I recently asked Martin Rivas, one of the best-loved artists in New York, if I could bring his fantastic ‘Backscratch Sessions’ to London. The night consists of 7 singer/songwriters performing three songs each, with the third song being a cover of one of the other artists’ songs (and no-one knows who is covering who until they start playing). He was only too delighted to agree and offered to help in any way he could (his only condition being that he gets to play it one day).

My first choice of venue was The Bedford in Balham and I am delighted to say they will be hosting the UK’s first ever ‘Backscratch’ on September 7th, (click here for details).

Here are some thoughts that lead to this…

The singer/songwriter community of NYC is booming.

So what about London? Does it even have one?

Whether independent or signed (increasingly the latter), more & more New York singer/songwriters are filling venues throughout the nation, are having their work featured in movies & on TV and can boast large international followings online.

There is a palpable vibrancy to the scene that is drawing in increasing numbers of people. It wouldn’t be outlandish to compare it to the musical phenomena that began in Liverpool in the 60s or Seattle in the 90s.

Even the NY artists not garnering national attention have fast-growing fan-bases (often brought to them via their currently better-known peers), and perform regularly to crowds hungry for more of their honest, well-crafted, original music.

Meanwhile, what’s happening in London? With a similar population, comparable wealth of culture and with certainly as rich a musical history….sadly, by contrast, the answer is not a great deal.

What is the reason for this disparity?

I have been to countless gigs in Lower Manhattan and what repeatedly strikes me is the audience. It is fair to say, more often than not, a third of it will be made up of other singer/songwriters.

I have rarely seen anything like this in London.

Should you like another artist’s work in New York, it is perfectly normal to engage with that artist, often leading to collaboration, be it on stage or by writing new material.

Too often I see a distance, even a coldness between songwriters in London – even (almost especially) those far too young or early in their careers to have been jaded in some way.

Rockwood Music Hall in the Lower East Side is undoubtedly the heart & soul of the New York community, where right now, on a nightly basis, you can witness its vitality.

There is so much interaction between the scores of artists frequenting the venue that a popular phrase has emerged. The ‘Rockwood Goodbye’ is the hour or so needed to say farewell to all the other musicians before you can get out the door.

One regular event captures this spirit like no other: The Backscratch Sessions, created by Martin Rivas.

The Sessions have been taking place in New York since early 2009 and have grown in popularity to the point that they’ve had to move to Rockwood. It brings performers together, encourages collaboration and results in the happy cross-pollination of fans.

Incidentally, in just a few days, Rivas has put together a charity compilation album, ‘After The Flood’ featuring many NY artists, to help the people of Upstate New York affected by the devastation of Hurricane Irene. This is another shining example of the scene’s strength & goodwill (charitable efforts by the community are frequent).

'After The Flood' album cover

In London, where too often singer/songwriters feel like they’re on their own, the fact that a community like this exists is especially inspiring.

There are many factors that contribute to the current state of affairs in London. Unlike Lower Manhattan (especially the LES), there isn’t a district that has marked itself out as the home for singer/songwriters. I’ve heard it argued that this is due to the city’s sheer size but I don’t buy this. Indie rock bands have had Camden for years while jazz & Soho have been synonymous for over half a century.

I’ve also heard that the cost & restriction of London’s tube system (it shuts down every night around midnight) makes it much harder to get an audience out compared to New York’s relatively cheap 24-hour subway. But if there’s something to shout about, audiences will always come.

The problem lies much deeper. Over the past decade at shows & on the road, I have spoken with many UK singer-songwriters. I hear often how the long-failing British record industry still has a strong grip on the collective psyche. It manifests itself in artists’ suspicion of each other, fear of competition and an unwillingness to take risks and collaborate. The high popularity of shows like X-Factor & American Idol – both created by the British – only help to perpetuate the idea that being a successful performing artist is like winning the lottery. All or nothing.

This couldn’t be further from the truth.

What I am seeing in New York right now is the recognition & result of cooperation. I see artists pushing each other creatively whilst remaining open to new ideas. And as one climbs, there is the grace to look down the ladder and help the next person up (which is some of the best advice I’ve ever received- from two successful New Yorkers).

I also see enterprise & industry. Being an independent artist has quickly become tantamount to entrepreneurship. You self-manage, book your own tours, use websites like Kickstarter & PledgeMusic to engage & mobilise fans to fund creative projects. I also see people reaching out beyond the borders of music to collaborate with independent artists working in different mediums on artwork & video projects.

Obviously, to some degree, these things also exist in London – I don’t want to draw too dark a picture. There are fantastic venues with groups of artists fostering the kind of cooperative spirit I see in New York. The Bedford & Regal Room, eaRmusic events, The Vac and The Spice of Life, among others, are great examples.

However, crucially, there is no cohesive movement. No through-line to spread it citywide.

Of all the good things happening in London, The Bedford in Balham is the jewel of the crown. Its Artistsic Director, Tony Moore, has been fighting the cause of showcasing unsigned talent in the Capital since he started the legendary Kashmir Klub (The Bedford’s predecessor) in 1997. Along with his West London venue, The Regal Room, they are two of London’s precious few places to see nightly, free, quality live music with superb sound.

It is a natural fit and I am excited to see what reception Backscratch has there. If you’re in London, please come down. Some of the finest singer/songwriters the city has to offer will be playing.

The show will also be webcast live from 8:30pm GMT (3:30pm EST). You can watch it here: www.justin.tv/thebedfordlive

All I’m saying is this could help usher in a new era of world peace.

Seriously though, I don’t think the following can be said enough:

We accomplish more together than apart.

London, let’s do this.

Poster by Martin Rivas