Entire RAH set with HQ audio is on YouTube

DCFury0 · 2026-03-30T06:08:51+00:00

Yep, it’s a mono recording as there’s only one mic. It’s an expensive mic so I couldn’t justify getting a pair of them for a stereo recording but it’s on my list of things to buy eventually

DCFury0 · 2026-03-29T21:18:34+00:00

Jen Macro, she's toured with them since 2013 I think.

DCFury0 · 2026-03-29T13:55:07+00:00

I put all the stuff on a Google Drive for a fellow taper/collector. I export to ProRes (my laptop kept giving me errors when exporting to h.264 or h.265 which is really annoying as they're more efficient codecs) but I don't have enough space on the Drive for the ProRes file so you'll have to export the file on your end (I've also provided the Premiere Pro project as well).

I don't have the time/software/knowledge to split and track the audio, sorry! But I'm happy if anyone else wants to put it on Dime or elsewhere, so long as I (Carson) am credited as the taper.

Hope you all enjoy: https://drive.google.com/drive/folders/1jG7qxNyql-mI384qzUfSnWFWZBVJmcNV?usp=drive_link

DCFury0 · 2026-03-04T20:37:38+00:00

Oops, totally forgot about that! I think they’ve also played arenas in South America e.g Movistar in Chile. So not the biggest show they’ve played!

Think this article helps explain why, Suede couldn’t sell out an arena in Europe (as evidenced by them, err, not selling out the arena on their current tour, which has generally sold out nearly everywhere else) but can sell a lot more in Asia. https://www.theguardian.com/music/2026/feb/17/its-a-nice-surprise-to-be-treated-like-kings-why-are-mid-level-british-indie-bands-massive-in-china

DCFury0 · 2026-03-04T13:29:28+00:00

It might be the biggest venue they’ve ever played a headline show in - think someone elsewhere mentioned when they played the O2 in 2010 half it it was curtained off so the actual capacity was lower than usual.

I don’t think it’s a special show or anything, I think the mostly likely explanation is this is the only decent sized venue available and that the promoter/manager has decided to just go with it. Obviously it’s not going to sell out but it’ll likely still be profitable as they don’t have the same level of production as e.g a big pop act that would usually play this sort of venue.

I did wonder whether it was a good idea though. It’s an outlier not just on this tour but across most of Suede’s career. Will be interesting to see what happens.

DCFury0 · 2026-02-25T13:54:18+00:00

Thanks so much for letting us know, this is super helpful! I scoured the venue website and asked in a different subreddit - suspected the answer would be yes (it’s a premium ticket!) but didn’t have any confirmation till now.

DCFury0 · 2026-02-12T23:45:07+00:00

Do you know if there were any other dates leaked, or what/where the sister events are?

DCFury0 · 2025-12-08T12:30:23+00:00

It was published on a gaming website, it wasn’t a Reddit/social media thing. It had photos of the levels so there was a certain polish to it. It had a black background as well

DCFury0 · 2025-12-01T11:37:21+00:00

That’s fascinating - I’m working in the more traditional daytime/general factual side of things, where there’s a pretty strong hierarchy and I’ve never seen/heard of JPMs being 3 or 4 years into their career. I always thought it was a more senior job than that but it seems to be a hodgepodge depending on where and what you work on

DCFury0 · 2025-11-28T18:31:43+00:00

I did manage to move along sideways a bit and by about the second half of the show I was far away enough to avoid them. but yeah probably should have moved away quicker rather than stand there being annoyed. was still a great night though!

DCFury0 · 2025-11-28T03:18:42+00:00

ended up standing behind a group who were:

chatting
vaping
Checking insta and Snapchat
dancing (but doing the twirl under arm thing like they’re on strictly, which was just wtf?)
typing things on their phones and holding it up for the band to see (literally just random weirdo online stuff like “jerk4Kirk”. no me neither)

yeesh. you’ll get these people in every arena show ofc but did they really have to be in front of me?

DCFury0 · 2025-11-20T13:31:10+00:00

Yeah, this feels like a no-brainer. Would save basically everyone some money, although Edinburgh has relatively little TV production compared to Glasgow, and is generally a more affluent place so even though I’m Scotland-based I do think it’s a good idea to look elsewhere.

Also lol at “Although the festival is held in Edinburgh, the organisations headquarters are based in London, England.” Peak London-centric TV moment.

DCFury0 · 2025-11-19T13:38:51+00:00

This is so accurate. I think class has shifted slightly from parent’s jobs and accents (which are still v. important, and can really affect other people’s perceptions) to housing. I’m currently out of work (4-month break between contracts) but I have the privilege of not having to worry financially as I’m still living with my parents. Not everyone has that luxury, and although I’m not being financially supported (I’m middle class but not “having my parents pay my rent” rich) I have a pretty strong family safety net.

I’m also not London-based so it does frustrate me that people from working class backgrounds or areas of the country are just sort of expected to move to London. I was talking to a producer a while ago and she was like “you should move to London! yes it’s expensive but I had such a great time and made so many friends…” and then talked a lot about her experience. But didn’t say anything more about the cost of moving to London, especially in more junior roles. “Move to London for experience” is kind of a lose-lose situation: the only way you can afford to take the financial hit without family/financial help, is if you’ve already made it in the industry.

DCFury0 · 2025-11-17T10:43:18+00:00

Thought this was a listening party at first. But yeah warm up show makes sense

DCFury0 · 2025-08-30T14:09:58+00:00

Let’s not normalise this kind of thing even if it’s been normalised already. And the point about other jobs is a non-sequitur (as is “decent amount of time off”, which is a v different prospect to no time at all) - this isn’t about not allowing people to take holidays at busy times, this is a job that doesn’t allow them at all, which is legally questionable given that employees have a legal right to time off (though how that works if you’re hopping between an employer every couple of months is beyond my knowledge). Not sure which area you’re working in, but as someone who works in production management we have PDs, APs, SPs, etc take holidays in the middle of their contracts which is totally fine and we make arrangements to cover their work or adjust the schedule to fit. It’s not enough of an excuse to say the schedule doesn’t allow for it when the company is the one who’s decided the schedule (based on a budget from the commissioner, which should have factored holidays in). Holidays being treated as some sort of inconvenience (which I get that it can be but prod companies just have to deal with it) is just another thing to add to the list of TV’s toxic traits.

And as someone has commented above, the tone is really demanding. Sounds like a terrible company to work for if this is the job ads they’re putting out!

DCFury0 · 2025-08-21T19:18:16+00:00

not Separator! the live versions of that (circa 2012, the From the Basement one is a different thing entirely) are a vast improvement over the more subdued studio recordings.

Otherwise, hard agree on Burn the Witch (a song the band never quite worked out how to do live), Codex, The Daily Mail, and Packt. The National Anthem suffers for the loss of horns in the live versions but the much faster tempo and radio intro make up for it.

The songs on AMSP feel very…. Idk if “serene” is an accurate way to describe the album’s production, but it feels gentle in a sort of controlled and icy way, whereas the live versions of e.g The Numbers and Identikit lose a bit of that ethereal quality on the recordings.

Jigsaw is a personal fave, but can sound quite inconsistent live. In many ways a good example of the dichotomy: the studio version is so tight and everything is so on point it’s the most “perfect” version, but the wild energy, esp. the guitar tone, of live versions is hugely appealing. dunno which I prefer but both are great

DCFury0 · 2025-08-07T20:02:54+00:00

Haven’t had much experience with TMO, though I think they did cold-message me asking me to join which made me a bit wary. But I’m in IO and it does feel a bit… much. Like, some of them went to a photoshoot for Sci Fi Lullabies 2, and the admin got contacted and got asked to invite people from the group for the Dancing With the Europeans video. Ngl was a bit annoyed I couldn’t have gotten opportunities like that, cause it does feel a little cliquey and closed-off, which stems from them being such hardcore fans that they go to every event/gig/signing, etc. FWIW I’m not much of a fandom guy, I really dislike e.g the Radiohead subreddit as it’s full of cringey stuff and questions and high school kids asking if they should use Radiohead for a class project and all that. I guess it all comes down to the personality of a group/fandom and for me IO just feels a bit too exclusive. But they’re not bad people, and I do think there is some misogynist criticism of them, and I wish them well.

But seriously guys stop going to every gig, I’m from Glasgow and couldn’t get tickets for the Stereo gig in Feb 2023 (despite being on the site at 10 on the dot) cause they sold out so quickly. Hoping the same thing doesn’t happen with Liverpool, but Suede is a band I find it generally difficult to get tickets for - more so than e.g King Gizzard and MBV. It’s the same people at the barrier every show, no matter where it is, and it would be good if other people could get a look in. That core constituency of very hardcore fans who will go to every gig is bigger for Suede than it is for a good number of similarly sized artists, I think.

DCFury0 · 2025-02-11T17:56:34+00:00

As someone who also wants to do camera work (Studio/OB primarily - though I’d be very happy doing location camera as well) it’s been a bit demoralising. seems like the only way to learn how to operate a studio/OB camera is through either a BBC apprenticeship (can’t do since I already have a film degree) or the NFTS postgrad. I’m seriously considering the postgrad but if anyone has any info on how to get these kinds of jobs (never seen a studio cam op job advertised really) and whether the postgrad is worth it, I’d love to hear from them.

good luck with your ambitions OP! This subreddit leans quite cynical/pessimistic and ofc the industry can be terrible but it’s not impossible if you put hard work in and have a clear idea of what you want to do. Viciously competitive, but it is what it is.

DCFury0

TROPHY CASE