Ideas left to lie dormant dissolve into the ether of well-meaning what-ifs. The pandemic lockdown, with its forced stillness, cracked open time and space to dust off my long list of stalled ideas. Hidden within was the seed of Irregular Patterns—though it had no name back then.
I’m lucky. Very lucky. A life spent immersed in the creative worlds of music and live performance has shaped me. But I’ve also seen the cracks: musicians I know struggling long before lockdowns, drained by the streaming economy’s unfair split. Even seasoned pros tell stories of exploitation—shady managers, exploitative record deals, endless pressure to perform for free. The backbone of one of the world’s greatest cultural exports is fraying fast.
Then came a game-changing conversation with local musician Gavin McClafferty. His focus, vision, and grit turned those scattered ideas into a living, breathing project. Irregular Patterns isn’t just a record label—it’s a creative hub built around the artist.
Less than a year in, we’re on the cusp of our first release, with a growing roster and an ambitious release schedule ahead. The support and encouragement we’ve received so far? Humbling.
I won’t rehash what’s already out there—the IP manifesto is our cornerstone. But here’s the truth: being the change we want in the music industry is our vital first step. The road hasn’t been easy; we’ve had to break down walls. But more than anything, this leap of faith reminds me—we’re in the happy business after all.
to light rain and the attraction of a lazy evening endlessly flicking through deadbeat channels seemed to be on the cards when the mobile phone rings, it’s my bud Derek with an offer of a ticket for a BC Camplight gig at The Louisiana, Bristol. There is an acceptance that neither of us is fluent in the work of BC Camplight and as Derek puts it, “it’s worth a punt.” Derek had sought, unsuccessfully to see BC Camplight last year, but circumstances had conspired to have the gig cancelled. BC Camplight is the moniker of American songwriter and multi-instrumentalist Brian Christinzio. Originally from New Jersey, Christinzio allegedly relocated to Manchester, following the advice of a fan on social media. In early 2015 Christinzio overstayed his visa permissions due to a leg injury and was made to leave the UK, resulting in the cancellation of his band’s summer tour which was to include performances at the Green Man and End of the Road festivals and an appearance on Later… with Jools Holland.
Drinks in hand we make our way up the creaking wooden staircase. Tonight’s support is provided by Grace Lightman whose performance, band, and overall delivery is solid. An intriguing mixture of low-tempo soul and jazz with a hint (and I’m sure I’m not the first to this point out) of Kate Bush lingering in the air. The set is well received and with each song Lightman grows in confidence and seems to shake off the nerves. BC Lamplight takes to the stage in rather a shambolic method. Christinzio immediately informs the audience that he is receiving electric shocks from the keyboard, which is confirmed by the sound engineer that this is due to the “cheap gear” the group is using. It is also easy to detect that most, if not all the band, are the less for wear from their London gig, which turned into an extended birthday party for Christinzio at a student’s flat. The first song is interrupted by individual band members seeking alterations to instruments and sound. Even Christinzio is seen to be crawling under his keyboards adjusting wire, with shouts emerging, along with the occasional electric shock. The sound is not brilliant, but the character of a gifted artist and band is ingrained in the ability to manoeuvre around obstacles, even if most are self-made obstacles. BC Camplight does this with ease given the depth of talent on the stage, along with the rich material at their disposal. A fair chunk of the songs tonight I later learn are harvested from the band’s latest album ‘How to Die in the North.’
Irregular Frequencies 