Our Next Event! “The Dangerous Woman’s Guide to Transgressive Behaviour” (Sat 25th Nov 2017)


TICKETS HERE: http://bit.ly/2xpU6Ny

There are women who have always refused the life of the socially acceptable woman. There are women who have been forgotten, erased, misinterpreted or much maligned by history. From warrior queens, defiant writers, unsung heroes, suffragettes and the plight of the ‘creative muse’; come join five writer/ performers as they re-tell the stories of some truly transgressive women in a night of storytelling, poetry, song and music.

Lucy Ribchester on the Suffragettes!
Magi Gibson on Camille Claudel, Stella Cartwright and other muses!
Jenny Lindsay on Sonia Orwell!
Mara Menzies on Queen Nzinga of Angola!
and very special guest Emma Pollock, with songs from ‘In Search of Harperfield.’



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The suffragettes were a controversial group, led autocratically, split into tiers of militancy, and still debated today as to whether they helped or hindered the women’s cause. But beyond a few major headline-grabbing destructive acts lay an army of creative women causing vandalism and chaos without endangering human life. From Isabel Kelley’s daredevil skylight break-in into Dundee’s Kinnaird Hall to Evelina Haverfield’s horsewomanship, which she used to disrupt police horses during demonstrations, these women’s ingenuity may have been overlooked by history, but it was them that inspired the suffragettes of The Hourglass Factory.  

Lucy Ribchester is a novelist and short story writer based in Edinburgh. Her stories have been shortlisted for the Costa Short Story Award and the Manchester Fiction Prize, and her debut novel The Hourglass Factory was longlisted for the Historical Writers Association Debut Crown. Last year she was awarded a Robert Louis Stevenson Fellowship, during which she began her third novel, set in late 18th century Europe. She is also a dance critic for The List and an active community tutor in Creative Writing and Literacies.  


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“I am my own muse. I am the subject I know best. The subject I want to better.” said Frida Kahlo. While poet Anna Swir said, “I will not be the slave to any love/To no one /Will I hand over my purpose in life/ My right to go on growing.” But what happens when a woman is ‘chosen’ as muse when she still a teen? Can she be muse and lover and “go on growing”? Camille Claudel, sculptor in late nineteenth century Paris was relentlessly pursued by Rodin when still a teen. Later many claimed he’d authored her best work. Being a muse is such a dangerous thing. As Stella Cartwright, the Muse of Rose Street discovered too. Can there be a happy ending for a creative soul? And how, if at all, will the story be written?

Magi Gibson has had four collections of poetry published, including Wild Women of a Certain Age. Her most recent, Washing Hugh MacDiarmid’s Socks was described in The National as “A joy to read”. Her work has appeared in many major anthologies, including Modern Scottish Women Poets (Canongate) and Scottish Love Poems (Canongate). Widely published in literary magazines, she won the Scotland on Sunday/Women 2000 prize for poetry, has held three Scottish Arts Council Creative Writing Fellowships, was RLF Writer in Residence at the University of Paisley, Writer in Residence with GoMA in Glasgow and Reader in Residence with Glasgow Women’s Library.



Sonia Orwell was George Orwell’s second wife, and has largely been portrayed as a manipulative gold-digger who would stop at nothing to take control of Orwell’s legacy. But the truth about Sonia Orwell – who was the model for Julia in Nineteen Eighty-Four – was altogether different. Loyal, fierce and intensely idealistic, she was also at the heart of London’s literary and artistic scene well before her marriage to Orwell changed her life forever. In this set, Jenny Lindsay weaves a story about Sonia Orwell, building on her highly praised portrayal of the character of Julia in her 2015 debut solo show, Ire & Salt, which featured in the 2015 Orwell Society Journal and received a 4 star review from The Scotsman.

Jenny regularly performs and hosts events all over Scotland and beyond with a blend of dry humour, social-commentary and story-telling. She was the ‘Rally’ of acclaimed literary cabaret Rally & Broad (2012 – 2016) and was the BBC Slam Champion in 2012. Her 2015 debut solo show Ire & Salt received a 4-star review from The Scotsman and praise from The Orwell Society for its depiction of Julia from Orwell’s Nineteen Eighty-Four. In 2016 she founded Flint & Pitch Productions and was long-listed for the Jerwood Compton Poetry Fellowship in 2017. Jenny is known equally for her own writing and performance as she is for creating events that are “a beacon of brilliance on the live lit scene.” (The List, on Rally & Broad.)

MARA MENZIES on Queen Nzinga!



Mara Menzies is a Kenyan/Scottish storyteller passionate about the value and power of stories. She works with diverse audiences and loves transporting audiences to new worlds.

She tells the story of one of her idols. A woman who transcends time and place. Queen Nzinga of Angola, who died over 350 years ago and yet whose legacy serves as inspiration for women around the world to this day. Challenging the patriarchy of her day, she assumed power at the grand age of 50 to keep the Portuguese slave traders from taking her people. She was ruthless, proud and defiant with a brilliant strategic mind. Discover more about this extraordinary woman.  

With very special guest:

EMMA POLLOCK: With songs from




A founding member of critically acclaimed Scottish band The Delgados, Emma Pollock was a writer and singer with the band during its 10-year life span, disbanding in 2005. During this time the band released 5 studio albums, including 2000’s Mercury nominated album ‘The Great Eastern’ and toured extensively worldwide.

Emma is also a founding director of both Scotland’s longest running independent record company Chemikal Underground (est 1995) and its sister recording studio Chem19 (est 1997).

Following The Delgados’ demise, Emma became a solo artist and has since released 3 solo albums; ‘Watch The Fireworks’ (4AD) 2007, ‘The Law Of Large Numbers’ (Chemikal Underground) 2010 & ‘In Search of Harperfield’ (Chemikal Underground) 2016.

In addition, she has also taken part in many collaborative projects over the years; she was one of the 8 members of ‘The Burns Unit’ (also featuring King Creosote & Karine Polwart) until their disbanding in 2013 and has written and played often with artist RM Hubbert; co-writing the song ‘Halflight’ which appeared on his SAY 2013 Award winning album ‘Thirteen Lost & Found’ and ‘Monster In The Pack’ which appeared on Emma’s 3rd long player in 2016.

Emma continues to write in preparation for recording a fourth solo record later this year.

TICKETS HERE: http://bit.ly/2xpU6Ny

Year 2 is Upon Us!

We celebrated our 1st birthday at the Edinburgh International Book Festival on Sunday 27 August with a Flint & Pitch Revue that summed up entirely why we do this Thing Called Show!

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For the full set of pics from Chris Scott click here!

With the epic A New International, excellent new work from debut authors Chris McQueer and Rachel McCrum, haunting gorgeousness from Laurence Made Me Cry and the performance poetry powerhouse that is Sara Hirsch (plus bonus collaboration between McCrum and ANI with a biting cover of We Call Upon The Author To Explain), our birthday Revue for the Unbound Speigeltent was an epic joy!

And so, pals, we are moving into Year 2….

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Year 1 was a non-stop rollercoaster from the start and taking aw things into consideration, Flint & Pitch has been a mighty success, with 7 Revue shows, 4 Presents shows and 3 magnificent Lyceum Variety Nights, aided by a small but entirely necessary Creative Scotland award for the Revues and Presents series, which were also part-funded by Box Office. The CS funding meant that we could keep entry to our shows reasonably cheap while also paying our artists and the folks behind the scenes properly. We hate to say how rare this is… Hat tipped, CS, and thank you so much for the support in getting off the ground!


October Revue: Harry Giles, Chitra Ramaswamy, Jo Mango,Finn le Marinel,Hannah Lavery


Dec: JL Williams, Teen Canteen, Theresa Lola, Alan Bissett, Malachy Tallack, Harry Harris


Jan: Rachel McCrum, Ross Sutherland, Catherine Wilson, The Strange Blue Dreams, The Miss’s and hosts Jenny Lindsay & Cameron Foster.

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March: Sophia Walker, Ryan Van Winkle, Urban Farm Hand, Ellen Renton, Djana Gabrielle and hosts Foster & Lindsay.

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April: Josephine Sillars, Kevin Gilday, Jackie Kay, Craig Lithgow, Katharine Macfarlane

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May: Gavin Inglis, Claire Askew, Heir of the Cursed, Clare Pollard, Declan Welsh & The Decadent West, much Red Stripe, hosts Jenny Lindsay & Cameron Foster


And June, our tie-in Revue with the marvellous 404 Ink: Kirsty Logan, Nadine Aisha, Daniel Piper, RM Hubbert, Roseanne Reid, hosts Lindsay & Foster.

The Lyceum Variety Nights had 4 and 5 star reviews across the board, the Presents series had two sell-out shows, and the Revue series brought acts to Scotland for the first time for full sets including newly crowned UK Slam Champ Theresa Lola for the second of our Revues last December. We also showcased scratch performances from Sophia Walker and Daniel Piper at the Revues, and took relatively unknown names into the 600 seater Lyceum alongside some well-kent faces. We’re delighted to have been part of David Greig’s first season as Artistic Director of ‘The Old Lady of Grindlay Street’ and fair chuffed to have got her dancing so fine on a Sunday evening!

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Our Presents series brought three exceptional touring spoken word theatre shows to the Scottish Storytelling Centre, alongside supporting slots of 20 minutes from a range of new and emerging voices in Scotland-based spoken word and theatre. We’re immensely proud of this part of the year’s endeavours, cos we’re not going to lie… we were nervous! But! Whoddathunk – of course there is an audience and an appetite for a regular series of long-form spoken word in Scotland outwith August! 🙂 Hurrah!

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While we’re super proud of every show, the sold out show for the debut performance of Katherine McMahon’s “Fat Kid Running”, programmed through our Open Call (which garnered over 100 pitches) was one of the most exhilarating moments of the season and continues to bring a tear to oor eyes. Katherine’s show – and the 8 support slots for each Presents show – highlight just how much innovative new work is being made in spoken word in Scotland. It was an absolute privilege to get to showcase it and we’ve ambitions to repeat the Presents series in the future on hopefully a bigger scale!

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As well as that, we’ve done one-off events for Hidden Door, the Scottish Book Trust, Unique Events, the Scottish Mental Health Arts Festival and more.

It’s been a heady time for a (very) small team and it feels like a lot longer than just a year to be honest, and so we’re taking things gently for a wee bit….(Maybe. Honest. Maybe…) But, while there is no regular series planned, we’re delighted to announce a series a one-off wonders with a heap of great folks!

We’ve partnered with some brilliant organisations over the next wee while, including our two RECLAIM THIS SCRIPT events for the Scottish Mental Health Arts Festival in October (mair on that shortly, compadres); a truly epic event coming up in November with ‘Previously…Scotland’s History Festival’ (keep eyes peeled, compadres), and much more to be announced along the way! (Including outwith the Central Belt…. 🙂 )

Absolutely massive thanks to everyone who has come along to Flint & Pitch events over the last year! There’s plenty more to come for the rest of the year and into 2018! xxx


Spoken word/ theatre fans! It’s our FINAL Present show of the season, and we’re delighted to say that Francesca Beard, ahead of touring the full theatrical version of the show, is bringing a bespoke version of How To Survive A Post Truth Apocalypse to the Scottish Storytelling Centre! TICKETS HERE: http://bit.ly/2qKULc7 Read on for more info!

Flint & Pitch Present: How To Survive A Post-Truth Apocalypse

by Francesca Beard

With support from Jen McGregor’s ‘Grave’ and

Ross McCleary’s ‘Portrait of the Artist as a Viable Alternative to Death.’

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The Flint & Pitch Revue #7! With 404 Ink/ The F Word! (Fri 23 June)

With RM Hubbert, Kirsty Logan, Daniel Piper, Roseanne Reid and Nadine Aisha Jassat. Hosted by Jenny Lindsay & Cameron Foster. 7 – 10pm, The Bongo Club. £6

It’s the final Revue of the 2016/17 programme from Flint & Pitch, and we’re delighted to have teamed up with the wonderful 404 Ink to co-host their launch party for their new issue, The F Word. Having realised that four of the contributors to The F Word were to be on our stage that evening (Kirsty Logan, Jenny Lindsay, Cameron Foster and Nadine Aisha Jassat) it made sense to join forces with this unstoppable newcomer to the Scottish publishing scene. So come along to see a brilliant Revue, as well as pick up yer copy of The F Word! (more…)

Announcing: The Flint & Pitch Revue #6! (19/5/17)

It’s May, and time for our penultimate Revue show of this, our first season! Where’s the time gone?? Nab your tickets swiftly for a helluva line-up of words, stories, tunes and lyrical wit! Tickets are only £6 – whaaaat? We’re too kind. Get yours here: http://bit.ly/2q4443U

All hosted by resident comperes Cameron Foster and Jenny Lindsay! Read on for more on the acts!


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Clare Pollard has published five collections of poetry, the most recent of which is Incarnation (Bloodaxe,2017). Her play The Weather premiered at the Royal Court Theatre and her documentary for radio, ‘My Male Muse’, was a Radio 4 Pick of the year. Clare’s new version of Ovid’s Heroines has recently toured as a one-woman show with Jaybird Live Literature.

Her website is www.clarepollard.com


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Claire Askew is a poet whose first collection, This changes things, was published by Bloodaxe in 2016.  The book was shortlisted for the Edwin Morgan Poetry Award and the Saltire First Book of the Year Award.  Claire is the 2017 Jessie Kesson Fellow and is also a fiction writer, currently working on completion of her first novel.  She lives in Edinburgh and can be found online as @onenightstanzas and onenightstanzas.com



The world is quickly changing and Glasgow’s Declan Welsh is here to document it. A singer, poet and performer, Welsh has a keen eye for detail and a no-holds-barred attitude that feels wildly contagious. The 23-year-old is not afraid to plug into the political landscape, from songs about Spanish Republican leaders to performing in Palestine backed by a choir of refugee children. With a refreshingly diverse approach to gigging – his live appearances include T in the Park, London Fashion Week and Bethlehem Live – the future looks very bright indeed for Declan & The Decadent West.

“Punchy, poetic, passionate and profound.” – Tenement TV




“Heir of The Cursed is a caulbearer born of an apparition, a primordial memory, a penny drop.”
A musician and songwriter whose haunting, soulful performances will absolutely astound ye, compadres!




Gavin Inglis is a writer of games and fiction. His games work ranges from full-length interactive novels to the snappy audio drama of Zombies, Run!

His stories blend everyday realism with a strong strain of the fantastic and bizarre. He has appeared at the Latitude festival, burlesque nights, the Edinburgh International Book Festival, Aye Write!, the Edinburgh Festival Fringe, punk gigs, a Hunter S. Thompson tribute event and a roller derby fundraiser and is a member of Writers’ Bloc. He will be sharing new work at the Revue, so come along for an exclusive!

What a line-up! Tickets here, pals – see ye there: http://bit.ly/2q4443U 


The Flint & Pitch Revue #5! (21.4.17)

Compadres! Get yourself down to our fifth Revue show at The Bongo Club! It’s also our only event in April, so it’s extra, extra special! We’ve got words from the Makar, Jackie Kay, Sonnet Youth star Kevin Gilday and newcomer Katharine MacFarlane! Bringing the tunes we’ve got Josephine Sillars and Band, and the new project from local wonder Craig Lithgow (Emmelle) ‘Mummy’s Boy”! Tix here: http://bit.ly/2n533Yc

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(Photo credit: Denise Else)

Jackie Kay was born and brought up in Scotland.  THE ADOPTION PAPERS (Bloodaxe) won the Forward Prize, a Saltire prize and a Scottish Arts Council Prize. FIERE, her most recent collection of poems was shortlisted for the COSTA award.  Her novel TRUMPET won the Guardian Fiction Award and was shortlisted for the IMPAC award. RED DUST ROAD (Picador) won the Scottish Book of the Year Award, and the LONDON BOOK AWARD. It was shortlisted for the JR ACKERLEY prize. She was awarded an MBE in 2006, and made a fellow of the Royal Society of Literature in 2002. Her book of stories WISH I WAS HERE won the Decibel British Book Award. Jackie Kay was named Scots Makar—the National Poet for Scotland—in March 2016.



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Kevin P. Gilday is a writer, theatre-maker and spoken word artist from Glasgow, currently residing in Barcelona. He is co-host and curator of spoken word organisation Sonnet Youth. Kevin is an international performer including appearances at the BBC 6 Music Festival, Edinburgh Fringe, Toronto Fringe, Wickerman, Belladrum, Lingo (Dublin) and Glastonbury Festivals. He has supported artists such as Saul Williams, Sage Francis and George the Poet. His series of videos created for BBC The Social have been viewed by over 100,000 people worldwide. Kevin’s theatre work includes several hybrid spoken word monologue performances, traditional theatre, experimental work, cabaret and script doctor commissions. This work has been performed in spaces such as The Tron Theatre, St. Luke’s, Eden Court, Lemon Tree, Beacon Arts Centre, Oran Mor, The Arches and Tarragon Theatre (Toronto).




Originally from the Highlands, Josephine Sillars is a musician now living in Glasgow. Over the past few years she has toured throughout Scotland as well as playing in Europe and internationally, in addition to appearing at local festivals such as Belladrum and XpoNorth. After a busy summer of festivals in 2016, including a slot at Sandvikfest – an independent music and arts festival in Sweden – and a main stage slot at ButeFest, Sillars and her band released new song ‘Problems With Power’ on the 10th February 2017 through Traffic Cone Records. Her EP ‘Ripped From The Wire Spine’ is also a storytelling and music show, which has appeared across Scotland in a number of theatres.


CRAIG LITHGOW! (Mummy’s Boy!)

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Mummy’s Boy is the new moniker of Edinburgh singer songwriter Craig Lithgow. Craig has been a regular feature at music and live lit showcases for a number of years, notably with Neu! Reekie! Where his former band Emelle were the house band. In Craig’s words, Mummy’s Boy “uses music, words and artwork to explore various themes, including morality, mortality, relationships, and whatever else pickles me.”



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Katharine Macfarlane’s lyrical poetry is rooted in the history and landscape of Scotland. She is currently the Harpies, Fechters and Quines Slam Champion and the Four Cities Slam Champion 2016. Katharine has recently performed with the Loud Poets in Glasgow, at the Belladrum Festival in Inverness and hosted her first solo show, Home Words, at the Edinburgh Festival Fringe 2016. Her work has appeared in Untitled, The Grind and The Ogilvie Magazines and has been translated into German as a feature piece in the novel Die Rückkehr der Wale by Isabel Morland.

With regular Revue hosts Jenny Lindsay & Cameron Foster!

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Mon along! Tix here: http://bit.ly/2n533Yc

An Interview With Sophia Walker!

Sophia Walker is a touring spoken word poet and educator who will be headlining The Flint & Pitch Revue on Friday 24th March, with an extract from her new show In Fidelity. (Tickets here)


Sophia has toured globally with her passionate, political verse and her shows ‘Can’t Care, Won’t Care,’ ‘Around The World in Eight Mistakes’ and ‘Cult Friction’ have gained her much acclaim and many awards at the Edinburgh Fringe festival. She was recently announced as one of the UK writers who will be part of the International Literature Showcase 2017. Her debut collection Opposite The Tourbus is published by Burning Eye Books.

Below, she talks to Freddie Alexander about her work, her views on spoken word, and what on earth this thing called ‘a scene’ is! 

FA: You will be performing an extract of ‘In Fidelity’ at the upcoming Flint and Pitch Revue. What parts of the show will we not get to see?

SW: The bits I’ll write after I realise what’s missing? Hehe.

 The audience at Flint & Pitch will be the first people to see ‘In Fidelity’, so how they react will completely reshape the show. Honestly, I set out to write a funny show about marriage and relationships, and my own terrible history as an awful 20-something having far too much fun.

I’m mostly political in my work and I just can’t handle that right now. I’m not sure audiences want to either. We all need a break. But it turns out this isn’t a funny subject to me. There are funny sections but… I’ve never seen a marriage work, so I don’t know how to achieve that. I just know I can’t fail.

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FA: You once wrote ‘we don’t just need writers, we are in desperate need of builders: people who want to shape, to strengthen, to grow and to expand this scene for all of us.’ There is a temptation, especially among younger artists, to see success in the arts as a zero-sum game. How do you wrestle with the desire to be a writer and a builder?

SW: Once you’ve been in spoken word for about five years, you look around and most of the people you came up with have quit. Five years after that you’re an elder for no other reason than you’re one of the few folk still kicking about. There’s no money in this. 

At a certain point you realise that becoming a scene builder is the only option. We do this partly to diversify income streams, but mostly because without scene builders we would all have to quit. It’s not just about running a night, though that’s lovely and there’s space for that. Being a scene builder is about creating actual opportunity.

Many people run nights for reasons of self-promotion. That’s fine, absolutely. But what we need are the folk who come along and go “hrm…that hop between being a five minute open mic’er and a twenty minute feature poet, there’s no midway point to learn how do that. Let me make it.” That’s a scene builder.

They are the person who notices that, actually, there are loads of nights doing the exact same thing, but not a single one that would allow performers to move up a level. Or none that would provide a proper paycheck. Or none that could book people big enough that the local acts get to see where the bar really is.

I guess it’s not about wrestling with the divide between writing and building. It’s about staying in the game long enough to realise that unless you yourself become builder, there will be no scene to progress through.


FA: Is there a ‘spoken word scene’? If so, what is it like? If not, why do everyone and their Nan keep talking about it?

 SW: Depends who you ask and what mood they’re in. It’s complicated.

Some people are performance poets. That seemed to be a particularly British thing, and is what the scene was about ten years ago. This involved a broad age range.

Some people are slammers, and that typically refers to a very specific style of poem. It doesn’t just refer to people who compete anymore, it’s a specific way of sounding.

Some people call themselves spoken word artists. They tend to be under-25, and are very YouTube oriented. Things like ‘number of views’ get bandied about a lot. The fascinating after-effect of that is the change it’s had in promoters. There’s a massive difference between your ability to say one 3 minute poem well to camera, and your ability to actually hold a room.

Promoters are increasingly requesting poets send them footage of gigs. They need to see that performers can actually hold a room, have the skills to do all this live. I’m fascinated that what was a live art-form has, in some corners, become so internet focused that the live performance skills are being lost.

So I guess there are multiple scenes.

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FA: What about the ‘UK spoken word scene?’

SW: I think saying “UK” gets a bit problematic, because there are such geographical divides. There’s the ‘London is the centre of the world’ perspective, and there’s the fact that all the truly interesting stuff is happening regionally. There’s the fact that the Scottish, Irish and Northern Irish scenes are so disconnected from the English scene, in a way the Welsh scene isn’t.

Honestly, the coolest scene right now is Manchester, and that’s mostly because it’s the scene with the least ego in it. If you see a poetry night that seems to have a diverse age range among attendees and performers, go there. That’s the good stuff.


FA: What would you tell the young performance poet who is, as you described, ‘working [her] butt off to sleep on the ground for nearly a week, paying 20 bucks a pop for shite food, and inevitably leaving [a] gig over a hundred dollars poorer than you came in’? What would you tell the promoter that has put her in this position?  

SW: I’d say that this is your passion and this is what you need to do to make it work. Tour on your own dime while you have other full time jobs.  It sucks, but that’s what this takes.

To the promoter I ask, are you funded? ”How much did you make off the night?” Promoters, at least the good ones, too often are out of pocket themselves to pay acts. I don’t know many good promoters who get paid for all the work they do.

The system is the problem. We don’t value art enough, the money isn’t there. And where it is there, it often goes to the more business minded people and less to the community minded people.

Promoters often aren’t the enemy. But they should know that every poet they book to headline is doing a headcount, knows the door fee and has done the maths on the back of an envelope. We know when we’re being cheated and we remember.


FA: What will you be doing five minutes before your performance?

SW: Watching the audience. Trying to get a gauge on the vibe of the room, what they’re responding to, what they aren’t.

It’s interesting, if you asked me what the most important skill set for a performing poet to have – it’s not writing ability, it’s emotional intelligence. The performer who is best at reading the room is the performer you walk away remembering.


To see Sophia Walker’s In Fidelity (excerpt) alongside words from Ellen Renton and Ryan Van Winkle,PLUS tunes from Djana Gabrielle and Urban Farm Hand, buy yer ticket now! http://bit.ly/2lGYxxY