In this series, I explore the grassroots music scene, examining the key players, their roles, and the insights they can offer to Joyzine and its readers.
Tony Gleed has been a significant force in booking bands at the iconic Dublin Castle in Camden for decades. I sat down with Tony at the Curzon Soho to discuss his experiences in music, the art of booking bands, enjoying live performances, and grappling with writer’s block.
How did you become a booker at the Dublin Castle?
I began as a part-time booker at the Bull and Gate in Kentish Town back in the early ’90s. I was making ends meet in the combustibles and weekend sweeties game while dreaming of becoming a successful musician, but instead, I spent my time playing guitar in my bedroom and getting high, Nick Drake I wasn’t. I learned about a job opening at the Dublin Castle through a friend of a friend. I had seen Billy Childish perform there with Thee Headcoats, so I was familiar with the venue and loved it’s vibe. Little did I know that I would end up working there for the next thirty years. I took the job thinking it would give me a chance to perform with my nascent band and meet glamorous Swedish models, that sort of thing…but actually I ended up booking the guys I played with on the bottom of the bill on my first show with me just looking on….ho hum.
How has the venue changed over the years?
In many ways, it hasn’t changed at all. The ambiance and vibe remain much the same as they were 30 years ago. We’ve constantly upgraded our sound system, which we take great pride in, as the sound quality is excellent in the Dublin, everyone knows this! Together with the surfeit of natural pheromones making everybody incredibly sensual and alluring, this makes for a winning formula. However, there’s considerably less stage diving nowadays. Musically, we see cycles of activity; certain genres will flourish while others fade. I started just before Britpop, which was a massive movement and crucial for the success of Bugbear Bookings at the Dublin Castle.
Do you remember the first band you booked?
The first act I ever booked into the DC was actually an electronic duo featuring Rhoda Dakar from the The Body Snatchers and The Specials. She was in an electrofunk duo with a guy I shared a love of greenery with at that time. She wore a silver space suit. I’ve just booked her again 32 years on, for an ‘afternoon with’ type event.
You’ve hosted legendary acts at the Dublin. Which band stood out before they hit it big?
Initially, before my time, the venue focused on Irish music, blues, and singer-songwriters. Then Madness came along and changed everything, famously securing a residency by pretending to be a jazz band that led to their record deal with Two Tone and then Stiff– this helped spark the ska movement, and the Dublin Castle remains synonymous with that kind of music. It puts DMs on the dance floor month in month out still. Can’t complain! Bands like The Arctic Monkeys and Bloc Party were already happening, and thanks to our relationship with music journalist Simon Williams arrived ready to conquer the world with a nigh on built-in following. And were clearly always destined for greatness. The Libertines were relentless in their pursuit of a gig; we initially turned them down, about five times!.. but after their first performance drew only seven people, they quickly found their footing and became extraordinary. I can remember watching them sound check one evening in 1998 and they’d just got those military jackets. You could tell something was gonna happen. Amy Winehouse, a Camden native, performed at her own insistence, and it was an honor to host such a generational talent. The Killers also graced our stage, and they deserve a special mention, along with Muse, who got signed the second time they played with us, and Coldplay who I guess were still called The Coldplay or whatever it was before they were mahoosive.
What are your favorite nights at the Dublin Castle?
The Electroniq nights are always a highlight—refreshing and unpredictable. As a promoter and music lover, that element of surprise is vital. The electronic EMOM scene is fascinating; where else can you find a line up featuring a Storm Trooper or bloke dress as a duck? Music should be fun! And thought provoking. And visceral. All the best music lacerates your senses. Not Coldplay then… While I love guitar bands, the incessant barrage of the same old same old chords can become tiresome, so we always try to pick out new bands with something different, no matter what genre. Many bands fail to grasp the beauty of space in music; sometimes, less truly is more. That said, we have fantastic punk nights, like with anarchistwood and their Punkvert nights, which are well-attended and bursting with energy, that visceral quality I’m banging on about. Talking of which I also miss our exciting hip-hop nights from recent history with rap battles on stage featuring name acts like Skinny Man pitching up, booked with British hip hop and Grime ledge Chester P.
Is there a band you wish you had booked before they became famous?
Not particularly. Although I missed Oasis by a fraction. They were booked in and then last minute – literally – cancelled to play elsewhere. I wish we’d booked Mark E Smith when we had the chance. Spoken word job. Trouble is I’d seen him do one of these elsewhere and he lasted 10 minutes and just turned everything up while the DJ played a Supremes record. So got cold feet.
How can bands get a gig at the Dublin Castle, and what do you look for?
We have an online application form on the rather past it Bugbear website, for bands to apply. Originality is key, along with a strong promotional effort and ultimately bringing a crowd if you wanna come again. Bands that play and then leave right after their set, possibly expecting automatic headline status at Glastonbury, probably won’t receive another invitation. There’s also a rider in our ‘contract’ that requests all bands to cover at least one Fall song, which hardy any band ever does. Leg Puppy did. So did Slender Pins. Most people ignore it, or never read the contract. Quite right too. We’re not bloody NatWest interviewing interns.
You’ve been working on a book for the last 20 years. How is that progressing?
Five years actually! Unless thinking about it for twenty years equates with work. Which it probably does. So… The idea for the book has been with me for about twenty years, but realistically, I’ve only been seriously working on it for five, I say working on it, I mean I’ve thought about it more. I need to discipline myself to put it all together, I might benefit from a ghostwriter to help kick me up the arse and get my creativity into gear. Anyone?
Cover 📷 Hill Bill
Information on how to play at the Dublin Castle; visit their Website
Article by Mr Laurence
Keep up to date with all new content on Joyzine via our
Facebook | Bluesky | Instagram | Threads | Mailing List
4 comments