When singer-songwriter Tony
Moore discovered he'll be getting a Gold Badge award this year in the British Academy of Songwriters, Composers and Authors
(BASCA) he naturally felt honoured, and also
over a
little surprised. In the end, he hasn't written any huge hits or composed a
soundtrack to the big movies. Yet despite being unknown to the vast majority of music fans, his contribution to British
songwriting is undeniable - and yes it all were only available in 1997 using a weekly music night referred to as the Kashmir Klub in a pub in London's Holland Park.
Initially Moore, who started off being an original part of Iron Maiden and then joined 80s band Cutting Crew (the ones from I Recently Died in Your Arms Tonight fame), created the night to give himself and his friends the opportunity to perform their particular songs. The London live music scene during the time was basically information on rock bands, and once a colleague told him regarding the Bluebird Cafe in Nashville, a small venue where established or higher-and-coming songwriters performed their own personal songs, he felt inspired to recreate it in London.
He had very specific ideas of what would make it special. There can be no cover charge. "A cover charge can be a psychological barrier for most punters," says Moore. The artists wouldn't be paid; nor would they be asked to generate some punters (many venues ask that). The sound would have to be fantastic, so he'd get 10% of your bar takings so that you can pay a great sound engineer. All of the equipment was presented to him for free through the businesses that made them. "It's amazing how, when you're excited about something, people are willing to support you," says Moore, exuding an infectious enthusiasm.
The night quickly became very popular that they expanded it to two nights weekly. Once the pub lost its licence, the Kashmir Klub relocated to a basement underneath a nearby restaurant during London - and that's when things really kicked off. Soon Moore ran the club six nights every week. Every weeknight would have similar structure: all artists would do two songs within the first set and 2 in the second. To the audience this meant, if you didn't much like the act performing, you'd only have to endure it cheaper than 10 mins; and even when you couldn't stay through the night you'd get the opportunity to listen to every one of the acts. On the musicians, it meant the audience members wouldn't leave the moment their mates had performed.
The club has acted as being a launchpad for artists like Damien Rice, KT Tunstall, Imogen Heap, Nerina Pallot, Paolo Nutini, Rumer and numerous other successful artists, who arrived as complete unknowns to hone their performance skills. However, many international stars also have graced the small stage as they've passed through the city, knowing the sound can be up to scratch. Sheryl Crow did a secret gig and was able to play a 40-minute set - although the "no cover charge" ethos remained, even for her. "You probably know how the performers always bring some friends who sit in front? Well, her friends were people like Chrissie Hynde and Emmylou Harris," says Moore.
The thing that makes the Kashmir Klub extra special for artists is the fact that people don't talk all the way through the performances. Apart from the first venue, every place that's hosted the club has had a bar inside a separate room where people may go if they want to talk. Moore, who will MC every single night, kicked off each evening by saying: "As you've noticed there's no cover charge. All you want pay is attention."
When he lost the basement venue in 2003, the Bedford pub in Balham, south London, got connected. Its owner had arrived at realise the benefit music brought to his pubs, and thus hired Moore to run that part (he's now also adopted the Regal Room in Hammersmith). "Initially it was difficult. It's funny - people are prepared to journey to Berlin for a gig, however, not to Balham," Moore explains. Still, he's is currently finally able to make an income from this.
The Musicians' Union is currently intending to stop its opposition to venues charging bands to execute (if you are interested, I'll be debating the matter of so-called "pay to play" on a panel featuring Guy Garvey at Manchester's In the City conference on 13 October). Before accomplishing this, they ought to speak with Tony Moore, having proven it's easy to manage a successful music night without charging musicians or punters. His mailouts usually finish having a "thought during the day", along with his favourite is: "Locate a job you adore doing, and you'll never need to work another day of your life." He says he hasn't worked for 13 years.
Initially Moore, who started off being an original part of Iron Maiden and then joined 80s band Cutting Crew (the ones from I Recently Died in Your Arms Tonight fame), created the night to give himself and his friends the opportunity to perform their particular songs. The London live music scene during the time was basically information on rock bands, and once a colleague told him regarding the Bluebird Cafe in Nashville, a small venue where established or higher-and-coming songwriters performed their own personal songs, he felt inspired to recreate it in London.
He had very specific ideas of what would make it special. There can be no cover charge. "A cover charge can be a psychological barrier for most punters," says Moore. The artists wouldn't be paid; nor would they be asked to generate some punters (many venues ask that). The sound would have to be fantastic, so he'd get 10% of your bar takings so that you can pay a great sound engineer. All of the equipment was presented to him for free through the businesses that made them. "It's amazing how, when you're excited about something, people are willing to support you," says Moore, exuding an infectious enthusiasm.
The night quickly became very popular that they expanded it to two nights weekly. Once the pub lost its licence, the Kashmir Klub relocated to a basement underneath a nearby restaurant during London - and that's when things really kicked off. Soon Moore ran the club six nights every week. Every weeknight would have similar structure: all artists would do two songs within the first set and 2 in the second. To the audience this meant, if you didn't much like the act performing, you'd only have to endure it cheaper than 10 mins; and even when you couldn't stay through the night you'd get the opportunity to listen to every one of the acts. On the musicians, it meant the audience members wouldn't leave the moment their mates had performed.
The club has acted as being a launchpad for artists like Damien Rice, KT Tunstall, Imogen Heap, Nerina Pallot, Paolo Nutini, Rumer and numerous other successful artists, who arrived as complete unknowns to hone their performance skills. However, many international stars also have graced the small stage as they've passed through the city, knowing the sound can be up to scratch. Sheryl Crow did a secret gig and was able to play a 40-minute set - although the "no cover charge" ethos remained, even for her. "You probably know how the performers always bring some friends who sit in front? Well, her friends were people like Chrissie Hynde and Emmylou Harris," says Moore.
The thing that makes the Kashmir Klub extra special for artists is the fact that people don't talk all the way through the performances. Apart from the first venue, every place that's hosted the club has had a bar inside a separate room where people may go if they want to talk. Moore, who will MC every single night, kicked off each evening by saying: "As you've noticed there's no cover charge. All you want pay is attention."
When he lost the basement venue in 2003, the Bedford pub in Balham, south London, got connected. Its owner had arrived at realise the benefit music brought to his pubs, and thus hired Moore to run that part (he's now also adopted the Regal Room in Hammersmith). "Initially it was difficult. It's funny - people are prepared to journey to Berlin for a gig, however, not to Balham," Moore explains. Still, he's is currently finally able to make an income from this.
The Musicians' Union is currently intending to stop its opposition to venues charging bands to execute (if you are interested, I'll be debating the matter of so-called "pay to play" on a panel featuring Guy Garvey at Manchester's In the City conference on 13 October). Before accomplishing this, they ought to speak with Tony Moore, having proven it's easy to manage a successful music night without charging musicians or punters. His mailouts usually finish having a "thought during the day", along with his favourite is: "Locate a job you adore doing, and you'll never need to work another day of your life." He says he hasn't worked for 13 years.
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