Rhoda Dakar Tour Diary 2024
Have you ever wondered what really happens on the road during a music tour? It’s not all bright lights and roaring crowds. It’s the waiting, the laughter, the quiet moments in between.
This is your backstage pass to a world you rarely see.
2 Tone legend Rhoda Dakar describes the highs and challenges of touring, illustrated by the photography of Simon Peter Green.
4 Oct 2024
LEEDS / Brudenell Social Club
www.brudenellsocialclub.co.uk/
Early start. But I didn’t get an early night. The anxiety of making sure I packed everything I may need and, in fact, choosing what I was going to wear kept me up too late. And when the stress was too much, I played Bubbleshooter on my phone to distract myself. So, if I got two hours’ sleep, that would be generous. The last band member arrived at our pick up point about an hour after me. That extra hour in bed would have been very welcome.
We left late, but we arrived early. No real traffic en route, so we were nearly two hours early for load in. Still, the venue Brudenell Social Club, welcomed us and apologised for not having our rider (drinks and snacks) ready, though there was tea and coffee for those that wanted it.
I’d never played at this venue before and the room we were in was built in 2017, comparatively new. Everything worked and was clean and tidy. Not always the case in grassroots music venues. Even so, modelled around men. Or at least, people who don’t regularly wear make-up. Eyeroll. Me, not you.
The crowd was a decent size and considerably better than the last time we had played in the city, when the venue refused to market the gig, as they weren’t the promoters. I did ask whether it was bought by daddy for junior to have something to do whilst they discovered themselves. Never got an answer. Go figure. This time was more like the Leeds I remembered. The show went well and the queue at the merch table afterwards could only be measured in time – an hour easily.
The 45 Year Edition of Rhoda Dakar sings The Bodysnatchers had been released one week previously and that evening I’d just found out our chart placing. Not bad for a re-issue. And people were snapping them up. It’s so lovely when so many people wait patiently in line to buy, chat and share stories, get things signed and have a photo. Nobody’s ever rushed off. As a teen I would wait all day around venues, or on David Bowie’s doorstep, just to get the chance of an autograph.
Almost every one of the artists I met and idolised were so lovely, when one wasn’t, it was a shock. “I’ll never be like that when I’m famous”, I vowed to myself. Funny, Ididn’t even want to be in a band back then
The show done and dusted, we bundled back into the splitter van and headed off to the hotel. It’s cheaper to stay out of town, so we pulled up around midnight.
Check in didn’t quite go to plan – all our rooms were occupied. Though we only found that out when we walked in on them. Can’t say it’s ever happened to me before in over forty years on the road, but new quarters were allocated upstairs. These had no angry, passive aggressive, or ever so slightly racist guests already sleeping in them either. Bonus.
Got approaching a full night’s kip, even with the room fiasco, but the sleep debt was high and napping in the van didn’t quite top it up. I travel with a neck pillow and a thin fleece sleeping bag. Cozy. Fatigue is the enemy of a good show.
5 Oct 2024
NOTTINGHAM / The Bodega
Once the doors are open I’m ON – either at the merch table, getting ready, performing, or back at the merch table post show. I finish work when the last audience member leaves.
The venue, The Bodega, is in the city centre, meaning shops and people. I used to know my way round, as I came here to shop when I lived in Leicester in the eighties. Since the days of The Bodysnatchers, knowing where to find a Boots and nowadays a Superdrug is vital. Forgotten toiletries or replacing make up that’s run out is every bit as important as instrument leads and tuners.
The dressing room has just been decorated. It’s a bit of meander from the stage, but the facilities and comfort are worth the stairs. Sadly, no well-lit mirror for doing make up, but this industry IS a sausagefest. Obviously, I travel with a folding mirror with its own lighting. Looking forward to the day I don’t have to.
However, the handwritten note left in the dressing room wishing us an amazing show more than papers over any cracks. Don’t know that I’ve ever had that happen before. Big smiley face.
Dinner was a buyout, meaning the promoter gives us money to go and get our own somewhere. This often means I don’t have time to eat properly before the show; you decide what you’re having, hunt it down and eat in, or bring back to the venue. I choked down about a third of my dinner, then had to be back for ‘doors’, when the venue opens. Eating anything less than an hour before stage is a no no anyway. Like eating before exercise.
The room seemed packed. And the audience had an air of real benevolence. They smiled broadly right from the get-go, so I knew they were on side. That always makes for a great gig. And that’s what we had.
There was a club night afterwards, requiring a ‘disco load out’, as it’s known, meaning you have to get the gear out quickly. I’d pre-warned the audience there wouldn’t be loads of time for chat after, but we managed some, there were photos, stories were exchanged and merch was sold.
Our hotel was out of town and near the motorway, as they’re often cheaper and better value for money. It was an early gig, so pretty much everyone stayed up in the bar, which was already peppered with patrons. Had a quick chat with some old bikers who’d been to a rally nearby. I had paperwork and social media to catch up with, so I stayed up in my room. How times have changed.
Well, it doesn’t do itself.
6 Oct 2024
BRISTOL / Thekla
Breakfast didn’t run as late as at the previous hotel, so got up earlier. I was chatting to our TM (tour manager) over eggs and bacon, so got a bit behind and was last to be ready to leave, which I don’t like. We had plenty of time, so not a problem.
The previous two days had been clear-skied and sunny. That all changed. In fact, it changed whilst I was ‘guarding’ the van after unloading and before the TM came back with the keys. The heavens opened. I checked the weather app on my phone. The rain would stop just after ‘doors’. This wasn’t good. It’s already hard enough to get people to come out to a gig these days. Worse on a Sunday and worse again if it’s raining.
Although it’s improving, since Covid people are buying tickets and not showing up to gigs in quite large numbers. It’s a thing. I’ve played supposedly sold out gigs with up to 20% of the audience missing. However, as I said, that was a couple of years ago and things are definitely improving.
The Thekla is a boat, a former cargo ship built in Germany in 1958. It’s moored on the river Avon in central Bristol. Originally owned by Viv and Ki Stanshall, known as The Old Profanity, it was opened as a theatre in its current position in 1983. For the last eighteen years it’s been a music venue, returned to its original name.
The main dressing room is in the bowels of the boat and very dark, for some reason. I got changed in a second room, many stairs away, but with light. No make up mirror. Sigh. It meant I had to walk through the crowd to return to the main dressing room and access the stage.
Sterner faces at the front this time. I have discovered this means people are listening. These are the faces of concentration. However, I still have to remind myself of this and not be put off.
We went down well and were called back for an encore. This was the last gig with a dep drummer, Alwyn, who had done sterling work. For me the drummer is the foundation. When they’re solid, I can relax and enjoy, so I did miss our regular protagonist, Marley.
At the merch table, after the show, I managed to get five minutes to chat to some friends before they headed out. Then back to selfies and signing. This is very much the lifeblood of the business, at my level anyway. And to be honest, ever since the 2Tone days, chatting to the audience has been an important part of the whole scene.
When I was a gig going teenager, it was rare to get to speak to the ‘turn’. I think the first band I ever spoke to at a gig was the New York Dolls back in 1973. They hung out after to chat and sign autographs. They also handed out stickers and I had a Johnny Thunders one on my arm for about a week afterwards.
10 Oct 2024
TUNBRIDGE WELLS / The Forum
Back on the road after a few days. Only one day off, though. Car wouldn’t start, so it was easier to go by train from Waterloo, as it’s just up the road. Still arrived well before the band, as one of them was an hour late to the meeting point. I was on the same train as Jim, the sound engineer. We walked half way to the venue, then stopped for a cuppa.
I don’t know if Tunbridge Wells counts as stockbroker belt, but it’s clearly very well to do and, as a general rule, not at all the sort of place I would expect to do a gig. Last year I played a DJ gig across the road at Tyber’s Reggae Bar, which also seems oddly out of place in this environment.
I know the owners of Tunbridge Wells Forum, through their work with the Music Venue Trust, though I’ve never been inside before. According to legend, the Forum is a former public toilet. If that’s all it was, it’s the biggest one I’ve ever seen. A lovely local facility, despite its provenance, with a small recording studio to boot.
It stayed cold in the venue – could’ve done with more bodies in the audience, but those who came seemed to have a good time. The support band, Orca, were very young. Teenagers mostly. They were very talented musicians and played Jazz Fusion. One of the band was late to the soundcheck, so I had a ‘quiet word’ with him. Hopefully another time he’ll remember rule number one – turn up. If they were rubbish, I wouldn’t have bothered. But young and talented like that, just a little nudge could make all the difference. Who knows?
All the regular band were on this gig, although it was the first time with this set list, so prefaced with a mixture of comfort, tinged with mild unease. Plus, a light sniffle seems to be going round and when you travel together in a van, it can’t be avoided. Throat lozenges for me, but a power nap during the set for the TM, Simon.
Otherwise, all went well. The venue has some tech called Setmixer installed, which means that every gig and every rehearsal (they do that, too) is recorded and stored remotely. I haven’t downloaded it yet, but we’ll see how good it is. Certainly useful for reflection and deconstruction.
Spent a short time at the merch stand and met producer Lenny Bignell’s parents, who lived a ten minute drive away. They hadn’t seen him play in years, apparently.
Always reminds me I was the only Bodysnatcher whose mum and dad never featured in the audience. My younger brother more than made up for that with his constancy, however. Funny to consider how many people I see regularly now who have never seen me play live.
11 Oct 2024
CARDIFF / The Globe
The Globe is the first venue on this tour at which I have played before. I remember being there about twenty years ago, but my more recent visit has been lost in the vaults. Luckily, there’s always someone there to remind me.
Happily, since last time, there is a new dressing room. It’s a bit of a meander, but absolutely worth it. Also, a fairly large shower room where I could change and do make up. The support hadn’t materialised, so I asked my friend Liam of Rudy Can’t Fail to DJ. Thankfully, he and his partner were coming to the show anyway.
As a bonus, it meant we had a longer soundcheck. Unfortunately, my in-ear monitors were either too quiet or too loud and more time made no difference. I’ve only had them for just over a year and am still acclimatising, having spent 44 years with a wedge by my feet and relying on that for good or ill. When the mix is right, they work well. However, when it’s wrong as on this occasion, it can spook me and I don’t know what to trust.
I spent about an hour at the merch table from doors. It means there’s not such a long wait for people after the gig. Good merch sales mean there’s a faint glimmer of the tour breaking even. And, heaven forfend, me being able to take a very small wage out of it. Nothing like everybody else’s, but a girl can dream.
At my level, touring without grant aid is almost impossible. It’s why tours are short – to save getting in debt.
Though already spooked, we played an old song that we haven’t done for years. Got through it, just about, at least the band did. Only four more times now till the end. The set will be perfect by then. The crowd seemed very happy anyway.
Before the encore we all crammed into the old dressing room in the wings. I have clearly erased any memory of having to get changed in a room that wouldn’t accommodate the swinging of a cat, or six musicians, whichever is less feasible.
Back to the merch table after the gig. Somehow it was much darker. Since a lot of people stop by to grab a photo, this threw a bit of a spanner in the works. I’m a Boomer but have done my best to stay current with technology. It would be rude not to, being a big Sci-Fi fan. I did my best to help elicit the best photos, though I don’t know how well that worked. Note to self; always have a way round the front of the merch table and ask for extra light.
Ended the evening, after all the punters had left, dancing with my friend Shelley to a Rare Groove classic. Then back into civvies and back in the van. It’s a good three hours plus journey. Three of us jumped out at the first available West London tube station and availed ourselves of the Night Tube. Half an hour later, I was walking home with all the other ravers.
17 Oct 2024
NEWCASTLE / The Grove
Early start. OMG! Nicked an extra hour in bed by going to the second rendezvous. Who’d have thought Bromley-by-Bow could be so alluring. The long march north began and my eyes closed. A couple of stops en route, one of which was pretty much just a car park with toilets. Like some forgotten high street, it was littered with abandoned buildings not yet turned into a university or student accommodation. Back to sleep, then the Angel of the North. Nearly there.
We arrived early to The Grove in Byker. Think of all your Ant and Dec jokes and keep them to yourselves. This is a repurposed industrial building, so modern facilities and a proper space for wheelchair users – like you find in Europe, where the grassroots sector is government supported.
For some reason, I was particularly taken with the steel staircases – I have no explanation. I sat comfortably and ate my late lunch, noticing a Gang Of Four poster from their tour last year. As venues weren’t mentioned on the poster, I asked if they had played this venue and they had. “They smashed up a microwave on stage”, said the owner, perplexed. I’d seen them in London and had the same question. “I’ll ask”, I said.
Soundcheck was OK, but the stage sound was really loud, owing to all the hard surfaces and lack of baffles. Plus, the PA was angled slightly inwards, adding to the cacophony. Conclusion was the usual – the crowd will dampen it down, which worked to a certain extent. However, for the first time since the 80s pretty much, there were no Shure SM58 mics in the building. So, an unfamiliar mic sound as well.
There was pizza made on the premises for dinner. It looked and smelled so nice, I couldn’t resist. I love bread, but it doesn’t really agree with me these days. With everyone out of the room, I finally managed to get changed. I descended the beautifully factored staircase to the stage, with the TM snapping away.
The audience was pretty sparse. Apparently, The Pretenders were playing in town. We’re hardly in direct competition, but it is likely that some of our audience would have been diverted. However, everyone who’s paid deserves the best show we can offer, so that’s what we gave them. In return, the crowd were really enthusiastic and afterwards, at the merch table, incredibly generous.
By the time I had packed up and got changed, the answer to the ‘microwave question’ had come in from Boston. GO4’s drummer is an old ‘Ziggy days’ friend of 50 years standing. As I suspected, it was related to a song, ‘He’d Send In The Army’. Information passed along, puzzle solved.
I for one often forget how far Newcastle is from Glasgow. So, we got back in the van and drove for an hour to our hotel, just over the border in Gretna Green.
18 Oct 2024
PAISLEY / The Bungalow
https://gigs.bungalowpaisley.co.uk/
Our hotel was on the motorway services. Handy for travelling, not so handy if there’s only Macky D’s for breakfast. So, we drove to a nice hotel in Gretna Green where over 10,000 marriages had been performed since 1830, where we breakfasted royally. Managed forty winks on the drive north to Paisley, stuck in traffic.
We were going to be early, so the promoter had arranged tea, coffee and sandwiches at the local music project he supports – Loud n Proud School of Rock.
Sadly, the traffic had eaten into our spare time, but it was decided to go and have a look anyway, as they’d gone to so much trouble for us. They have very impressive facilities, some of which are being upgraded after a fire caused loads of damage. Quick look round, a few photos,
Then off to the venue some ten minutes behind schedule.
Soundcheck was fairly swift and unremarkable, except the support artist, Zoe Tait and her family were there and clapped. Not the usual response.
Most of our party then went off to hunt for food. I don’t join them because I can’t eat that close to a gig, plus I set up the merch table from doors.
I am usually joined by Terry Edwards, sax supremo, who always has a few items. We sell, sign, shoot the breeze and pose for photos for a short while. Then pack up when the support act hits the stage, because it’s polite and gives me time to get ready.
Don’t know if this was the largest audience so far, but it was certainly the fullest venue. The only unfortunate outcome of this was that the dressing room was at the opposite end of the room to the stage, making that journey very difficult. Add to that the fact that the band open the show with an instrumental and nobody is expecting me to push my way through the crowd to appear on stage. Luckily, Simon the TM is there to accompany me.
It’s always easier to play to a full room. There’s no denying it makes you feel valued by the audience. The equivalent of a group hug. There’s no need to win them over, they’re already on your side, out for a good time. Because of this your confidence grows, is reflected back, then magnified and so it continues. The end result is that you come off stage smiling and that smile continues for hours afterwards.
Time spent at the merch table after the gig really helped towards the dream to break even on this tour and not end up in debt.
Our TM wanted to drive straight back to London through the night, as it takes almost half as long again during the day. Three of us shared the task, so we all got some sleep. Though some band members opted to travel back by train the next day.
I was dropped off at Stratford tube and was home exactly twelve hours after stepping on stage the night before.
23 Oct 2024
PORTSMOUTH / Pie & Vinyl
https://www.pandvrecords.co.uk/
This was the last date of my instore tour.
An ‘instore’ is where you perform live in a record store, either acoustically, or with a backing track, as I do. They are usually part of a promotional tour for a new release and work really well, as entry is through the purchase of said release on CD or vinyl, sometimes with an additional charge, sometimes not. If you’re doing really well you get promoted to an ‘outstore’, which is a full-scale live gig at another venue, with perhaps a small charge alongside the album purchase to cover the hire of the venue.
Last year’s Version Girl launch in Sheffield was just such an occasion. Cheap for the record labels, as all the costs are usually borne by the artist. Instores are not paid, but there may be a few hundred pounds from the venue for an outstore, as they can sell alcohol.
Early train to Portsmouth & Southsea, as the instore is at 1pm. Luckily, it’s from Waterloo, which is just up the road.
My TM met me at the station on arrival, as he wanted to take photos. So, I’m nice and early. Plug in the laptop – few moments of ‘will it, won’t it’, quick mic check and we’re good to go.
Today I’m at Pie & Vinyl record café – an unlikely mix of what it says on the tin. It’s a café and it’s a record shop.
The customer loos were out of order and the staff loo was a bit alarming, so I did my make up indoors, whilst everyone looked on from outdoors. It’s as much about preparing an onstage persona as being ready for my close up. A few moments of quiet and then I’m ‘on’, as we say in the theatre. It’s funny, when you’re performing up close to people and the custom is they’re allowed to stare at you, they can’t always handle it when you stare back. On a regular stage you have distance, but when that’s cut down to a few feet it can make people uneasy. The trick is not to look in one direction for too long.
There’s always a lot of signing after the performance. People collect their records and can get them signed there and then. Plus, they bring in other stuff to sign.
Today though, I finally met a woman I had previously only communicated with on Facebook. She told me I had saved her life. I didn’t remember at first, but then it gradually came back. A good few years ago I saw a post that bothered me, so I sent a message. She responded, so I kept messaging her. I was able to talk her out of whatever it was she intended to do to end her life. Grateful to have been of service.
There’s always a couple of people who couldn’t make it, so I sign their vinyl or CDs and then there’s a few extras to sign for the shop, making them easier to sell. Signing done and we’re treated to a very fine pie with mash and gravy – highly recommended.
25 Oct 2024
GUILDFORD / The Boileroom
A leisurely post prandial departure, which is always nice.
However, though I’ve been to Guildford many, many times, for family visits, child/adolescent rugby matches, as well as Guilfest, I’d never been to The Boileroom before! Based in a lovely old pub – the sort that were built into the local landscape – it now hosts an award-winning ‘not for profit’ community arts (mostly music) hub.
A young, enthusiastic Bajan woman, who landed there for uni, made it all tick over on the night. She said there’s nothing like it in Barbados, so she was curious and had worked there as a student to make extra money.
I ventured to the local large supermarket to hunt for food, as I always need to eat early. Being a nice part of Surrey, it was of course Waitrose. Reassuringly expensive, but as I explained to my TM, it’s a glorified workers’ co-op, where the profits are shared with the partners (workers), so at least the taxes are paid in the UK. Glass half full. The band meal from the onsite food truck came home with me to eat the next day and it wasn’t bad either.
Soundcheck was OK, though I struggled a bit with my in-ear monitors. The size and shape of the stage greatly affect onstage sound and monitoring and this one is quite deep and contained, meaning sound bounces around a lot making the onstage sound quite loud.
There were two support acts this evening, both female fronted. This meant I didn’t spend much time at the merch table pre-show, as it seems rude to be distracting the audience at the back of the room when another artist is performing.
It’s the penultimate show of the tour and by now I find I’m getting a bit irritated with tiny dressing rooms and no useable mirror. I had chosen two outfits for this gig, but one required an under slip which had gone missing. So, I brought the other one. What I hadn’t done, unfortunately, was try it on beforehand. OMG, only just zipped up with Noa the keyboard player’s help. Consequently, I forgot to attach my in-ear monitors and went onstage without them.
I was already flustered because I had put my finger through my tights when pulling them up. I always bring two pairs, so not a disaster, just not as good. When I mentioned on stage that I’d just ruined a pair of tights I’d had for eight years (bought in LA 2016) I could see my cousin at the back of the room burst out laughing. Which, in turn, set me off. Waste not, want not is a bit of a family joke, as our parents grew up in war time deprivation and some never let it go.
My cousins nipped off after the gig, as we’d spent time chatting earlier. Which left me at the merch table for a good while, ending with an old South London mate who now lives in exile round the corner.
3 Nov 2024
LONDON / 100 Club
End of the road, playing the same sold-out venue, on the same date as last year. The 100 Club is an iconic basement on London’s Oxford Street. It’s been putting on live music since 1942 and is the world’s oldest independent venue. The walls are festooned with photographs of some of the amazing artists who have played there. And I’ve been going there so long, I’m on first name terms with the owners and many of the staff.
I got to soundcheck a bit later than I’d have liked, but it was all good. Being a London show, we all make our own way to the gig. My son usually does merch for me at a home game, but was a little bit too wasted this time. Luckily, Terry’s mate, Brian, was there to help with his merch, so doubled up and saved my bacon. Merch spend at London gigs is usually a bit higher than the rest of the country, as people come from all over the place. We had a contingent from Scandinavia and another from Austria. Also, one of the band who had very kindly backed me in Oz was at the show. Anyway, merch take in London was the difference between the tour breaking even and making a loss. So, thank you all of you who came and spent a few bob.
I was on the merch table for slightly too long before the gig – it’s never easy getting away with a queue in front of you. Also, finding space to change can be difficult. I was wearing a new dress and new tights. Obviously, I’d tried the dress on before, but the tights were metallic and a bit of a challenge. No really. Wrestling with your tights in a room full of people’s bags and instrument cases, whilst trying not to damage the sequins on a new dress, as you’re putting on your boots? Acrobatics.
And because of all that, I once again forgot my in ears, only remembering as I was about to walk to the stage. I got them out but wrestling again with the tights and the dress – there was no time. One of the lovely, long-serving doormen walked me to the stage through the crowd, holding my hand, as the dressing room is on the opposite side of the room. When you think of all the brilliant acts he must have seen over the years, it feels like an honour.
We went on a bit late, something I try never to do, but we finished on time. Lots of familiar faces in the crowd, as it was a hometown show. Being the last gig of the tour, we were on top form. There had been time to rest since the last gig, but tour life is tiring, nonetheless.
Encore finished, two minutes to grab some water, then back to the merch table. The club closed and it’s time to pack away what’s left of the merch. By the time I go back to the dressing room, just behind me, nearly everyone’s gone. Suddenly, there’s space to change, but no time to be leisurely.
I get packed up and one of the bar staff kindly helps me upstairs with the heavier of my suitcases. I wait outside for my cab. Job done.
Rhoda Dakar – Principle Artist
Lenny Bignell – Guitar (Producer)
Terry Edwards – Saxophone
Noa Souto – Keyboards
Marley Wilson-Drummond – Drums (& Laptop)
Ryan Windross – Bass
Ann-marie Windross – Dep Bass
Awillo Akrofi-Quarcoo – Dep Drums
Jim Dobson – Sound Engineer
Simon Peter Green – Tour/Production Manager
Thank you to all the promoters, venues, and audiences for your support and energy.
See you next time.