Embarking on a self-booked European tour as a solo artist might seem daunting, but for Tashi Delay, the musician behind the post-punk electronica project (who is Emily Seabroke), it was a liberating and insightful journey. In September 2024, Tashi Delay ventured on a one-week Euro-Baltic tour, a blend of performances and personal reunions, documented in this tour diary. For those dreaming of their own DIY Euro Tours, Tashi Delay’s experience offers a blend of practical advice and the raw emotions of navigating the European music scene. Planning is key – booking six months ahead is recommended, a lesson learned even by a self-proclaimed “last-minute Larry” like Tashi Delay. This account, sprinkled with both British and American vernacular, unfolds the realities and rewards of independent euro tours.
Homecoming and Introspection: Starting the Euro Tour in Brighton
Every return to one’s roots is a journey of self-reflection, and for Tashi Delay, this euro tour began with a deeply introspective note in Brighton, U.K. Turning 40 just weeks before departure amplified this sentiment. The backdrop of UK news, surprisingly dominated by Oasis reunion rumors, triggered nostalgic reflections on youthful musical tastes, contrasting teenage adoration with a more mature critique of the band’s trajectory. However, nostalgia gave way to present connections as Tashi Delay journeyed into East Sussex for a birthday dinner with friends, following a stay with friend Eva in Brighton. Eva, a former electro-punk collaborator in their duo Das Fenster during their formative years, is a significant musical presence in Tashi Delay’s work, lending her operatic vocals to tracks like “Blue” and “F U”. The prospect of a future Brighton performance together, bringing Eva’s recorded parts to life, sparked exciting possibilities.
Tashi Delay performing live, showcasing the blend of music and visual art integral to her Euro tour performances.
Public transport in the UK often evokes a wave of emotions for Tashi Delay, the motion triggering memories of loved ones lost. The familiar landscapes stirred poignant recollections of personal tragedies experienced during her youth in the UK. This emotional undercurrent highlighted a significant personal evolution. Moving to the States had been a transformative “breath of fresh air,” a stark contrast to a period marked by grief and self-destruction in her younger years in the UK. Despite a 13-year absence from the London music scene and never having performed original music in the UK, a homecoming show loomed. This prospect was laden with anticipation and pressure to deliver a flawless performance for old friends and family.
London Calling: Navigating Venues and Homecoming Gigs on a Euro Tour
The journey from East Sussex to London on a train with her friend B marked the next phase of this euro tour. B, a fellow bass player from their music school days at BIMM Music Institute, provided crucial support beyond friendship. The morning was consumed with the frustrating “admin purgatory” of setting up a card reader for merchandise sales, a necessity in a landscape lacking a universal payment app like Venmo. The reliance on B’s Zettle card reader underscored the practical challenges of DIY euro tours, where even basic logistics require resourcefulness.
Hackney Central provided a convenient base, a novelty for a touring musician accustomed to logistical complexities. The simple act of walking to the venue, Biddle Bros, with just a guitar and suitcase, felt liberating. Tashi Delay’s stage attire, a white jumpsuit, was chosen to reflect the projected visuals, a signature element of her performances and a visual hat-tip to Elvis. This streamlined approach, born from luggage space constraints due to merchandise, added a touch of magician-like anticipation to the walk to the venue.
Arriving at Biddle Bros, described as a legendary dive bar reminiscent of New Orleans’ Poor Boys but with a sports bar front, was a chaotic introduction to the London gig. An unexpected open mic night preceding the scheduled gig created initial confusion and a sense of being out of sync. The venue, packed with a boisterous crowd, featured a surreal performance by a clown in melted Insane Clown Posse makeup, amplifying the initial disorientation. The atmosphere, thick with the smell of “wet dog” (later confirmed by the sighting of a Labrador), was a far cry from the expected organized gig setup. However, the promoter’s apology for the scheduling mishap and the subsequent drag act with a sampler eased the initial unease, setting the stage for a night of unexpected turns.
Soundchecking in front of a crowd already hyped from the open mic added to the pressure. The venue’s equipment, particularly a loud Marshall amp, posed immediate sound challenges. Navigating these technical difficulties while under the scrutiny of an expectant audience tested Tashi Delay’s adaptability. Fortunately, the venue’s projector simplified the visual setup, a usually complex aspect of her performance. Despite the rushed soundcheck and equipment limitations, a workable sound level was achieved, leaving the rest to the unpredictable energy of a live performance.
Happy Hooves, an acoustic guitarist, opened the night, followed by Tashi Delay. As friends from her former punk band Oink, known for their extended and unpredictable cover of “Old MacDonald Had a Farm,” arrived, the personal significance of the homecoming show intensified. The presence of her brother, a constant supporter throughout her early UK gigs, added another layer of emotional weight. His white Epiphone Les Paul guitar, borrowed for the tour and holding its own history from a 1998 summer camp performance, became a symbolic and practical element, saving transatlantic instrument transport and connecting to musical roots. Meeting Joe Cribbin, a connection through a New Orleans friend, proved invaluable for venue recommendations, highlighting the importance of networking in unfamiliar music scenes.
Despite initial sound issues during the second song, where distortion dominated the monitor mix, the supportive energy of old friends and the engaged audience propelled the performance. Johnny’s supportive heckling provided comedic relief amidst the technical difficulties. Notably, even during slower, more intense songs, the audience remained captivated, a testament to the immersive nature of Tashi Delay’s performance. The solitary nature of solo performances was highlighted – without bandmates to gauge the audience’s vibe, relying on sheer tenacity becomes crucial. The London homecoming show, despite its sonic imperfections, was a personal triumph, followed by the headliners, the punk jazz band Dan Spanner Trio, though post-performance socializing made catching their set challenging. The subsequent day in London was spent relaxing with family, a grounding contrast to the gig’s intensity.
Tashi Delay’s journey across Europe involved navigating different modes of transport, from trains in the UK to budget airlines for international flights.
Helsinki Adventures: Exploring New Musical Territories on a Euro Tour
The euro tour then transitioned to international ground, with a flight from London to Helsinki on Ryanair. European air travel presented new logistical hurdles, particularly the stringent rules regarding musical instrument carry-on. Unlike US airlines, budget European carriers often require guitars to be checked, a risky prospect for delicate instruments. Resourceful planning led to purchasing a seat for the guitar, ensuring its safety and proximity, albeit at the cost of an awkward interaction with a fellow passenger. The guitar, now secured with its own seatbelt, humorously became a “traveling companion” on this solo euro tour leg.
Helsinki Airport, “clean and dazzling,” marked entry into completely uncharted territories. Navigating public transport in a new city immediately presented challenges. The bus app malfunctioned, likely due to international card issues, and obtaining local currency for the fare proved surprisingly difficult. Despite the northern latitude, Helsinki’s air was warmer than expected, a subtle welcome to a new cultural landscape.
Google Maps became an essential tool for tracking the bus journey through the dark Helsinki evening, deciphering unfamiliar place names announced over the bus speaker. Spotting the hostel across the street just before the stop was a small victory. The return to right-side traffic felt unexpectedly familiar, a peculiar sense of “homecoming” despite being in a foreign city. The tower block hostel offered a communal kitchen, a hub for travelers sharing stories. A comical mishap with a microwaved hummus and salad wrap highlighted travel fatigue, a minor culinary disaster quickly dismissed in the face of exhaustion.
Despite travel weariness, the allure of Helsinki exploration prevailed. A late start was followed by a gear check and string retuning, essential rituals for touring musicians. A brief four-hour window for city exploration opened up before the evening’s show. A tram ride to central Helsinki provided a first glimpse of the city’s blend of modern and historical architecture. Senate Square and its massive cathedral were quickly appreciated before hunger pangs led to a market visit by the docks, battling strong winds. A covered market offered refuge and the comforting warmth of lohikeitto, a Finnish salmon soup. A tentative taste of reindeer on a cracker proved less appealing, a culinary curiosity quickly regretted. The remaining exploration time was dedicated to Suomenlinna, a sea fortress island, accessed by a ferry ride included in the day travel pass. Wandering the island ruins and gazing out at the sea, imagining the distant North Pole, offered a moment of reflective solitude.
The evening show was at Kalasataman Vapaakaupunki, a community art space recommended by fellow musician Bryan Bielanski. Its location, on the second floor of a modern shopping mall and train station, was unconventional. Seeing her name on a chalkboard outside sparked the familiar mix of nerves and excitement. The venue itself, with its 20-foot ceilings and warehouse-like feel, was striking. Meeting Roosa, the charming and helpful booker, eased pre-show jitters. Utilizing the venue’s PA as a guitar amp, along with her pedals, surprisingly yielded a better sound than the London gig’s guitar amp setup. Choosing to perform on the floor rather than the large stage created a more intimate connection with the audience. The Tuesday night crowd was relaxed, engaged in various activities – reading, studying, drinking tea – creating an unusual yet receptive atmosphere. Being the sole performer on a weeknight, with a 9 pm curfew, necessitated a concise set. The visual component of the show proved particularly effective in capturing the attention of this unique audience, demonstrating the set’s adaptability to different environments. The “civilized and efficient” 8:30 pm finish and 9:30 pm hostel return felt oddly surreal after the usual chaotic gig timelines. A post-show supermarket run and attempt to buy beer were thwarted by Finland’s strict alcohol sales hours. The hostel bar, however, provided a space to unwind, watching a football match – England vs. Finland, ironically – and realizing a possible “addiction to chaotic environments.”
Performing at Kalasataman Vapaakaupunki in Helsinki, a unique community art space that offered a different vibe compared to traditional music venues.
Tallinn’s Medieval Charm and Historical Reflections on a Euro Tour
A ferry journey to Tallinn, Estonia, marked the next destination. The tram ride to the ferry port offered a final glimpse of Helsinki, including an intriguing advertisement for a Finnish National Gallery exhibition featuring full frontal nudity, a surprising contrast to the city’s reserved demeanor. Regretfully, time constraints prevented further exploration of Helsinki’s art and music scene. The two-hour Baltic Sea ferry crossing to Tallinn, venturing further east in Europe than ever before, felt like a mini-cruise ship experience. Cheap beer and journal writing filled the travel time.
Tallinn presented a stark contrast to modern Helsinki, a remarkably preserved medieval town encased within fortress walls. Despite efforts, a gig in Tallinn didn’t materialize, making it a stopover between Helsinki and Riga, Latvia, primarily for exploration. The city’s picturesque images lived up to reality. A full day was dedicated to wandering cobbled streets, exploring winding alleyways, and climbing to the city fortress’s highest point for panoramic views of red-tiled roofs.
The historical weight of Russian occupation in the Baltic states became a central theme in Tallinn. A visit to the KGB museum, housed in a former art nouveau apartment building turned prison, offered a sobering immersion into the region’s past. Each cell remained as it was, accompanied by poignant stories of imprisonment and torture under Soviet rule. The experience was “heavy but essential,” underscoring the dangers of extremism and repression. Outside the museum, a prominent memorial to Ukrainian war victims highlighted the ongoing geopolitical tensions. The pervasive support for Ukraine, evident in Ukrainian flags and anti-Russian sentiment, emphasized the Baltic region’s historical context and contemporary anxieties, 33 years after the Soviet Union’s collapse, with history seemingly repeating itself.
From the fortress, the exploration continued to the arts district, situated in a repurposed industrial factory area adorned with murals. An outdoor photo exhibition commemorating the 1989 Baltic Way protest, where two million people joined hands in a 430-mile line across the Baltic states, provided an inspiring counterpoint to the somber KGB museum visit. This peaceful demonstration for independence and unity against Soviet occupation resonated deeply, especially in the context of contemporary global events and feelings of powerlessness. The day concluded at a Depeche Mode-themed bar, a quirky and fitting end to a day of historical and cultural immersion in Tallinn.
Riga and Online Connections: Meeting Internet Friends and Rocking a Euro Tour Show
An early, wet morning departure from Tallinn led to Riga, Latvia, and a highly anticipated gig with internet friends Dani Ryan. This connection, forged through Riga’s student radio station Radio NABA playing Tashi Delay’s single “F U” in 2021, had blossomed into a real-world musical collaboration. Dani Ryan’s synth-glam-disco rock sound provided an exciting contrast and complement to Tashi Delay’s post-punk electronica. Years of wanting to perform in the Baltic states culminated in this Riga show, the central catalyst for this entire euro tour leg.
The four-hour coach journey from Tallinn to Riga, costing a mere €20, surpassed expectations with amenities like free coffee, tea, and in-seat movies, putting budget travel in the US to shame. The journey offered time for writing and observing the passing landscape, miles of forests reminiscent of the Pacific Northwest. Mention of brown bears in the Latvian woods and the availability of bear steaks added a touch of local color. The abandoned passport control at the Latvian border, a relic of pre-EU open borders, felt like a scene from The Walking Dead. Arriving in Riga’s outskirts revealed miles of Soviet-era apartment blocks. The hostel, The Naughty Squirrel, while “shabby” and smelling faintly of pee, offered a welcoming shot of Riga Black Balsam, a Latvian liqueur with a distinctive herbal cough syrup flavor. The rest of the day was dedicated to exploring Riga’s old town, admiring impressive buildings, and relaxing in green parks. Riga’s unexpected greenery was a pleasant surprise. The recurring shouts of “oiii, aaah,” the distant calls of stag party revelers, added a humorous, if slightly disruptive, sonic backdrop to the city exploration. Riga’s popularity for English men’s stag dos, due to its affordability and drinking culture, drew parallels to New Orleans.
A local cafeteria chain, LIDO, offered cheap and tasty Latvian cuisine. Borscht, pelmeni (mushroom dumplings), pickled herring, and pelēkie zirņi (Latvian peas with bacon) provided a flavorful introduction to local food. An evening visit to Republika, a venue that had also offered a show, was to check out the space and catch a punk band, O’Morales, featuring an impressive stand-up bass player who channeled Jimi Hendrix.
Riga’s blend of historical architecture and modern energy provided a vibrant backdrop for the final show of Tashi Delay’s Euro tour.
Riga Show Day: Connecting with the Local Music Scene
Show day in Riga began with a conflicted desire to sleep in, quickly overridden by the realization of a likely one-time visit. A brief morning exploration of the Latvian National Museum of Art yielded a powerful encounter with politically charged and uniquely violent modern art, much of it created during the Soviet occupation.
Navigating Riga’s transport became seamless with the Bolt ride-sharing app, incredibly affordable and efficient. The €1.50 ride to The LODGE venue, located in the Avoti suburb, a former factory worker district, highlighted the city’s accessibility. Initial confusion upon arriving at an industrial cul-de-sac was dispelled by the sound of music and a pile of logs outside the venue – The LODGE. The interior, bathed in pink and blue lights and filled with impressive equipment, was a revelation. Meeting Valentin, the venue owner, confirmed the show’s meticulous organization, a result of weeks of Telegram communication. The LODGE served as the studio and rehearsal space for Valentin’s band, SXIMA, evident in the venue’s detailed design, incorporating sound absorption elements like hammered-open books and a bathroom door adorned with multiple handles and mirrors. Stephanie, the co-owner, joined, and preparations for the show commenced.
The arrival of Dani Ryan, a much-anticipated meeting with internet collaborators, was initially marked by shyness and a sense of surreal anticipation. Allowing Dani Ryan space for soundcheck, Tashi Delay ventured out for food, finding a satisfying Chinese hole-in-the-wall. A brief attempt at vocal warm-ups in a park was abandoned due to self-consciousness.
With ample time before the show, beers with Valentin and Stephanie led to engaging conversations about Latvian life, the lack of social safety nets for older generations, and the economic realities of post-EU membership. The multilingualism of younger Latvians, fluent in three languages, contrasted with the monolingualism prevalent in English-speaking countries. Later, chatting with Dani Ryan outside, Demi and Tashi Delay bonded over music, sharing concert experiences and generational perspectives. Demi’s excitement about Tashi Delay having seen iconic bands like System Of A Down and Red Hot Chili Peppers bridged the age gap, making age feel “irrelevant” in the context of shared musical passion.
Dani Ryan’s performance was captivating, Demi’s engaging stage presence and banter, Valdis’s glam Viking aesthetic and impressive bass solos, all contributing to their synth-glam-disco rock energy. Their choice to perform and banter in English, explained by Demi as the “international language of music,” raised questions about linguistic dominance in the global music scene.
Tashi Delay’s set followed, met with an engaged crowd that remained attentive throughout. The detailed preparations paid off in a visually and sonically strong performance. However, an unforeseen blue light positioned beneath her hindered fretboard visibility, a minor but challenging detail. Merchandise sales were brisk, and post-show conversations with audience members were rewarding. Dani Ryan excitedly showcased their rehearsal space in a nearby tower block, a former office building repurposed for punk shows and rehearsal rooms since the 80s, reminiscent of a “room at the End Of The World Naval Base in New Orleans but with better lighting.” Hanging out in their rehearsal space extended the night, culminating in a sense of “satisfaction and completion.”
The Riga show marked the fulfilling of a long-held ambition, the culmination of two tours in a year after pandemic-related postponements. The “endless hours of emailing and researching” for booking DIY euro tours had proven worthwhile. Returning home, the next steps were clear: songwriting, life resumption, and planning the next musical venture, eager to “get back out there again soon.”
Tashi Delay and Dani Ryan, highlighting the collaborative spirit and international connections fostered through DIY euro tours.
Tashi Delay plays the Howlin’ Wolf with Bryan Bielanski on November 19. For more info, check out tashidelaymusic.com and @tashi_delay on Instagram.
Top photo: Tashi Delay At the LODGE (Riga)
