Authentic – The Nick Tann Trio (reviewed by Dave Franklin)

17758411_10153790530632168_2464514178086391864_oIf you have mainly encountered Nick, as I have, in the guise of solo, acoustic guitar slinging, jazz tinged, folk-pop performer then what you will find in his move from lonesome troubadour to minimalist band leader is the ability to combine the best of both worlds.

At the heart of the sound is the familiar balladry, emotionally driven personal narratives and rich vocal tones but now there is some wonderful sonic augmentation. Nothing too dominating, just additional details, which gently colour the musical landscape, enrich the flavours of the songs and add some extra depth. The advantage of working with songs, which have had a life of their own already, just as live favourites Don’t, 3am and Sadder Than Sad have, is that they have already proven to be more that up to the job and require nothing more than a quick studio polish rather than a complete rejuvenation.

It would have been easy for Nick to get a bit over excited when embarking on this new recording as it marks a gentle change of, if not direction then certainly logistical approach and any change of tack opens up a range of new potential and a change to explore. But Nick is too seasoned a musician to get overly carried away with such distractions and if you cut him open you would find the words “less is more is a cliché because it’s true” written spiral like around his creative soul, like a stick of rock…or roots rock at least. . Thus he manages to retain the grace and grandeur that you associate with his songs whilst still bringing new sounds into those familiar musical spaces.

So from now on get used to seeing Nick performing as part of a musical gang again but on the strength of this recording it would seem that he has pulled off that rare trick of adding much without losing any of the inherent qualities he is already known for. Clever bugger!

Listen to the album, buy it and more information HERE


The Occasional Thoughts of Nick Tann: Doing it Yourself – Part 1

Nick-Tann-Beer-mat-graphicThis time Nick looks at maximising income from your songs for radio play and the like. Find and follow his work at and @nick_tann on twitter.

I am now in the position where I am just waiting for the delivery of 1000 copies of my new album. It’s ben available for download on Bandcamp (selling quite nicely, thanks for asking) for about a fortnight and is also on Spotify, iTunes and numerous other internet sites. I’m now in a bit of a publicity frenzy, doing what I can to get airplay on radio stations and podcasts as well as getting reviewed in magazines and music blogs. As the album is a collaboration between myself an co-producer Toby Vane, it’s easier to bang on about how marvellous it is. But enough of that, what I really want to write about is the process I have gone through so far in my attempt to self publish this album, or at least I THINK that’s what I have done.

I want to take a few steps back in the process. I would also like to add that the information I am about to impart may NOT be totally accurate, sorry. It’s stuff that I have gleaned from various articles and advice given to me from other self releasing artists.

So after all the fun stuff of recording, editing and mixing we had to embed the ISRC codes to the final masters.

“The WHAT?” I hear you ask. Well that is what I am going to talk about in this article.

I am a full time musician so I am not only looking to recoup the cost of producing this album, I am also looking to make a profit. It IS my business so I do my best to take a business like approach to it.

Sorry, rambling again, lets get to the meat….As a songwriter, I have all my songs registered with the PRS, I will write about them at a later date but basically they collect monies from radio stations, music venues and a few other places. Put simply, when you get your music played on the radio, you get some money. But how? That’s where embedding the ISRC codes come in, remember them? To get ISRC codes you need to register with the P.P.L.who will issue you with you very own ISRC code. THEN that ISRC code in embedded in your track. This is a tracking code and links to the appropriate tune you have registered with the P.R.S. Are you keeping up? There are plenty of websites that explain how these codes are embedded, it’s just a software thing and only a little bit tricky. Alpha Duplication, the company that is pressing my album, said they would do it for £15 so you could always go that route. All these services, the PRS and PPL are free so why not use them and if you DO get some radio play then it’s got to be worth the little bit of effort, or the £15, to do it.

I am happy to answer any question so please ask if you have any.

The Occasional Thoughts of Nick Tann: The Experiment is over

Nick-Tann-Beer-mat-graphicNick Tann tests the waters of grassroots promoting and returns with some interesting conclusions. Find and follow his work at  – and @nick_tann on twitter.

In May 2012 I played a gig at The Railway. I was supporting an artist and was expected to not only bring an audience but to sell and collect money from advanced tickets. For some artists this is the norm but for me with a very small “audience” it was pretty discouraging. I can’t remember how many or IF I sold any tickets. I do remember thinking that must be a better way to promote live music.

A few weeks later I came up with a plan: create a special night, hire a venue, get great artists to play (including me!) sell tickets and put on a great show. Simple eh?  The idea was to create a regular show – a brand if you like – that people would buy into, that way they would come and see it again and again without needing to know who was playing. They would attend because they knew that it would be a great night.

So I set about finding artists that I thought people would like and planning how the show would work. I wanted the show to be properly compered and took on that role myself. I wanted the artists to play 2 short sets as opposed to just one each as experience had shown me that sometimes an audience can leave after their particular artists has performed. There would need to be an interval, there has to be a raffle, artists would get paid (a share of the profits) AND the most important part ARTISTS WOULD NOT SELL TICKETS. That for me was the most important element and was vital to my business plan.

I wanted to make sure that the audience bought their tickets from me, that way I could take their email addresses and let them know when the next show was and that way SELL THE BRAND.

I would like to say at this point that I AM NOT A PROMOTER, I am a full time musician.

Continue reading “The Occasional Thoughts of Nick Tann: The Experiment is over”

New Music of The Day – XXVII : 3 A.M. – Nick Tann

10178147_10151778093697168_673800213247192416_nLikened to a mixture of John Mayer and Counting Crows with generous helping of John Martyn and Elvis Costello with a Jeff Buckley chaser, Nick is certainly starting to make an impact.

Tom Robinson said “I love your work , powerful passionate stuff. This (“Never Did You Harm”) is my fave of the tracks you’ve sent so far” prior to playing it on his BBC Radio 6 Music show. Following up with “Plenty of other radio shows and blogs out there who need to hear your excellent tunes”.

Known as the hardest working solo musician in the country, Nick’s long running podcast “Is This Thing on Independent Music Podcast” continues to attract thousands of listeners every month, his live showcase featuring other independent artists “The Courtyard Sessions” has been a run away success. Nick can also be heard playing double bass on folk up and comer Lucy Kitchen’s new album “Awaken” and slide guitar on a new track by rising star Antoine Architeuthis. New York artist Jennie Walker fell in love with and is currently performing Nick’s song “Don’t” on the New York underground circuit.

Is This Thing On? Independent Music Podcast. No. – 255

ittowpbannerOur good friend Nick Tann, musician, promoter, champion of new music and all round good egg produces a short weekly podcast of new music and so I thought it would be a good idea to link his weekly selections to this site, we are after all both trying to champion the cause of new music.

This weeks podcast features – Come The Spring, The Bombs, Little Brother Eli, The Travis Waltons, Emily Wolfe and Nick Tann himself.

If you want to know more about getting your music featured on his show, listen to past episodes or find out more about the music he plays then check out the information on his podcast site.

Play ITTO? 255 HERE

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