describe, I’ll do it. But there’s a few gigs I’ve just thought, I’m not going to do that. And often if you’re having a really good time, like if you’re doing a festival and you’re hanging out with a lot of people, then I’m not going to write about that stuff. I don’t want it to be about my private life. I just want it to be about what you can see from the road basically.”

The Human Condition as seen through the eyes of a touring musician, or some such cliched wanky label?

“Yeah, exactly!” Currie grins. “It’s just a sort of diary, you know? I wrote a lot of poetry as a teenager – and then I realised that I wasn’t a very good poet, but I could sort-of write lyrics. I haven’t been tempted [to write any long-form prose]. I mean, I’ve been asked. And I’ve written a few things for newspapers over the years.

“The problem with songwriters whenever they write prose, they just tend to overdo it, you know? I mean, have you tried reading Morrisey’s book?” he laughs. “It’s about economy. You know, it’s not about floweriness. If I look at my tour diary stuff from a couple of years ago, I just… I’d just take most of it out. It’s like, why? Why two adverbs? Why three adjectives? You know, that’s just wanky!

“And the kind of stuff I like to read, it’s not like that: it’s economical, and it really hits you. So no, it’s not something I would be competent at at all.”

Wrapping up, I ask Currie if he and his bandmates felt that it was all going to work out when they first struck the by-now-familiar formula in the early days of del Amitri – when they found their sound, found the voice that John Peel would soon champion, and got their first record deal?

“Well, hmmm… there were two things that were happening. We were an indie band in the early-mid-80’s, with a very niche audience, a very small, niche audience. And we weren’t really making any money. And we had a record deal for a couple of years, and then we had a publishing deal. For a lot of the 80’s we were working full-time, part-time jobs just to pay the rehearsal bills. But then when we started writing quite commercial sounding songs, I think we realised we belonged in the mainstream, we didn’t really belong in that kind of indie ghetto.

“So, then it became a case of how do we do that? How do we get there? And that was quite difficult, because we didn’t know, you know. We knew how to be an indie band. We didn’t know how to be a sort of mainstream rock band.

“We were helped along the way by our managers, and by the record company, and we did some stupid things. But eventually, we found this sort of place to be in the mainstream, which wasn’t cool, and wasn’t to do with style, and was just… we kind of presented ourselves as pub rockers or something. We sort of sold ourselves as just blokes, you know. We weren’t artistes or anything, and we tried to look like we weren’t taking ourselves terribly seriously – of course, we WERE taking ourselves very seriously!

“And the thing that that made everything easy for us was having radio hits, because that meant we got paid, and it meant we could make a living without being famous. We weren’t an MTV band, we were a radio band.

“And that was really fortuitous because it allowed us just to do what we wanted: we could do the kind of gigs we wanted. We didn’t have to dress up and go to poncey award ceremonies, and we didn’t have to talk to the tabloids. So we always kind of had the best of both worlds, really, and that was just because we loved radio and radio loved us. So that was really fortuitous.”

Finally, I suggest that it’s fair to say that del Amitri like a drink. I certainly didn’t expect Currie’s very responsible answer.

“Yeah! Well, I’m too old to party before or after gigs now! The last time I had a drink on the road it was pretty disastrous: I nearly blew a gig in Canada. So I won’t be having a drink ‘til after the last show, sadly – but I’ll make up for it at that point, I’m sure.”

Tour Dates 18 February, 2023 – Thebarton Theatre, Adelaide 15 February, 2023 – Astor Theatre, Perth 16 February, 2023 – Astor Theatre, Perth 21 February, 2023 – Fortitude Music Hall, Brisbane 23 February, 2023 – Palais Theatre, Melbourne 25 February, 2023 – Town Hall, Auckland 26 February, 2023 – Town Hall, Christchurch 28 February, 2023 – Enmore Theatre, Sydney

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Justin Currie

Interview ahead of uk tour, featured on tour, music-news mn youtube channel.

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INTERVIEW: Del Amitri – Justin Currie

Australian tour interview.

8 February 2023 Mark Diggins

It’s been 30 years since Del Amitri last played Australia and the host of sold out shows in February shows that either party has forgotten about each other in the interim.  The tour will also see founding members and songwriters Justin Currie (vocals/bass) and Ian Harvie (guitar) reunited with former members Andy Alston (keyboards/accordion), Kris Dillimore (guitar), as well as Jim McDermott (drums).  Touring off the back of their 2021 release ‘ Fatal Mistakes’ , which saw them return to the charts hitting no. 5 in the UK albums charts, it’s bound to be a memorable return. We caught up with Justin Currie to talk about the tour and ask the big questions! 

Mark: Great to see you coming back to Australia again after such a long time I guess the first question must be what did we do wrong last time that made you leave it so long?

Justin: Well you never asked us back!

Mark: (laughs)

Justin: Nobody ever asked us back after 1990! We must have pissed somebody off.

Mark: You open the tour in Perth in just a few short weeks now, I’m not sure if you played the Astor before, but it’s a lovely old theatre with a wonderful sound.

Justin: We did a theatre in Perth before but I’m not sure it was the same one.

Mark: It’s been a while for the band now…

Justin: Just a bit!

Mark: 43 years can you believe it!

Justin: I can believe it! It feels longer!

Justin: It’s a whole lifetime of fun and anxiety.

Mark: What a great way to describe being a working musician! You must have seen so much wonderful music during that time, the start of the 80’s was a wonderfully rich and creative time for music, so much texture, so much variety. What sort of things were you listening to in the early days of the band to get the sound that you had?

Justin: Well in this country there was a famous show on the BBC called The John Peel show which played Alternative Rock, it kind of played everything: a bit of Reggae, a bit of Soul, but with the emphasis of the obscure and the new. And that’s what we kind of came out of, so from about 1978 onwards I was listening to what you would call Punk and Post-Punk  and that’s what we came out of.  There was a record label in Glasgow called postcards that had a kind of Post-Punk DIY aesthetic  and crossed it with a kind of Motown sensibility and that had a huge impact with guys like me at school in the early 80’s.

Mark: So let’s put the pieces together. Why did you choose the bass? Now we all know the bassist is the most important member of the band…

Justin: Absolutely.

Mark: But what led you to it? You mentioned Motown and I love the drive and the basslines that people like James Jameson gave a lot of those old songs.

Justin: Yeah, but to be honest I think the main reason I played the bass Mark was my big sister had a friend who bought a bass that he couldn’t play. He lived in a bedsit and he was worried that it was gonna get stolen so he kept it at my parent’s house. And he was quite happy for me to play it so I had a bass in the house, and also at the time I was listening to a lot of really bass-driven things like ‘Echo and the Bunnymen’ and especially Joy Division. I remember learning all the Joy Division bass-lines from ‘Unknown Pleasures’ which are kind of like very simple lead guitar parts. And I found the bass so much easier than the guitar, I’ve always struggled with the guitar. And also I’m a huge Paul McCartney fan as well, I love melody and his bass-playing. But I think the main reason was just that I got my hands on a brand new Fender Precision and had unlimited use of it.

Mark: A nice instrument. It’s been great to have a new Del Amitri album to listen to ‘Fata Mistakes’ were we just lucky that we had a pandemic?

Justin: No because it was written and recorded before the pandemic, in fact the last day of recording was the first day of the UK lockdown at the end of March 27th or 28th or whatever it was in 2020. So it’s not in any way influenced by the pandemic the only effect the pandemic had on that album was that it took ages to mix because we couldn’t be in the same room as the producer.

Mark: Before we dig into the new record let’s look back to the early days. How do you look back at them now, and did you have a plan?

Justin: Well we learned quite quickly that any plan that you formulated would go disastrously wrong so we gave up designing masterplans in the mid 80’s, or maybe the late 80’s! I sort of think of that early Indie band Del Amitri as a different life. You know, we just looked so different then, we were so…. we were kind of desperate in a lot of ways: desperate to try and be original, desperate to forge our own unique path; and I think we made it quite difficult for ourselves. And it wasn’t until we went to America in 1986 and met a whole load of people who listened to different kinds of music, that we became a bit more relaxed about what we were doing, and threw out the rule book and kind of followed our noses a wee bit, and didn’t worry so much about writing songs that sounded like somebody else. So we started to relax and grow our hair towards the end of the 80’s and everything became a lot easier.

Mark: Was there label pressure constantly throughout that period to make you sound a certain way or fit their ideas about you?

Justin: Yeah there was on the first album with Chrysalis, that first album didn’t do anything commercially but they picked up the option on the second album and then tried to mold us into something that we couldn’t really be and that was extremely painful. We then… we went on strike! (laughs)

Justin: We went on strike because they were forcing us to write Pop songs that we weren’t capable of doing. We staged a sit-in, we got some fans to stage a sit-in at the Record Company offices in the West End of London. And when the Record Company heard of that they very quickly got rid of us which was the plan all along. so that worked! And then after we left Chrysalis we spent a few years in the wilderness just kind of reconfiguring who we were and what we were doing.

Mark: I love how a mythology has grown up over the years about the name Del Amitri, from obscure Greek translations to Ice Cream men, what’s the real story?

Justin: Well there is no real story it’s just a made up name t sound a bit foreign. We liked the idea of calling ourselves Dimitri Gonzalez or something, we thought it sounded like a Mexican Cruise Ship singer or something.

Mark: I’ve seen him he was sensational! (laughs)

Justin: (laughs) And that idea just morphed into Del Amitri, and it’s quite weird because in the late 80’s and early 90’s there were loads of bands with ‘Del’ in their names. The Del Vikings and the Del-Lords and the Delgardos and I’m sure there were more. So you would go to Record Shops in the United States and there would be all these ‘Del’ bands, so there must have been something in the air in the early 80’s that this word ‘Del’ just got adopted by various different Indie groups.

Mark: It is something I shall have to look into and report back on! (laughs)

Justin: (laughs)

Mark: I was just watching the live DVD the other day ‘Every Night has a Dawn’ are things like that going to be available on the tour? It’s been hard to find over here.

Justin: That’s on a DVD that we did last summer – we shot a couple of nights of Barrowlands concerts, then we put some extra acoustic songs on the DVD. I guess it might be available online somewhere.

Mark: I shall track it down and let the good people of Australia now, it’s well worth a watch.

Justin: Than you.

Mark: Now let’s get down to the serious stuff – if you could have been a ‘fly on the wall’ for the creation of any album in the history of rock and roll what would you have like to have seen being made – just to see how the magic happened?

Justin: I would like to have been in the control room for the recording of ‘Hard Day’s Night’ which I regard as the greatest Beatles record that they made. Just because it would have happened so fast and most of it was played live. I think it would have been incredibly exciting watching these four people move from being a pretty crazy rock band to be something else entirety – a Brill Building meets Folk meets Elvis kind of thing. And just to watch them record the first suite of songs that were all self-written as well. That would have been quite amazing I think. Just to watch those Abbey Road engineers in their white coats moving big levers about you know (laughs)

Mark: It’s incredible when you think about it and everyone has their own particular period for The Beatles and I guess a lot of that comes from what you heard first. We get a lot of musicians who answer with a Beatles album but it tends to be towards the end of their career like Sergeant Pepper.

Justin: I do go through periods when I really adore Sergeant Pepper but the last time I listened to Sergeant Pepper I didn’t enjoy it as much as the previous time I listened to it in fact a couple of things really annoyed me about it, but I expect the next time I listen to it I’ll absolutely love it again.

Justin: I had a couple of years where I was completely obsessed by the ‘White Album’, I just couldn’t stop listening to it which is strange because it’s such a strange disturbing record in a lot of ways. Full of sarcasm and satire and kind of hellish expressions of disillusionment and alienation. But ‘Hard Day’s Night’ for me is just so perfect and to me it’s also the one that’s most dominated by John in a really good way, not in a self-indulgent ‘oh woe is me’ way. It’s a very positive record but it’s also very full of pain and a kind of anguish in a very accessible way. I just think it’s perfect from start to finish ‘Hard Day’s Night’.

Mark: Certainly right up there with the best records of that great decade. Let’s wind it all the way back now:- when was it in your life that you realized that music was going to play such an important role? I know some always know, some stumble into it and some have a defining moment. what was it for you?

Justin: Well I was always kind of musical. I sang a lot around the house and I sang to records a lot even when I was quite young – about eight or nine. I would learn the lyrics to a whole album. I listened to a lot of Cole Porter, I remember ‘Ella Fitzgerald sings the Cole Porter songbook’ – my mum had a reel-to-reel of that. But it wasn’t until Punk happened that I thought music was a cool thing, before that all the local bands, the guys were just idiots. They were playing Led Zeppelin covers to impress girls which I just thought was so uncool.

Justin: And they weren’t very good, and they were trying to do all these complicate things they weren’t capable of. Whereas Punk was all self-expression and being: making art for art’s sake and saying what you wanted to say without being a virtuoso, or without being particularly skilled at anything. Punk Rock really opened the door for me and everybody that I know that is in music now is in music because Punk said “Anybody can do this and you don’t need to be a virtuoso”.

Mark: Do you think that your writing has changed much over time, particularly with regards the things that you want to write about? The lyrical themes?

Justin: Yeah, I mean my writing has probably changed less that I would perceive it having changed. The subject matter definitely changes in that as you get older you’re not writing to impress as much I donlt think. I think when you’re young you’re writing to try and dazzle people. You use a lot of wordplay and you write a lot more words (laughs) and you try and inject a lot of energy and intelligence in what you do. Whereas when you’re older you’re just trying to get ‘feeling’ out a bit more – you try and get emotions out. And I guess it depends what you listen to – the stuff I’ve been listening to in the last 20 years is a lot slower and probably more expressive than what I was listening to when I was in my teens. And also you wrote about adult themes – you write about disease and dying and regret and loss, and you just haven’t experienced those things when you’re a teenager.

Mark: You’re right, things change so much as you get older and it’s great to see those themes change over time as a fan looking in. We always tend to close our first chat with the easiest question of the evening

Justin: Oh good.

Mark: What is the meaning of life?

Justin: (laughs) I have been pondering that a lot recently, I have to keep reminding myself there is no meaning and the search for meaning is illusory and utterly futile. I think older people do tend to think about that question. Because they go through more stuff  they do tend to start clutching around for meaning, and I repeat myself, you have to remind yourself it is completely pointless. So just try and enjoy the day.

Mark: A great sentiment to leave with. Over 14 years I’ve asked over 400 people that question, and I’m slowly getting there!

Mark: Thank you so much for your time, it’s been great to talk to you.

Justin: My pleasure Mark.

Mark: I shall be photographing you on the night so I shall see you soon.

Justin: I will give you some good poses.

Mark: (laughs) Thank you! It’s funny because I was just talking about photographing bands and how some come out and it’s all dark for three songs and others come out like Kiss and they just pose for the first three songs.

Justin: (laughing)

Mark: So I shall be expecting you to come out more like Kiss.

Justin: Yeah I think that’s definitely not gonna happen! (laughs)

Justin: Having seen Kiss and watching them appear out of a Sphinx’s mouth, that will never be topped!  (laughs)

Mark: (laughs) You’ve still got two weeks to come up with something.

Justin: That’s not fair it’s in my mind now! (laughs)

Mark: Thanks Justin, safe trip!

Justin: Thanks Mark.

Del Amitri 2023 Australian tour

Astor Theatre, Perth: Thursday February 16

Thebarton Theatre, Adelaide: Saturday February 18

Fortitude Music Hall, Brisbane: Tuesday February 21

Palais Theatre, Melbourne: Thursday February 23

Enmore Theatre, Sydney: Tuesday February 28

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Justin Currie Concert Setlists & Tour Dates

Justin currie at kelvingrove bandstand, glasgow, scotland.

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Justin Currie at Campfire 3

• Always the Last to Know

Justin Currie at Jazz Cafe, London, England

• My Name Is God
• This is My Kingdom Now
• I Won't Take the Blame
• Something in That Mess
• The Dead Sea
• Not So Sentimental Now
• Just Like a Man
• This Side of the Morning
• Tell Her This
• Sydney Harbour Bridge

Justin Currie at Rescue Rooms, Nottingham, England

• If I Ever Loved You

Justin Currie at The Lantern, Bristol, England

Justin currie at exeter phoenix, exeter, england, justin currie at warehouse23, wakefield, england.

• I Won't Take The Blame

Justin Currie at Glee Club, Birmingham, England

• At Home Inside of Me

Justin Currie at Sage Gateshead, Gateshead, England

Justin currie at the queen's hall, edinburgh, scotland.

Justin Currie

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• Be My Downfall ( 35 )
• Move Away Jimmy Blue ( 34 )

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Justin Currie: Happily Stuck In del Amitri World!  

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Scottish band del Amitri (stylised lower case ‘d’) were the darlings of the 80s and 90s, with 15 UK top 40 hit singles, seven studio albums – five top 10 albums, one live album, four compilations, one top ten and three top 40 US hits and at least six million records sold.

The band who formed in 1980 until 2002, and then reformed in 2013 to the present day, are experiencing a second lease of life with their 2021 album “Fatal Mistake” being their sixth album to go Top five in the UK chart, and a recent 23-date US tour, their first on American soil for 25 years, which was a big success.

They are the subjects of a fascinating Sky Arts documentary “You Can’t Go Back”, broadcast in September 2021. Their second documentary.

Towersey Festival headliners…

They are booked for festival appearances this summer, including headlining the UK’s longest running independent festival, Towersey, on the August bank holiday Monday, which has moved to a new site near Milton Keynes this year from its usual Oxfordshire base.

Music Republic Magazine caught up with del Amitri front man, singer and songwriter Justin Currie on the ‘phone from his Glasgow home, for a natter about all sorts, from the band’s festival slot to the US tour, background to their two biggest hits, “Nothing Ever Happens” and “Always The Last To Know”, and lots more.

So, first of all, Justin, your first appearance at the Towersey Festival this year. Do you approach festivals differently to normal gigs? “You tend to condense the set a bit more, it’s a lot tighter and there’s less waffle. We’ll be playing the hits and the newest stuff from our current album, ‘Fatal Mistakes’.

Will we hear “Nothing Ever Happens” at Towersey? “We are quite happy performing things we feel audiences want to hear. We don’t do that song every night in Britain, and we certainly don’t do it every night outside of Britain, so it doesn’t feel like a duty.

“I am proud of the song, and I was proud of it when I wrote it, and there’s nothing to be ashamed of. Maybe some of the lyrics I wouldn’t have written the same way now. I was 21, 22 when I wrote that song.

“I had the title for a while and I knew I wanted to write a song about my generation’s apathy in the 80s, where we didn’t really do anything to oppose the political order of the day.

“We just went to nightclubs and got drunk and danced, which is a very 80s reaction to what was going on.

“I had the title and it all kind of came out in a rush, in a flat overlooking a long road crossing a bridge which kind of stuck in my mind. Quite a lot of lines in that song I have taken from me looking out of my flat window in Glasgow.

“It recorded quite easily. We stuck with acoustic guitar and a drum machine and added bits. Recorded in Chipping Norton studios, in the Cotswolds.

“It had a great juke box in a little games room with loads of old 7” singles from the 50s, which was fantastic. A song called ‘Garden Party’ I remember listening to quite a lot.

“Our song, ‘Always The Last To Know’. That was written when we came back from Australia, late 1990. Just another one of del Amitri’s infidelity songs, which we wrote quite a lot of under the direct influence of country and western music.

“Infidelity songs are a major trope of country and western music. We wrote a lot of them, especially on that album, actually.” (1992’s “Change Everything”, the band’s third album).

Justin tells me how the band wanted to sound when they started out was nothing like what they ended up sounding like!

“Yeah, del Amitri wanted to sound like a cross between Television and Captain Beefheart, with Beatles harmonies. Of course, we ended up sounding nothing like that.

“We were also massively influenced by two Scottish groups, Orange Juice and Josef K. We would always do covers of those bands’ songs, so they were a huge influence.”

A Bit Of A Rant…

When you wrote “Nothing Ever Happens” that was a bit of a rant. Has your writing mellowed since? “Well, there’s a rant on the latest album called ‘Nation Of Caners’ and there’s a rant on the B-Sides album that’s coming out in August, called ‘Happiness Is It’. So I still like a good moan.” (The del Amitri album “Outtakes & B-Sides” is out on 12th August 2022.)

Having notched up 15 Top 40 hit singles, and hits in the UK too, but not for a while, I want to know if Justin is still seeking hits when he sits down to write.

“No. You reach a certain age, and you know you’ll never have a hit again. It was in my late 30s that was a big concern on the second solo album I put out. I put a couple of very radio-friendly things on the record, which is probably a mistake because at that sort of age, you are extremely unlikely to have hits.

“It’s a young person’s game to have hits. So we gave up the thought of having hits a long time ago.”

So, what are you wanting from what you write and put out, if not hits? “I just want to move people. You just hope that someone somewhere hears that song and is moved by it. That’s about it, I think.”

Justin reveals he had a crack at penning new songs during lockdown, but eventually waved the white flag and gave up. Why? “I did write in Lockdown, but I ended up giving up because all the songs I was writing were all about sitting in the house and worrying that I was going to die.

“I realised that’s what everyone else would be writing about, so I just thought there was absolutely no point in writing about an experience that everyone else in the world is going through at the same time.

“That sort of global emergency is almost impossible to write about, even in a personal way without sounding trite or glib, so I just gave up.”

His newest songs helped make del Amitri’s latest album, “Fatal Mistakes, released in May 2021 a top five chart hit. Was he surprised at such a high chart position?

“Personally, I was hoping to get it number one, and if we’d released it a month beforehand it would have gone to number one. But we had to put it back so many times. But Top five is fine.. It was number five for a whole week, so Yee Haa!”

Big Regret…

OK, with that fatal mistake theme, name me a mistake you have made in your career/life that you regret – apart from agreeing to do this interview with me? Justin laughs…

“Probably allowing ‘Don’t Come Home Too Soon’ to be used as the so-called official Scotland football song in 1988. I got an absolute pounding for that song not being sufficiently jingoistic and triumphalist enough, so yeah, I regret doing that.”

I was curious as to how Justin and the band described their music back at the start and would that description still be the same for the del Amitri of today?

“Not quite. I think we sold ourselves as a pop band, because in 1982, 1983, pop was a word that had been re-claimed by indie groups, because it had been a kind of dirty word in the late 70s.

“It was kind of re-invented by the postcard bands ***, and pop became a positive attribute, so we sold ourselves as being a pop band when we weren’t really a pop band, we were really an art school indie group.

“Then later on in the 80s, we started to become a lot more rock. The guitars got a bit more distorted, and everything got a bit more solid and built on standard structures; you know, verse chorus, verse chorus, middle eight. So we kind of moved from being an indie pop band to being a sort of mainstream rock-pop band, I guess.”

*** Postcard Records is a British, Glasgow-based, independent record label founded by Alan Horne in 1979, as a vehicle for releases by Orange Juice and Josef K. The label’s motto was “The Sound of Young Scotland”.

In the days of Spandau Ballet and Wham! having huge hits, Justin is on record as saying that his band del Amitri were “obscure and misunderstood in most places.” Why did he feel that/say that?

“I couldn’t possibly explain anything that came out of my mouth in my late teens and early 20s. I’ve got no idea why I said that. I guess I probably thought at the time that calling us obscure was self-deprecation, whereas it sounds more like false modesty to me.”

Successful 2022 US Tour…

We move on to discuss the recent North American tour of March and April 2022. 23 dates, their first tour there for 25 years. How’d it go? Any tales from the road? Fave gigs ?

“We were quite nervous about doing it, because none of us had lived on a tour bus since 1997, which is a long time ago. But we adapted to it really quickly, or re-adapted to it, and at the end of the tour, Ian and I didn’t particularly want to go home; we could quite happily done another month.

“A lot of the band got sick in the last week, some sort of virus made people extremely sick which wasn’t Covid. So, there were a few people diving off stage to go the toilet towards the end of the tour, which was not particularly amusing. I managed not to get it. Jim the drummer and Ian Harvey the guitar player got it.”

“My favourite gig was Atlanta. The Vic Theatre (sic) – Editor’s note: It was The Variety Playhouse in Atlanta. The Vic was in Chicago – which we’d done before. That was a gig where the band scored a 2-1 victory over the audience, where most of the other gigs the audience probably won the match!

“I thought the band were extremely good that night, the stage was the right height so you could see everybody in the audience and see people smiling. Chicago and Minneapolis gigs were really good too. They were also in theatres and I’m not usually a huge fan of playing theatres, I prefer standing areas.”

New live DVD…

Closer to home, the band have sold out three nights at Glasgow’s famed Barrowlands venue, tonight (9 th June) and the next two nights. First night is a free show for NHS workers. Justin reveals two of those gigs will be filmed and recorded for a live DVD.

Plans for new music/album since 2021’s album? “No plans at the moment. We are touring into next year, so I guess next spring we’ll have a think about what to do next”

Justin has released four solo albums – the last one 2017. Plans for more and/or solo shows?

“No, not at the moment. I’m still kind of stuck in del Amitri world, although there are songs in the can that probably wouldn’t end up on a del Amitri record, so possibly. But I haven’t quite formulated that yet. There will probably be another del Amitri record before I did a solo record.

“Solo dates….Definitely nothing happening there, as the foreseeable future is all del Amitri stuff, which I am happy about.” The band has an extensive European tour kicking off in September this year.

Has he ever wanted to quit del Amitri for good, or even the music business itself? “ Playing in a band and making a living out of it is the best job in the world. I can’t think of any better job, you don’t have a boss, you get to do pretty much what you want, and you get to stand in front of people smiling at you every night or singing your lyrics back at you.

“No, I never wanted to quit. I wanted to keep going, keep going, keep going. When we got to 2002, we’d reached a natural pausing point where we’d been dropped by our record label, so for the first time in 20 years, we didn’t have a record deal or a prospect of a record deal.

“And we were looking at playing smaller venues and smaller audiences, and we collectively decided just to pause at that point, which in retrospect probably was the right thing to do. I wanted to keep going, but I think that would have been the wrong decision in the long run.”

The band took a hiatus from 2002 to 2013. The 2022 line-up is Justin, Iain Harvie, Ash Soan and Kris Dollimore.

Scottish Independence – yes or no?

To close our chat, I get a wee bit political with the last question. Scottish Independence, yes or no?  “I voted yes in 2014, because I got carried away in a tide of optimism.

“But since Brexit, it has become a much more complicated proposition, in that being outside of the UK and outside of Europe looks like a pretty scary place to be from my perspective.

“That being said, I am 57, and I am not going to stand in the way of people 40 and younger, if they want an independent Scotland. If they want that, I don’t see why I should stop them, because I’m going to be dead in a few years.”

• Chart star Imelda May has been added to the headliners of Towersey Festival, which has moved to a new location at Claydon Estate, Buckinghamshire for the 2022 August Bank Holiday weekend.

The festival has come a long way since the first event in Grandpa’s back garden in 1965. Now a firm favourite of the local communities throughout Bucks/Berks and Oxfordshire, and lovers of folk and alternative music from across the UK.

With a mix of contemporary and traditional acts, such as sea shanty band The Longest Johns (who made the news on Tik Tok last year), folk royalty Kate Rusby, acoustic indie trailblazers Turin Brakes, Grammy and Tony award-winning singer-songwriter Anaïs Mitchell and comedy legend (and Strictly Come Dancing star) Bill Bailey.

80s pop icon Howard Jones will be performing a fresh take on his best-known hits, as part of the Howard Jones Acoustic Trio. Imelda May replaces previously announced Tom Odell to appear on day one.

Other confirmed additions to the music and comedy line-up include Scottish singer-songwriter Eddi Reader, alt-folk artist This Is The Kit, Scottish rock band Skerryvore, Celtic folk-punk band Ferocious Dog, comedian Rob Deering, folk band Talisk, the Americana-influenced Police Dog Hogan and contemporary Highlands fiddle band Blazin’ Fiddles.

Lots more….folk singer-songwriter Kris Drever,  London’s Hackney Colliery Band, Peter Knight’s Gigspanner Big Band, London-based song-writing duo Ferris & Sylvester, comedian Laura Lexx, English roots band Edward II, festival favourites The Langan Band, ‘bloke-folk’ band Faustus and another 50+ music and comedy acts across 10 stages and venues.

Established in 1965 as a one-day event to raise funds for the repair of Towersey Village Hall, the festival has grown to become one of the UK’s major arts and music festivals. Run by three generations of the same family (with a fourth in training).

  www.towerseyfestival.com

Words: Steve Best

Imelda may photo:  eddie otchere.

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Past Events

Here are the most recent UK tour dates we had listed for Justin Currie. Were you there?

November 2023

• Thu 30 Nov Edinburgh, Usher Hall Blazin' Fiddles Justin Currie, Soundhouse Choir

September 2019

• Sun 22 Sep Aberdeen Music Hall True North - Rip It Up Live! Justin Currie, King Creosote, Clare Grogan, Richard Jobson, C Duncan…

November 2017

• Thu 2 Nov London, The Jazz Cafe Justin Currie
• Wed 1 Nov London, The Jazz Cafe Justin Currie

October 2017

• Tue 31 Oct Colchester Arts Centre Justin Currie
• Mon 30 Oct Brighton & Hove, The Old Market Justin Currie
• Sat 28 Oct Nottingham, The Rescue Rooms Justin Currie
• Fri 27 Oct Justin Currie
• Thu 26 Oct Bristol Beacon Justin Currie
• Tue 24 Oct Exeter Phoenix Justin Currie
• Mon 23 Oct Cardiff, The Globe Justin Currie
• Sun 22 Oct Chester, The Live Rooms Justin Currie
• Fri 20 Oct Norwich, Waterfront Justin Currie
• Thu 19 Oct Wakefield, Venue23 Justin Currie
• Wed 18 Oct The Glee Club Birmingham Justin Currie, Les Johnson and Me
• Mon 16 Oct Gateshead, The Glasshouse International Centre for Music Justin Currie
• Sun 15 Oct Edinburgh, The Queen's Hall Justin Currie
• Sat 14 Oct Glasgow, The ABC Justin Currie
• Fri 13 Oct Manchester Academy Justin Currie
• Fri 23 Jun ➙ Sun 25 Jun Inverness, Bogbain Farm Northern Roots Festival Justin Currie, Lau, The Elephant Sessions, Adam Holmes And The Embers, Be Charlotte…
• Sat 3 Jun London, Islington Assembly Hall Justin Currie
• Fri 2 Jun Cambridge Junction Justin Currie
• Wed 31 May Liverpool, Hangar 34 Justin Currie
• Tue 30 May Wolverhampton, Slade Rooms Justin Currie
• Sun 28 May Holmfirth Picturedrome Justin Currie
• Fri 26 May Perth Theatre & Concert Hall Justin Currie

December 2016

• Sat 17 Dec Glasgow, Òran Mór Tom McRae, Blue Rose Code, Justin Currie, Withered Hand, Jill Jackson (Speedway), Kris Dollimore, L'Acoustica …

October 2016

• Mon 17 Oct Paisley Abbey Justin Currie, Royal Scottish National Orchestra (RSNO)

August 2016

• Wed 10 Aug Glasgow, Kelvingrove Park Lloyd Cole, Justin Currie
• Sat 19 Mar Glasgow, The ABC Justin Currie, Eddi Reader, Roddy Woomble, Admiral Fallow, Roddy Hart & The Lonesome Fire, Blue Rose Code, Emma Pollock, Withered Hand, Rab Noakes, Zervas & Pepper …

September 2015

• Sun 27 Sep Aberdeen Music Hall Roddy Hart & The Lonesome Fire, Eddi Reader, Justin Currie, Louis Abbot, Sarah Hayes (1), Emma Pollock, Withered Hand, Blue Rose Code, Tommy Reilly, Zervas & Pepper …
• Fri 18 Sep Paisley Town Hall Dougie MacLean, Justin Currie, Eddi Reader, Findlay Napier, Emma Pollock, Michael Cassidy (1) …

August 2015

• Thu 27 Aug Holmfirth Picturedrome Justin Currie
• Sat 20 Jun Manchester, Bridgewater Hall Justin Currie, The Reads, Moco, Poor Misguided Fools, Sophie de Winter, Rock Choir …
• Sat 14 Mar Irvine, Scottish Maritime Museum Justin Currie

December 2014

• Fri 5 Dec ➙ Mon 8 Dec Skegness, Butlins The Great British Folk Festival Bellowhead, The Full English, Lindisfarne, Eddi Reader, Martin Barre…

November 2014

• Wed 19 Nov London, Bush Hall Justin Currie, Ella The Bird
• Tue 18 Nov London, Bush Hall Justin Currie, Ella The Bird
• Mon 17 Nov Bromsgrove, Artrix Justin Currie, Siobhan Wilson, Ella The Bird
• Sun 16 Nov Leeds, City Varieties Justin Currie
• Fri 14 Nov Oldham, Saddleworth Civic Hall Justin Currie
• Thu 13 Nov Selby Town Hall Justin Currie
• Tue 11 Nov Norwich, Epic Studios Justin Currie
• Mon 10 Nov Bury St Edmunds, The Apex Justin Currie
• Sat 8 Nov Bexhill-on-Sea, De La Warr Pavilion Justin Currie
• Fri 7 Nov Liverpool, The Epstein Theatre Justin Currie

August 2014

• Sat 23 Aug Edinburgh, The Queen's Hall Justin Currie
• Sun 22 Jun Glasgow, Òran Mór Justin Currie
• Sat 21 Jun Glasgow, Òran Mór Justin Currie

September 2013

• Fri 20 Sep Bristol Beacon Justin Currie
• Thu 19 Sep Cardiff, The Gate Arts and Community Centre Justin Currie
• Wed 18 Sep Exeter Phoenix Justin Currie
• Tue 17 Sep Southampton, The Brook Justin Currie
• Sun 15 Sep Salford, The Lowry Justin Currie
• Sat 14 Sep Harrogate Royal Hall Justin Currie
• Fri 13 Sep Durham, Gala Theatre and Cinema Justin Currie
• Thu 12 Sep Edinburgh, The Queen's Hall Justin Currie
• Tue 10 Sep London, Union Chapel Justin Currie, Del Barber
• Mon 9 Sep Brighton, Komedia Justin Currie
• Sun 8 Sep Cambridge Junction Justin Currie
• Sat 7 Sep Wolverhampton, The Wulfrun at The Halls Justin Currie
• Fri 24 May ➙ Sun 26 May Burns an a that! Festival Justin Currie, Rachel Sermanni, The Bluebells, Rose Parade, Taylor & Leigh…

February 2013

• Tue 26 Feb Sheffield City Hall and Memorial Hall Justin Currie, Robert Vincent (2)
• Mon 25 Feb Bath, Komedia Justin Currie, Robert Vincent (2)
• Sun 24 Feb Bromsgrove, Artrix Justin Currie, Robert Vincent (2)
• Sat 23 Feb Bridport Electric Palace Justin Currie, Robert Vincent (2)
• Thu 21 Feb Kendal, Brewery Arts Justin Currie, Garron Frith
• Wed 20 Feb Playhouse Whitley Bay Justin Currie, Garron Frith
• Tue 19 Feb Leeds, City Varieties Justin Currie, Robert Vincent (2)
• Sun 17 Feb Manchester, Waterside Justin Currie, Robert Vincent (2)
• Sat 16 Feb Newbury, Arlington Arts Justin Currie, Robert Vincent (2)
• Fri 15 Feb Stamford Corn Exchange Justin Currie, Robert Vincent (2)
• Sat 2 Jun Gateshead, Old Town Hall Justin Currie
• Fri 18 May London, Union Chapel Justin Currie, Derek Meins
• Wed 16 May Wolverhampton, Slade Rooms Justin Currie
• Tue 15 May Brighton, Komedia Justin Currie
• Mon 14 May Bristol, The Fleece Justin Currie, Derek Meins
• Sat 12 May Lincoln, The Drill Justin Currie
• Fri 11 May Holmfirth Picturedrome Justin Currie
• Thu 10 May Buxton Opera House Justin Currie
• Wed 9 May Stockton-on-Tees, ARC Justin Currie
• Tue 8 May Runcorn, The Brindley Justin Currie
• Sun 24 Jul Nottingham, Wollaton Hall & Park Splendour In Nottingham Scissor Sisters, Blondie, Eliza Doolittle, Cast, Justin Currie…

February 2011

• Thu 17 Feb Glasgow, Òran Mór Justin Currie, James Grant

January 2011

• Mon 31 Jan Wolverhampton, Slade Rooms Justin Currie
• Sun 30 Jan London, Union Chapel Justin Currie, Heidi Spencer
• Fri 28 Jan Brighton, Komedia Justin Currie
• Thu 27 Jan Cambridge Junction Justin Currie
• Wed 26 Jan Norwich, Waterfront Justin Currie, Heidi Spencer
• Tue 25 Jan Leamington Spa, The Assembly Justin Currie
• Sat 22 Jan Holmfirth Picturedrome Justin Currie
• Fri 21 Jan Glasgow, The ABC Justin Currie, Heathers
• Thu 20 Jan Perth Theatre & Concert Hall Justin Currie

October 2010

• Fri 8 Oct Glasgow, Royal Concert Hall Ryan Quigley Big Band, Justin Currie, Jacqui Dankworth, Carol Kidd, Todd Gordon, Julie Fowlis, Sandi Thom, Eddi Reader, Horse …
• Sat 31 Jul Perth Theatre & Concert Hall Paul Buchanan, Justin Currie, Tim Eriksen, Rachel Harrington, Yolanda Quartey, Holly Williams, Nels Andrews, AJ Roach, Niki King, Dick Gaughan …
• Fri 30 Jul ➙ Sun 1 Aug Stockton-on-Tees, Festival Site Human League, Mercury Rev, Lightning Seeds, Sarah Millican, Ivan Brackenbury, Mitch Benn, Jason Cook, Andrew Lawrence, Paul Sinha, Calvin Harris, British Sea Power, Goldheart Assembly, John Power, Justin Currie …
• Fri 4 Jun Cheltenham Racecourse Levellers, Justin Currie, The Leisure Society, The Travelling Band, The Epstein, Rusty Shackle, Jim Lockey & The Solemn Sun, The Arcadian Kicks, Tunnelmental Experimental Assembly, La Heroine, Tom Hollister Trio, Coxon's Riot, Ryan Martin & The North Ship …
• Wed 26 May Wolverhampton, Slade Rooms Justin Currie, Tommy Reilly
• Tue 25 May London, O2 Shepherd's Bush Empire Justin Currie, Tommy Reilly
• Mon 24 May Southampton, The Brook Justin Currie

Justin Currie image ©

Justin Currie

• Motion-sickness
• Rants/Slates

Milwaukee to St Paul

In Milwaukee I spend a few hours catching up with Bobby T, an original eighty-sixer and friend. We have wraps wrapped up on the waterfront of the inland sea of Lake Michigan. We have two shows today, one at 4PM and another at 9. Kris thinks the first show was better than the second and who am I to disagree?

I take an early bath and wake up late the following afternoon in Minnesota where I am kindly driven off to lunch with flower lady Jodi, who’s been gracing us with her gorgeous company and stunning bouquets since the nineties. It’s nice to get off the boat for a few hours. Back at the Fitzgerald Theatre in St Paul I go for a wander along the Mississippi and around town, Florence and her Machine glowing flashily from an electric billboard bolted onto… —More Tales

I take an early bath and wake up late the following afternoon in Minnesota where I am kindly driven off to lunch with flower lady Jodi, who’s been gracing us with her gorgeous company and stunning bouquets since the nineties. It’s nice to get off the boat for a few hours. Back at the Fitzgerald Theatre in St Paul I go for a wander along the Mississippi and around town, Florence and her Machine glowing flashily from an electric billboard bolted onto the Enormodome. St. Paul has a… —More Tales

Lewis, songwriting, company

I’m sorry to see the back of Lewis. Its blasted moors knitted tight with heather and the sea everywhere about, licking at the rocky coast have kept my mind occupied with peaceful thoughts mostly. I came for the quiet to write and walk. I have twenty new tunes scribbled on A4 and wailed onto cassette locked in an old briefcase in the boot. I queue for the ferry under high cloud and savour the sadness of departure like a sour sweet. There’s Friday night excitement in the air as folk stand around their cars gossiping and watering their dogs. The mainland is pulling us all back. The stillness here has an effect on you, making you reflective. You can hear your soul shifting in its sleep. I think of Glasgow’s grime and aggro and feel unprepared. I have bought a bottle of wine to celebrate later, it sits… —More Tales

To Bogbairn

Today we are traveling to Bogbairn farm just south of Inverness. We’re playing a boutique festival called Northern Roots, run by my old friend from Blazing Fiddles, Bruce McGregor. Bruce has his fiddly fingers in a gamut of tasty pies. He hosts an excellent radio show called Travelin’ Folk on Radio Scotland, gigs with the Blazers and has been running a little annual event on his farm for a few years now. I believe he is also an apprentice milliner. But I have seen his hats and that way lies lunacy.

High winds and scattered clouds, bursts of sun and sprays of rain decorate this three or four hour journey. The sun sits very high this time of year so the afternoon gets flattened out with scant shadows lending the greenery a uniform dullness. It’s the sideways light that makes this country ring and glow like god. Ben Lomond stands… —More Tales

Rod’s Concert for Myeloma

When I was little and when I was a little bigger, before I joined the fraternity of a band, I had no brothers. Two fine and beautiful older sisters and a brilliant maw but no brother to kick a football around with or to pick a fight with, to blame or to laugh with. Suited me – I didn’t need the competition. What I did have, however, was cousin Rod, four years older but never dismissive of me (little squirt that I was) nor bullying or belligerent. Rod paid me the same respect and attention that he did his own friends. He was generous and giving and funny to a fault. And Rod had records. Beatles’ records, Eric Clapton records, Jimi Hendrix records. He even had an 8-Track cartridge deck. While my big sister Rachel introduced me to cool things like Dr Feelgood and Thin Lizzy, Rod had the classic rock collection… —More Rants/Slates

General Election May 2015

It does not matter whether the United Queendom prevails. All that matters is subjugating the Irish, the Welsh and the Scots.

—Twat, no beer, yesterday

Show at Linlithgow August 8th, OK? This year. God knows how you get tickets but you can figure it out.

—More Tales

BEST MUSIC OF 2014

It was the year when the sound of eighties synths and vocals swamped in reverb continued unabated, a colour that seems to have been in vogue on both sides of the Atlantic for at least five years. The year when Kate came back and folk swooned while nobody really noticed gems like Withered Hand’s New Gods and Perfect Pussy’s Say Yes To Love. The year when lavish praise was poured over the Parquet Courts album in spite of it being stuffed with direct lifts from the history of post-punk; The Feelies and The Fall especially. When Paulo Nutini attempted to make an enormous soul/pop album and somehow managed to remain utterly charming and brilliant in spite of missing his target by a country mile. When Leonard Cohen, yet again released an album of faultless songs irreparably marred by horrifically cheap production and female backing vocalists who wouldn’t be out of… —More Rants/Slates

20/11/14 – 11/12/64

I sit in my seat like a teacher at a staff meeting, room service beer in full flow, and watch my last guest die. Ella Guru has gone to the other side. Being young, she has seen the sense in heading for the hills of immediate sleep. My banter, demanding as it must be of recipients, falls on deaf ears. I bear witness and keep vigil. Ella Guru slumbers as soundlessly as the pharaohs, her beer propped up in her lap like a leaning Eiffel. The squeaks and strains of morning erupt around my room – o shit, the world is awake. Nighttime is everything to me, I could not live without its cloaking. Mornings are murder, murderous and murderers. They are deathly, depressing and disastrous. They bring clinging women, creepy uncles: mornings are cunts that catch one at play. A little diseased breath in… —More Tales

The Case for Reform

Can you see what this sort of thing might lead to? —More Rants/Slates

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Justin Timberlake is adding an OKC concert to his massive 'The Forget Tomorrow World Tour'

Justin Timberlake has announced nine final added concerts for his 2024 "The Forget Tomorrow World Tour," including a second show in Oklahoma.

The musician, actor, and entertainer revealed Monday that he will play an Oklahoma City concert Dec. 2 at Paycom Center.

The 10-time Grammy Award winner announced earlier this year that his first tour in five years would include a June 6 stop at Tulsa's BOK Center.

The latest addition of nine new shows follows the huge response to Timberlake's initial tour announcement, including multiple sold-out dates and fan demand that led to the superstar booking several second and third shows across the globe.

Now spanning more than 55 cities, Timberlake's "The Forget Tomorrow World Tour" has sold in excess of a million tickets so far across its 85-plus performances.

What can fans expect from Justin Timberlake's 'The Forget Tomorrow World Tour' shows?

Timberlake fans can expect two hours of his top hits, along with new favorites off his sixth studio album "Everything I Thought It Was ," on the superstar's new tour.

Released in March via RCA Records, his follow-up to 2018's "Man of the Woods" spans 18 tracks and includes “Technicolor," “Infinity Sex," “Imagination," “Drown," “My Favorite Drug," “F****n' Up the Disco," “Play" and “Flame," which have all made it onto the setlist for his tour.

For "The Forget Tomorrow World Tour," Timberlake has devised a medley-style performance of 29 songs across two stages, including a stacked set of fan-favorites like “My Love," “Cry Me a River," “Suit & Tie," “Rock Your Body” and “SexyBack."

A highlight of the new tour has been his performance of “Mirrors” in which Timberlake floats over the audience on an LED screen of tiny mirrors. The screen tilts in multiple angles, allowing the hitmaker to lean towards the crowd during the last chorus sing-along.

When and how can fans get tickets to Justin Timberlake's 2024 OKC show?

Timberlake's newly added "The Forget Tomorrow World Tour" stop will be his first OKC arena show since 2019 .

OKC tickets go on sale at 10 a.m. Thursday, May 23 via Ticketmaster.com .

Citi cardmembers will have access to presale tickets for the newly added shows beginning at 10 a.m. Tuesday, May 21 until 5 p.m. Wednesday, May 22 through the Citi Entertainment program. For details, go to www.citientertainment.com .

Verizon will offer customers presale access for applicable U.S dates through Verizon Up beginning at 10 a.m. Tuesday, May 21 until 5 p.m. Wednesday, May 22. For more information, go to https://www.verizon.com/featured/verizon-up .

For more information on Timberlake's OKC show, go to https://www.paycomcenter.com .

The news follows a phenomenal response to the initial tour announcement, with multiple sell outs and incredible fan demand that garnered the addition of numerous second and third shows across the globe. On Justin's first tour in 5 years, the unstoppable showman delivers a flawless performance, captivating fans across the 2 hours of back-to-back timeless hits and new favorites off his new sixth studio album Everything I Thought It Was.

The medley style performance of 29 songs across two stages includes a stacked set of fan-favorites like “My Love”, “Cry Me a River”, “Suit & Tie”, “Rock Your Body”, “SexyBack” and more including “Technicolor”, “Infinity Sex”, “Imagination”, “Drown”, “My Favorite Drug”, “F****n' Up the Disco”, “Play”, and “Flame” off of his new sixth studio album Everything I Thought It Was. The night concludes with a jaw-dropping performance of “Mirrors” where Timberlake floats over the audience on the LED screen of tiny mirrors. The screen tilts in multiple angles allowing Timberlake to lean towards the crowd during the last chorus singalong