Round Europe in a camper van – Tips and Info

Introduction

This article is about using camp sites in Europe for your camper van, specifically ones that offer ACSI discounts out of season. There are other options of course. Many van owners like “wild camping” but it is risky, uses up the leisure battery and in many countries is illegal, so we choose to avoid that. There are also dedicated camper van parks (known as “aires” in France and “Stellplätze” in Germany), which are slightly cheaper but very austere, normally just rows of vans on a concrete car park, so we only use them In an emergency.

Checking in

This is always slightly nerve-wracking because you never know exactly what awaits you.

Problems can start even before you arrive, because the directions can leave a lot to be desired and postcodes can be inaccurate. So it can take ages and numerous forced wrong turns before you even find the place. It’s quite likely that reception will not even be open, because they tend to have varying opening hours which you can’t predict in advance. Certainly in most European countries there is a lengthy lunch break from around 12 to 3. It’s possible that you might have to park up outside the determinedly shut barrier for a couple of hours before being granted admission. Then of course there is the question of whether they actually have any space, which is in the lap of the gods because you don’t know what special events may or may not be on. 0ften, different European countries will have a variety of bank holidays which you are unaware of but which mean that the campsite is fully booked. So you present yourself at reception and have no idea whether you’re going to be treated with grumpy resignation (mainly at the larger chain establishments) or greeted with wild enthusiasm and huge admiration of your sweet and rather unusual little campervan. Sometimes you will have to present your passport and fill out copious forms with numerous personal details; in other places they simply wave you through without taking any details at all. Normally you will be presented with an unintelligible map of the campsite and try to navigate the illogical numbering system before you eventually find your spot. You will be given details of all the rules and regulations and the location of things like bathrooms, waste disposal etc. At that stage you will be free to set up. For me, setting up has three main components: firstly, winding down the legs at the back of the van in order to stablilise it. This is an awkward activity, very squeaky because in 11 years I have still never remembered to oil it, which would make things a lot simpler. Then the gas needs to be switched on, again a slightly uncomfortable activity, and finally the rather intimidating procedure of plugging in the electricity. This entails untangling the cable, carrying it across swathes of sometimes wet grass and attempting to locate the plugin spot, which may or may not have a compatible plug. One thing you learn very early in campervanland is to take a variety of connections, otherwise you may be stuffed.

Facilities

Sites very enormously in what they offer in the way of amenities. Currently we are on one that has a swimming pool and a snack bar but last week we were on one that had neither of those and nothing to offer in bad weather. Normally there are facilities for washing clothes but how they actually work can vary enormously and often entail buying tokens to insert into the machines. Attempting to construct a washing line between two trees can be awkward and mainly is verboten anyway. Similarly, you never know what it is going to confront you in the way of showers, but one thing all showers have in common is they are far too small and offer no way that your clothes will not end up drenched as you shower. Sometimes these, too, will require a token and the four minutes allocated need to be calculated cleverly, unless you want to end up still covered with suds when the water runs out. The water of course can vary from blisteringly hot to icy cold. A squeegee on a pole is normally provided so you can make a token attempt at swishing the floor, which has no perceivable effect on the hygiene.

The toilets, well, where do I start? Will there be toilet paper provided? You don’t know in advance. If it is provided, will it have run out? You have no way of knowing until you are ensconsed. Will the loos even have toilet seats? Not in France they won’t. Will there be a chance of a “flush and run” special? Yes, in France, certainly. Your relationship with fellow human beings that you do not know is shockingly intimate in these communal facilities. I can’t speak for the ladies, but certainly the extraordinary and horrible noises that men make when doing their early morning functions are beyond belief and I recommend only using these facilities at a quiet moment like lunchtime when everybody has retreated into their caravans for a lie-down. Sometimes the toilet blocks incorporate all three elements, the wash basins, the toilets and the washing-up facilities in a single room. There are certain points of etiquette that need to be followed. I noticed this very morning guys coming out after a poo and washing their hands in the washing-up area. I got into terrible trouble last year on a site in Germany when I was discovered washing my socks in what turned out to be a washing-up area rather than a sockwashing area. It was a genuine error but someone spotted me and dobbed me in with the camp management, who came and remonstrated. It was a rare occasion for me to pretend that I was an Innocent Englishman who spoke no German and they forgave me.

On the subject of washing up, I have a question for those of my friends who are in long-term relationships. Do you ever consider doing anything at all without your partner? I only ask because at the time of year we travel, the people using the campsites are virtually 100% middle-aged heterosexual couples who seem to be so unwilling to be separated from their other half even for 10 minutes that they have to do the washing up together. They stand side by side, one washing and the other drying, but there’s never any suggestion of communication between the two, so you do wonder what benefit is being gained for either of them. I don’t think the quality of the washing and drying up is likely to be enhanced by having two people rather than one doing it, but I am invariably the only solo washer-dryer to be seen.

Miscellaneous

Campsite restaurants don’t tend to be very good. Sometimes they will advertise pizza but I have learnt nothing to contradict my normal approach that you should never buy a pizza from a restaurant whose speciality is not pizza. We tend to travel out of season so it’s not sensible to assume that the campsite restaurants or bars will actually be open or have anything beyond a minimal offering. Emptying your toilet in the morning is always a fun experience, as you join a queue of people carrying their piss-filled containers and with a beady eye checking that you are following the correct etiquette. This is of course after spending at least a quarter of an hour trying to locate the toilet disposal area in the first place, normally hidden in a far corner. The ability to fill your camper with water is also challenging and it makes sense to carry a wide range of connecting devices for attaching your hose pipe.

Dumping wastewater requires complicated forward and reverse movements with the van to position the waste tap exactly over a drain. Either that or try and discreetly open the tap on the pitch your occupy. This only works if it is a grass pitch and it’s fraught with danger if anyone should spot you doing it and tells the authorities.

Wi-Fi can be quite a conundrum, with great variations in provision. A few sites will offer free Wi-Fi but it rarely works in a satisfactory way because everybody is on it all the time, thus depleting its effectiveness. In that case, clusters of people lurk around reception, where the signal is strongest. Others ask you to pay a daily fee, sometimes with a minimum of two or three days. One place this year offered 30 minutes free and required payment after that and on one site the rather snooty lady said “You are on holiday and shouldn’t be using Wi-Fi so we don’t provide it.” She had a point, of course.

One perhaps unexpected thing that can crop up, especially in Germany, is the issue of how to pay. We were faced this year with several campsites that only accepted cash payments. Luckily these were ones we had contacted in advance so had been pre-warned, but it’s quite possible to arrive at the site and the first you know about payment conditions is a sign in the window. It’s equally possible that you will find yourself at a site that only accepts card payments and no cash, so it’s crucial to take a supply of each with you.

At this time of year I would say that 80% of our neighbours are Dutch. It appears that Dutch retirees are very well off and able to spend months travelling around Europe from site to site. They are invariably friendly and super respectable. It is very rare for us to encounter British campers anywhere other than in France. Some of the vehicles are beyond belief. Last week we found ourselves on a German site which doubled as a camper van sales outlet with hundreds of vehicles parked up for sale. Some of those were those gigantic ones which are literally the size of buses, with price tags that are unbelievable. I looked at one that was on sale for 385,000 euros, for which you could buy a very respectable house in Germany. We are always the smallest and most ancient van on each site. Most vehicles are gleamingly modern and you can easily calculate your fellow campers’ wealth. Either they had around £80,000 cash to buy it outright or they have around £400 a month to spare for HP payments.

One tip is to try and do a lot of research in advance about what might be near the campsite. Birgit is absolutely brilliant at this, thus we have this week been on sites featuring a Greek restaurant and a very good Indian restaurant where I had the best biryani of my life. It’s great, if possible, to be within walking distance of a village or town, but the most crucial thing is to be near a bus route or train station. This means that you can just leave the van on the site and explore without the fiddle-faddle of having to pack everything up and seek parking places in towns where more often than not the facilities are either underground or multi-storey, for which any camper van will be too high.

Most campsites will offer to order you bread and croissants for breakfast, but by no means all of them do, so it’s worth researching in advance. Inevitably, if you fail to buy anything for breakfast, the site you pitch up at will have no availability of food. Sites can vary from tiny meadows on farms to huge International chains with the focus heavily on families and children. These are likely to be heavier on noise but can often be just as entertaining as the rural affairs. It’s important to pay close attention to the microscopic print in the camping guide, for example the luxurious swimming pool depicted may actually be empty when you arrive. It’s also not unknown for the price to have changed dramatically since you decided to go there. There tends to be variable pricing, depending upon bank holidays etc.

Some travellers are very “purist” about never using campsites at all, and at the opposite end of the spectrum are the campers who plan their entire itinerary before they set out, booking all the sites in advance. That is a method that avoids some (though by no means all) of the issues I have described, but it would take a lot of the fun out of it for us. We value the flexibility to make day-by-day decisions about destinations. For example, this year we had situations where we liked a place so much that we decided to stay on a bit longer, and also examples of the opposite.

Apologies if some of this sounds rather negative. That is certainly not the intention, because in 11 years of annual early summer travels we have had the most wonderful times and the quirks and idiosyncrasies mentioned in this article are all part of the fun. Last week, for example, we spent a couple of days at what we both agreed was the most delightful site we have ever found, a family-run affair with charming hosts for whom nothing was too much trouble. Looking forward to year 12 already.

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COBURG – One day on the road in Polly Pocket

We initially were headed for a spa town called Bad Kissingen but when we arrived at the campsite reception, we were greeted by a sign on the firmly-closed door saying that it was shut between 12 and 2. As there was still a lady inside at the reception desk, I hoped that she might take pity on us, but when she came to the door, she merely opened it, told me that we couldn’t check in until 2, locked up and disappeared, presumably home for lunch. This bit of German precision annoyed me so much that I declared we would not stay there. We proceeded to another site which was situated at a sports centre, but somehow we both agreed it didn’t look very nice, so we decided to take a risk and head for a so-called “Stellplatz”, something we had not done before. These are effectively car parks for camper vans. They do provide plug-in posts for electricity and a waste disposal slot but nothing else in the way of facilities such as showers, hence they are nice and cheap. This one was located adjacent to a swimming pool complex and was populated by people who seemed considerably more friendly and communicative than those we had come across on the regular campsites. We got into pleasant conversations with several families, including a young Danish couple who were spending their paternity / maternity leave driving around Europe with their tiny infant. 

Something we love to do in Germany is go for a Greek meal. Every German town will have at least one Greek restaurant and Coburg seemed to have three. The lady at the swimming pool told us how to get to the nearest one. This was when we made a slight mistake, by telling our neighbours (an elderly couple – the man was 82 and was still driving his huge campervan for five hours a day) about our plan to go to the Greek restaurant. We wandered through some pleasant suburbs to find the restaurant, which had a delightful garden in the shade of some willow trees. There was just one table available, so we sat down. Immediately the very eccentric, middle-aged, wild haired waiter came over and said that we should have approached him and asked to be seated. We apologised but he told us that the table was reserved. Birgit did her normal excellent job of being charming and I put on my naïve, ignorant foreigner act and he agreed to move us to an unlaid table on the outer fringe, on condition that we ate up quickly. We ordered and were waiting for our food to arrive when we noticed the old couple from the Stellplatz at the entrance. The waiter was shaking his head emphatically and clearly saying there was no availability. To my horror, I noticed that the lady was pointing towards our table and us, and in no time she had convinced the waiter that we were friends and were waiting for them to arrive. Thus it was that we had to share our planned romantic tête à tête with whatever the German equivalent of a Daily Mail reader is. Luckily, their food took ages to come and we were able to escape. 

The centre of Coburg was absolutely stunning, like something out of a Grimm’s fairy tale, with frescoed buildings, a beautiful town square and atmospheric narrow, cobbled streets. We ended up in the sweetest little bar imaginable for a late-night schnapps. The following day we planned to visit the castle at the top of the hill overlooking the town, but before that we spent a couple of hours in the swimming pool complex, where there was a huge variety of pools of different temperatures, some indoor and some outdoor. To get to the castle there was a minor problem in that roadworks meant that the bus up the hill wasn’t running and we had been warned that the pedestrian route was extremely steep. A visit to the local travel centre brought the result that we were given a replacement taxi to take us up to the top. I had visited that castle as an impressionable teenager on a school trip in the 1960s and was thrilled to discover that absolutely nothing had changed, as we wandered round the battlements to the accompaniment of the buzzing of a gigantic swarm of bees. I became engrossed in a reverie about ageing and all that life had brought me in the years since the last visit. We strolled back down to the hill and sought out an atmospheric Gasthaus, where our beers were brought to the table by a robot. I even enjoyed some shopping (something which is normally an anathema to me) because there were so many fun independent shops actually selling interesting things. Most days on our six-week trip were pretty much like this but the visit to Coburg was a representative example of the wonderful times we had. 

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Live music in the UK – 2026

Much of my life revolves around gigs, either attending them or arranging them. I’m also involved in small and medium-sized venues and festivals, so I’m tempted to set out my feelings about the live music scene at the moment. I know that the impressive work of the Music Venues Trust has brought this topic to the forefront of people’s minds in the last few years. 

I’ve been prompted to share some thoughts by something that happened this morning. A gig that I was looking forward to going to by an American band in a local venue was suddenly cancelled. In my disappointment, I contacted the promoter to try and find out the reason. I knew that several of my friends would also be likely to be disappointed, having looked forward to the show. It’s not an entirely new band but it’s a band that has rarely toured in the UK before. The promoter told me that after months of promotion and the tickets being on sale, they had sold a grand total of zero tickets. This was a situation that couldn’t be ignored because, as we know, every gig comes with its attendant costs of venue hire, staffing, payment for the band etc, etc. At some stage defeat has to be admitted and the plug pulled in the interests of everyone involved. 

The night before, I’d been to a show locally where the performers were outstandingly entertaining and everyone present enjoyed every moment. The problem was that there weren’t many people present, I’d say maybe around 30, and as an experienced promoter I could tell that the evening must have made a resounding loss both for the artist and for the venue. And on a personal level I have a couple of shows coming up that aren’t selling, even though they are established artists who have played sold-out shows for us in the past.

We are all used to the phenomenon of small festivals cancelling shortly before the event on account of low ticket sales, the two most prominent examples this summer having been Red Rooster and Kernofornia. The blame is often laid at people spending all their money on stadium shows or huge festivals like Latitude or the Hyde Park sessions, but just this week some of the biggest open air events for years, featuring artists like Eric Clapton, have also been cancelled for lack of interest. In a strange contrast, there seem to be more smaller and medium-sized festivals than ever before, most of which seem to flourish. Similarly, where I live in the Southampton area, this summer has seen a series of big open-air shows by mainstream artists such as Paul Weller and OMD and the whole thing has been an enormous success, with wall-to-wall sell outs. “Pub Rock” is more lively than it has been in years, with pubs turning to live music as a way of getting customers in, even though almost all of the bands are cover bands. Not really my thing but any band is better than none at all. 

People are casting around trying to interpret all this but it’s hard to find any hard and fast explanations or indeed solutions, because there is no clear pattern. One thing I know is that there are individual “scenes” for certain types of music, for example the metal scene remains popular, there’s a surprisingly vibrant and widespread blues scene, and again in my area we have venues such as the Joiners in Southampton which brings joy to my heart by advertising nightly shows by bands I have never heard of with Sold Out stickers on them. This tells me that there is still a thriving interest in and following for young indie bands, as there always has been.

In my own little field of “Americana” there is a faithful audience for touring bands from America and Canada, although the scene is actually a lot smaller and more insular than it might appear, It’s noticeable that many tours are playing much smaller venues and an increasing number of house concerts. Some venues like The Bear in Luton and the Kitchen Garden Cafe in Birmingham are tiny and you can see artists there who a few years ago would have played in places several times their capacity. Although this indicates a scene on the wane, there is the phenomenon of country artists who can swiftly accumulate followings big enough to fill the likes of Wembley. Who actually reaches that level seems to be largely random. 

Now I am going to risk being lambasted for saying something that has so far been unsayable. One reason for empty venues and cancelled tours is that there are just too many artists and not a big enough audience. As a promoter, I get approached several times a day by agents punting singer-songwriter types. I dutifully listen to the songs and in the main they are very good, but it’s simply impossible to book all of them. The audience, despite its enthusiasm, simply can’t go out every night of the week or indeed afford to do so, so they have to become selective. I regret to say that if I put on every show I got offered, almost all of them would be empty. This is, I emphasise, no reflection at all on the quality of music or the performance, it’s just that there is no longer room for all of them. I’m really sorry!

Demographics are important here too. Our audience tends to be people in their 50s and 60s. Not wanting to be morbid, but they won’t last forever and is there any sign of a new generation? No, there isn’t. I recently read an article about only a tiny proportion of chart hits nowadays being by actual bands. Luckily these things do go in cycles and my mentioning of the Joiners gives me heart, knowing that there are young music lovers happy to go out and support their favourites. There will always be bands around but people’s entertainment habits vary. Remember when we thought live music had died for ever when the dance and clubbing scene came along? Nowadays there are addictive phones and gaming consoles too.

So-called Legacy bands are going through a fruitful era at the moment, but even they have to be careful not to put themselves into halls that are too big. There’s a trend for two or three acts from the 80s to tour together in order to flesh out the audience. In my own little scene, I know exactly which bands will sell out and I’m always right, but it doesn’t stop me booking bands that I know won’t sell out, just because I love the music – very selfish, I know. Most acts have a maximum audience ceiling and the old days when they could be booked into bigger and bigger halls with confidence are largely gone, although of course there are exceptions. I’ve really loved watching new young trio The Molotovs go from nothing to huge venues in the space of a year. 

At a small venue level there are a couple of phenomena to mention. First are the begging internet posts imploring people on bended knee to buy their tickets well in advance because otherwise the show could be cancelled owing to a perceived lack of interest. This is a really awkward one, because I fully understand and appreciate anybody not wanting to book tickets months in advance knowing that there was a chance that the gig might not take place. Nowadays it’s possible to keep an eye online on how tickets are selling and how many are left, so there’s little risk involved in leaving it until near the actual time. This also removes the risk of unexpected things cropping up which make it impossible for you to attend. Press adverts are few and far between nowadays because they are expensive and, as we know, there’s not much money around, so most promoters and artists rely heavily on internet posts. You can always tell when a show isn’t selling as the posts get more and more frequent. Connected to this is another matter which I find just heartbreaking. This is when artists go online themselves and implore people to buy tickets, effectively admitting that they’re not particularly popular and putting the blame on people for not wanting to come and see them. This kind of emotional blackmail can be really embarrassing. As a writer, I can fully identify with the situation but do I plug my books online to make people aware of them? I certainly do, but do I beg people to buy them? No I don’t, because they are capable of making their own minds up about whether they are interested in either my writing or the topics I’m writing about, just as any of us make decisions day by day about what we’re going to do, buy etc, and of course what shows we’re going to see.

Probably the most upsetting words you’ll hear as a promoter are “Oh, I wish I’d known about it, I’d have loved to come”. People’s capacity for failing to notice advertising is extraordinary. Reaching neutral people is really difficult if they’re not Facebook friends or on your mailing list. How are you going to reach them? Word of mouth is still by far the best method. Here in Winchester I have a dear friend who regularly rounds up his extended friendship group and drags them along to most of our gigs, for which we are eternally grateful. Interestingly, though, if he is not keen on a particular artist and therefore doesn’t put the word out, none of his friends attend without him. 

Where does that leave our beloved small venues, yes, those ones without which the music industry could not exist because that is where new talent is nurtured? I remember the impotent rage I felt when writing my book about the Joiners Arms, where the vast inverted pyramid of the live music business was revealed. The most important foundation, the small venues, struggled while the big concert promoters hoovered up the money and gave nothing back. It’s true that MVT has started to make some small progress in attempting to rectify the situation, but for most small venues little has changed. One of the oddities is that they remain to a huge extent reliant on alcohol sales to bring in a certain amount of money to subsidise the loss-making shows. Through a combination of high beverage prices and changing habits, it’s nowadays rare for people to go out and do a substantial amount of drinking while listening to music. In fact I’ve always thought it was a rather odd connection. Why is it necessary to drink alcohol while listening to a band? But that’s how the scene is structured and so it remains. 

The small venues are as adaptable as they are able to be, and virtually none of them have entirely avoided the tribute band / comedy circuit route. Good luck to them. Our friends at the Brook in Southampton have for years successfully used the profits from tribute evenings to subsidise more “credible” shows.  True patrons of the arts! While the dedicated music venues struggle, there has been a notable uptick in the amount of shows being held in unlikely places such as people’s back gardens and local churches. I put on shows like this myself but in a way I feel guilty because we’re able to do it because we don’t have the overheads that a conventional venue has. Run entirely by volunteers and not for profit, we don’t have to battle with rent, rates, staffing, VAT and all the other travails of a traditional music venue. Could we unwittingly be adding another nail in the coffin? I genuinely don’t know, but it does enable us to give quite a lot of extra work to impoverished musicians who can’t find it elsewhere.

I can’t come to any conclusions about all this. I’ve just set out a few random thoughts that came into my head because I’m sad enough to spend a lot of time thinking about these things. Sometimes I think that maybe people just don’t want to go out and listen to bands anymore and that’s all there is to it. Lots of things in my lifetime have changed irrevocably because society has changed so much. Could this could be just another one to add to the list? I do hope not.  

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Twyford

We’ve been in Twyford for over 35 years and during that time we have had visitors from all over the world. Every single one of them says what a wonderful place Twyford is to live in, and I can only agree. It’s a uniquely characterful place with all sorts of different aspects that make it so desirable, even though not everything is idyllic. I always start off by telling visitors the derivation of the name Twyford, as in ‘two river crossings’. I boast about the fact that Benjamin Franklin wrote his memoirs here. I crow about the five music festivals that we managed to put on at Humphreys Farm. I revel in the fact that we still have two fantastic and contrasting pubs in the village which leads me on, of course, to reminisce about the Dolphin and how much I wish I could have downed a pint or two in the Volunteer. That takes me on to how much the village has changed just in those short 35 years. Up the road from the Volunteer back then was Latham’s butchers shop, which later developed into a fruit and veg emporium and finally became a successful photography shop, before turning into a gluten-free cafe and wellness centre. When we arrived in Twyford there were three banks, a toy shop, two antique shops, a hairdresser (still there) and the glory that was Tin Tacks, where you could buy a single bolt or screw. We reminisce about oddities such as ‘Le Club Français’ near the crossroads and, in more recent times, the tiny wooden cupboard that served as a food outlet at the end of The Drove. Of course we always show everybody the Water Meadows and delve into its unusual history, along with that of the Itchen Navigation, which was hardly ever used for its intended purpose. If we are lucky, we can show guests the famous white cows in the meadows and try to explain why the privately owned bridge near the church has been allowed to decay so shamefully, and why Norris’s Bridge has never had any proper traffic calming installed so that visitors could contemplate one of the most beautiful vistas in Hampshire without the threat of being run over. We continue to boast about the great train links to London and how easy it is to get to Winchester, and indeed Eastleigh, that underrated place that features a beautiful park, good shopping, a great arts centre, superb sports facilities and a splendid cinema complex. If only we still had a bus to allow us to get there! Then of course there is the fascinating history of the Waterworks and the slightly quirky but thankfully tucked-away Industrial Estate featuring flowers, wine and world-famous ice cream. The post office and stores, together with its subterranean café, are the jewel in Twyford’s crown, but if you need medical attention we have not only a dental facility but also a superb surgery and comprehensive pharmacy. There are also chiropractors and other specialists, which leads us to the Parish Hall, a super venue for almost any kind of event including drama, music, guides/scouts and child care. That would be enough for most villages, but Twyford also has a Community Centre that puts on events and a church that punches way above its weight by bringing international music stars to the village. When we first moved here, we lived in School Road and I remember feeling hugely complimented when visitors said it had the vibe of a Cornish fishing village. Indeed it does. We lived directly opposite the very sweet and high quality Primary School. In the mornings, we merely opened the front door in our dressing gowns and pushed the children out. After school, they were able to take advantage of the beautiful environment of Ballard’s Close, such a wonderful gift to the community. Let’s not forget the private Prep School either, a highly respected academic institution. Twyford, amazingly, has another, even more stunning recreational facility at Hunter Park, with comprehensive sporting and play facilities and even a coffee pod. The massive elephant in the room, of course, is the busy main road which splits the village in two. All these decades we have waited in vain for some effective traffic calming and something to deter the terrifying juggernauts. Congratulations to Daryl Henry for achieving the pedestrian traffic lights near Northfields. That’s the kind of thing we need more of. Any community, of course, is dependent on the people in it and my goodness, there are some marvellous personalities in Twyford. Graham Hill, the trusty village historian and his wife Christine, conscientiously tending the flowers on the main road. Chris Corcoran, the knowledgeable gentleman who has been so effective over the years via the Parish Council. Happy memories of Richard and Simon from the Post Office. Who remembers when they ran the café Bean Below and brought us gourmet Valentine nights and glorious cabaret? Emma and family from the Phoenix who have made it continue to be so successful. Of course the quite astonishing Councillor Sue Cook, the human whirlwind, who would do anything to help anybody in need. We now have an excellent Green City Councillor representing us as well. And the village is well endowed with plumbers, carpenters, gardeners, electricians and others who help keep the wheels turning. Certain things in Twyford couldn’t be found anywhere else – the clock shop, beautiful classical piano music wafting over School Road and the unique Minis’R’Us.

This is only scratching the surface, just a few initial ideas that have come into my head. Please add tributes to any of the many other village facilities and personalities. 

Watercolour of Finches Lane by David Eaton

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Germany 2025

I have been spending time in Germany since I was a 16 year old, including one two-year period as a student and another three-year period working. The current four-week trip in Polly Pocket has given me lots of food for thought about Germany in the present day and I think some of my fellow Germany fans might find some things to appreciate and comment on here. 
So what has changed? Well as we know, nothing ever changes in Germany. For a start, TV programmes are exactly as they were 30 years ago and  music tastes are unchanged. The same Schlager stars are on tour (for example currently Nena) and all the people who made their prog-rock careers in Germany are still touring, with posters for Manfred Mann’s Earth Band abounding. You still never see anybody daring to cross the road while the pedestrian light is red and it is still unthinkable to make any noise during the sleeping times of 1 to 3pm. The ritual of Kaffee und Kuchen remains unchanged. Just imagine if everybody in the UK still sat down to formal afternoon tea? Well, they still do in Germany. 
But life hasn’t remained completely unchanged. For a start, we didn’t see a single vape shop or nail bar on our entire trip. Germans smoke, my god do they smoke (much, much more than we do), and yet this is in direct contrast to their extreme health consciousness and their love for anything that is supposed to be good for you. The biggest thing and the hardest to explain really is immediately noticeable. In fact, on our first day we ran up quite a large bill at an ice cream shop and were slightly shocked to find that it turned out to be a cash-only establishment. I had to make a trip to the local Sparkasse to get some cash out. We then moved on to some caves, a local attraction, and were astounded to find that they too only accepted cash for the admission fee. As we went around we found restaurants, attractions, museums etc that wouldn’t take card payments. Well, the Germans were very slow to adapt to modern technology but I did some research with the help of a friend and read an article that had been scrupulously researched for Die Zeit which came to the unavoidable conclusion that accepting cash-only payments is definitely a way of avoiding paying tax. This is such a shocking thing In view of the average German person’s scrupulous adherence to honesty.
Putting together these two aspects, technology and health, there are still cigarette machines everywhere, at the bottom of people’s gardens and attached to random walls. The only difference is that now they are all equipped with contactless payment facilities. We found some that were particularly sophisticated, as you can pay with coins, cards or even banknotes.
Germany is a nation of cyclists and since the introduction of electric bikes this fixation has become even more pronounced, with millions of elderly people hitting the roads, and why wouldn’t you? The facilities are sensationally good. The only problem is that it means that pedestrians have been relegated in the pecking order. If you absent-mindedly step into a cycle lane (as I do frequently), at best you will be shouted at and at worst you will be mown down. Added to the blissful cycling conditions we found that public transport in general in Germany has got even better than it was before. I have had people try to tell me that standards have fallen but we did not have that experience at all. Certainly in comparison with the UK’s public transport, well, let’s just say there is no comparison. On the island of Usedom we had to pay a minimal tourist tax of 3 euro 50 a day which was extremely cheap in view of the sensationally good facilities everywhere, but even more amazingly, it included free travel on all the frequent, clean local trains that comprehensively covered every village and town on the island. It was such a pleasant experience.

One thing I miss is my beloved Pommes Frites mit Mayo from an Imbiss. Although nothing about Germany feels multicultural, there is a sizable Turkish population and virtually all Imbisse have been transformed into “Döner-Buden” –  delicious but they just don’t have the knack with the Pommes Frites. 
Every town has at least one Greek restaurant. This is lucky for me because I love Greek food, at least the Greek food that they serve in German Greek restaurants, which I don’t think has very much to do with actual Greek food. What is interesting is that each restaurant seems entirely independent and to be a small family-run business, yet no matter where you are, the items on the menu are identical. It wouldn’t surprise me at all if there wasn’t a huge corporation behind all Germany’s Greek restaurants.
On a related topic, I was mildly apprehensive because I knew our trip was going to be almost entirely in the old DDR and that the right wing AFD party has strong support there. In the event, life seemed to be completely normal without any evidence of unpleasantness or right wing radicalism, but of course who knows what people are really thinking, if you don’t go out specifically to engage people in political conversation? After all, I had many people asking me how I could have possibly contemplated going to Texas in March. In fact I spent a week in Austin and didn’t meet a single person who wasn’t emphatically anti-Trump.
In general, I maintained the feeling I always have in Germany of calm contentment, because everything is so neat, clean, tidy and well-maintained. There was no litter anywhere of course, and very few signs of any hint of deprivation, apart from the very occasional beggar in big city centres.
A couple of things about language for my German-speaking friends. First it is very noticeable that the lines between the formal Sie and the familiar du have rapidly become blurred in the more casual way we communicate nowadays. I had complete strangers happily calling me du and even on posters advertising jobs or products the word du is now more likely to be used than Sie. Personally I rather like the formal term of address but it’s rapidly on the way out, as also is the custom of saying Auf Wiedersehen when you leave someone. The little word Tschüss used to be reserved for family and friends but now it is used constantly between complete strangers and in situations that used to be relatively formal, such as leaving a shop or getting off a bus.
Before submitting this, I asked Birgit to read it and see if I’d omitted anyhing. Indeed I had – I was so shocked that I may have erased it from my memory. In Schwerin, in a café, she asked for a glass of tap water to accompany what she’d ordered. When the bill came, she’d been charged 3 euros – for a glass of tap water! That is something we’d never encountered anywhere in the world.
Anyway, we’ve had a great time. Tschüss!

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Oualie Waters

The Tuesday jam session and open mic at the amiable Oualie Beach Hotel on Nevis is run by a slightly scatty but charming gentleman called Livvy. He plays both electric guitar and bass but he’s so obsessed with running the tech side of things that he never plays for an entire song. He will pick up the guitar, strum a couple of funky chords in the middle of whatever song happens to be playing, then put it on its stand while he fiddles with the numerous knobs and buttons on the dodgy PA system, unplugs leads and replugs them, rearranges the drums and then goes back to pick up his bass and play a few slap-bass notes before returning to his technical tasks. Occasionally he will shout out something like “Are you all having a good time?” Drums are the biggest problem in this setup because it’s an electronic kit which is highly fallible and also the quality of drummers ranges from extremely good to absolutely dire. If the latter is the case it can ruin the evening and remove any coherence from the music.

Normally the first hour or so of a Tuesday session is taken up by a collection of local expats and residents. They include the actual owner of the hotel, a charismatic guy called John, whose CV includes once being shot during a break-in. 

These people are in their 50s and 60s and the repertoire consists of songs like Take Me Home Country Roads. In the years we’ve been visiting, their set has scarcely varied but don’t forget that we are only there for two weeks in the year, so the assumption must be that they play the same set every Tuesday, all year. Legend has it that John’s guitar used to belong to Jerry Garcia but I haven’t seen any actual proof of this.

Across the road lives a very good saxophonist called Lee, who is present throughout the whole of every Tuesday session. An affable native of a certain age, he has the unfortunate propensity to honk all the way through every song that is played, regardless of appropriateness. When he does get to play a solo he is a real virtuoso and it would help matters considerably if he were to stick to solos. The bassist is pretty much horizontally laid-back and reliably plays with great feel and groove. There is also a local doctor who plays lead guitar on an ugly instrument with no machine heads. 

At this stage more or less anybody is welcome to participate and attempt to sing something or other. You just call out a song title and the key and the assembled musicians will immediately join in.

This is super for my friend Tim, with whom we are holidaying (January 2025), because he is a professional singer with a large repertoire and no shyness about performing. Tim steps up and does great renditions of I Heard It Through the Grapevine and Dock Of The Bay, but there’s more. Tim has persuaded me to join in as well and we have prepared versions of Rhinestone Cowboy, Stand By Me and Roll Over Beethoven (with me on lead vocals). There is a flaw in this plan and that is that I suffer from appalling stage fright and also have zero vocal ability. There is also the fact that there are no monitors so you have no way of knowing whether you are in tune, but a couple of rum punches are sufficient to overcome these hurdles and we manage to get through the  songs to a smattering of applause.

Around nine o’clock, a change-over takes place and this is where the music can develop into something really special, although you can’t rely on it. It depends entirely on who happens to turn up or who Livvy can get on his mobile phone, into which he talks the entire evening. On the sessions we attend this year, a delightful married  couple from St Kitts have turned up, playing largely pre-programmed but nonetheless super-professional reggae and dance songs. The only down side of this is that they have to catch the last ferry back at 10 o’clock, so just as things are really kicking off, they have to pack up and run across the beach. 

So here we are last Tuesday wandering down the lane to Oualie, having almost decided not to bother because the previous week’s 9 o’clock session was woeful. Tonight, there is already a sense of something different and rather exciting happening.

A long-haired rocker from Bournemouth called Chris Payn is on stage and performing rock anthems in a classic metal voice. He seems to specialise in Prince songs, which makes me wonder if he maybe has a Prince tribute band at home. He certainly would be capable of fronting one. Suddenly. a large gentleman is joining in on vocals, singing Satisfaction very impressively, before sidling over to the keyboard which the normally immobile and taciturn owner usually uses to plunk some reggae chords.

All of a sudden, it’s if as if Jools Holland is in the house, as the inimitable sound of boogie woogie piano starts to blast out. Yes, I know exactly who this is and I’m almost rendered speechless by the coincidence. For some reason which we still haven’t worked out, Ben Waters has just arrived on the island and is hopelessly jet-lagged as well as, shall we say, inebriated. This is crazy, I think, I know this guy, and indeed I do. He is Polly Harvey’s cousin and I know his mother Ann quite well. In fact I’ve met Ben several times before, once when he headlined the Railway with his teenage son on saxophone and once on a particularly memorable occasion in Farnham when he played with an American blues musician called Rock Bottom. The night before he had taken Rock Bottom to the legendary Hope and Anchor pub in Bridport and plied him with the local highly dangerous Red Cider. Inconveniently, Rock Bottom proceeded to drop dead the following week and everybody blamed the Red Cider. Anyway, things liven up considerably with the arrival of Ben, controversially pushing aside a local female R&B singer who is hoping to join in but definitely doesn’t understand the finer points of piano boogie. I buy Ben a rum punch which is probably enough to push him over the edge into oblivion and I’m sure he sleeps very well.

We are planning to return next year. Let’s hope it will be the same people playing the same songs. It wouldn’t seem right otherwise.

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Skinny Lister / Vandoliers live review

Skinny LIster / Vandoliers

The 1865, Southampton

3.12.25

Skinny Lister is an object lesson in creating under-the-radar success through hard graft. With their inimitably energetic front person Lorna Thomas and their signature flagon-quaffing and arm-wrestling, they can sell out large halls all over Europe and the US while hardly being a household name in their native UK. 

This was an astonishingly good value double bill (triple, actually, with excellent songwriter Claudia Kate opening the show). Skinny Lister showed quite some courage in booking a uniquely entertaining support. Texan country-rock maniacs Vandoliers are the perfect combination of outstanding musicianship and unlimited fun, because each person on the stage exudes character and enjoyment. Front person Jenni Rose (flying the trans flag with infectious enthusiasm) is an absolute natural, but as with all the best bands, the nop-stop action onstage made you wish you had multiple eyes in your head. This is a band that would richly merit repeated viewings. 16 Years was a standout but by the time the band partially disrobed (very sexy if you like flabby white bellies) for a crazed cover of the Proclaimers’ I’m Gonna Be (500 Miles), the gobsmacked audience was getting concerned for Skinny Lister’s ability to follow them. 

Well, they did their best, forced to up their game even more, setting the controls to Frantic from the outset and leaving them there. Their Pogues-ish singalongs and endless hectoring of the audience to join in gave the committed crowd what it wanted with songs like Trouble On Oxford Street and This Is War, but a tad more light and shade wouldn’t have gone amiss. Still, much bigger stages are finally beckoning for this perfect party band.

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Senseless: The Story Of The Sense

An extract from my book VOLUME:

ONE THING WAS for sure: No way would I ever again become involved in band management. But then … we began to notice that the adolescent Annabel, while plonking away ponderously on the piano, was starting to write some quite appealing songs. Most were concerned with the moon and June, but a couple were lyrically quite unusual. One song, called “Get Out”, had the decidedly non-lovey-dovey chorus, “I don’t want you in my life, get out before day turns to night, I have learned from my mistakes, I think it’s time you did the same”. Her band Z.inc went so far as to record that song with ex-Trip producer Martin Johnson in his home studio, in a heavily-flanged version which made them sound like an all-female Smiths. I had already worked with Annabel on an extraordinary project for Heinemann, which entailed writing songs to accompany their German course “Logo”. I spent a strenuous day hiking through a Bavarian forest to attain the right atmosphere, and by evening had written eight songs. If your child has done German at secondary school, the chances are that he or she has had to suffer these trite ditties. Annabel got the gig of singing these songs on account of being bilingual, and we both actually got paid.

Z.inc was an ineffective band, because Annabel based it on hiring and firing her very nice but not particularly musically gifted friends. As usual, we didn’t know what to do with the recordings when we had them, but they did sing at my 50th birthday party to a certain amount of acclaim. It wasn’t until the time came to leave secondary school that any of us had any thoughts of taking it seriously. When we attended the end-of-year concert, we got our first taste of the Terrible Three in action: Annabel and two new accomplices, Hannah and Sara, had christened themselves Inner Sense and performed three original songs to a spellbound audience. They accompanied themselves on piano and flute, but the really startling thing was the seemingly effortless three-part harmony vocals. While preparing for their GCSE music project, they had discovered this God-given compatibility. They briefly led me back into rock and roll management and their behaviour, as an apparently innocent pop trio, was more excessive than that of any other band I have been involved with.

Nail-biting gigs were the order of the day, as their consistent lack of punctuality, preparedness or professionalism meant that my determination to “let them get on with it and make their own mistakes” was always frustrated by horror at how disastrous the gigs might be if I didn’t intervene. Damn. Some early gigs were performed just by the girls, accompanied on guitar by Richard Williams, who was inexplicably willing to help them out way beyond the call of duty. For over a year, I lived in a constant state of worry about how poor Richard’s goodwill seemed to be being exploited, although Richard always claimed not to mind. Some of these gigs took place, using a Meccano-set of a borrowed PA, in a dodgy town-centre dive called the White Swan, an entirely unsuitable venue for a sweet-voiced girl trio. Tattoo-covered beermonsters looked on indifferently and on one occasion, a bitter fight spilled onto the street outside. I almost cried to think that I’d got involved in such lunacy once again. But, of course, I couldn’t resist issuing a press release which suggested, falsely, that the protagonists had been fighting for the attention of the girls. Then there was the “gig in a zoo”, at a primary school fête held at Marwell Zoo, near Winchester. The fee was free admission to the zoo, but the assembled parents and their children didn’t seem too impressed. Nor did the animals.

The Sense went through backing bands like you or I go through socks. The first one, with which they did shows at the Railway and at Southampton’s Joiners Arms, was a college indie band, aptly called “Vacant”. This band had the distinction of having a drummer who subsequently got a degree in Surfing. The “mid-period” band featured Hector Peebles along with Richard. Both alternated between guitar and drums, and on Annabel’s 18th birthday, the Sense played their only grunge gig, at outrageous volume in a bar called Muswells. Richard and Hector excited the girls by saying it would be a “drum and bass” gig, but they actually meant it: Richard played drums and Hector played bass, in a sound that was more Bungle than Jungle. Also, the bar’s manager belatedly realized that most of the audience would be under 18 and almost pulled the plug on the whole thing.

It was The Sense Mark 3 that came closest to cracking it, with an accomplished band comprising Richard and three gifted college students on bass, drums and keyboards. In this form, they twice headlined Winchester’s Hat Fair festival and also did a series of well-attended London showcase gigs, which actually made money because all their friends came along. Alcohol being the girls’ drug of choice, they were invariably hung-over and then drank copiously before going on stage. On one memorable occasion at the Rock Garden, they got through a bottle of red wine each before the show, because, as is the nature of such showcases, five or six other acts had to go on first. Amazingly, their harmonies remained intact.

When they made their debut at the trendy Cherry Jam club in Notting Hill, the promoter was so astonished at their soundcheck that he immediately called a potential interested party. It’s hard to explain the girls’ appeal. I’m not the right person to assess their level of attractiveness, but all three are different and distinctive-looking. All three write unusual but catchy songs and all three sing lead, with one member, Sara, being a quite outstandingly good soul singer. They also have an unstudied naturalness in what they do, and the harmonies are other-worldly.

Anyway, the person the promoter thought should hear them was one Ron Tom, a music biz wheeler-dealer who had discovered both All Saints and the Sugababes. “He’ll never turn up,” I thought, but he did, half way through their set. My attempt to converse with this ultra-cool dreadlocked dude was doomed to failure, but he did invite the girls to audition in the front room of his flat near Abbey Road. By all accounts, this was an extraordinary event. Driven there by Birgit (Ron shocked and amazed that they had a minder), they duly sang unaccompanied to doubtful looks, until Ron disappeared into another room, emerging shortly afterwards in clouds of smoke and declaring they were great. But any potential deal (and this was by no means the only one in the offing) was always accompanied by a sub-text of altering songs, changing image and giving up studies, none of which they were prepared to do.

So The Sense continued on their erratic way. One memorable show (Richard’s last, though he remained an honorary member) was with the Bluetones at Royal Holloway College. The stage and lights were massive, but Richard’s guitar “fell over” and broke before the gig (bad vibes) and they suffered the indignity of being followed by a Darkness tribute band called The Dampness.

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John Parish biography

It wasn’t really surprising that John Parish ended up spending his life involved with music. His parents were stalwarts of the local amateur operatic society in Yeovil, involved in both production and performance, and John would often help out behind the scenes. He became a drummer during his teens and was already playing in bands by the time he was 14. Already ambitious and full of musical knowledge and opinion, he joined indie band Thieves Like Us in 1979, immediately becoming influential in the band’s musical direction – so influential, in fact, that the band was doomed to split within a couple of years. Back in Yeovil, John immediately formed a characteristically quirky three-piece called the Headless Horsemen and it was then that he started to be involved in production work. This continued with his seminal band Automatic Dlamini, also initially a trio. Both these outfits featured John on lead vocal (plus guitar in the Headless Horsemen, percussion in Automatic Dlamini) and already there were signs that he was developing into a polymath – adept on numerous instruments and innovative in his approach to arrangements and styles. Famously, Polly Harvey joined the band, initially on saxophone in 1988 after submitting a demo tape to John, and thus was born a long-lasting musical partnership. But John’s production career was already underway, as he gained the reputation of a go-to producer in the West Country, his clients (and friends) including The Chesterfields, The Becketts and The Brilliant Corners, among many others.

Parish’s entry into the more alternative forms of music that would characterise his career dated back to his Automatic Dlamini days, during which he was introduced to indie record producer Richard Mazda, who also originated on the UK’s south coast. Mazda took a liking to the band and not only produced some tracks but also introduced John to the US band Wall of Voodoo, with whom he ended up working, playing percussion on their Seven Days In Sammystown album and then later becoming a member of a spin-off called Ensenada Joyride. This was also his introduction to larger labels, as Wall Of Voodoo were signed to Miles Copeland’s IRS outlet.

Over the following decades, Parish has become a go-to producer, renowned for clear opinions and demands but a personal style of interacting productively with the artists he works with. He always works in partnership with trusted engineers who understand how to help translate his ideas into reality.

Read on for a run-down of just some of the many records John Parish has produced since 1995.

1995

PJ HARVEY – To Bring You My Love

1995 saw Parish produce his first PJ Harvey album. This was a co-production with colleague Flood, an association which has proved very enduring, working together on a total of eightalbums. Already, distinctive aspects of Parish’s technique were becoming apparent, including a willingness to be involved in instrumental contributions, arranging and vocals. This was PJ Harvey’s third album, the previous two having been recorded by her original trio, with Rid of Me (album 2) produced by Steve Albini.

1996

JOHN PARISH & POLLY JEAN HARVEY – Dance Hall At Louse Point

The friendship between the two musicians had become even stronger by the time of this landmark record. The pair insisted, against the wishes of Island Records, on recording and releasing this wilfully uncommercial effort. The record company had been hoping to push them in a more musically mainstream direction and they responded with some of the most challenging music of John’s career. The distinctive scratchy sounds, heavy effects and megaphone vocals were already in evidence and some of the co-written songs were a tough but rewarding listen.

1997

16 HORSEPOWER – Low Estate

John’s own ten-piece band memorably supported 16 Horsepower at Dingwalls in London in 2000.

1998

ROSIE

This soundtrack album marked Parish’s first venture into film music, an avenue that he has pursued enthusiastically throughout his career. The score for this Belgian film, directed by Patrice Toye, won the Jury Special Appreciation prize at the Bonn International Film Festival. Largely instrumental, it also featured John’s song Pretty Baby, sung by Alison Goldfrapp. John’s multi-instrumental abilities were coming to the fore now. 

John on writing and performing film music:

As with production, writing music for film works best when there is trust between the director and the composer. I’ve been fortunate to have a long standing relationship with Patrice Toye. I’ve actually just started work on a new score for her, which will be the fifth film we’ve made together. I don’t have a specific technique, it depends when I get on board the project. With Patrice, that’s generally well before filming, so I’ll probably read the script, and maybe I’ve seen a couple of potential location shots and/or cast photos. From that I can start working on ideas. That way, sometimes it’s easier to flesh out a theme without being distracted, or restricted by a particular scene.

2000

SPARKLEHORSE – It’s A Wonderful Life 

John’s collaboration with Mark Linkous marked a major step forward in his appeal as a producer and in general public recognition. A legendary record that is viewed with great affection and above all as a pacesetter for imaginative, again sometimes challenging production techniques involving abrupt changes in pace and volume. 

John Parish: Mark was a genius songwriter and a gentle soul with a wicked sense of humour. He is very very sadly missed. I was lucky enough to work with him on the amazing ‘It’s A Wonderful Life’ album. As is widely known, he struggled with depression and some days in the studio were difficult and it would take a bit of coaxing, or sometimes just hearing something that we were working on that would drag him out of that state and then very quickly he would be brimming with ideas and capable of delivering beautiful takes. I think his music is timeless and will be loved by generations.

GIANT SAND – Chore Of Enchantment

Howe Gelb had become a close friend and he and Parish have worked together on innumerable occasions, John often appearing live at Giant Sand shows (as he frequently does with other artists he produces).

John Parish: Howe represents one of my most enduring and treasured musical relationships and friendships. We met around 30 years ago after I sent him a fan letter, or postcard to be accurate. He received it a couple of months later & replied with a twenty five page fax that arrived in the middle of the night. He’s one of the most ingenious and infuriating musicians I’ve ever worked with, a man of a thousand ideas and inability to commit to any one of them. My first production session with him/Giant Sand (on the Chore of Enchantment album) was a huge learning curve and changed the way I approached production. Before that, I’d always gone into the studio well prepared and with a rough plan of how we were going to do things. On day one with Howe I realised that was not going to be possible. Things were going to happen and it was up to me to recognise and capture the moments of magic – harder in the days of recording to tape than now when you can just let the computer run endlessly – and edit them together into something cohesive. That session taught me to love loss of control, and the fact that you need to take risks in order to make something extraordinary.

Howe Gelb: Sir John Parish, that’s what I call him. A sonic knight. We met in the golden 90s under consequential circumstances. Rainer Ptacek was terminally ill and John was gracious enough to include himself and associates in procuring a track for the benefit / homage album I was assembling to assist with medical costs. John’s track gave the family much joy and eye moistening. Our cities became sisters after that: Tucson & Bristol. It’s always a relief and severe pleasure to work with Sir John. He has a brilliant mannerism of remaining sensationally calm in the storm of studio calamity and winds of chaos in the sonic kingdom. In all these years since, he stands as a rare stable resilience in this cacophonous arena of flux. I love him.

2001

EELS – Souljacker

This was a musical marriage made in heaven, with the imaginative songwriting of Mark Oliver Everett being guided down a Parish-style route of sound distortion (this was another example of defying record company expectations). John actually became a member of Eels, touring with them extensively in 2001. Seven of the twelve songs on Souljacker were co-written by John and E. 

2002

TRACY CHAPMAN – Let It Rain

The big time! Producing Tracy Chapman marked a move into the mainstream for John, at least in terms of commercial success. This is widely viewed as one of her finest records.

John Parish: I was surprised that Tracy even knew who I was, let alone thought I might be a good producer choice for her so that was a very unexpected call! But after working together and realising how meticulous Tracy is in whatever she does I know that she would have checked out every record I’d done in some detail. Tracy was great to work with. She’s extremely professional, but with a very good sense of humour, an amazing singer – every vocal take was flawless. I was aware that the record sounded fairly left -field in comparison to Tracy’s other albums and wondered if there’d be some push back from the label. But they totally trusted Tracy , and I guess they figured that if she thought this English indie bloke was ok then he must be. I think the album stands up really well.

JOHN PARISH – How Animals Move

Being so busy with production work, John’s solo albums have usually been compiled from collections of recordings from his home studio. Typically, John will do pre-production at home before moving into larger studios such as Toybox (Bristol) or his beloved Rockfield to work on the final product. On this occasion, John also formed a ten-piece band to take the music on tour in the UK and Europe.

2004

NADA – Tutto L’amore Che Mi Manca

This was the first of several albums for this Italian diva, demonstrating Parish’s versatility.

2005

JOHN PARISH – Once Upon A Little Time

John’s first “proper” solo album featured his own band including Jeremy Hogg (slide guitar), Giorgia Poli (bass) and Marta Collica (keyboards) and was the start of his lengthy association with drummer Jean-Marc Butty. John had first worked with Jean-Marc in Ensenada Joyride back in 1991 and he is still a prominent member of the PJ Harvey live band today. John mainly sings lead vocals on the record, in his distinctive, very English-sounding style. This band toured extensively in the UK and Europe.

2007

PJ HARVEY – White Chalk

This was the first time John had returned to work with PJ Harvey since 1998’s Is This Desire, to which he contributed instrumentally but which was produced by Flood, engineer Head and Harvey herself. In the meantime, Harvey had made two more albums without John, these being Stories From The City, Stories From The Sea and Uh Huh Her, more commercial-sounding efforts with different producers and bands. This period of – not exactly estrangement, just not working together – came to an end with White Chalk’s understated production (it almost sounds like a solo record) and marked the start of arguably the pair’s most productive period, which lasts to this day.

2008

THIS IS THE KIT – Krülle Bol

Kate Stables (This Is The Kit) moved from Winchester to Bristol and became the Parish family’s babysitter. Kate takes up the story:

Kate Stables: I first worked with John Parish on my album Krülle Bol and then again ten years later for Moonshine Freeze. The two records are very different but were both amazingly enjoyable to make with John and his sound engineer Marco. Both albums have a particularly noticeable and pleasing sound. They’ve got edges. No one else gets as good edges on the music as John. He creates a sound that has teeth. He’s a sound magician. He dares. John is an outstanding gentleman who knows how to break the rules but still be decent, how to challenge but at the same time support and encourage. He has such a wealth of life experience and wisdom and patience which filters in to everything he brings. It is a total pleasure and education to be in a room with him to make music together.”

2009

PJ HARVEY & JOHN PARISH – A Woman A Man Walked By

The second ‘duo’ album was, if anything, even more musically challenging than the first, and caused even more irritation to the record company. Undeterred, Parish and Harvey toured the record extensively with their full band, including a date at sxsw in Texas and a high profile appearance on the David Letterman show with arguably the nearest they came to a big hit single – Black Hearted Love.

2011

PJ HARVEY – Let England Shake

With John firmly back in the fold, this marked the start of a duo of semi-political albums with a stable band and a less acerbic musical approach but arguably greater depth of content. Several years in gestation, it was recorded in St Peter’s Church, Eype, near Bridport, an area with much significance to both artist and producer (in partnership, again, with Flood). It won the Mercury Prize in 2011 and hit the top ten in the UK album chart, charting also around the world and being certified Gold.

2012

ARNO – Future Vintage

Years with few production credits usually indicate an intense period of PJ Harvey touring, but Parish was able to fit in this record, the first of several albums for this late Belgian legend. It is typically characteristic of John to decide who to work with regardless of commercial considerations or conventions, as he has done throughout his career.

2013

ROKIA TRAORÉ – Beautiful Africa

JENNY HVAL – Innocence Is Kinky

JOHN PARISH – Screenplay

John managed to fit in more of his film music during this busy year.

2016

PJ HARVEY – The Hope Six Demolition Project

The follow-up to Let England Shake shared many of its predecessor’s characteristics and arguably marked John’s highest public profile, as the entire album was recorded in the form of an art installation inside a perspex box in Somerset House in London, attracting major publicity as it was such an unusual venture. It provided a unique and sometimes amusing opportunity for the (paying) public to gain an insight into Parish’s production techniques. He didn’t hold back on expressing opinions!

ROKIA TRAORÉ – Ne So

2017

ALDOUS HARDING – Party

The inventive New Zealander found the perfect producer in Parish and they enjoy a long-lasting and successful professional relationship.

John Parish: Around the end of 2015 I got an email from a really cool Australian singer songwriter I’d worked with called Laura Jean, saying ‘there’s a singer from New Zealand that you need to produce’. I was intrigued so went along to a tiny Bristol venue to hear said singer perform. And so began an incredibly fruitful musical partnership and a deep and lasting family friendship. I remember after one particular take during the recording of Party, the first album we made together, turning to engineer Oliver Baldwin and saying ‘I’ve recorded some absolutely amazing singers in my life, but that was something else”. Hannah/Aldous has an unbelievable voice, and a unique way of seeing, and interacting with the world. We’re currently in the process of recording our fourth album together.

THIS IS THE KIT – Moonshine Freeze

2018

JOHN PARISH – Bird Dog Dante
John’s third solo album, again compiling recordings accumulated over a number of years. When asked if he has a favourite among his solo albums, he replies, “I don’t have an overall favourite, they all have their moments”.

KIRA SKOV – The Echo Of You

2019

ALDOUS HARDING – Designer

LAU – Midnight And Closedown

This marked Parish’s first venture into the area of folk music.

JESCA HOOP – Stonechild

It’s hard to think of a more suitable partnership than this one – the unique, unclassifiable music of Hoop combined perfectly with John’s inventive approach.

John Parish: I think the Jesca Hoop approach came though the This Is The Kit connection as they shared label/management. There are some records I’ve made that for whatever reason do not get the attention I think they deserve. Order Of Romance, the second album I did with Jesca is one of those. Totally original, brilliant lyrics, great arrangements (by Jesse MorningStar), and wonderful songs. I hope that over time more people discover it.

Jesca Hoop: From John, I learned that less is more. That expression is paramount. Far more important than technical excellence is the feeling generated by expression. Jon is focused and serious in a lighthearted and gentle way, without the pretence of male dominance I’ve too often experienced in this field. He is welcoming and collaborative and puts you at ease soon enough. There were times he omitted pieces of my work, which really got to me… but he was right. Less was more. To make records with John is to gain a new friend. Someone you can call on, and have round for dinner.

2021

DRY CLEANING – New Long Leg

This collaboration, created partly during the pandemic, was greeted with great critical acclaim and reached number 4 in the UK chart as well as charting in America.

JOHN MURRY – The Stars Are God’s Bullet Holes

An unlikely partnership, perhaps, with the very distinctive American songwriter bouncing ideas off Parish at Rockfield and producing an album of great character.

THE GOON SAX – Mirror II

PARQUET COURTS – Sympathy For Life

2022

ALDOUS HARDING – Warm Chris

EELS – Extreme Witchcraft

DRY CLEANING – Stumpwork

JESCA HOOP – Order Of Romance

All these productions demonstrate how artists who work with John always come back for more – and that he, in return, is a faithful and supportive friend.

2023

PJ HARVEY – I Inside The Old Year Dying

Recorded in London, this was very much an ‘in-house’ production, with all the instruments being played in the studio (party improvised) by Polly Harvey and John and the content reflecting their shared West County backgrounds. Then, with the whole band, they set off on a lengthy world tour including Japan and Australia. The album reached number 5 in the UK chart and was nominated for a Grammy. An interesting note is that the distinctive cover art for this album and its two predecessors was created by John’s wife Michelle Henning.

Parish and Harvey are famously private about their musical relationship, seldom commenting in public. All that John will say is that it’s “impossible to sum up in a paragraph. We’ve been friends and colleagues for nearly forty years. We love and trust each other. We’re family.”

A SAVAGE – Several Songs About Fire

BLACK COUNTRY NEW ROAD – Live At Bush Hall 

NADINE KHOURI – Another Life

John had worked on several occasions with this understated Lebanese singer, who also performs with Adrian Crowley, who, as shown below, has now also recorded with John.

2024

JANE WEAVER – Love In Constant Spectacle

Probably the most “electronic” record that John has made.

EMILY LOIZEAU – La Souterraine

2025

ADRIAN CROWLEY – Measure Of Joy

In conclusion, we asked John if he has a general “philosophy” which guides him in his work.

John Parish: I don’t know if this is a philosophy exactly, but what I’ve learnt from nearly forty years of producing is that a high mutual level of trust and respect between artist and producer is the most important thing. If that is in place, you have the possibility of making something great together. I trust my instincts in the studio, I try to be open to ideas from any corner while keeping intact a sense of direction. I hope to earn a degree of trust from the artist that enables them to experiment freely, and to hear other ideas – from myself or other musicians involved – in the knowledge that the end result will be good.

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