Music can transport you, take you to a different plane, away from the daily thoughts, worries, the mundane to another planet. Speaking to your heart and galvanising emotions which speak to your very humanity. The reason for living. Life as it should be. Pure and clean. People on stage transmitting their energy, joy, talent so that all that matters is what stands before you, presenting their magic. Masked or with faces free, connecting from their souls to yours. The power of stabs, sharp short brassy bassy arrows into you, flying from the platform through the bodies of the thronging mass, weaving and dancing to the flowing beats. Beauty emanating from each individual instrument to create a cohesive whole, subtle rhythmic interplays, changes in dynamics which have infinite steps, dialing through equalisation. The tightness of power, the strength of being exactly together at the same point with nuanced differences, pushing instruments, their resonance connecting back to their players, feeling, transmitting, transporting. Music can set us free, unleash the power of the collective, transcend the wrongs of the world and provide hope, that there is something good out there.
Unveiling of the new East Devon Soul logo. Website to come in the next few months as we start to reveal all about our exciting new festival in the beautiful seaside town of Seaton, East Devon 3-5th July 2026
As the festival season comes into prominence, thoughts of milling about in fields listening to new sounds, seeing new sites and generally being humans together in one place comes into being. Looking ahead through the steamy (hopefully) months to September, a beautiful time of the year which also can feel slightly melancholic. Kids back to school, teachers back to school, nights starting to draw in. Whistful for Spring’s hopeful flavours. So what better way than to elongate the summer than partake in two gigs at the lush Marine Theatre in Lyme Regis. Fulu and Hannah Williams are two of my favourite live acts, artists breaking boundaries and exuding music innovation and brilliance. Two of the best gigs you will see this year. Each will be masked and unmasked. Mysterious and real. Guaranteed by East Devon Soul.
East Devon Soul Festival is a community music event with sustainability and revitalisation at its heart, bringing opportunities for local and national artists to perform in the seaside location of Seaton, East Devon, utilising available resources and infrastructures. The festival will feature multi genre eclectic music from local and national artists, crossing genre divides but all joined by the concept of soul, music that moves, has humanity and expression. All in collaboration with local venue owners and community groups.
Ethos
Seaton in East Devon is a town with multiple underused venues, a lack of activity but with the infrastructure to support a creative ecosystem. Sitting between the more vibrant towns of Lyme Regis and Sidmouth, Seaton has been left behind.
The aim of the East Devon Soul Festival is to bring music to the town to support socioeconomic enhancement, providing culture and economic life, encouraging people to come in and support local businesses. East Devon Soul Festival will generate an uplift in culture for the town, providing hope and opportunity for future events to occur and release the creative potential of the region, benefitting a wide demographic, including young people, families, older residents, and those who may otherwise have limited access to arts and live music due to financial, geographic, or social barriers.
East Devon Soul Festival will offer opportunities for local musicians and performers to showcase their talents, promote wellbeing through shared cultural experiences, and strengthen social connections in the community. Through collaborations with schools, local businesses, and community groups, East Devon Soul will also provide volunteering, training, and educational opportunities to encourage participation in event production and the wider creative industries.
Sustainability is a key driver for the East Devon Soul Festival. We want people to have a great time in a wonderful location whilst leaving as little carbon trace as possible. Underutilised venues will be opened up. For example, the iconic Seaton Tramway can be transformed into a beautiful 500 capacity venue. The Old Picturehouse Cinema becomes a hub for global funk music. The Hideaway Cafe at the far end of the promenade a venue for late revellers, with DJ’s spinning electronic House or Drum and Bass. The beach front Tide Cafe will have acts performing on its balcony.
Incentives will be provided to travel to the festival by green transport. The small gauge electric tram can ferry people in from campsites or Bed and Breakfasts of the nearby villages of Colyford or Colyton. Gas buses will be used to connect the nearest train station at Axminster with Seaton, a 20-minute journey. Electric tuk tuk’s will bring spice to East Devon life, a novel way of entering the festival from local villages. Arrival by bike and foot will be encouraged through elements of VIP access, food and accommodation discounts.
Line Up
The music ethos for the East Devon Soul Festival is quality eclectic and inclusive. Music for everyone but with a cohesive narrative, where bands featuring female and non-binary musicians are encouraged. Upcoming acts who will engage and educate audiences from across the spectrum, classical to electronic dance music, jazz, funk, soul and folk. East Devon Soul will have appeal for all ages and tastes. From string quartets to New Orleans Soul, Jungle and Grime to Jazz. Music is naturally eclectic, and the festival will showcase this glory, providing opportunities for local artists and showcases for acts brimming on the edge of stardom. The common denominator is that all acts will be approved by the East Devon Soul team, unleashing years of experience across the music industry to bring a festival for the local masses.
Some of the artists already lined up to play include artists we have programmed previously including Acantha Lang, Dr Meaker, Buena Bristol Social Club, Kirris Riviere and the Delta du Bruit, Hannah Williams and the Affirmations, Moscow Drug Club, the Jazz Defenders, Revelation Roots, The Egg and Fulu.
Spinning tunes in pop up venues across Seaton will be top artists including legendary DJ Krust, Queen Bee, Beatles Dub Club and the Allergies.
Seaton
The seaside town of Seaton sits on the South coast of the UK, just inside East Devon from the Dorset border, flanked by its better-known siblings Lyme Regis and Sidmouth.
Seaton has a natural aspect, sitting at the end of a wide valley, flanked by beautiful countryside, beaches and cliffs. The town itself has many underused facilities including lots of available venues, outside spaces, some with seating and power, plenty of parking and reasonable transport links. Unlike its bordering brethren, Seaton is never overrun by tourists in the summer months due to a lack of historic buildings or perceived beauty. There is a flow to the way that you can circle the town, making it an ideal location for a festival.
I am very excited to be part of the latest Generation Blitz album with the track Inochi: Terrain, a great CD, vinyl, streaming offering featuring all your favourite global electronic post punk artists. Out on pre-release now
East Devon Soul Festival will support, nurture, enlivening and reawaken the music scene in East Devon, UK, utilising the underrepresented town of Seaton, snuck between those classic holiday destination, Lyme Regis and Sidmouth. Music is vibrant in these two places, central to their cultural and tourist economy. Seaton is a beautiful brutalist place, the concrete wall protecting the town from the ravages of the sea, a wide open expanse with white and red stone cliffs on either side, a perfect crescent, half moon, curvacious place. Seaton has lots of venues, all currently utilised to recreate school discos or house another covers band mainly full of blokes. East Devon Soul aims to bring global music beats from around the world to the southern shores, a Womadian aim to educate and glamourise, provide multi-ethnic culture to this mainly white populace. Bands featuring the music of Africa, South America, Europe, Australasia and Asia. Interesting electronic beats. New sounds, interesting instruments. East Devon Soul sees the heartfelt, music coming from within the self and collaborative cultures. A chance to dance and listen, to be transported, to be educated, to be entertained and join in with that process.
Plans are afoot for a big event in 2026, the East Devon Soul Festival. Venues across the town such as The Gateway Theatre, the Tramway and the Old Picturehouse will house artists within global, soul, funk, electronic and jazz genres, crossing divides, entertaining and educating. Early July will see people flock to Seaton, dancing on the beach, by the beach, looking at the beach. Devon’s answer to Cafe del Mar, evening summer raves, a quick dip after a sweaty dance.
This year we are bringing acts such as the Cuban Buena Bristol Social Club,Omega Nebula firing dub and step, Fulu with their hidden personas, brass and techno in joyous combination, the amazing soulful Hannah and the Affirmations, as sampled by Jay-Z, to the live drum and bass of Doctor Meaker. Cuban heavyweights Asere will fire into the region at the start of Novembr. Music ecosystems enlivened by adding to the mix, adding variables to support cultural expansion in this naturally beautiful place.
Information about the East Devon Soul Festival will be coming to your eyes and ears soon. July 2026. Great value. Great acts. Great fun
Artificially intelligent. Robots taking over the world. Our lives changing forever, your life in their hands. Big brother taking control of the wheel, building the car and taking you for whatever journey they fancy. You are out of control, like Trump out for a morning stroll, spitting nonsensical rubbish out into the world, creating chaos, firing shots all over the place just to see what happens, shooting them so they just fly past ears, surface wounds. Just a few centimetres from a different world; the fallibility of humans. AI will take the strain although trains will still probably run late, be cancelled, smell of the 1970s: Comfort, sweat and piss. The perfect world built around AI will never exist. People will still be sheltering under bridges, wrapped in stinking old blankets, comforted by Blue Nun or other such fortified wine. Our computerised intelligent friends will make many jobs redundant, those menial tasks that some people probably enjoy. Fiddling around with a spreadsheet, using mental arithmetic, digging deep into school history lessons to remember dates of lesser-known wars. The Boer wars, when were they again? Time will exist to pop more regularly to the gym, to go out for midday walks whilst your bot collates every element of your business into a streamlined project management proposal. Us humans left to ponder, to be artistic, creative. So why then are multiple governments defunding the arts, when understanding our creative selves is going to be a key element of the next 100 years. By 2099 the average life span will be 150 years old, frail bodies reconstructed, minds connected to mainframes, town centres overpopulated with electric zimmer frames and silent non-polluting vehicles. Healthcare transformed, early warnings for the previously terminally ill. Street corner smokers replaced by electronic transmitters. No one dies. Graveyards get turned over to be used as spaces to house mega computers. Chips implanted into babies at birth, regulating every last internal element, checking dietary requirements from within. Providing a smart watch readout, regulating everything so that you can maximise productivity and life. Serendipity disappears. We are all under central control. Tik Tok memes a quaint remembrance from the past like grainy black and white film. Everything is sanitised. Life is perfect. More people are stacked up under the bridges, freezing, washed away by yet another deluge as ice caps melt. What is AI going to do for and to us? But what is the overall ethos? What is the point? Increased efficiency. No more potholes in the road as AI can gather this data and put repairs into action, robotic teams laying steaming tarmac whilst one human worker looks on from central control. One human worker oversees all potholes, shuffling to monthly line management meetings with his robotic boss. Lines of driverless cars waiting patiently for the green light, no horns are blared, the world is silent except for the incessant sounds of nature and the unromantic whirring of machines; a chance to make music and write poetry whilst sat in early morning traffic. Planning vacations where electric planes can silently deliver you to picture perfect locations; all is clean and sanitised now, the madness of Varanasi no longer existing, pushing past cows in the streets as bodies burn by the dirty rivers edge. No gritty industrial estates, bleak and foreboding windswept arenas. But inequalities will remain, the human desire for separation and difference. Sanitised AI worlds only existing for a few not the many. Those lucky to have been born into AI families, those fortunate Gen Z whose long line of families bought property cheaply during the 1970s and 80s. Will AI really change that much for the general population, like watching the BAFTA’s, lots of suited and booted mega stars on your screens, talking about inequalities, talking about creativity, still a load of old white men in boring evening suits congratulating other white men in equally anonymous attire. Hopefully AI can help to bring some levels of equality rather than just efficiency, provide opportunities and visibility for all. Reconfigure the workplace so that everyone’s talents are maximised, that life work balance, universal wage and true equality arrives for all.
Watching the early Dylan biopic A Complete Unknown has altered the perspective on a singer songwriter I never really understood or resonated with. I still don’t. It seems incongruous the reaction from audiences as Zimmerman announces his presence across New York and then the globe. A voice of a generation emerging from the shooting of Kennedy and the Cuban Missile Crisis. A voice of the people who couldn’t really connect with anyone personally, relationships destroyed by his desire to create, the importance of voicing the creative product over spending time with partners. A complete blinkered drive heading one way down the highway straight to the creative space, casualties splattered on the pavement around him joining those static and rolling stones. The film doesn’t dive into his backstory, provide some sort of connectivity with family, upbringing, education or socialisation but just places Bob in Greenwich Village, with the fellow cats, shades on, cigarettes smoked. That’s how he got such a gravelly voice, alongside the passive smoke from everyone else who was lighting up. It’s what’s missing from our popular culture nowadays. No one smokes, all pop artists are generally squeaky clean, autotuned to robotic AI perfection. Dylan was anti AI although just as anti-social. In modern day New York he could open up his computer rather than searching for key changes on his guitar, speak into it, say “create a song in the style of Bob Dylan talking about how the world is heading for yet another disaster, this time with captains Trump and Musk at the controls rather than Khruschev or Nixon. A hard drives train is going to fall in place. Why are so many revered artists such c**t* in the real world. George Michael or Prince, lovely geezers. Laurie Anderson, brilliantly creative artist who still lives on her main hit O Superman, Uh uh uh uh, oh mum and dad. In a wonderful Desert Island Discs, Anderson talks about her amazing family, starring at school, the creative process and spirituality. Dylan smokes, looks moody and mumbles alongside his guitar. A great songwriter who appears to have come from outer space, inventing his own backstory, a carnival of smoke and mirrors. Someone no one will ever know.
I love the winter break, a chance to stop, get ill, listen to podcasts and read. A chance to reflect on your top 20 books, albums, events, moments of the year almost past. Former conservative MP Rory Stewart is increasingly fascinating, a life spent trying to gather all information, to walk and connect with as many people as possible. His latest podcast, The long history of Ignorance, resonates in so many ways, especially episode 3 where he talks about ignorance behind creativity, the pure space where innovative work comes from which was the core theory behind my book Blank Canvas.
Why do we create stuff? Is there some inbuilt need to innovate, solidify your place in the world by manifesting? How creative practice connects to the brain is fascinating, the need to redevelop something fresh and original. Every day I have an innate need to do something creative, engage with the playful and free part of my brain. It doesn’t have to be for a long time, just at some point my inner self finds peace finds its tranquil home through scratching the creative itch.
I sometimes forge the time to create pieces of music, hours spent slaving over a hot computer based Digital Audio Workstation (DAW), perfecting sections on my computer, listening over and over to the same section, distorting reality, a sample of a Buddhist chant or the gentle lapping of the sea. Although I don’t really have the attention span for attention to detail. I love developing the structure, creating the whole outline, building up parts but then you need to go back and alter elements of instruments, hi hat positioning, the velocity of the odd kick drum, automation across your strings pads, hone the reverb until it sounds glassily transparent, build echoes onto certain moments so that that they last just the right amount of time, don’t mask or clash but aid the flow. I love creating melodies, interlocking parts that flow off each other. Rhythm less so. I like a pulse, a beat, but I keep missing all those intricacies that make up a great drum track. Creating the music is one thing, but then what happens? In previous eras you could go to your local studio, record some live parts over the basic structure, mix, master and create an artefact. Get friends to help in creating cover images, get your vinyl from the Czech pressing plant. Burn straight to 1/4-inch tape then Digital Audio Tape (DAT). Avidly, we created packs and sent them off to our favourite DJ’s and record shops. If it was any good then it got played. Not necessarily in large amounts but there was some traction, a point to the creative process, validation and the thrill of your sounds heading off into the ether. Nowadays I am increasingly thinking about the pointlessness of sending music out into the world. It is a saturated market, flooded by accessibility. The point of releasing music is generally about the self, satisfying a personal need to let the world have your piece of art, more flotsam to spin around digital highways, polluting, blocking up the cloud. The conundrum that the top 100 albums feature regular favourites such as the Beatles, Stones, Neil Sedaka and Nana Mouskouri, charity shops the new record stores. Spotify has endless music. Everyone can get their music on the platform; the gatekeepers have been sidelined at this point. Emancipation for good and bad. Although you now need connected humans, DJ’s, label managers, to make an impact. To get plays, streams, downloads you need a record company or influencer to catch onto your track, to like it in a way that connects with their other material. Music promotion companies such as Label Radar or Groover provide this service, enticing you to pitch your music to an endless supply of record companies. It does work. Some of my tracks get taken up and then you are onto stage 2. Promoting your track. Friends and family will sometimes listen but reaching beyond is so difficult, battling the tide of artists who have also released music that day. Estimates range between 60 to 100k releases per day. Every day. Still, you turn on 6 Music and Marvin Gaye is thoughtfully crooning along. Wonderwall is still building. The Smile continue to sound like Radiohead, but without the iconic songs. The Gatekeepers have shut the door and thrown away the key for infinity and beyond. Wham! and Last Christmas the two top documentaries. Nostalgia, nostalgia. So, should you keep making music I hear you cry? Maybe there should be an amnesty, no more music until we have filtered out all which is blocking, a year of silence to contemplate, think where creativity is taking us all. A year for everyone to prepare, restart culture. To try new instruments that have never been part of your world, the true blank space of creativity. Innovation through ignorance. Musicking is personal, moving your head from thoughts of Top of the Pops and stardom to a process, going through something cathartic. You need to make the music for yourself, to get what is inside out. The pure self. Anyway, I still check my Spotify streams, have extreme pleasure when it says that someone is listening to my latest track Rise up by Inochi. In-Oh-Chee. Japanese for life energy, I think. Check it out on all streaming platforms. So maybe that is the point, personal satisfaction that someone somewhere gets it, gets you. Listens to you. Reads your words. Takes time to connect their life with yours. Or maybe it’s just a release, an internal burden which needs to be set free. Our lives are time stamped by the creativity of others, remembering different eras, innovative sounds or combinations of the audio and visual, stopping us in our tracks, providing new directions and thought processes. Picking a random book from the shelf of a library stack that alters your thinking, the ideas of others taking centre stage and manipulating your life in a certain direction. We need creativity to keep us sane, provide a reason for being. It is one of the most important elements so should be embraced fully, hugged to death, translating thoughts from your mind into actions. I am interested in bringing culture and creativity to rural locations, having moved from the city during the Covid pandemic, Stewart Lee’s sketch where he has friends who move to the countryside, to live an idyllic life but the reality is extreme boredom. They enquire to friends, please come and visit; bring coke. He has only a horse to talk to now. The buzz of the city replaced by peace and calm only works if you can have a balance. A vibrant life where the beauty and purity of nature and culture intersect. An internal smile. My research is based on exploring the infrastructure and innovative ideas you can collate which forms a rural scene or scenius, finding the people and locations, stories and place. A collective will to develop culture, a blank canvas on which anything can be drawn. No competition. If you create it they will come, bringing thoughts from everyone’s head into realisation. Collective intelligence and ignorance brought beautifully together.
Red Alerts were sirening off all over the west of the country as Storm Darragh battered the bruised country into further submission. Luckily humans are hardy and the first event for our new organisation east Devon Soul went off. It was great to see such a lovely eclectic bunch of people enjoying Grammy nominated Acantha Lang at the Marine Theatre, a last minute change from the embattled Seaton Gateway. It was a beautiful night and we at East Devon Soul will be running many more events over the next few years. We see soul music as all music that comes from the soul. So it will be hip hop, funk, latin, jazz, pop, rock, jungle, electronic dance and of course soul. We are also planning a big event in July 2026 so news will be passed around when details have been defined through the first part of next year.
We are really looking forward to developing music in and around East Devon, providing high quality music for all.
