Metallica @ the SEC Hydro is it now the Hard Wired to your Wallet tour: can they justify tickets of

Metallica @ the SEC Hydro is it now the Hard Wired to your Wallet tour: can they justify tickets of £96.50 and Experience Packages of £179, £339 AND AN EYE POPPING £2,099

With recent newspaper articles published in respect to the SEC attitude to secondary ticketing, I thought I would take a look at what actual goes on to put on an event at the SEC Hydro and the implications, of who gets paid and what for, with ticket prices soaring how would an ticket price for a gig at the Hydro compare to ticket price for a premier league football game based on season ticket prices, focusing especially on Scotland.

Firstly the context for the article came when Metallica announced their European dates, five of which in the UK including one at the SEC Hydro as part of their ‘WorldWired Tour’. This in conjunction when remembering reading an article by Gary Armstrong (from the 21 June 2016) posted on the Daily Record website, on ‘How do Scottish football season ticket prices compare to the rest of Europe’. Gary found on looking at via The average price of a Scottish Premiership season ticket is £321.67 which works out £16.93 a game. The two closet either side of that average where Aberdeen at £319 and Hearts at £325 with the lowest Hamilton at £150 and highest Celtic at £416 (figures based on cheapest adult season tickets in SPFL for 16/17 season - final general sale prices after early bird offers).

So with The SSE Hydro playing host to national and international music stars as well as global entertainment and sporting events, how do things stack up when we look at the entertainment value when we look at football compared to gig going? Bearing in mind the 2016 average premiership attendance in Scotland based on figures from a Daily Record article (published via their website on 15 NOV 2016 and written by Graeme Young and Darren Cooney) was 12,900; up from an average of 11,187 in 2015! With a seated capacity of 12,000 (13,000 seated and standing), a similar capacity to the Scottish Premierships average attendance figures, the SEC Hydro augments the SEC’s existing facilities which overall stages 140+ events annually. Attracting an audience of more than a million visitors each year, the venue is consistently ranked by Pollstar in the top 10 arenas globally, alongside iconic venues like Madison Square Garden in New York and The O2 in London. The fact that newly constructed and opened venues want to break even as quickly as possible and the bands want to maximize ticket sales is obvious but how is the ticket price actual accounted for, taking into consideration the SEC want their facilities used as frequently as possible and especially the Hydro as multipurpose venue, as you will see from the article The Hydro has a lot of scope in the capability of putting on an event in the hiring of the facility but how much does this actually contribute to the cost hiring of the facility?

If flexibility is the keyword to enable a venue to be used over and over again, what makes that venues flexibility so special, in this case of the SEC Hydro? What do bands look at? To establish that we need to establish The live music business pyramid is made up of solo artists and bands at the top delegating downwards responsibility to managers, booking agents, and promoters initially. Through their due diligence and discussion deciding on how to get the best possible venues and dates that can make up a feasible tour itinnery. Once they have, the promoter’s rep will look to contact the venues in-house promoter to broach booking the venue, in the process of doing organising a visit from one of the most pivotal individuals in the whole process of going on the road at arena level. Most major touring acts usually employ an ‘Advance Man’, an experienced operator usually someone within the bands organisation, who’s road experience in all form of staging lighting, rigging, sound and production issues, can look at venues and plan in advance for any potential problem, or be able to iron out or negotiated in advance with the venues own house crew/techs and security any existing problem’s pin them down; fix them or get round them before finalising the booking.

In the case of the ‘Flexible Capacities’ of The SEC Hydro Arena, the following major areas that any ‘Advance Man’ would look at would be:

Production parking: For up to 12 trucks/tour buses Easy load in/out through 2 vehicle access doors into arena floor which is 71m in diameter (clear space 4000m2) for erecting staging.

Plus for PA and lighting look at the: • 50m diameter rigging grid • Min clearance height 19.5m • Loading capacity 60 tonnes • Rigging directly from the roof structure also available • Power Up to 5 x 400 amp 3 phase

Seating and Standing capacity, Band, Production, Crew & Catering facilities: • Fully Seated: 12000max • Seated & Standing: 13000max • Flexible Draping System: 5000, 7000 or 9000 • Short Hall: 5000 • 1 crew dining room • Fully equipped crew kitchen • 8 star dressing rooms • 1 green room • 1 wardrobe room • 2 group changing rooms • Screen in main bowl

One of the major benefits of the SEC Hydro is it can put on gigs virtually in the round (certainly horse shoe shaped), something Metallica have been known for doing in the past and have come back on this tour to do again, bearing that in mind, and understanding the SEC Hydro was booked for exactly the kind of reasons that a band like Metallica would want to hire the venue for, its production facilities and standards matching virtually identically what they had planned for, with the loading in, loading out, staging, rigging and back stage facilities to match anywhere in the world, and the SEC Hydro ,management only to willing to bend over backwards to entice bands to use the SEC Hydro to its maximum capacity and capability; where’s the catch in the increased costs? One of them might be because It is the road crew who actually go out and set the shows up. There are in fact three separate groups of crew involved in putting on a concert – the house/local crew, the artists touring crew and the suppliers touring crew The set up below shows these various road crew jobs. Not every job is repairing amps, string guitars or back-up Pro Tools sessions but some are and some can earn big money – how much is reviled later in this article.

Based on the previous info I decided to look at the ‘Face Value’ of a ticket purchased for an SEC Hydro event. This is the base cost of your ticket, set by the event organiser (The Promoter) – SEC/Ticketmaster (Ticketmaster are the SEC ticketing sales partner) are not involved in deciding the price, but it’s usually based on the costs involved in presenting the event (remember it’s not just the venue the crews the staging, rigging, promotion but travel, logistics and hotel accommodation costs that all come into play). When a ticket is sold the total face value is passed to event organiser. There are usually a number of other ticket agents selling tickets for the same event but Ticketmaster are the SEC preferred partner so when you try and book through the SEC website you invariably are directed to Ticketmaster. I looked at trying to buy some tickets for bands I would really like to see, these are fairly high profile ‘International Arena Rock Acts’, with decades of touring experience for each of them let alone between them.

So I chose 8 gigs: The Who, Iron Maiden, Kiss, Rainbow, ELO, Metallica, Alice Cooper and Deep Purple.

To try and gets some facts and figures? When it comes to Face Value price I looked at booking the lowest and highest price ticket’s: • The Who 7th April 2017 Ticket Prices £68.10 - £79.45 • Iron Maiden 16th May 2017 : Ticket Prices £52.20 - £65.25 • Kiss 27th May 2017: Ticket Prices £51.10 - £62.45 • Ritchie Blackmore’s Rainbow 25th June 2017: Ticket Prices £53.90 - £65.25 • Jeff Lynne’s ELO 28th June 2017 Ticket Prices £56.75 - £124.85 • Metallica 26th October 2017 Ticket Prices £56.75 - £96.50 • Alice Cooper 12th November 2017 Ticket Prices £45.40 - £53.90 • Deep Purple 22nd November 2017 Ticket Prices £56.20 - £62.50 So - 8 Gigs of, The Who, Iron Maiden, Kiss, Rainbow, ELO, Metallica, Alice Cooper and Deep Purple. If you bought the lowest price ticket advertised on the SEC Website via Ticketmaster for the Hydro gigs of these bands, including booking fee and fulfilment (TicketFast®: £0.00), the total for all eight gig tickets comes to:£440.40 - average price £55.05 Highest price: for the same 8 gigs on the SEC website via Ticketmaster to book them cost: £595.30 - average price £74.42 Our average price of a Scottish Premiership season ticket (SPFL) for 16/17 season is £321.67 which works out £16.93 a game.

There is a slight rounding up to 2nd decimal places based on sample figures Pound against Dollar exchange rate 31/03/2017 was £1 to $1.24

Average of the 8 gigs lowest gig prices sampled: 55.05*$1.24 = $68.26 Average of the 8 gigs Highest gig prices sampled: 74.42*$1.24 = $92.28 Average season ticket SPFL for 16/17 season 16.93 a game* $1.24 = $20.99 So it looks as if you’re a football fan, its far more cost effective than going to a gig: Three bands in particular bump up the top line average price The Who, ELO and Metallica. One of those in particular really caught my attention On the 29th March 2017 I checked Ticketmaster via the Planet Rock Radio website, to see what they had currently available for Metallica. Up popped Glasgow SSE Hydro – Thu 26th October 2017 - STANDARD TICKETS SOLD OUT / PACKAGES AVAILABLE

In Metallica’s case just like on their North American tour, every ticket purchased comes complete with your choice of a standard physical (2CD) or standard digital copy of ‘Hardwired… To Self Destruct’ ( their latest album - problem is the album was released November 18, 2016 and a lot of fans might have bought it already - especially the three disc Deluxe Edition). Ticket buyers will receive details of how to redeem their free album via email. Metallica could not even have provided a Deluxe Edition copy as part of the standard ticket cost to offset the fans that just already bought the standard 2 cd set. Anyway it’s the ‘Package’ prices over and above the inflated standard ticket prices I looked at a bit more closely.

The Unforgiving Experience Package, £179 per ticket package giving - One premium reserved seat -OR- one general admission floor ticket - Enter the venue 'Through The Never' Dedicated Entrance - One limited-edition Metallica poster - One limited-edition Metallica merchandise gift - Dedicated on-site staff Note: Early Entry and Access to the 'Memory Remains' Metallica exhibit are not included in this experience package (ho hum)!

The Whiplash Experience Package, giving either a floor or seated version of the package but the bottom line is the cost, so what do you get for: £339.00 well not much really: Its One (1) premium reserved seat in the first (10) rows of --the lower bowl -or- one (1) general admission floor ticket, with early access to the GA floor (must have selected One general admission floor ticket) -Early access to the GA floor -Enter the venue 'Through The Never' Dedicated Entrance -Invitation to the 'Sanitarium Rubber Room', featuring: -Cash bar plus one drink ticket* -Dinner at the 'Spit Out The Bone' Buffet -Access to the 'Memory Remains': A brand new exhibit featuring band memorabilia and more -One limited-edition Metallica show poster -One Metallica t-shirt -Private merchandise shopping -Dedicated on-site staff: I wonder how much the undedicated ones cost?

From Metallica's own website: if you’re a real die hard and want the full immersion experience, you could opt for:

The ‘Hardwired’ Experience:

-One (1) premium reserved seat in the first (2) rows -Enter the venue ‘Through The Never’ Dedicated Entrance Meet members of the band backstage before the show** -Group photograph with all (12) ‘Hardwired Experience’ fans and all (4) members of Metallica -One (1) autographed set list signed by all four members of Metallica -Invitation to the ‘Sanitarium Rubber Room’, featuring: ◦Cash bar plus two (2) drink tickets*** -Dinner at the ‘Spit Out The Bone’ Buffet -Access to the ‘Memory Remains’: A brand new exhibit featuring band memorabilia, performance wardrobes, instruments, personal effects and more****

-One (1) limited-edition Metallica poster -One (1) Metallica t-shirt -Private merchandise shopping -Dedicated on-site staff -*Limited to (12) fans per show

**Band Members May Differ Per Show ***Local liquor laws apply ****Please note, pre-show time and location will vary by venue and may be at an off-site location earlier in the day. ‘Hardwired’ Experience £2,099

If all 12 people took up the option on this package in Glasgow that’s £25,188 that’s enough to cover a band's buy on expenses at £1000 a day on to a major headline act 25 date Europe Tour. Or 50 dates at £500 buy on a date. I was not able to find out how much if any buy on for the European leg of the 'WorldWired Tour’ support Kvelertak would pay, if any; but it makes you think?

On the face of it with two ‘Experience Ticket Packages’ to choose from, Metallica are going all out to take the money and run, not only doing this but fleecing the public by an over inflated standard ticket price offset with the mediocre cry that it includes their new album for free, amidst drastically ego stroking, eye watering deals that even any top flight Premier League football club could not justify or condone on springing on their unsuspecting fans. Hence the football comparison at the beginning of this article. There is a fine line in working with realistic ‘Profit Margins’ but Metallica are just ‘Profiteering’, shoddy cheap gimmick’s, that cost next to nothing to manufacture and deliver combined with cheapo marketing sloganeering culled from the bands own back catalogue and history, to entice fans to part with large amounts of hard earn cash. The only redeeming feature about the sale of Metallica tickets is it was limited to four tickets per person, so peoples credit cards might not completely max out.

On the SEC website I came across something weird! The Vamps for example believe in giving back to their fans with the lowest arena prices in the industry so every fan can see the tour. This includes 30,000 tickets at £12.50 plus booking fees and 80% of the tickets are under £25. There are eleven major arena dates in The UK & Ireland as part of the bands world tour, as part of this the ticket prices are reduced for the SEC Hydro show on 29 April 2017 they start at £14.20 and go up to £56.20 (inc admin fee) + fulfillment. The band previously had sold out London’s 20,000 capacity O2 four times, not to mention multiple world tours visiting over 25 countries. The production on this tour is going to be their best yet, featuring a gigantic stage with runways and ramps that will take the band to all parts of the arena floor. The staging will also feature 2 pits; the ‘Wow Pit’ and the ‘Brad Pit’. The Wow Pit is a semi-circle standing pit located directly at the front of the stage, that will be surrounded by additional stage ramps. The 2nd pit called the ‘Brad Pit’ will be located at the end of the main runway, where the band will come further out into the crowd to play and interact with their loyal fans. One of the other things that struck me while looking in to this, is we all know local bands usually go out of their way to put on a great show in their home town, so when Mogwai announced a gig at the SEC Hydro for Saturday 16th Dec 2017 a wee pre-Christmas cracker of a present for their loyal fans, costing £36.90 incl fees and a whopping nearly 60 quid less than a top line Metallica ticket (£96.50), the alarm bells; not the Christmas ones started ringing!

So how can a bands like the Vamps and Mogwai do it for so much less than Metallica(?), especially when you understand the size and complexity of going on the road for a band like Metallica who have toured at stadium and arena level for 25 years ain’t that much different from the other major Heavy Metal and Rock acts we sampled earlier! You would think by now they would have learned to reduce the costs and increase better value for money ticketing and fan packages and a generate a more stable realistic sustainable profit margin for the band; being able to pay all overheads and still come out ahead? Their Standard Ticket and Experience Package pricing structure on this tour is outstripping nearly every single other major band or solo artist as well as nearly every major football club not only in Scotland but the world for individual events and season ticketing. This is really compounded when you look at two of the world longest standing major Rock and Metal acts currently still on the road touring extensively round the world, in Kiss and Iron Maiden, pegging their top line ticket prices for the Hydro at £62.45 and £65.25 respectfully, with Metallica’s at £96.50 that’s £34.05 and £31.25 of a top line price increase, or approximately one third more for a SEC Hydro Arena a show! Why?

For the likes of Metallica, what do you get for your money(?), what’s it paying for(?), where does it go(?), maybe for an insight into this its best looking first at the Tour Manager (or concert tour manager) as the person who helps to organize the administration for a schedule of appearances of a band or artist at a sequence of venues (a concert tour). In general, Road Managers handle small to medium-sized tours, and Tour Managers are used on large-scale tours. Back in March 2015 on the well informed Ultimate Guitar.com website it pointed out an interesting insight via quotes gleaned through a Wall Street Journal article titled "Roadies: Unlikely Survivors in the Music Business" recently pointing at some interesting stats regarding music technicians, revealing that now “the least glamorous job in the music business is now stronger than ever”. As well as highlighting "You have to know your stuff," says Metallica's 69-year-old production manager Dick Adams, who also worked with Pearl Jam and Heart. "You have to do a lot of reading." For today’s Tour, Production and Road Managers, the sex, drugs, and rock ’n’ roll life style are out, as musicians take to the road more often to make money and rely heavily on their Tour Management making the right decisions at the right time. This means hiring the right people for the job and understanding of local customs, union and labor laws. As well as Currency and Exchange Rate Regulations, Taxation and Health and Safety legislation practices, processes and procedures and a whole lot more. True Tour Managers, Tour Coordinators, Production, Rigging, Audio and Visual Tech’s are essential. They are also essential on ever other major international top line touring bands check list not just Metallica’s. It’s the Metallica idium of giving back to the fans in a guise of the emperor’s new clothes that really gets me! Inflated niche marketed ticket prices and phony (your one of us for 2hrs) ‘Experience Packages’, special ‘Ltd Edition’ gifts and bullet pointed one lined themed invitations to their inner sanctum, that’s at best designed to give the punters that maximum 15 minutes of fame feeling! Plus the baloney of ‘Private Merchandise Shopping’ and marketing the hype of now being able to dine at the 'Spit Out The Bone' buffet, no doubt to ponder over a candlelit rib or two on how Metallica can now boast to being the biggest ‘Metal’ band in the world, now Black Sabbath have officially retired, leaves me a bit non pulsed(?)! The petulance and irrelevance of the whole exercise is not for me(!), they might be the biggest ‘Thrash’ band in the world (huh) but I would not even think about getting access via the 'Through The Never' dedicated entrance and into 'Sanitarium Rubber Room', for my free one drink ticket to try to arguing with the faithful that Metallica were in fact a second or very possibly third rate Motorhead to prove a point about it (nuff said that half the Black album with the hits recorded now over 25 years ago does not make one the greatest classic metal band of all time). The real major gripe with me anyway, is what happened to just a good old fashion performance at a value for money ticket price; without all the pension fund accumulating stacking add-on’s costs to justify the event?

To be fair, while researching this article it was difficult to come up with right up to the minute figures especially, in ‘pounds and pence’ to fully explain the big money that road crew can make, some historical information was available from some excellent sources based on figures from the USA; figures given recently in the last five years. One came from the article by Scott Thompson called ‘The Salaries of Roadies’, published on the excellent work.chron.com website. This concentrated for the years 2012 and 2013 Although the income of any roadie depends on which bands he works for and how often he works, the Bureau of Labor Statistics in the USA lists an income range of $22,180 to $101,840 for sound engineering technicians. Sound engineering technicians had a median income of $46,480 as of 2013, according to the BLS. Monitor engineers are sound engineers who set up and take apart the sound system for a show and are responsible for making sure the band can hear itself playing. Front-of-house engineers are also sound engineers, but they are mostly responsible for what the audience hears during the show. In "Music Careers in Dollars and Cents," the Berklee College of Music estimated the 2012 income of a monitor engineer as $35,000 to $60,000 and of a front-of-house engineer as $60,000 to $120,000. Other members of the road crew include the advance person, the road manager and the tour coordinator can earn potentially the following, the advance person gets to the venue ahead of the band to get everything ready and earns between $25,000 and $48,000, according to the Berklee College of Music, the road manager handles budget, contract and merchandising issues on the road and earns between $25,000 and $125,000, Berklee reports. The tour coordinator arranges hotels, meals and other hospitality details and earns between $35,000 and $125,000.

As previously mentioned in March 2015 Ultimate Guitar.com website via quotes gleaned through the Wall Street Journal piece titled "Roadies: Unlikely Survivors in the Music Business", I was also able to gaining insight in to some more figures. The article further revels some neat data from the Bureau of Labor Statistics, noting that an average roadie, or sound engineering technician, makes $57,00 per year, not taking into account all the self-employed individuals. More stats – “front of house” live-sound engineers, a.k.a. the people who control what the concert goers hear, earn at least $60,00 a year and can reach up to $120,000. Furthermore, road managers can earn £125,000 or more while tour coordinators fetch a hefty amount of £175,000. The article also gave an example of one of the legends of being a professional roadie. The king of roadies, Mr Tom Weber, a 57 year old technician, who began his career after filling in for an absent KISS roadie 40 years ago. Kentucky based Mr Webber now makes am impressive figure of $200,00 a year and is one of the most demanded individuals of his profession. He maintained guitars for Van Halen, The Cult, Poison, Nine Inch Nails as well as country stars Lyle Lovett and Reba McEntire.

Maxwell Wallace, eHow contributor on the www.ehow.com website wrote a very interesting article regarding the ‘The Annual Salary of Roadies’. His research found, The U.S. Bureau of Labor Statistics classifies roadies as "sound engineering technicians," and their annual salaries can vary based on factors like location, industry and experience. He found, salary according to 2013 data from the U.S. Bureau of Labor Statistics, that sound engineering technicians earn an average annual salary of $56,610 per year. This equates to an hourly rate of $27.22 when factored over a standard 40-hour work week. Sound technicians for independent artists, writers and performers, the BLS says, took home somewhat more, earning an average of $30.01 per hour, or $62,420 on an annual basis. When looked at Industry Salary Comparison: Roadies who work with performing arts companies earn considerably less than sound technicians in other facets of industry. The average pay of sound techs for performance arts companies and performers combined is $50,900, according to BLS data. This is approximately 33 percent less than the $75,870 annual salary of sound technicians in the motion picture and video industry, who lead all other sound engineering occupational categories in average income. Stationary sound techs employed in the sound recording industry were the least well paid, earning an average salary of $23.00 per hour or $47,840 per year. Now obviously the figures don’t cover every type of roadie but it gives a very good indication of the kinds of salaries that can be earned.

With the shift in the music industries bigger picture, in declining album sales (except in Vinyl), demanding an artist or band gain traction almost instantly on releasing any new album (no matter if it’s their first album or their tenth album), now dictating commercially as a business the need for going on the road as essential. The demand for valued experienced road management, audio, visual sound techs and riggers as part of the technical crew to maximise exposure and profit, combined as well with the catering, security and craft specialists, means the cost will go up; During my research for this article I found the going rate for Tour manager's for example, make anywhere from $1500 - $2000 per week. The road crew (or roadies) the technicians or support personnel who travel with a band on tour, usually in sleeper buses, and handle every part of the concert productions except actually performing the music with the musicians (being mostly independent contractors), making anywhere from $200 - $400 per day.

Don't think that the roadie business is all about just carrying stuff around. Some music colleges now offer an education in the skills needed to work on a band's road crew as a sound engineer. For instance, Berklee College of Music offers a sound technician major. However, many roadies still break into the business in the traditional way by performing services for local bands until the band either makes it big or the roadie gains enough experience to go professional. "The Tour Book" by Andy Reynolds notes that it can be challenging for a roadie to negotiate a better pay rate after a band achieves some success, especially if the roadie has been working for a long time for little pay to break into the business. So is a roadie rewarded for his loyalty or there technical experience or professional competency. Experience and production size are the two biggest factors that affect the salaries of sound technicians who work with traveling performers. According to the music industry career website CareersInMusic.com, most roadies start out touring with local acts on a volunteer basis or for minimum wage while they gain experience. Sound techs who are well versed in the ways of the road in addition to a vast array of equipment and technology can ascend to roles in national touring acts and command salaries as high as $85,700 per year. So if your freelance, formed your own company, run your professional life as a roadie as a business, then it can pay, the better you are and more contacts and networking you do can pay dividends in the long run, it’s a long term game and your loyalties are really to you living and working in an industry that you love, with people and artist and acts who you respect and want to work with and treat you well, most importantly pay you the kind of money that makes you want to stay, hang around or be available for when that artist or band; next needs you to go on the road.

Despite all that’s been said reviled and rehashed in this article is this still justification for the kind of high end ticket prices looked at earlier from The Who, ELO and Metallica in particular, who bumped up the top line average price of their tickets I looked at? That’s the $64,000 question, is it just the standard, experience and quality of those working on those shows is greater than those for the other five sampled, Iron Maiden, Kiss, Rainbow, Alice Cooper and Deep Purple; I think not(?)! Is it the staging, lighting, sound and video equipment; again I think not(?)! Is it just because of who they think they are, in terms of a name in the industry, the special niche in the market place, their longevity, number of chart albums and hit singles, tour and festival headline appearances; possibly but contentious based against the rest of the sample(?)! Or, is it just they can get away with it, where profit margins have gone out the window for profiteering and no matter how fancy the window dressing it is still a sham, like the emperor’s new clothes, until we see through the ‘Pension Fund’ stacking ticket prices and start to hit back, then we are going to be as paying customers dictated to by not only the greed of some artists and bands but management (on behalf of their artists) to take that all to business like margin of 10% off the top but those lesser down the food chain but essential to the process of getting any band on the road the (not so humble) roadie, now a fully-fledged incorporated business man, a limited company working as a contractor for as high a daily rate he or she can negotiate for themselves (and it seems if they can take the money and run – they will). Its high stakes and dangerous men (and woman) when you work in an industry geared to entertainment but through the manipulation of what counts as the bottom line, just as manipulative towards profit and lots of it; if your lucky to hit the right place at the right time and suck the life blood out the rest of the market place. The only problem it leaves sometimes for weeks and month afterwards the local or even national talent in a vacuum, struggling to make ends meet when trying to schedule local gigs; or even regional and national gigs of their own. When the big boys like Metallica, start charging upwards of close to £100 a ticket (and Experience Packages that would make the Old Firm cringe with financial embarrassment), you know we have reached a tipping point, there is a diffence in being a fan and a fanny; if you like being the victim of an organised racket a well-oiled machine; hard wired to your wallet and want to keep buying in, then ‘So F**king What’ - ‘hell mend yeah’ we’ll get yeah a ‘Trust Deed’ to help get over your insolvency; as Christmas present.

Words (and Venom) Stewart Eadie

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