T
he cajon is undoubtedly a talking point and gigs are oſten finished with “’ere mate, what’s that box?” though James explains the reasons for his unusual instrument: “I’d seen one on TV or something and it seemed like a good way to get involved acoustically without drowning everyone else out with the drum
kit. Because it’s a kick and snare embodied in one instrument, and it’s so easy to cart around to open mic nights and enabled me to get involved, playing percussion to start with, and then later moving on to the singing as well.” He adds: “It’s quite nice though switching back to the kit now that we’re playing full band gigs”. Te close harmonies of the group are a result of this acoustic orientated approach to writing, and though some harmonies are spontaneously thought out, the more complicated sections require serious work and practice. More generally, the song writing process tends to be split in a similar way with some songs like Break A Leg writen almost in one siting, while others such as Travelling Home existing as lyrics and ideas long before they were finished off as a complete song. Joe explains: “It’s great to have the opportunity to test out new material in an open mic seting, and it plays a really important role in our song develop- ment. In particular, nights such as Craig Priestley’s in Tursday Nite Live nights in Hebden Bridge, and Te Acoustic Club at Bar 122 in Huddersfield”.
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