Undeadย Guitars rise from the ashes of Red Guitars

NEWSFlash!

We are four founding members of Red Guitars, Hallam Lewis, John Rowley, Lou Duffy-Howard, and Matt Higgins and we are now called ‘Undead Guitars‘ ๐ŸŽธ๐Ÿ”ฅ

We are currently working under our new name because one of our former singers, Jerry Kidd has trade marked the name โ€˜Red Guitarsโ€™ in his name only.

We clearly have equitable rights to the band name Red Guitars, but when we parted ways with Kidd in 2024, he registered it as a trade mark in his own name. Last December, when the four of us remaining Red Guitars released our single โ€˜Ho Ho Humโ€™ to raise funds for two refugee charities he used his registration to get our Bandcamp page suspended, and to prevent us releasing the single on other digital outlets. We challenged his registration with the Intellectual Property Office to the point of a tribunal case, and although we clearly have a good case, we have better things to do at the moment than to continue a protracted legal argument in a toxic situation. Life is too good and too short. 

We have not given up being able to use the name Red Guitars in the future but for now we are having a great time together recording and preparing for more gigs. And we are delighted to be โ€˜Undead Guitarsโ€™ to release our upcoming new single and video โ€˜Blazing Zombies’ in October.

And if youโ€™d like to, weโ€™d be pleased if youโ€™d subscribe to our blog, itโ€™s free and you can do so by entering your email here:

‘Ho Ho Hum’ Backstory

Here it is, our new single, out today. ‘Ho Ho Hum’ is our first brand new recording since 1986, written and sung by Hallam Lewis, it is a reflective observation on the struggles of migration for refugees, intertwined with his own recent experience of relocating from his home in South Africa back to the UK, when we reformed to play two UK tours.

Our new single ‘Ho Ho Hum’, our first since 1986 is released on December 1st 2024 and on all the usual digital platforms from January 24th 2025. The single is free to download at the link https://undeadguitars.bandcamp.com/ but we ask you to make a donation to either of the refugee support charities that we are working with, Breaking Barriers or the Refugee Council.

Breaking Barriers: https://breaking-barriers.co.uk/get-involved/donate-for-ho-ho-hum/

Refugee Council: https://act.refugeecouncil.org.uk/donation/donate-help-refugees-rebuild-their-lives

The video has a strong message and some viewers may find the content upsetting. But hereโ€™s to more peaceful times to come. 

We hope you enjoy โ€˜Ho Ho Hum’, and if you do enjoy listening please tell your friends and pass the word around to help support these important charities.

John Rowley, Lou Duffy-Howard, Hallam Lewis and Matt Higgins. Photo by Richard Duffy-Howard


We all have something to add to the backstory of the song …

Hallam Lewis: “The song โ€˜Ho Ho Humโ€™ evolved out of a piece of music (the main, opening guitar riff) that Iโ€™d had knocking about for some time, and was very fond of, and would often pick up and play in an idle moment. Funnily enough Iโ€™d given it the working title of Ho Hum quite early on, but it turned out to work very nicely in context โ€“ I think it was because the riff already had a flavour of marching on or โ€˜carrying on regardlessโ€™, which matched up well with the idea of travelling on persistently, despite many obstacles and indifference from others. 

The idea to turn the song into one about the struggles of migration occurred to me one day whilst out walking the dog in Cape Town (where I was born, and returned to live, from 2006 until 2023). The opening lines โ€“ โ€˜we love and we leave where we come from, itโ€™s deep in our breathing skinโ€™ popped into my head, and much of the rest unfolded pretty quickly โ€“ though not without a good deal of tweaking, crafting and reassessment.

I’d had recent personal experience dealing with such impassive indifference, bordering on hostility and corruption, when dealing on many occasions with the โ€˜department of home affairsโ€™ in South Africa, as my wife had to regularly apply for temporary visas in order to reside with me there. I obviously would not for a moment wish to draw any equivalence between this and the truly horrendous experience that it must be to be a genuine refugee, homeless and displaced by war or other momentous events. Nevertheless, I think the feeling of being at the whims of faceless bureaucracy when in a position of powerlessness is one many of us can relate to, and in turn this can help us relate to and imagine ourselves suffering the plight that asylum seekers and refugees have to deal with. There is so much in the news and media that tends to dehumanise and distance people in such a situation, so it felt like a good topic to attempt, in a small way, to โ€˜universaliseโ€™. 

In retrospect, I had also read the excellent book โ€˜What is the Whatโ€™ by Dave Eggars some years earlier, which tells the story of young people forced by war to leave their village in Sudan and walk for hundreds of miles, only to end up waiting hopelessly in limbo in refugee camps. The book has a warmly compassionate and uplifting side, but also conveys the rootlessness and โ€˜lostnessโ€™ inherent in any kind of migration. I have only realised recently that I was subconsciously drawing on this when I wrote the song.

I also added an extra ‘Ho’ to the title, when the line โ€˜hoping for room at the innโ€™ came to me, and I thought we could add in a little aside about the song being a Christmas one.

I have loved working with the band on the new material, and I’m really very happy with the way the song and the recording has continued to evolve and develop to this point. I think itโ€™s sounding great, and I really hope that others will find it as engaging and enjoyable to listen to as I do.”

Matt Higgins: โ€œToo often countries see refugees as a ‘problem’. Itโ€™s about time we adopted a bit more empathy and realise that a multi-cultural society enriches us all. I think in the West we sometimes donโ€™t realise how lucky we are and that millions of innocent people around the world have had their lives turned upside down by the warmongers, the dictators and the self-seekers who just want power, control and money. Letโ€™s all just be a bit kinder to each other. Is that so much to ask?โ€

Lou Duffy-Howard: โ€œThe difficulties of asylum seekers and refugees in humanitarian crisis is shocking, especially brought to light in the recent city riots.

I have worked with refugees in Hull over many years, initially when my husband Rich and I used to organise events and an annual free festival in a city park back in 1999. We met and played music together with Kurdish, Afgan, Syrian and African musicians who had recently sought refuge here. After that we both worked for projects in the city which helped refugees to integrate into life here and into work. Many people came with great skills, but had left all their paperwork, and qualification certificates behind, in their rush to escape. Rich and I went on to deliver a Heritage Lottery project about how it was for people coming here from war torn countries to find safety and start a new life. The stories people told us were heartbreaking and frightening. But some were heartwarming and uplifting. We played music together with the Kurdish friends we made, and found that music was the key to breaking language and culture barriers, and feeling welcome in a new land.โ€

John Rowley: “We live in turbulent and violent times. War, climate change, natural disasters and religious and gender persecution affect the lives of millions of people across the globe. This is the time of the biggest mass movement of people in history. At least 117 million people around the world have been forced to flee their homes. Among them are nearly 43 million refugees, around 40 per cent of whom are under the age of 18.

Now more than ever seemed like a good time for Red Guitars to put out their first new material in 40 years. Something to not just highlight the plight of these desperate people but to try to raise some money for the charities involved in helping people find a new home and employment so that they can have what we all expect from our lives.

The song ‘Ho Ho Hum’ is a gift to all our many fans and you can download it for free from our Bandcamp site. However, we ask that you donate a sum of money, no matter how small, to the Refugee Council or Breaking Barriers charities. While the Refugee Council provides  direct support and advice on a range of services to asylum seekers and refugees who have fled conflict, violence and persecution in order to rebuild their lives here in the UK, Breaking Barriers is a specialist refugee employment charity which works to find suitable and meaningful work for refugees and their families.

All proceeds from this single will go directly to helping people establish a decent happy life while contributing to the wealth and diversity of this country.

Even if it’s just the cost of a coffee, please consider supporting this. And just as importantly, send it to your friends, and get the word out.”

“Anything is everything to people who have nothing.”

Photo by Richard Duffy-Howard


Hallam Lewis, lead vocals and guitars
John Rowley, guitars
Lou Duffy-Howard, bass and backing vocals
Matt Higgins, drums and percussion

โ€˜Ho Ho Hum’ is written by Hallam Lewis, arranged and recorded by the band
 

And if youโ€™d like to, weโ€™d be pleased if youโ€™d subscribe to our blog, itโ€™s free and you can do so here:

Red Guitars 2023 Through A Lens

Rich came on tour with us again this year, as official band photographer, and also took charge of the merch stand, and drove the van from gig to gig. This is his account of the tour. It’s part of his annual music round up, the rest of which you can see here: https://loudhailer.net/2023/12/30/2023-in-music/

September. Here at last and four weeks off to drive the van with Lou on the Red Guitars 2023 UK tour. It is an incredible experience, days dissolve and morph into journeys and cities. The tour, and every gig, is well documented on www.red-guitars.com  – so this is not about the gigs.

We started at Manchesterโ€™s Night and Day Cafรฉ, central Manchester is a fast and heady mix of posh shopping and everyone rushing around with purpose but in a festival, circus type vibe and with a heavy scent in the air. A great gig and greratโ€‚to meet Charlie from Cape Town, but also great that Newcastle Cluny was next in a more familiar and homely east coast sort of setting โ€“ rivers, bridges, estuary. The Newcastle gig involved driving the minibus from Hull for logistical reasons, JR and Matt drove the van up the coast from Brid with Jerry. So me and Lou were accompanied by the constant stories, joking, and laughing of Jos, Hal and Doug including Doug finding an app on his phone which enabled Pavarotti to sing Good Technology, before a much needed pit-stop at Thirsk on the A19 for coffee and snacks. After the Cluny weโ€™re back in the van and a wondrous drive up the centre of the country to Glasgow Attic followed, with a โ€˜Welcome to Scotlandโ€™ and great view into Alba from a lay-by on the A68. We met Andrew and Peter Holmes of Selkirk Glass on the way up and had a delicious next day breakfast at the Single-End, if youโ€™re ever in Glasgowโ€ฆ

The way back down took us through Dumfries and Galloway on the M74 in Scotland that becomes the M6 (no โ€˜Welcome to Englandโ€™ sign) before turning left and into the Dales, with coffee and scones on Church Street in Ilkley, negotiating a single track road in a long wheel base over the moors at rush hour and then down to the Old Woollen in Farsley, with old chum Choque at the helm. The next was a day off at home, spent downloading, processing and uploading and posting the photos of the gigs so far to keep a rolling record of the tour, and to promote the next part, by showing what a great time we were all having. Then on to the unique Dorothy Pax in Sheffieldโ€™s Victoria Quays and being introduced to a 2.5% Grapefruit Radler in unfathomably tall glasses with half a grapefruit in each (thanks to Richard), before a quick breather and then the long journey south, over the bridge and back on the road to Bristol.

Bristol Exchange kicked off the southern leg and it was great to catch up with our friend Nick Harper who came over for the show. We stayed in a converted coal shed in Bedlington, and spent the morning, exploring East Street, and discovering the Art Collective and Emporium on the corner of Church Road. Back in the van with Lou and the Southampton Joiners followed, steeped in musical history and one of the oldest and best grass roots venues on the circuit. The merch stand and gallery were generating lots of discussion, meeting people and sharing stories and good times, old and new.

Next up Brum and the Birmingham O2 via a compulsory stop at West Kennett long barrow for an informative and enlightening missive from JR and to soak up lots of whatever it is as we drove on through the beautiful megalithic landscape surrounding Avebury with the Ridgeway to the right, heading north towards the anthropocenic Bull Ring. Birmingham was great, getting the van from a side street in the small hours and a loud and close voice – โ€œhey man, who are you, what are you doing, where are you from? โ€ฆWhat you say? โ€ฆHull? โ€ฆHull? โ€ฆAah, (with a broad smile) welcome to Birmingham man, Birminghamโ€™s beautiful!โ€

We woke early to head east, Norwich bound and looking forward to a day off and an all-in Air BnB. Strolling through Norwich, the Lanes and Market by day and in the evening Hal made an amazing smoked salmon cream cheese pasta for everyone. After the gig we breakfasted in the Lanes and I came away from Norwich with a neat haircut and me and Lou made off with a tub of complementary sweets (called Dexterโ€™s) from the BnB, motoring south-west to Oxford Streetโ€™s famous 100 Club. The 100 Club was packed and it was great to meet up again with Michel Faber and my old mate Chris from the shop. We left Oxford Street late and headed to the next Travelodge along the Westway in the midst of an incessant lightning storm.

The next morning was a relatively short trip to Oxford along the A40, Western Avenue passing the famous Hoover Building before dropping down into the Colne Valley with skies full of red kites above. The Bullingdon, not the infamous Club, but an equally well known venue for another reason on the Cowley Road was the penultimate gig of the tour. The BnB turned out to be the most famous on tour, Christchurch College, with breakfast served in the Great Hall, home to Hogwarts and Harry Potter.

Finally, the last gig approached and we chose the scenic drive south and through the South Downs and on to Hove and Brighton Chalk. We had a day off to explore Brightonโ€™s Lanes and in the evening Jerry and Jacqui took us on a night-time sea-front walk along Kemptown and Marine Parade to Brighton Marina and a regular haunt and delicious meal with a high tide and huge waves from the remnants of Storm Ciarรกn crashing on its West Arm. Every gig was a celebration, meeting so many people and filled with so much joy and friendship, starting 2023 live at Oโ€™Rileyโ€™s in Hull and with Brighton being the last and Jerryโ€™s home town seemed a fitting end to the tour. A privilege to be a part of. Thanks guys. Hereโ€™s to more to come.

October followed that. Whilst Red Guitars were filming for the Good Technology video, I was able to photograph the alien landscapes of scrap metal waste and recycling. Some of the images led to a small exhibition at the anniversary show, two for the cover of the 12โ€ (and t-shirt) and others made the individual gig posters for the tour.  These were put together to form an exhibition at the St Johns Hotel in Hull – as part of Humber Eco Fest – which has been running since October 11th. We worked with Docks Beers in Grimsby to produce a vegan bitter called โ€˜Good Technologyโ€™ especially for the exhibition. The musical element of the exhibition was a QR code that led directly to the new video so you could watch the film at the exhibition whilst enjoying a pint of Good Technology. Hic.

Richard Duffy-Howard December 2023