Photo credit: Marco Bakker
Tell us about your tour vehicle. Any notable breakdown stories?
Michael Weston King: For the past few years we have been using a Renault Grand Espace people carrier. Fabulous multi-use vehicle, loads of room and flexibility, with 8 separate seats which can be taken out as needed. On this most recent tour of Europe, March 2022, it just went past 275,000 miles.
In the U.S. we use hire cars / vans. Or on occasion are driven by someone, most often one of the musicians we work with when over there. We hired a large Jeep for a west coast tour once, which was fun. Spent a lot of time driving on beaches with it in Washington and Oregon.
Must admit, one of my favourite feelings is pulling out of the airport car rental car park and onto an American highway, having arrived safely made it through custom and check points and off on another adventure
Lou Dalgleish: We broke down once on tour in Germany, and some helpful local guys gave each of the band a ride to the nearest autobahn services where we could at least drink coffee and eat schnitzel while the van was being repaired.
I was so grateful and relieved to have a lift, I didn’t actually think about my safety, until I got into the guy’s car and shut the door. As he sped away (there was just me and him) it occurred to me that I didn’t know where I was going or who he was. He drove silently and I started to feel increasingly concerned as he left the highway and began driving along smaller roads until he eventually turned into a woodland area. There was no way this was right. He was supposed to be taking me to join the rest of the band at the services on the highway.
The woodland became more dense and I could see a kind of camp up ahead. There were guys in green camouflage military type outfits who were waving welcomingly at our approaching car. I became totally convinced that I was being kidnapped. I started to shout “where are you taking me!!?” and tried to open my door which was locked shut.
My complete terror was short lived, however. The silent driver looked confused and as he waved at his woodland pals the car exited the wooded area and we were suddenly at the back entrance of the highway services. He had simply known a shortcut through the country roads and was only silent because he spoke no English. Alarmed by my reaction to his kind help, he smiled reassuringly and pulled the car up at the entrance to the services. I thanked him awkwardly and went inside where my band mates were all gathered. Schnitzel has never tasted better.
How do you eat cheaply and/or healthy while on tour?
Dalgleish: We don’t! As we get older we get fussier and go in for much more fine dining than we used to. However, if our rider is a good one (it can certainly vary in quality), we also usually enjoy a nice local delicacy somewhere recommended to us.
When we are in the U.S., we love breakfast most of all and never tire of going to a diner for what’s always the most exciting meal of the day. So much choice, such quantities and endless coffee refills.
Back in Europe where the hotel breakfasts are endless buffets of cold meats, cheeses and pickled fishes, I can often be caught filling my handbag with provisions for a picnic later on in the day. I’m not sure if it counts as stealing when you take more than you can eat and simply “save it for later” but it certainly keeps the lunch costs down!
How many strings do you break in a typical year? How much does it cost to replace them?
Dalgleish: Strings are never broken on my keyboard. I do break a few heart strings along the way though. Usually my own. Especially when it’s time to say goodbye to the U.S. and head back to rainy Manchester.
King: I used to be forever breaking them but I can’t recall the last time. Maybe I am getting more delicate as I get older. Yes, as Lou says, we are going in for breaking heart strings these days.
Where do you rehearse?
Dalgleish: We often rehearse at home where there’s plenty of space, no charge, an endless supply of tea plus a great fish n chip shop around the corner. But when it’s a fuller band gig we will hire a rehearsal room often located near Heathrow airport for an easy passage to our tour destination. And walking distance to a good pub of course.
King: Rehearse! What is that?
What was the title and a sample lyric from the first song that you wrote?
Dalgleish: The first song I wrote was called “I won’t cost you anything but love.” That was the main hook in the chorus. Very catchy and perfect for the Eurovision Song Contest, if only I’d entered. It was my teen disco hit that never was!
King: I can’t recall my very first song but my first song that was ever released was called Paper Doll by my early 80’s band Fragile Friends. It came out on 7 inch single and we glued the sleeves together ourselves. I see that it is fetching £50 on certain web sites.
I was hugely into Elvis Costello, and admired his word play, all those puns he used to work into his songs. These lines of mine reflect I was trying to do the same; “With his fools cap in hand, he looks lined and plain” (Urgh!)
Describe your first gig.
Dalgleish: My first gig was not singing or even playing, it was dancing. I left school wanting to start working in theatre straight away and as a fully trained dancer that was my ticket into showbiz. I joined a circus in Mexico! It was a wild start. Next up I was in a Spielberg movie so it set me up nicely. Somehow my journey led me to the music business where I find myself today. It’s been quite an adventure.
King: My first gig was in a post punk ‘Joy Division inspired’ band called The Tradition at a New Romantic club called Sandbaggers in my hometown of Southport, near Liverpool. The audience was really just there to look cool, look at each other, and to dance but they were subjected to us first!
Within the set we did a cover of This House Is Not A Motel by Love. I recall I got the over-drive settings on my guitar pedal all wrong, and when it came time for the dramatic guitar solo, it nearly took people’s heads off. As well as their make-up!
I have fonder memories of the first My Darling Clementine show Oct 31 2011, in St Pancras Old Church in London. The venue packed, debut album just out and getting amazing reviews, the single getting national airplay. Some celebs in the audience, there was a real buzz. We walked down the aisle to enter the stage.
What was your last day job? What was your favorite day job?
Dalgleish: My favourite day job was working for a ballet company as a member of the educational department. My background in dance performance meant that I was a natural candidate for coordinating ballet auditions in local schools. It was weird having a proper job but at least it gave me access to the photocopier where I could sneak in and print off promotional flyers for my next gig. I guess you could say my heart wasn’t in it.
Later, I had a spell of working as a waitress in a fancy London bar. I was always late, often off sick on Mondays, and I struggled to be deferential to rich corporate customers (who I instinctively hated). Needless to say, I soon got fired! I haven’t had a day job since.
King: I have not worked outside music for years. Mostly as a performer and writer but I did have a spell as a booking agent too, often bringing U.S. artist over to the U.K. Some great ones too (John Hammond, Guy Clark, Kinky Friedman, Chris Hillman).
I recall my first job though. In my mid-late teens I was a verger (sort of like a priest right hand man / church caretaker) a job usually reserved for much older, almost retired folks. It was a great gig, especially weddings and baptisms as these were paid individually. Sometimes we had 4 weddings a day as the church was so in demand as it was very pretty and picturesque. I was making a fortune. Pro rata, probably more than I ever have since!
How has your music-related income changed over the past 5-10 years? What do you expect it to look like 5-10 years from now?
Dalgleish: In the U.K. we consider it vulgar to discuss money! But people often find it baffling that anyone can earn from music. At many a party I’ve been asked “but what’s your real job?” Working as an artist and living the life of a musician is insecure and risky. It’s a continual “feast or famine” situation. Sometimes life is full, busy, a little extravagant and without struggle. Other times it’s full of debt and “how the hell are we going to pay the bills” this month. But it’s a way of life that you learn to navigate. There are lots of us out there earning our livings from music. A lucky break or a chance meeting can catapult that earning potential into true wealth. Or you can as easily fall further into hardship and have to get a day job to subsidise the income (which inevitably restricts the ability to tour so it’s kind of counter productive artistically anyway.)
I’m certainly a richer woman now than I was five years ago. But that doesn’t always mean money! Two years of lockdowns brought significant financial issues, but my loved ones and I came through it all with our health intact, so that’s more than any money can buy.
Who knows where I’ll be in 5/10 years from now. Time seems to be moving ever faster. Hopefully I’ll still be playing my songs and singing to anyone who wants to buy a ticket. Wherever that may be and how ever big the crowd is.
King: As working musicians, most of our income comes from live performance so obviously these past 2 years have been brutal. We also receive songwriting and recording royalties but mainly our income comes from getting out and working live. Which is the same all the way up to huge acts. There really is little money in recorded music anymore, so back on the boards we go.
I do maintain though, that as a songwriter you have always got a lottery ticket. There is always that chance a song is picked up, and that can be life changing. Nick Lowe’s “What So Funny About Peace Love And Understanding” springs to mind. So, keep writing folks. You never know.
I don’t really like to think about the future too much. In honesty, fees and earnings are really no higher than they were ten years ago, though here in England that goes for everyone, not just musicians. Things are plummeting here, except the cost of living. That is rocketing. But, I think as long as we can continue to do what we do, make a living of some form, and enjoy the benefits of being a touring musician, the joyful experience of travel, meeting new and like-minded people, the creative freedom to write, I’ll settle for that. What are you going do? Retire!!. You just keeping going until you keel over. My old friend David Olney passed away on stage during his set. Now that is a way to go!
What one thing do you know now that you had wished you knew when you started your career in music?
Dalgleish: I was signed to a small Dutch label in the 90s and they spent a lot of money on me. I hadn’t understood the nature of their commitment to me. They were actually good guys. But I listened to the wrong people who made me feel I needed to be tough and play hardball with the record company. I was stupidly unflinching and wouldn’t compromise.
When they decided not to do the planned second album with me, I was heartbroken. I reacted naively thinking I could force them as they were, in theory, contractually obliged. In the end we did make a compromise and of course I see now that I handled it all wrong. It’s easy to say “I wish I had known better” and fantasise about the idea of being able to go back and advise yourself with the benefit of hindsight as your question suggests. But actually, part of growing and learning is making mistakes along the way. Who knows whether I’ve made decisions that could have completely changed the direction of my career if I’d chosen differently. And the point is that you don’t ever know. So there’s no real point in agonising over past decisions. Having said that, I do wish I’d kissed Bryan Ferry when I had the chance.
King: In honesty I don’t know if I am any the wiser, this whole show business game is so hard to fathom. And the goal post keep moving every few years, too.
Maybe sometimes being naive and ignorant is the better way. When I was touring with Townes Van Zandt, in the 90’s, he gave me some advice. “Just stick around Michael, just stick around.” I have been sticking around ever since, no matter how hard it has gotten at times. Keeping on. Writing, recording, touring, trying to do good work. Enjoying the process if not necessarily the rewards. Then again, the best rewards aren’t always financial.