i-D magazine 2001 photographed by Alasdair McLellan and styled by Simon Foxton

Photography Alasdair McLellan, Styling Simon Foxton.

[i-D, The Location Issue, No. 242, April 2004]

I miss Simon Foxton..

i-D, July 1991.

British Vogue Editor-in-Chief, Edward Enninful.

Ph. Jason Evans.

Featured in “When You're a Boy: Men's Fashion Styled by Simon Foxton,” 2009.

Stone Island campaign Photographer Nick Griffiths Styling Simon Foxton

MAKEUP

Strictly by Jason Evans and Simon Foxton

Strictly by Jason Evans and Simon Foxton

Crushed Car by Nick Knight, styled by Jonathan Kaye and Simon Foxton, W Magazine, October 2001, pp. 107-114.

Michael in the Garden, 1992 Photography by Simon Foxton

Ad for Jean Paul Gaultier's 1st fragrance

By Nick Knight & Simon Foxton

C.1990s

i-D Magazine | July 2007 | The Ice Cream Issue

Fashion Director - Simon Foxton Photography - Simon Thiselton Design - Matthew Hawker

taken from my_magazines_ on Instagram

MATTY CARRINGTON FOR GQ STYLE UK SPRING/SUMMER 2017

MATTY CARRINGTON FOR GQ STYLE UK SPRING/SUMMER 2017

(more…)

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REVIEW: STIFF LITTLE FINGERS LIVE AT THE LEMON TREE; MARCH 20, 2019

Photo Credits: Hannah Power (Hannah Power Photography) The Lemon Tree is a venue local bands are occasionally lucky to play as it’s usually acts with a far bigger profile that get afforded the opportunity.  Last night, just off Aberdeen’s King Street, The Lemon Tree hosted Belfast punk band, Stiff Little Fingers.  The turnout was really healthy even for a Wednesday night.  Supporting were Southend-on-Sea’s rockers, Eddie And The Hot Rods. As said, there were only one support act to contend with on the night; that of four-piece, Eddie And The Hot Rods.  They consisted of vocalist, Barrie Masters; guitarist, Richard Holgarth; bassist, Dipster; and drummer, Simon Bowley. Though coming to prominence during the British punk boom in the late Seventies, they didn’t necessarily eschew the kind of influences in rock music that a lot of the punk bands of the time did. Somehow straddling the line between a punky sound, yet remaining somewhat outside the sphere of that predominating genre of the time.  Nevertheless, they’re considered, rightly or wrongly, amongst the founding fathers of the punk rock era.

Earlier in their set were tracks like “Telephone Girl”.  It was in your face, grooving moodily.  “Why Should I Care” stomping bass drum, a newer one. Then the swaggering immediacy of “Bad Time Again”.  Slow only to go blisteringly fast.  Crowd clapping, too.  “Do Anything You Wanna Do” had the crowd singing back to them, Barrie declaring, “Put your hands up”.  They obliged, just bass drum and crowd. “She makes me beg for more,” that line in “Gloria”.  This with chugging bass and tribal drum. Now for the main act of the night, that of four-piece, Stiff Little Fingers.  They consisted of vocalist and guitarist, Jake Burns; guitarist, Ian McCallum; bassist, Ali McMordie; and drummer, Steve Grantley. After forming at the height of The Troubles in Northern Ireland, they split up after six years and four albums, reforming in 1987. Despite major personnel changes, they still tour and record. In 2014, the band released their tenth studio album, 2014’s No Going Back, and a world tour followed its release. Jake Burns, their lead singer, is the only member to have been with the band during all its incarnations, but come 2006 original bassist, Ali McMordie, rejoined them following the departure of Bruce Foxton, former bassist of The Jam, after fifteen years.  Shows remaining on the tour are tomorrow in Manchester, Saturday in Portsmouth and Sunday in London still having tickets remaining.  All dates with Eddie And The Hot Rods in support, with The Vapors joining the other two for the London date. The set began with a backing track of “Go For It”, the crowd singing the riff. Already amped and upping the ante for the introduction proper, “Law And Order”.  This was a dragging punk number. “At The Edge” came in with rolling tribal drum.  “They would always teach me that to swear was a sin,” followed by a guitar solo dripping in musicality.   Bludgeoning “Suspect Device” had Ali with real swagger. “…they’re still a couple of w*nkers,” regarding Simon Cowell and Louis Walsh.  And so went “Guitar And Drum”, guitar and drum rock decrying instant fame without the graft of being in a band and writing your own songs. “Strummerville” then told a story, dedicated to late The Clash frontman, Joe Strummer, a massive influence on the band. The following, “16 Shots”, was more saddening.  Tragic, even.  Bullets rather than necking drinks at the bar, put it that way.  Emotive twin guitar lead lines like another inspiration, Thin Lizzy.  Nine of those shots in the back.  “Excessive force,” indeed. There’s a “Silver Lining” to all this, however.  This, though, railing against the policies of Margaret Thatcher, so maybe not. “I’ve been a socialist my whole f*ckin’ life,” he explained.  The guitar evocative of growing pains. “Many thanks to that orange faced arsehole,” this time the current American president, Donald Trump, getting it in the neck for “Harp”.  Suitably a kind of Republican Party country music boom to the track. Next, the men of cloth were “Guilty As Sin” for their betrayal and sexual abuse of children.  Morose and acoustic of strum. “Wasted Life” was rousing, with singing emanating from all four corners of the venue.  McCallum then took the singing reins for “Can’t Get Away With That”, the drumming like “Pretty Woman” by Roy Orbison.  Unbridled joy, it felt. “Listen” was despondent, pleading you listen.  This had some eloquent flourishes of bass, too.  “State Of Emergency” had the crowd out front going mad, the first or second song he wrote for the band, apparently. “My Dark Places” then had Jake remarking upon John Lydon of Sex Pistols and his response to the death of Keith Flint, Prodigy vocalist.  Suffering depression himself, it was an issue close to Jake’s heart. “A lot of that can be alleviated if you just f*cking talk to somebody.” Young memories then “Just Fade Away”.  “Nobody’s Hero” had the words at one with the crowd, the frank observation, “What you see is what you get.” The main body of the set came to a close with, “Gotta Gettaway”.  Perhaps crushing in contrast to introduction.  Everyone was animated out front, thumping of feet and clapping of hands urging for an encore. First encore, “Drinkin’ Again”, had an Irish, folky bounce.  This part of a pet project a lot longer in the making than originally envisaged.  Raucous all the same. “Tin Soldiers” opening drum and sparse guitar, its power to transport and its hook parried by the crowd like a football chant.  Staggered and emphatic end. Closer proper, “Alternative Ulster”, was immediate like bombs blowing up.  A troubled Ulster, explosive end.

Stiff Little Fingers’ most recent album, 2014’s No Going Back reissued in 2017, can be bought on iTunes, here. Also visit their Deezer, YouTube, Spotify, Google Play Music, TuneIn, Twitter, Facebook and website pages to keep tabs on Stiff Little Fingers.