The Beggorian Empire has a long and detailed family history dating back to the 16th Century comic, Arthur Lawrence Vale. Far too much history to be detailed in this short biography, so I will skip directly to Reading Festival 2003.
It was an August summers eve and Justin and James were nestled between thousands under the white canopy of the Radio 1 tent. A certain melancholy act took to the stage. Polluting the entire crowd with deep soul, pulsing rhythm and elegant libretto. In that instant a fire erupted in both brothers bellies. This was magic. This was the future.
Rehearsals began in ernest the following week. A day did not pass without at least one John Lennon vs Paul McCartney related argument. Daniel Webb was obvious choice for the position behind the cymbals being an old friend of the brothers. Soon his talent for verse became as integral as that for rhythm and the words of Beggars began to surge.
Over the following year the sound of the band moved through various influences and eras. During which time Daniel Stargatt, a school friend and kindred spirit, edged his way from uber-fan to bassist. Copius gigging ensued and further influences came a-knocking. Some were allowed in, offered tea and a comfortable seat. While others heavily rebuked and thrust into the night, like Mary at the Inn. The fabric of the band regularly unraveled and then rebuilt itself, stronger and more certain than before. This was a band of brothers. No one person worked more or less harder than the other and the band progressed, driven by a common passion.
Another year passed and Daniel Stargatt had not only taught himself bass, guitar and piano from scratch, but he was now writing songs at an inexorable rate. That christmas the boys decided to say thankyou to all their friends and family for there unrelenting support and encouragement. A christmas party would be had. The first Beggars Opera Christmas. A night of dance, drink, music and festive joy.
The support came from Twyford Tunesmith and 60's bastard, Noah Kelly. Noah's uncle, Martin had journeyed down from Oxford, fulfilling his promise of making it down to see Noah play before the end of the year. The warm spirit of christmas filled the room and understandably Beggars did not make it to the stage until late into the evening.
Post gig as Justin made his way to the fire exit for some much needed fresh air, he was stopped by a young songstress, Laura Marling. After much praise for the bands performance and an offer from Laura to support her on her next tour, Justin continued to the door mildly elated. Before he could make it, he was stopped again. This time cornered not by a blonde young girl, but by the figure of a middle-aged man, modish in appearance with top button firmly done-up and a floppy 80's haircut. He recognised the man as Noah's uncle, Martin, who had earlier introduced himself quietly as a guitar collector with a little-known record label. This time his manner was officious and exuberant, he was Martin Kelly of EMI's Heavenly Recordings and he wanted to sign Beggars!
hey! haven't heard much from you recently and only just heard the new tracks as Young Mistakes. As much as i like them, like others have said i'm pretty disappointed. i spoke to you all for quite some time after your gig in birmingham (which was amazing) and you all seemed really passionate about what you were doing and what you were creating.
the whole mowtown feel, it was innovative and fresh. you're as good as anyone else in the genre and movement you've moved too, but it's a bit of a kop out.
Nevertheless if you came anywhere near birmingham with Young Mistakes I'd part with my money to come see you. Hope things are okay, x
Whilst I think its bold that you decided to change your musical style, personally I think its a real shame. You were making such good music, beautiful melodies and fantastic vocals, and were doing something that at this time, noone else is. It was really refreshing, I went to several of your gigs, and you guys were just electric on stage, an awesome sound. Now it seems you appear to be going down the route of MGMT/Empire of the Sun 'electronic' sounding stuff, which I dont think is as cool or as good sounding, and not as original and exciting as you guys were.
I saw you you at Madame JoJos, Festival Hall and 100 Club and you were absolutly brilliant, you had loads of new stuff each time, and each song was really superb. The atmos at the 100 Club was great, it was a good crowd and things seems to be building for you.
The last time I saw you was in Angel - your sound was changing, and I have to admit, it seemed to have lost something.
Obviously I hope it all works out for you, though in a selfish way, I hope you go back to what I think you were best at!
Like dating- change is good, I think its an extremely bold and innovative move for Beggars to have pushed themselves and musical talent out-side of the box.
Young Mistakes is diffferent of course, but its an exciting time for these young talented and charming men ^____^
WATCH
THIS
SPACE!
The future of music is built upon ideas- not blueprints.
So what happened to Beggars and real music? I take it you're all sell-outs now and signed to someone who wants a generic type of music? I remember meeting you guys after Joe lean and the jing jang jong and then getting really excited about when you came back to Norwich, my friend, sister and I got to the gig venue ridiculously early and were the last to leave, just for the chance of meeting you guys again. Beggars were making real music; all I hear now is some generic computer generated noise.
Another day, another name, another musical direction, another batch of pictures of you lot looking moody next to a fucking pond... it's difficult to keep up.
Anyway, hurry up and organise something in London. Otherwise, by the time I see you again, I'll have totally lost track of what you're calling yourselves. And you'll probably have moved on to free form jazz improvisation, or something...
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