Whether is it for a new act or an
established artist, performing live these days is
an essential way to not only reach out to more fans, but also as a source of
income. Many artists or bands would love to be engaged for an overseas gig in
order to increase their exposure to a wider audience. However, touring costs
can be high, especially for overseas stints, and while there are grants available
from various organizations such as the Media Development Authority and National Arts Council to cover partial touring costs, many Singaporean artists and bands
find it a challenge to continue doing so. Nevertheless, it has not stopped
Singapore acts such as local powerpop band TypeWriter who are seasoned
performers from pushing themselves and exploring foreign territory.
As how guitarist Patrick Chng
explains, “For an indie band like us, I don't think it's sustainable to keep
touring overseas because it is expensive and the grants or funding only covers
a small percentage of the cost. We did it for the experience and to see and
meet other musicians in their own backyard. We've definitely learned a lot and
it was an amazing experience. It has brought the band closer and opened our
eyes to a lot of things. You can't put a price on that.”
Playing seven shows in 12 days in the
UK, TypeWriter became the first Singapore band to perform at one of this year’s
International Pop Overthrow Festival held in Liverpool from 14th to
21st May. In particular, TypeWriter had the opportunity to perform
at The Cavern Club, where the legendary Beatles played in the early
60s as the club’s resident band.
We caught up with the band after
their return to share more on their “English Breakfast” experience.
How
did the opportunity to play at IPO come about? Was there an intention to play
IPO all this while?
International Pop Overthrow is a
powerpop music festival that's been around for over 10 years. We love powerpop
music and I think TypeWriter's music is aligned to the sensibilities of the
genre. When we came under KAMCO Music management last year, we talked about
playing overseas and IPO was a festival we thought would be perfect for us. So
our manager Kevin Mathews wrote to them to check us out and they wrote back
with an invitation to perform at IPO Liverpool.
How
did you manage to arrange for the other gigs other than the one at IPO? Did you
work with a local agent over there?
We just wrote to a lot of people and
venues for the other gigs. It wasn't easy at all. We know a friend in Cornwall
who arranged a gig in Plymouth and Cornwall for us.
What
was the whole experience like, especially since this is the first time for
TypeWriter to perform overseas? Was there additional pressure?
We went without any expectations as
we knew that we're totally unknown in the UK. Let's be honest. I don't think
anyone in the UK will be excited to watch an unknown band from Singapore. The
pressure that we put on ourselves was to perform well at every gig.
How
did the audience take to the band's music? What was the size of the crowd like?
Did you have the opportunity to sell your music or merchandise there?
We were pleasantly surprised by the
response. Apart from Liverpool, most of the places we played at were small
venues averaging about 20 to 30 people at each gig. Yes there were
opportunities to sell our merchandise. We brought our CDs over and gave them
away free at IPO. We wanted to spread our music so we thought the best way is
to just give out our CDs to people who are interested.
What
was it like meeting other bands who were performing at the festival? Any
interaction of sorts on or off stage?
Actually I think we met more artists
at the other venues than at the IPO festival. We had dinner with Axel Loughrey
who supported us at 12 Bar Club in London. We met a really talented jazz
guitarist Cy Brandl and other singer-songwriters at The Vauxhall Quay in
Plymouth. A few of us met Pugwash and Farrah when we went to watch them at a
small venue in Brixton. We did chat with and checked out a few bands at IPO
Liverpool. It was really inspiring to watch the other performers.
How
was the tour funded? How was NAC and Gibson involved? Was getting funding
challenging? What were the sponsors' expectations? Any advice to other bands
who would like to do the same?
We got a grant from NAC which covered
almost 70% of our airfare. The rest was funded by us. Gibson supported us by
lending us guitars in London. Yes, it was challenging to get funding and we're
grateful to the NAC for their support. Bands who would like to do the same must
be prepared to fork out most of their money.
What
are TypeWriter's future plans? Will TypeWriter be actively looking at having
more overseas gigs? If yes, which ones? Will you be focusing on touring in
Asia?
We've just roped in a fifth member
Alan Bok into the band so our immediate plan is to rehearse as a quintet. We
plan to record an EP by end of the year so we're not thinking of touring
overseas at the moment. We have contacts in Beijing but the opportunity for IPO
Liverpool came up first. Maybe next time.
Photographs courtesy of TypeWriter/Lennat Mak
About
TypeWriter
Formed in 2001, the band has
journeyed through the years with various line-up changes and a vast
catalogue that has been reworked with different contributions by
its changing members, culminating in the two-CD debut album Indian Head Massage (2010).
With its current line-up of Yee Chang
Kang (vocals, guitar, harmonica and keyboards), Patrick Chng (guitar,
vocals and keyboards), Desmond Goh (bass and vocals), Redzuan Hussin (drums and percussion)
and Alan Bok (guitars, keyboards), TypeWriter will continue to pursue its
passionate dedication for song-craft and heartfelt honesty.
About
International Pop Overthrow
International Pop Overthrow (IPO) is
a pop music festival which has been held for the past fourteen years in Los
Angeles, Chicago, New York, Boston, San Diego, Phoenix, Detroit, Milwaukee,
Portland, Seattle, Austin, Dallas, Vancouver, and Toronto, as well as in
Liverpool (at the world famous Cavern Club), and London, UK. Each IPO features
between 25-180 of the best pop bands from around the world.
