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21st Century Mod Cian Downing on grassroots music venues, DIY artists and knowing your niche - read the full article now!

Cian Downing - Grassroots Music Venues, DIY Artists, and Knowing Your Niche

Written by Charlie Purdie
📷 - Aoife Hyland and Carlos Valero

Grassroots music venues serve as a ‘rite-of-passage’ for bands and artists looking to
establish their name and develop their reputation. What appears like an innocuous
assortment of pub backrooms and former working men’s clubs, is in fact an artery
pumping fresh blood into the beating heart of the British music industry, with the grassroots music scene representing 96.4% of the Reading and Leeds Festival 2024
lineup.

Artists such as Oasis, Sam Fender, Pulp have all since achieved stardom and critical acclaim following their respective journeys through the grassroots music scene, and now there is a new wave of British artists looking to make waves throughout the industry, courtesy of their development in the grassroots music scene.

One such artist is Cian Downing. A self-described ‘21st Century Mod’, the
Stevenage-born singer-songwriter has earned a reputation for performing a unique
blend of mod, indie, and ska, infused with nostalgic sensibilities and diverse influences.

In 2025, Cian released his debut album The Grassroots to the Sky on his own DIY label,
Loft End Records, supporting it with 62 gigs across the length and breadth of Britain,
performing at venues and festivals including The Fiddler’s Elbow, Camden, Concorde 2,
Brighton, and Blam Blam Fever, Redcar.

Following the release of his latest single ‘Come Around’, I caught up with Cian to discuss the development of the DIY artist, as well as the challenges facing Britain’s grassroots music scene.

What are some of your influences and how have they shaped your music?

‘The big one for me has been The Jam, The Style Council, everything Paul Weller has
done in his career. Listening to that songwriting, that energy, and how he can make the
most mundane details of life relatable. The Stone Roses also did it for me when I was
about 14-15, and their debut album is one that has made me always want to keep
writing songs. People like Billy Bragg, Paul Heaton, and The Specials are some strong
influences of mine, and Blossoms is another one I like, especially the breadth of their
sound.’

What led to you going down the grassroots music venues route for developing
your music career?

‘When I started this project in 2020, I think I always got the feeling I was an outsider
who didn’t fit the typical music industry molds that promoters and managers want to
shape you in. I also had a lot of my own ideas about how I wanted to do things so the combination of those things led me to think “Yeah, I could put on my own events and run my own label”. As well as that, meeting with Silky from Death of Guitar Pop on social media, and seeing his approach to building a
grassroots fanbase through his artist services company was really inspirational for me to see how accessible the idea of building a career through this community of fans and
bands is.’

What does the typical preparation for a DIY single release or gig look like?

‘Single releases are funny really! I don’t tend to put too much effort into the pre-release
campaign, I tend to focus on mailing lists, some social media posts addressing the
fanbase, and a general sort of ‘cool, this is happening’ announcement. The main grift
with single releases comes from post-release, getting as much engagement as possible through Spotify pre-saves etc, and the build-up for ‘Come Around’ was far more
content-orientated. When it comes to gigs, that’s when I do all of the traditional “band
management” jobs, booking venues, agreeing fees, reaching out to support acts, and getting people to help it run smoothly. That’s where the real work comes, especially on top of rehearsing and getting the setlist right.’

Do you think that the networking with other bands across the grassroots venues
has helped you establish a stronger connection with your audience?

‘100%! The fans realise you’re friendly with all the other bands they like, so it gives them
a better impression of you to start with. You meet all these people who introduce you to
other people in turn, the word of mouth aspect is so important behind-the-scenes. We all want to make a living out of what we love doing, the scene is full of genuinely lovely, hard-working people. I think even now, sometimes I don’t realise how many times I’ve been recommended by someone I’ve met for a gig, and vice versa.’

With a number of bands/artists (The Molotovs, Laurie Wright, Death of Guitar Pop
etc) finding their route to success through the grassroots/DIY music scene, do
you think DIY will supersede mainstream labels as the traditional route to career
success?

‘It’s interesting, it’s a question of scale and resources. The main issue with a DIY project
is you’re pretty skint most of the time, and finding the capital to fund your next project
isn’t exactly straightforward. In my experience, the resources are never quite there. You find that the money you accrue in the bank from loads of gigs quickly goes on things like vinyl pressing and t-shirt printing. So, in the short-to-medium term, I can’t see the DIY route superseding mainstream labels but I can see it becoming more popular.’

As the future of grassroots music venues becomes omnipresent in national and
industry news, do you believe there is a threat to the music industry if the scene
becomes lost?

‘Without a doubt. Once you’ve been an artist for a few years, you realise the value of
these places. You play at the same venue a few times throughout your career, and it
makes you think “God, I played here in 2022, and I didn’t have a clue what I was doing!”. These spaces are not just pubs, they are where people learn, grow and develop into the artists they are today. The loss of these venues is indefensible, what do you have when you take them away? It would be a horrendous loss, possibly the biggest loss the British music industry would face.’

For any new bands starting out wanting to play and tour, what advice would you
offer to them?

‘Yeah, there’s a few things really. Number one, get really good at playing together and
rehearse the absolute hell out of what you play. Our reputation as a band has come about because we play well live. We’ve overhauled our rehearsal process so we now
rehearse every week, locking in and becoming really tight. Number two, get confident on stage. Nervousness on stage translates to the audience, you don’t have to be a massive character on stage, but get comfortable in your skin. Grian Chatten, for
example, seems so comfortable on stage with Fontaines D.C, despite not being a larger
than life performer. You also need to know your niche and where you fit subculture-wise,
then you’ll know how to market yourself to reach your audience. This is what’s led me to
find my niche as a 21st century mod.’

Final one, any new gigs or upcoming releases to look out for?

‘Yeah there’s quite a few things! We’ve got March of the Mods in Redcar, our biggest
ever London gig at Scala with Death of Guitar Pop on Saturday 14th March, scooter rallies across the country, and the thing I’m most excited for which is my first self-promoted UK tour throughout May and June, taking in Norwich, York, Manchester, Sheffield, Newcastle and our homecoming show in London.’

Stream Cian’s latest single ‘Come Around’ across all streaming platforms, or catch Cian
and his band performing at Scala as part of Death of Guitar Pop’s London Ska and Mod
Extravaganza on Saturday 14th March. Visit www.ciandowningmusic.co.uk for more
details

Hi, I'm Charlie Purdie, and I'm the creator/author of Hitting The Write Note! I'm a freelance session drummer and educator from the UK, a 'lover of all genres' performing with bands and artists including Cian Downing, AKA the Syndicate, and Edith WeUtonga.

l've always been fascinated by the concept of music journalism, and its power to foster conversation through cultural exchange. However, it wasn't until my studies at the Academy of Contemporary Music Guildford that I began to fully explore the idea of a music journalism blog. As a 'lover of all genres', versatility and accessibility are the cornerstones of my foundation as a drummer, and my passion for culturally-inclusive conversation has led me to create a platform that jointly infuses these principles -

More exciting articles on the way, keep your eyes peeled! Find Hitting the Write Note on Instagram, Facebook, and Substack!

Hello! Wishing everyone a very Merry Christmas and a Happy New Year from Hitting The Write Note! Massive thank you to everyone for all their support so far, here's to more shoutouts, reviews, interviews, and content in 2026!

Kate Flanders @ Star Inn - 16.10.2025
Genre: Alternative Rock, Pop-Punk, CCM
Written by Pitch Perfect
(Photography: Pitch Perfect, Abi Kerslake and Nick Veira)

Fresh from performing at Big Church Festival and releasing her latest single ‘Satisfier’, singer-songwriter Kate Flanders graced the Star Inn, Guildford, delivering a performance rich with ethereal energy and fusing the fast-paced guitar riffs of Blink-182 with the anthemic spirituality of U2.

Backed by Ollie Beale (lead guitarist), Toby Harsant (bass guitarist), and Elijah Debnam (drummer), and describing her sound as ‘joyful rage set to music’, Kate seeks to turn chords into conversation, delivering inspiration through faith-driven anthems.

Anticipation is at fever pitch as set opener ‘The Fire’ launches into a whirlwind of ferocious guitars, driving drums, and enthralling vocals. ‘Back to the Garden (Part 2)’ continues with this energy, uplifting the crowd through reflection on the long journey with faith. ‘Leave It All Behind’ makes its debut, as ‘Satisfier' captures the crowd with spellbinding soundscapes and delicately-layered melodies.

Crowd interaction is a defining characteristic of Kate’s live shows, the Star Inn being awash with fans holding placards branded with nods to her previous releases. This support does not go unnoticed as Kate strives to include the fans, fostering a strong community spirit.

‘Time I Get It Right’ symbolises the pop-punk roots of Kate’s musical identity, evocative of blink-182’s 2011 album Neighborhoods (think ‘Ghost on the Dance Floor’), before the set detours through deep cut territory with solo acoustic versions of ‘The Valleys’ and ‘Be Honest’. The full band’s return kicks things into second gear as they power through ‘Alive Again’ and ‘Depths of Me’, showcasing the high-quality musicianship and live production with thumping drums and chorus-laden riffs.

The atmosphere is electric as the crowd awaits the crown jewel of Kate’s discography, her signature song ‘Back To The Garden’. From the very first chord, the stage is awash with tangible, kinetic energy. Every word Kate sings is absorbed by the crowd and sung back with vibrant enthusiasm.

As the final note rings out to rapturous applause, it is clear that Kate Flanders and her band put their heart and soul into an anthemic and enthralling performance, captivating the Star Inn.

Kate Flanders performed:

‘The Fire’
‘Back To The Garden Part 2’
‘Leave It All Behind’
‘Satisfier’
‘Time I Get It Right’
‘The Valleys (Acoustic)
‘Be Honest (Acoustic)’
‘Alive Again’
‘Depths of Me’
‘Back To The Garden’

Sunny Coast Rude Boys - Big Night Out
Genre: Ska, Surf Rock, Pop
Written by Pitch Perfect

The Brisbane bunch known as Sunny Coast Rude Boys are back with their brand new single ‘Big Night Out’. This release follows their successful 2025 UK Tour, culminating in performances at SkaGate supporting fellow ska revivalists AKA The Syndicate and Death of Guitar Pop.

Penned by frontman Mick Hughes in collaboration with Cheap Fakes guitarist Hayden Andrews, ‘Big Night Out’ finds the band wholeheartedly embracing their 2-Tone musical heritage and paying tribute to the ‘good-times spirit of ska’. The single is written from the first-person perspective of an eventful night out, warts and all. Lyrics such as ‘still dancing and skanking like it’s 1981’ are symbolic of ska’s timeless appeal, referencing the genre’s multi-generational support.

The trademark ‘surf-ska’ sound of Sunny Coast Rude Boys is proudly on display in ‘Big Night Out’, with the band’s expertly produced eight-strong horn section delivering a raucous, multi-layered melodic showpiece, making for a song that is simultaneously rich in detail with a vibrant, party-esque atmosphere. The party vibes are as infectious as ever, thanks to Mick’s continuous ad-libs and toasting. Drummer Govi’s intricate cymbal work and thumping bass drums drive the rhythm section with frenzied intensity, evocative of The Specials’ powerhouse John Bradbury, whilst the surf-flavoured guitar solo carries undertones of Dick Dale’s seminal ‘Miserlou’.

‘Big Night Out’ marks the first of four upcoming releases by the band with a music video currently in the works, and the next single (an original composition filled with ‘Sunny Coast’ vibes) slated for release in December. In the meantime, the band are continuing their surf-ska party, having just performed at Sublime Festival in North Gympie to a capacity crowd.

A vibrant, energetic musical whirlwind with bags of enthusiasm, ‘Big Night Out’ is another jewel in the crown for Sunny Coast Rude Boys.

🏁Death of Guitar Pop - Rudy Come Home🏁
Genre: Ska, Two-Tone, Punk

Written by Pitch Perfect

Essex-based proprietors of fourth wave ska, Death of Guitar Pop, have returned with their new single ‘Rudy Come Home’. The song heralds the announcement of their upcoming fifth studio album Blinding, following their 2023 release Be Lucky which hit the UK Top 40 Albums Chart.

Penned and produced in collaboration with renowned ska and reggae guitarist Ed Rome (Bad Manners, The Specials), ‘Rudy Come Home’ finds the titular ‘Rudy’ on a quest to find her tribe, all the while weathering troublesome scenarios and testing times.

Musically, the single is reminiscent of early Specials and Madness. The rhythm section drives the four-minute song at a frenetic pace, courtesy of thumping drum grooves and intricate basslines akin to those popularised by The Specials’ John Bradbury and Horace Panter. This rhythmic foundation is complimented by skanking rhythm guitar and keyboards, harking back to the ‘nutty’ sound exhibited on Madness’s first two studio albums.

The band’s dynamic duo of Silky and Top Kat trade vocals on the verses, coming together for rousing, energy-laden choruses punctuated by short yet sharp horn melodies. A trademark of Death of Guitar Pop’s discography is excellent production, and ‘Rudy Come Home’ is no exception, featuring crystal-clear vocals, punching low-end frequencies across drums and bass, and a warm compression injecting even more life to the already raucous horn section.

In anticipation of Blinding, Death of Guitar Pop have launched out of the starting blocks with ‘Rudy Come Home’, releasing a video starring Sophia Wilkins (2much2rude) as ‘Rudy’. Wilkins explained how the video expands upon the single’s initial concept, detailing Rudy’s travels of Camden Town, and finding herself at home with the extended Death of Guitar Pop family of punks, skinheads, and mods.

‘Rudy Come Home’ is a perfect introduction to the new era of Death of Guitar Pop, heralding the next chapter in these likely lads’ discography.

Edith WeUtonga at Broadstairs Folk Week
Saturday 9th August

Genre: Afro-Jazz
Written by Pitch Perfect

Zimbabwean trailblazer Edith WeUtonga graced the stage of Pierremont Hall at Broadstairs Folk Week on Saturday 9th August, showcasing her signature Afro-Jazz fusion of indigenous and global musical influences, including Shona folk and Reggae.

Performing an eight-song setlist accompanied by her three-piece band, Edith welcomes the audience with ‘Stone Child’, featuring soulful strings from keyboardist Munya Hapaz, dynamic cymbal work from drummer Charlie Purdie and delicate fingerpicked guitar from guitarist Luke Rattenbury, producing a sound reminiscent of ‘House of the Rising Sun’.

As ‘Stone Child’ segues into ‘Khonkotha’, the performance transitions from a delicate melodic expression to a full-bodied versatile showcase of the collective WeUtonga musicianship, grounded by Edith’s combination of driving basslines and soulful vocals as Charlie rotates through a catalogue of globally descended rhythms.

‘Hautengwe’ returns to the delicate melodies featured in ‘Stone Child’, spearheaded by an authentically vibrant Mbira melody from Edith, complimented by complex offbeat patterns and riffs from Charlie and Luke, and secured by Munya’s precise synthesised brass delivery, culminating in musical conversations between Edith and her band.

Edith garners international praise for blending autobiographical storytelling with a rich Afrocore sound, best exemplified by her song ‘Rudo’. Aptly christened after the Shona word for ‘love’, ‘Rudo’ is best described as a heartfelt delivery of a timeless message - whatever you do, do it with love.

Musically, ‘Rudo’s’ fusion of indigenous instrumentation with Western inspiration is demonstrated through Munya’s Jazz-flavoured chord progressions, creating a soundscape recalling The Righteous Brothers’ ‘Unchained Melody’ which, when fused with Charlie’s polyrhythms and Edith’s delicate melodies on the traditional Zimbabwean mbira, results in a refreshingly African-flavoured take on the Western love song.

‘Mukaranga’ highlights the rhythmic partnership between Luke and Charlie as Charlie’s revolving rhythms collaborate with Luke’s light and airy guitar riffs, whilst ‘Hurombo’ revisits the Jazz-flavoured soundscape first heard in ‘Rudo’.

The penultimate song ‘Ndireke’ embarks on a journey through a melting pot of musical cues including Soukous-flavoured guitar melodies and Latin clave patterns. As the song progresses, Edith warmly invites the audience to participate in a call-and-response with her band, simultaneously highlighting the band’s internal chemistry and Edith’s ability to emotionally connect with her audience.

Set closer ‘Chipendani’, possibly the set highlight, traverses a sonic landscape of music as Luke and Munya’s melodies seamlessly flow throughout the chord progression whilst Charlie’s displaced polyrhythms are accompanied by Edith’s indigenous vocalisations, creating a refreshingly authentic yet unique Afro-Jazz sound.

Edith’s soulful performance clearly won over the hearts of her audience as she signed off with thanks and gratitude, concluding a journey across a sonic spectrum of Afro-Western musical influences.

Edith WeUtonga played:

‘Stone Child’
‘Khonkotha’
‘Hautengwe’
‘Rudo’
‘Mukaranga’
‘Hurombo’
‘Ndireke’
‘Chipendani’

Find out more about Edith by checking out her website: https://edithweutonga.co.za/

Reversions by AKA THE SYNDICATE
Genre: Ska, Reggae, Pop

Written by Pitch Perfect

Representative of their current incarnation, Reversions is AKA the Syndicate’s latest release following their 2023 sophomore album It’s Our World and 2021 self-titled debut.

Reversions, an EP, features five tracks with three originating on the band’s debut LP and two covers originally recorded by some of their illustrious influences.

The EP is described by AKA as ‘blending past and present with fresh energy…a tribute to the journey so far and a glimpse into the road ahead’. This energy becomes immediately apparent with Reversions possessing a modern production style, emphasising punchy frequencies and crystal-clear vocals.

‘Hands Up 2025’ originates in 2020, having been released as AKA’s debut single following their conception during the COVID-19 pandemic. The Reversions version inherits the energy levels characteristic of the group’s live performances, showcasing Laura Betts’s vocals and calling for communities to come together against adversity.

Another reworking, 'New Revolution 2025’ is punctuated by a Specials-esque rhythm guitar track courtesy of Simon Peet and heralds a change in world order through a wry commentary on 21st century challenges.

One of two covers on Reversions, ‘X Offender’ pays tribute to Blondie and their 1976 debut single. AKA’s cover showcases powerhouse vocals and lively rhythms, shining a spotlight on drummer Bob Dear’s frenetic performance, an affectionate tribute to Blondie drummer Clem Burke and one that seems especially poignant following Burke’s passing.

Reversions is symbolic of a transformative chapter within AKA the Syndicate’s career, offering an insight into the group’s sonic journey through reimagining humble beginnings to covering influential classics.

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