24.10.18: Nostalgia is a ruthless beast.
I’ve always tried to keep it at arm’s length—especially after witnessing the Sex Pistols’ 1996 reunion at Finsbury Park. Watching legends unravel their hard-earned reputations in mere moments was a brutal lesson in how quickly credibility can crumble. Punk, that raw, rebellious force birthed in the late ’70s, has often been chewed up and spit out by time and nostalgia’s relentless grip.
But then there’s that winter of 1977, when I was just 16, clutching a ticket alongside my mate Ste (sadly no longer with us). We hopped a bus from our gritty hometown of Stockton-on-Tees to Middlesbrough’s Rock Garden, ready to soak in the live fire of the Tom Robinson Band.
This wasn’t just another gig—it was a rite of passage, minus parental permission, with a detour through the infamous North Eastern pub. There, I knocked back two pints of Double Diamond, soaked up the boorish testosterone-fueled banter—racist, sexist, unapologetically rough—and took my first shot at pub pool (utterly demolished). I chose a track on the jukebox, The Damned’s New Rose, for the first time, then made a flimsy excuse to rush outside, gulp fresh air, and embarrass myself by throwing up in a nearby alleyway.
But within an hour, I was lost in a throng of ragged young punks, guitars jangling and voices raw, belts echoing “Glad to be Gay.” Today, that anthem might barely raise an eyebrow—even in Britain’s most conservative corners. But back then? Singing those words carried the real, looming threat of violent attack—from the hostile crowds, from the police, from a world steeped in queer bashing and racial abuse as everyday horrors. Nowhere was this uglier than in the pubs and social clubs of 1970s working-class north-east England—a toxic stew of culture I was born into, complicated and difficult to untangle.
I remember Tom’s voice that night—nervous but fierce—as he introduced “Glad to be Gay.” The crowd was hesitant at first, unsure how to respond to this bold, singalong defiance. Sweat-soaked bodies bounced to the roaring guitars, eyes flickered between confusion and courage. By the second chorus, something shifted—a raw, electric unity erupted. It was a moment where change stirred, barely perceptible yet monumental.
Fast-forward 41 years. Here I am at The Fleece in Bristol, capturing Tom Robinson performing his seminal Power in the Darkness album live, marking its 40th anniversary. And let me be clear—this remains a truly great rock record, blistering and bold. Its lyrics don’t just chart how far we’ve come—they’re a sobering reminder of how far we can still fall back into the shadows.
Tonight, I raise a glass—not only to my old mate Ste, but to Tom Robinson’s courage, his art, and the band of young rebels who crafted an album that shaped my politics, my understanding, and my fight.
I don’t recall his name, but it was New Years Eve 1998, the comedian walked on stage and was warmly welcomed. His opening gag, “Scotland is celebrating tonight….Lena Zavaroni has had a shit.” His comic timing was impeccable. The room filled with equal bouts of laughter, gasps and groans. It’s a gag that has stuck with me. Not because of any comic value, but its cruelty, given it was common knowledge that Zavaroni, a child star of the 1970s, had been suffering from anorexia since her teenage years and within a year of this gag the 35-year old Zavaroni was dead. The only thing I took heart from that night was the thinning audience seeking refuge in an adjourning bar where it was concluded the comic was boring, a one-shot pony, no depth and no charisma to manage an audience beyond aiming to shock. Years later 3 things often cross my mind from that evening.
There is a crucial moment in the first Matrix film when the character Neon is presented with a life-changing choice by Morpheus between taking a 
Irregular Frequencies 