Famed for his enigmatic persona, stellar hairdo, time with The Charlatans, and for being the all-time Sunday Brunch appearance holder, Tim Burgess is a man of many hats. But being a Yuck-appointed King of Twitter, the one he wears today is more crown than cap. Tim’s taken the social platform by storm over the past decade with his famously adored listening parties; a simple idea in which an artist tweets along via Tim’s platform, whilst an audience in abundant numbers reads and listens simultaneously to a different album every night. What started as a one-off idea on the back of a Riz Ahmed tweet has become ingrained in British music folklore. Ten years on from the start of the listening parties, let us reflect with the main man himself.

I want to start right at the beginning - where did the idea for the original listening party come from?

Um, so I was watching ‘Four Lions’ and Riz Ahmed said that if you watch ‘Four Lions’ tonight, I’ll be tweeting along, and I thought that’s interesting. So, I start watching it and reading the tweets. I just thought that was a really interesting concept and pretty much straight away, I tweeted, would anybody be interested if I tweeted along as we played ‘Some Friendly’ by The Charlatans, and lots of people were keen, and I did it. They were humble beginnings, but that’s about ten years ago now.

The best thing about the listening party for us is the anecdotal stories behind the albums that you won’t find anywhere else. What does it mean for you to almost be a facilitator between the artists and their fans in the dissemination of this sacred information?

Lots of people have been to over half of them; there are even a few people who’ve been to every single one of them, which is incredible. Everyone can discover something new from all of them, even if they’re your favourite band, and I think it comes down to how candid people are. Especially someone who released a classic album 20 years ago; they tend to be so much more candid now about those times, because when you have an album out, sometimes it’s so much you feel you can lose by giving too much away, but 20 years later, you can just throw everything in. For instance, New Order probably would have been guarded about what synthesisers they were using at the time because they didn’t want anyone to copy them and things like that. So I find that element quite geeky and interesting.

Pete Paphides’ quote in the first couple of pages of the book sums up the idea wonderfully, he says that “the listening parties extend an invitation to anyone with an internet connection.” Was it always important to you, to really create an inclusive space within the listening parties?

It really was. I think that’s probably why they became what they became, especially during the pandemic. It’s kind of like when you’re a kid and you’re listening to records in your room, and all your focus is on that, and that period was very focused. Everyone felt alone, the music was coming through, you had somebody guiding you through the album, and I think it felt very personal, you know, even though as we were doing it, you were very aware that there were thousands of people listening.

“As time went on it definitely nurtured, but to be honest, the main underlining thing is that everybody’s welcome”

You’ve covered some really classic albums from established talent, but a lot of the magic for us comes from the listening parties with emerging acts, it feels as though you’re getting a deep insight into something still so new that you wouldn’t read in a feature...

It was really important for me to be able to have my favourites in there, but then it became really obvious that I would run out, it would be mad not to be more inclusive. I think at the start, I wanted it to be Oasis, Blur, Roisin Murphy, Prefab Sprout; things to set the standard. As time went on it definitely nurtured, but to be honest, the main underlining thing is that everybody’s welcome.

In terms of the book, it’s almost like a collection of listening parties and it transfers so well from Twitter to page. Where did the idea originate?

I was approached by loads of people to do the book. Then when DK books came along, I thought it was something that I’d not done before, it’s like an annual. When I grew up, every Christmas I would get the Guinness Book of World Records and I thought, this could be a yearly thing, right? We could give money to the Music Venue Trust and everyone would want to get involved because it would be giving something back for what they did during the pandemic, that’s how it came about. Also, they do Star Wars books as well, which is my little lad’s favourite.

“I’ve always said that it’s whatever people put into the listening party is what makes it so brilliant. When Staves did it, it was just phenomenal because they just put
in so much effort”

You mentioned the MVT there, it’s a really nice touch to support grassroots venues through the sale of the book. Was it important to give back, especially now that you’re involved with your music venue - Gorilla?

I think it just, it really marks the times in which it was done. Obviously, I want as many people to get behind it as possible. So it felt like the right thing to do. There are people who can be generous and being generous is nice. Musicians have been struggling, so it just all makes sense really.

You said that you probably only expected the listening party to last a few weeks, did you imagine at any point that they’d be as wide-reaching as they’ve become?

Well, I set out to make it as wide-reaching as possible. It made sense to go with Franz Ferdinand, Blur, and Oasis in the first week... and The Charlatans. Then we had to include the world, you know. And then it made sense to have emerging artists as well. Then it made sense to do festivals. We did ten a day once. I don’t want it to get to be ten a day again, but I do like the idea that it exists as part of my daily life. PR people are saying that we want to get our bands to number one, can we have a listening party, it’d be really appreciated. So it’s part of something else now that it wasn’t intended to be. I think when something happens like that and it’s out of your hands, you just kind of try and help it along. It changes shape; it has done the whole time through it. I think I guided it a little bit, but it’s its own thing now. I provide the platform, people come on and I hand it over to them.

To self indulge a little, I’d love to see Anton Newcombe do a listening party for a Brian Jonestown Massacre album. Are there any albums or artists that you haven’t covered yet that stick out for you?

From the very beginning and it’s because it’s like my childhood, I would love to do ‘Parallel Lines’ by Blondie. That’s still something to look forward to, I’m really hoping one day it’ll happen. Also, Wu-Tang Clan, because I know it’d be a long night, but ‘Wu-Tang forever’ with RZA and Method Man would be an absolute dream. I’ve always said that it’s whatever people put into the listening party is what makes it so brilliant. When Staves did it, it was just phenomenal because they just put in so much effort. I always thought Wendy Smith’s of Prefab Sprout was one of the most heartbreaking gorgeous ones, it’s so emotional. So I do have a wish list.

“I think we have to keep going with kindness, moving forward with kindness, and then hopefully my dark thoughts will dissipate”

You’ve kept busy during the pandemic, from helping save Gorilla to launching Gorilla TV, doing the listening parties, releasing the brilliant album ‘I Love The New Sky’, which we loved here. Was staying involved and active in music important for you?

Oh, yeah. I mean, as soon as I have time to sit and think about things. Then I grumble a little bit, so moving forward has always been something that I’ve always felt I needed to do. But especially in these times, I think we have to keep going with kindness, moving forward with kindness, and then hopefully my dark thoughts will dissipate.

Lastly, what does your immediate future hold?

To try and keep the listening parties down to one a day. I’m also in the middle of a follow up to ‘I Love The New Sky’ that’s sounding really good. Playing lots of shows. We’ve been practising for that and we’re sounding great, well it did a week ago. I hope we’re still great. So I’m about as excited as you can be.

Tuned In With Tim Burgess