Heartbreaker is available at:
Alternative; Rock; Indie
16th December, 2016
Directed by Clearway Media and Anthony O’Brien
Filmed and Edited by Clearway Media
Starring: Anthony O’Brien and Amy Unsworth
Written by: Anthony O’Brien & Daniel Heaton
Produced by: Gareth Nuttall and Inside View
Recorded at: The Lounge, Wigan
MY ambition for the next few years is to…
move away from the new/underground artists and concentrate on the biggest names in music. The reason for this is three-fold. To start, I have been doing this for over five years and need to move on to the next stage. I do not often get to review or focus on the larger artists so it would be a good career step getting that under my belt. Also, being visually-minded and always looking for new angles and talking points, I have covered as much ground as I can when it comes to new acts – find myself repeating words and many with few images and bits of information. That said, one of the biggest losses would be helping to support an artist/band making their way into the world. In a sense, it is like transitioning from a slightly paternal style of journalism to something more critically-minded and strict. It sounds like a very inauspicious introduction to a band competing with so many out there. The two-piece Inside View – recently losing their bassist are going through a transition and I will, once more, touch on that subject. In addition, I want to look at Wigan and the north; the tough nature of the music industry and the ways to enhance survival and prosperity – a little about festival plans and ways the music industry needs to adapt and evolve. I’ll kick things off with that idea of adapting and survival. Again, it sounds like a slightly downbeat subject to focus on but there are artists out there who get thrown a spanner and have to ensure it does not jam the machine. Not only do Inside View’s Anthony O’Brien and Danny Heaton have a couple of albums under their belt but have a great ethos and passion for music. They are not your typical upstarts that release a couple of songs and expect gigs and social media to take care of their career.
I am not sure the circumstances behind their bassist’s departure but the now two-piece have not been dealt a fatal blow. They will continue to make music and are looking to the future. It is always jarring and disruptive when something changes in the ranks – a member leaves or a label departs; plans change or there is creative tension – but it is an inevitable part of music. Unless you are very lucky, at some point there will be changes happening – a lot of them can be negative. I have seen many bands split because the gigs have not been coming in; others have had internal struggles and entropy has occurred. I am not raising this to be a downer but those who survive unplanned or unwanted alterations are to be commended. Inside View, I am sure, will recruit and get a new member into the fold. Why I wanted to bring this issue up is to show how rugged and focused they are. Were they on their debut single, it could prove an insurmountable hurdle – having a member leave that early would phase them to the point of possible disillusionment. Being able to face obstacles and make the best of things is a hard skill. Not that Inside View have had to do that, necessarily. One of their long-time members has left but, whether acrimonious or not, there is plenty left in the Wigan band. The two-piece will plot their next move and have an interesting option: expand the ranks and go for a fuller, thicker sound or continue to play as a duo? Sure, the bass is an elemental part of a band: adds direction, groove and glue (that bonds percussion and guitar). That said, duos like The White Stripes never had a bass so you can get around that. Maybe a chunky/epic sound like Royal Blood will come into Inside View: big riffs and solid sticks-work that creates stunning jams and snarling epics. In the touring interim, they will modify and have to fill the bass vacancy with a temporary member or overcome the gap.
It is not really a dilemma but a chance for the boys to add new things to the music. I love trios but feel, when you are down to two, you have that option to replace or stick – start afresh in many ways. I would love to see them get a new bass player in and, because they are on the rise, perhaps recruit a fourth member. I know the quartet is a cliché dynamic but Inside View are creating some of their best material right now. I feel there are many tour dates on the horizon so having extra bodies would provide that festival-ready sound promoters are looking for. I am sounding like I’m pitching to be their manager but I implore the guys to not only continue but look at the departure of their bass player as an opportunity for new things. I will leave this thing be but understand how tough and unpredictable music can be. It can be quite unsettling losing a member but that does not mean things have to change that much or finish. Inside View are looking ahead and sure fresh material will be on their minds right now. I shall come to their latest track soon but, before I do, want to talk about the north – a little bit about Wigan and the artists there. The Verve are, I guess, Wigan’s most-famous sons. Starsailor call it home but, by and large, it is the new crop that are keeping the flame alive. I feel areas like Wigan are untapped and deserve more attention. It happens anywhere outside the large cities. I have long said areas like Yorkshire and Greater Manchester get overlooked. Manchester itself gets a lot of acclaim but what about the towns and cities forming the environs? The same could be said in Yorkshire: maybe Leeds receives plaudit but areas like Sheffield, Bradford and York? It all comes down to local media and how mobile/fertile they are. If they do not have a big music section then they are unlikely to scour the town for new artists. The same could be said of the radio stations of Wigan. I am unsure whether they are big pushing new music talent across the airwaves but there should be a duty of care. In order for places like Wigan to get to the national media it needs to start at local level.
I know for a fact Wigan has some great artists at the moment. Some have moved into Manchester but there are those remaining put. In terms of places to perform there is Tap ‘n’ Barrel, Docherty’s and Bar Legion; The Ruby Longue and The Old Courts. I am not sure how many of those venues are thriving and what sort of credit they gain from the locals. It is hard to get gigs and make sure that music reaches a large audience. With so few talent-spotters and record labels hovering around Wigan; where do new artists go to get their voices heard? I guess Manchester is a close-by sanctuary. That said, so many are flocking there it is getting crowded. There are some good spots in Wigan so more should be done to improve its image and open eyes to national sources. Record Store Day is approaching and Wigan will play its part. Festivals are occurring so many nearby artists will look to get as much gig experience as they can – venues like Tap ‘n’ Barrel might seem like a perfect spot to cut their teeth. It is bittersweet living in Wigan: you have Manchester close by but are often overlooked. Inside View are loyal to their people but will be broadening their horizons. Not only will Manchester seem like an attractive city to play – London must be in their thoughts too. It is only when you come to areas like Wigan – and speak to musicians and bars – you realise there is a scene waiting to be discovered. I have long-maintained the North of England is the most thriving and varied landscape in music. Not only do you have areas like Greater Manchester and Liverpool: Yorkshire is a huge country with many different sides. Last year, I proffered the talent and ability of a certain Ripon – she has since moved from the cathedral town but is someone (I shall not keep naming) who is going to do big things in 2017. Leeds is heavy and sweaty with artists of all varieties. Big, stadium-worthy bands like Allusondrugs are emerging but there are so many colourful and spectacular peers making the city a must-go-to for any music fan. Not only is it the quality and variety but the sheer oddity of some acts.
One can hear retro. reworking on Swing and Hokum; 2017 interpretations of Big Band and 1950s Pop. It is a wonderful and buzzing city. Bradford and Wakefield are all keen as are Sheffield and York. The North of England is not to be taken for granted or understated. Wigan, Greater Manchester and those kinds of spots are prosperous and fostering some of our future stars. Inside View, as their name implies, are savvy and know the workings of the local scene. They are waging war on the masses and trying to stand out. They are doing a good job so far but will be doubtless considering where they are based and how they develop over the coming years. I know Wigan is a good and convenient area for Manchester but curious whether they would see that as an option? I know many Manchester bands that have the same sound and makeup as Inside View. I know the duo would get gigs and have a chance to get their music to wider audiences. Being a bassist down, they would have no issues getting a new band member in and would have a world of venues and faces at their disposal. That is something they might want to chew but they are in a great part of the country. Being near big cities is always good for music. You have the convenience of opportunity but have the quiet and relative peace with town living. I would love to see Inside View play London and know they would have demand and popularity were they to embark on a small tour. Money and time do dictate mobility and horizons. It gets me thinking about ways music needs to adapt to accommodate hungry and respectable bands like Inside View.
O’Brien and Heaton released second album Hollywood a couple of years back and have just put out the video for Heartbreaker. It has been a bit of a gap for them so I am sure that third album is in gestation. It can be hard embarking on creating an album if you have to fight so hard to get it promoted and heard. There are several tiers and areas that can be improved and gentrified: video-making, festivals; streaming and national promotion. In terms of video-making; many/every act want to put out a visual promotion for their songs. Using Inside View as an example, their Come Over Girl video, as they explain, had an interesting inspiration:
“We always like to make videos with some kind of story to them as I find performance videos are usually pretty uninteresting to watch. We’d had this horses head for a while which I bought from a fancy dress shop, and I always knew it’d come in handy for something one day – then my friend mentioned he knew someone who had a Goat head too, so I figured there definitely had to be some story I could think of using a horse and a goat!”
The guys have a charmingly homemade, lo-fi spark in this case – a couple of costume heads and an idea comes. It is almost a Michel Gondry-like sense of whimsy and innovation. Because of the imagination and quirkiness of Inside View, it would be nice was they afforded the chance to really let loose and create a really detailed and stunning video. Most new artists have two-three-figure budgets for their videos. Platforms like YouTube are free and gives them access to millions of people. If you want videos to trend and go viral – thus, getting to more and more people – you need to have the budget to make a truly exceptional one. That is not to say you can’t create genius from a small budget – a simple concept can resonate hugely – but most artists are limited with funds and crew etc. I feel there should be some sort of funding scheme for every artist. It costs so much money and time getting a video together it can be deflating when it gets meagre views. There is a correlation between big view9ng figures and success. Many negate the importance of videos and how vital it is for a promotional campaign. I am not sure what we can do short-term because Inside View will be drafting new material and, with it, new concepts and great visuals. One of the most gutting aspects of music is when you complete a great song and think of a big video – knowing you cannot afford to realise it is a shoulder-sagging moment. That is one thing but festivals are another.
There are the big festivals that headline mainstream acts and give spots to lesser artists but few festivals reserved for new artists that are working their way to the mainstream. I would like to see a few new ones come along that provide new artists with the chance to shine: no big chart acts; just musicians taking their first steps. It does not need to be anything huge and elaborate. Having some well-curated smaller festivals is a good idea if you want to give fresh acts a chance to play a larger stage. Of course, there are costs and logistics associated with any festivals: there needs to be demand and a certain gravitas from advertising. Maybe a series of festivals held in cities of the U.K. – Manchester, Glasgow; London, Brighton and Bristol, say – would be a good way of giving artists a festival experience and luring record labels and P.R. agencies down. I am, not sure but feel artists like Inside View have great music but have so much to consider. They have to do all the promotion and make sure the music is excellent. From there, they must get it out to the people and organise their gigs. Even if you have a manager, there is still so much to do. No musician wants to be excluded from festivals and it is a career goal for all. It would not be too overcrowded were you to bring in a new festival series. There is the consumer demand out there and the necessity to promote as many great acts as possible. It is not just physical aspects that many stress about. Sites like Spotify and YouTube are great sources of support and revenue for many artists. Having been in the game a decade – more on that later – Inside View will hardly rest when it comes to getting new fans in. I have written a piece on Spotify and how one can succeed there. A lot of the impetus and focus is on those established acts at a mainstream level. Can a new or underground act really achieve the same sort of streaming figures as Ed Sheeran and Drake?
Their music might be better or more original but, unfortunately, quality and authenticity are not vital when it comes to popularity. Streaming success and viewing figures are all part of the promotional/marketing gameplan and crucial. I feel, like festivals and national journalists, there is that preference for successful, chart-worthy acts and less time spent with the underdogs. Again, it should be easier for newer acts to break ground and create influence on Spotify but it is hard to see how. I mention all of this because I am aware how tough and tiring it can be for an act like Inside View to get their music spread among locals – let alone to the country as a whole. National music websites and radio stations have their part to play and do well to expose some pretty special artists. I feel, unless local media is hot and pushes hard enough to get their artists under the national microscope, the chain is broken right at the start – how do those artists get their songs to the big leagues if the local media haven’t the influence and promotional power? I’ll come to Heartbreaker very soon but felt compelled to compartmentalise the promotional layers and see if there are ways we can restructure. There are many fantastic acts like Inside View that have the longevity, talent and songwriting talent to go all the way – great live performers who have the ambition to perform nationwide and carve some reputation on the international stage. Not only have Inside View being going a decade but keen not to rest on their laurels. With a new decade comes different aims and desires. They have already played and seduced the local audiences so will be eager to grow and conquer. This cannot be far away and feel the next year or two will be pivotal for the Wigan duo.
Heartbreaker is Hollywood’s track of choice for me but joined by stunning compatriots. Casanova is our hero professing he is not a player or like the legend – the chorus reinforces that as the relationship “is over”. It is one of the bounciest and most determined songs on the album. With a big sense of energy and an exceptional performance from the band, you are caught by the rhythm and dance. It sticks in the mind and has such an addictive quality to it. To me, the vocal stands out most but the composition brilliantly supports the hero whilst adding rich textures and energy. April Showers is one of the spikes and hardest-hitting songs on the album and has vivid messages at heart. Like Casanova, there is a definite upbeat and rouse but the lyrics look at love and those April showers – every hour they can fall. Whether that defines a series of crises or heartbreak – the heroine is, maybe, over-dramatic – or just the uncertain nature of love I am not sure. The hero is holding on and there and knows in every relationship there are going to be bad days amongst the good. The use of April showers as a metaphor is a clever one and gives the boys scope to create a candid and illuminating song. Again, the chorus is big and sing-along whilst the composition pairs elliptical lines with an undercurrent of caution. Those two tracks are the perfect representation of the band and what they are capable of. Sure, there is plenty of positivity energy but they know how unsure and unstable love can be. Taking something common like relationships and heartbreak can be dangerous for any new act. The guys are masterful when it comes to adding new spin and dimension to that topic – filling the album with so many wonderful lines and exceptional stories. It is small wonder they are putting Hollywood back into the consciousness and giving the public another chance to experience it. The tracks do not age and reveal something different every time you hear them. I hope the guys, now a two-piece, have another album in them as that kind of songwriting ability is reserved to a chosen few. The hungry crowds will lap up Hollywood but will want to hear something new from the Wigan act in months to come.
One of the best things about Inside View is their videos: taking a brilliant song and trying to make a memorable video to alongside it. They have toyed with animal costumes and all sort of scenarios but, for Heartbreaker, the concept is, well…pretty similar. You get a hero in a horse head and there is an initial beach walk scene – it has the aesthetic and feel of the film North by Northwest, oddly. It is a crazy, charming and fun video that will lodge in the mind, make no mistake. How much it has to do with the lyrics is up to the listener but it ensures you remember Heartbreaker for several different reasons. To begin, the boys talk about a girl whose secrets are “all overrated”. The girl couldn’t break the spell and didn’t hold on. To me, those first lines document the last days of a relationship or a retrospective of a broken bond. Perhaps there was an imbalance in the relationship and the girl was vastly overrated. Her secrets were and it might be the case she was not quite as interesting and substantial as imagined. It is hard to come to conclusions that early but that is the general feeling I get from the first sentences. As attracted as you are by the video – it looks gorgeous and has a real professional feel to it – the lyrics and performances draw you in. Those lyrics subvert any expectations and really go deep. It seems the girl is united to another but our hero is being dignified. Maybe a friend or acquaintance is with her but he (the hero) is unsure what to advise. She is “Hell”, as it is said, and the new beau will experience that – he will have Heaven on his side. There is that sense of relief from our hero but a feeling the same mistakes will be made. I wonder whether the song title, at this juncture, is starting to become obvious. The heroine has cracked hearts and caused sadness: she is doing it with someone new and all the hero can do is stand back and watch – wishing he knew the new man better so he could see if they are doomed or not. It is an interesting angle on love and moving on. Maybe I have swung wide of the mark but I get the sense of lingering resentment and confusion: the hero not sure why things ended and befuddled by the girl moving on so quickly.
The wicked temptress will break the heart and do it again: she will make you come/cum and lead you astray. As ‘distracted’ (in a good way) as you are by the video – the suited hero in that horse head dancing around town is quite a sight! – it is light relief and juxtaposition to a tense song that keeps its dignity. That is the great thing about Inside View: remaining mature and strong in the face of adversity. I am uncertain whether the former lovers are in communication but one suspects not. Rather than attack the new suitor and try and sabotage their bond; our man is revealing the truth and disclosing the reasons why things turned sour. Things get punchy and tight as the guitar kicks in and offers stab; the percussion slams and darts whilst there is an underlying melody, groove and tautness. If you can ween yourself from the video – the heroine amused by the larking about and horse-headed dance of the hero – then you will come to some obvious conclusions. Namely, she is a bit of a harlot and someone who should not be allowed near anyone else’s heart. Strangely, the video’s comicality and pantomime spirit add new dimensions and possibilities to the story. Maybe that is all the hero was: a plaything that was there for her amusement; there was nothing real or emotional to hold onto. You are definitely captivated and intrigued by the video but, I wonder, maybe the guys had that in mind when conceiving it – the visual representation the hero is a dancing monkey (semantics aside, you know what I mean!)? It is an interesting interpretation and one that makes me reassess certain aspects of the song. As it plods (sorry!) on, that sense of deceit and recrimination gets hotter and stronger. That horse motif – sorry to bang on about the video – could be used for future promotional in a range of scenarios. The guys could rob banks or be ill-equip for a fancy dress/posh ball – assessing the nature of class and modern society, for instance.
In fact, a few of their videos employ animal costumes and it seems to be a trademark for them – it adds a wonderful light relief and quirkiness that few bands are willing enough to embrace. It means Heartbreaker’s chorus is not quite as stinging and oppressive as one would imagine. Our hero did everything right and gave it his all but it was not enough. The pragmatists out there would say that is just how things go: love is a rather tempestuous beast and there is no such thing as true love: one has to experiment and go through pain to find someone right. Maybe we are too willing to believe someone is going to be great and loyal because they enter a relationship with you – things are more complicated than all that. Rather than unravel the psychology of relationships – and why some people go into them knowing they are destructive – will take a while but it seems like the girl is a user or not mature enough to handle something grown-up. It is not our man’s fault he was left jaded and exposed. He did everything right and was a stand-up guy but found little reciprocation in a ‘girl’ who wanted something physical and meaningless. Maybe she was in things to have company but didn’t appreciate the nature of love: ensuring you do not take the other person for granted; an adult relationship is a contract you should honour and not take for granted. Inside View do not add acid and spite to the song: they have the same hopefulness and sense of determination about them – even if the story has to be honest and tell it like it is. When the dust has settled – and the images of a gyrating man-horse, if at all, leave the mind – then you will be able to see the song a new light. On first spin, it is a song that advises wariness to a former lover’s new man. When you get more into it, it seems like there are more layers and nuance than that. Yes, that initial reaction is true but there are more emotions coming to the surface. There is regret and sadness but a relief from the hero. On top of that, one feels sympathy towards and the hero and compassion towards him. The fact he is not attacking the girl that strongly and trying to destroy her new relationship is a level-headed and grown-up step. I have heard the song only a few times so I’m sure even more revelations and insights will unveil themselves soon enough. It is a stunning song from the band and a sad reminder of how strong they were as a trio. That said, the new-duo will be able to rebuild and have that incredibly strong core. Heartbreaker is being released/re-released to celebrate a decade of Inside View: let’s hope there is another ten years (and more than that) in the guys’ future. They are one of the most impressive forces I have heard in a while so I wish them every success and future happiness.
Anthony O’Brien and Danny Heaton are reprising the promotion for their 2015-album, Hollywood. They have reached a decade of musical service so it seems an album title that provokes images of huge lettering on hillsides quite appropriate – a sense of grandeur and importance comes to mind. The boys have undergone turbulence – their bass player no longer in the pack – but show, with Heartbreaker, they are not only creating some of their finest material but fully committed to great videos eye-catching and memorable. Look through their YouTube channel and you will discover consistently brilliant video and songs. Hollywood itself was recorded at The Lounge Studio in Wigan and borrows tales and lines from the local streets; more universal and relatable themes and bags of nuance. It is an album that demands proper listening and investigation. The guys have got to the decade marker and are planning an acoustic E.P. – including a stripped-back version of Heartbreaker. The aforementioned song is one I keep coming back to and find new qualities each time. Let’s hope the boys have a lot more material left in them. I will return to my earlier themes of northern/Wigan music and ways to help new acts; a bit about surviving dislocation and bands in general. For Inside View, they have done something few other modern artists have achieved: been going for a decade and look set to continue for many more years. In such an uncertain and changeable industry; prosperity and continuation are not sure-fire. Many great artists end and struggle to meet the demands music sets out. That is not necessarily their faults but one of those things. In any industry, there are those who endure and flourish whilst others last only a short time – a lot of time talent, passion and determination are not guarantees of success.
As they are at their anniversary stage now, I guess some gigs would not be out of the questions. I am not sure whether that, if at all, will form local dates or something more itinerant. I would like to see them play further south and embark on a mini-tour of the U.K. Perhaps financial constraints and restrictions will be imposed but, the fact they are reworking their songs acoustically, gives them flexibility and range. They could play café dates and go to more intimate spaces – or perform at larger venues and turn the volume up. I admire artists that take heavier material and give it an acoustic spin. It is fascinating to hear and will be intriguing hearing songs like Heartbreaker with that kind of new sound. Because that decade-long career is still going; how long until we hear an album of new material? O’Brien and Heaton have to adapt to the three-piece slimmed down to a duo. Maybe taking a bass player out has led to the decision to record some acoustic numbers. In fact, from a band who are mainly guitar-based – percussion is there but not a huge asset – maybe it is going to be okay for them. Bass, as I said, adds some liquidity and discipline; gels instruments together and gives kick, funk and melody to proceedings. At the moment, Inside View have plenty of firepower and vocal force to be able to push their music forward. I am sure they will think about where they are going this year. Maybe a new member (or two) or they will remain a duo – getting heavier and tighter or reconfiguring their music to suit two players. An album would surely be well received and they would not be shy subject matter. As the festivals starts to kick into gear, the guys must have that in the back of their minds.
I opened by looking at the North of England and Wigan, especially, as somewhere important to Inside View. They have that home base that has some good venues and a lots of eager music fans. With studios and support in their back yards, the impulse to move somewhere larger might be on the backburner. Given the proximity to Manchester; Inside View have that huge city close by but are far enough away they can get some semblance of quiet and detachment. I, if I were in Wigan, would have one eye to Manchester, in terms of gigs, anyway. The North is a vibrant and fascinating music scene and, in my view, more prosperous and varied than the south. Here, we have cities like London and Brighton but there not that many standout counties. In the North, you have Yorkshire, Lancashire and Greater Manchester – Scotland, as a nation, not exactly quiet and inferior. There is so much choice and Greater Manchester is somewhere we should all be looking. There are hundreds of wonderful bands in the county and so many options for the listener. I am not sure why northern artists have that edge when it comes to genre-range and prolificacy. Maybe there is a different ethos and way of life: less anxiety and compression that leads to freer, more relaxed musicians. Certainly, a group/duo that have lasted a decade must be doing something right and let’s hope that continues a long time to come.
Before I end this, I will look at videos, festivals and promotion; a bit about adapting after changes. I’ll start with that and keep it short: Inside View have a chance to change things and strengthen. I have talked about it a lot but am impressed O’Brien and Heaton are not just still together but making plans. I have witnessed so many artists crumble and struggle in the face of economic strife and lack of demand. So many wonderful acts calling time and unable to carry on. Full marks to the Wigan lads for their fortitude and ambition. I am eager for new music and plenty more nuggets like Heartbreaker. They have an impressive back catalogue and get stronger and more confident with every new song/album. Many new fans will come to Inside View, curious to learn how they have endured and continue to inspire. Existing supporters will root for the boys and look to see where they head. Wigan is one of those areas that has spawned a few great acts – like The Verve – but is not as famous and reputable as neighbours Manchester. I know for sure there are some top bands and acts playing in Wigan and determined to make their names heard. I have discussed how there needs to be provisions in place to ensure new artists are given leg-ups in regards festivals, streaming and video funding. Look at any Inside View video and you see wonderful concepts and a mix of strange and humour. Every new song they produce requires a video and they will be looking to create something bigger and more eye-catching. With high-concept comes a large budget. Yes, imagination and resourcefulness are assets that few appreciate. You can have a small budget and still require a great video but I see so many musicians who want to film something huge. If there was a funding scheme where they could get finance to make these ambitious videos then it would help spread their music to new nations and people. YouTube is a great platform but, a lot of time, you get recommend new artists/acts based on viewing fingers and that – normally reserved to the mainstream acts with deeper pockets.
We’ll end things by having a look at festivals and streaming and where Inside View fit in. The guys have lots of venues close by but will be aching to top some big festivals stages in years to come. They have worked tirelessly to get where they are so deserve more support and opportunity. With festivals like The Secret Garden Party ending; maybe there is an issue with demand and money. That particular festival closed for other reasons – they had run their course but not before inspiring everyone else in the game – but there remains a demand for smaller, new act-heavy examples. I mooted a festival series that could be based out of a few cities and house underground or unsigned artists. There would be headliners but no mainstream artists. You’d get a chance to see more acts on the bill – who might otherwise have struggled – and that would provide inspiration to the new generation emerging. Maybe Anthony O’Brien and Danny Heaton have festivals coming up or perfectly happy being where they are right now. I feel there are so many promising and fine acts who have to work their arses off to get a couple of rungs up the ladder. Make sure you get acquainted with Inside View and visit their previous material. They have a solid reputation and are one of the most enduring and impressive bands in the North. A decade in and there is a mix of old and new. The music is reliably exciting and consistent but the duo will continue 2017 without their bass player – readapting and defining themselves as they plot new sounds. Whether there is a new album down the line, it is going to wonderful seeing the boys soldier on. They have acoustic plans and are putting 2015’s Hollywood back into the spotlight. A jam-packed and excited decade is under their belt. Here is…
TO the next ten years!
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