Ian Broudie originally emerged from the post punk Liverpool music scene of the late seventies playing in the band ” Big in Japan” alongside fellow band members Bill Drummond (KLF) Holly Johnson(Frankie Goes To Hollywood) Budgie( The Slits/Souxie And The Banshees). Jayne Casey(Pink Military)
Before the band ended in 1979 they created the independent record label Zoo Records which would later feature the bands Teardrop Explodes and Echo & The Bunnymen.
This in turn led to him producing several bands (sometimes credited under the pseudonym “Kingbird”) starting with Echo & The Bunnymen and including The Fall, The Pale Fountains and Wah along with many other bands for the emerging independent record labels of the time including Factory Records, Rough Trade, Creation Records, Beggars Banquet etc

In 1989, Broudie returned to his songwriting with a set of home recordings. Out of necessity, with no record contract and no band in place, Ian sang and played everything on the tapes himself recording in his “spare bedroom”.
Eventually, there was the opportunity for extra production on the tracks and a few hundred copies of “Pure” were pressed up through Rough Trade on the small independent record label Ghetto. “Pure” was released under the name “Lightning Seeds”, the imaginary group he had envisioned to write his songs for in the hope it would become a reality.
Gradually over a period of months, “Pure” started to gain some attention. Initially with radio play from the legendary DJ John Peel and then specialist night-time plays on regional radio stations.
Pure began to climb the independent record charts and before long it was featured on daytime radio and became a chart success.
Imported copies of the single had somehow made their way to the USA and Pure was spontaneously being played on American college stations and championed by KROQ’s legendary DJ Rodney Biggenheimer. It soon became the most requested record in California topping the airplay charts although it was not yet released or even placed with a label in the USA.
In 1990 with the release of the Album Cloudcuckooland the Lightning Seeds were truly off and running on both sides of the Atlantic although the first gig would come a lot later.

In 1991 after producing The Wild Swans and Pink Industry Broudie started on the second Lightning Seeds album ‘SENSE ’
Inspired and fascinated by the way loops and sampling were being pioneered and used on a lot of hip-hop records (in particular De La Soul)…. Ian decided that by using this sample based technology and methodology combined with Lightning Seeds structured arrangements and melody led cadences so contrasting in style to the music inspiring him he could create an unusual blend and an exciting direction for the band’s sound.To that end he began working on the album with co producer Simon Rogers who was adept at sampling etc and the perfect co conspirator. Joined by Cenzo Townsend on engineering duties, they recorded the Lightning Seeds’ second album Sense. Ian’s brother Rob had kindly donated his front room agreeing to let it be commandeered for a couple of months as a makeshift studio.
The song ‘Sense’, which also became the album title, was the first of many songwriting collaborations between Ian and his good friend Terry Hall. “Sense” along with “The Life of Riley” became the most effective and memorable recordings born out of this approach and pointed the way to the future sound of the band.


Following the release of the Sense album, Ian rented a couple of rooms in an old laboratory in Liverpool city centre and set up his equipment in a more formal studio setting. This was particularly fruitful since it allowed him time and space to produce records. During this period, Broudie produced artists such as Dodgy, Alison Moyet, Terry Hall, Sleeper and The Frank and Walters. He also provided free time for some fledgling artists, including The Divine Comedy.
In the meantime, The Lightning Seeds were once again without a label with the implosion of Rough Trade and Ghetto records. Nevertheless, writing and recording began on the next album”Jollification”. There was a different atmosphere around these recordings….Although it was the same recording team, improved technology helped Ian to find a more attainable sound and this encouraged him to focus more on Lightning Seeds; committing to becoming a live band, promoting the album and shelving all other distractions.
For the first time Ian gathered musician friends together to form a formidable band originally consisting of .. Chris Sharrock (future Oasis drummer) Bassist Martyn Campbell (of legendary Liverpool beat band Rain)…and Ian’s neighbour Paul Hemmings also a founder member of the La’s…this was the nucleus of the live band although keyboard players and others came and went and Chris was later replaced by The Who drummer Zak Starkey. Jollification was released in 1994 on Epic Records it was easily their most accomplished album so far selling in excess of 900.000 copies.

In 1996, Euro ‘96 was set to be the first major football tournament to be held in England since they had won the World Cup on home soil in 1966. The English Football Association asked Ian if he would write a song for the England team.
He had the idea of collaborating with two comedians David Baddiel and Frank Skinner, the hosts of popular TV show Fantasy Football.
They then wrote and recorded the song 3 Lions ’96, which became a number one single on two occasions, selling over a million copies in the UK.
Another version of the song, 3 Lions ’98, also topped the Chart two years later.

The album Dizzy Heights was released in 1997 and contained many of the group’s most successful hit singles. Ian co-wrote with Nicky Wire (Manic Street Preachers), Stephen Jones (Babybird) and once more with Terry Hall (The Specials). A reworking of The Turtles’ song “You Showed Me” was also featured. Halfway through recording the album, Broudie’s studio was relocated to a barge on the river Thames, owned by Pete Townshend, and the recording was finished on board.Dizzy Heights went on to achieve platinum sales, also receiving a coveted 5 star review in Q magazine.

The last Lightning Seeds album “Tilt”was released on epic in 1999 and was followed by a long hiatus.
During this break from the Lightning Seeds, Ian returned to his hometown Liverpool and started helping to develop two unsigned bands The Coral and The Zutons.
Subsequently this resulted in Broudie producing debut platinum selling albums for both bands.
The Zutons
“Who Killed The Zutons”

The Coral
“Magic and Medicine”
“The Coral”
“Nightfreaks and The Sons of Becker

This short stint back in the producers seat also saw Broudie produce debut albums
The Rifles   “No Love Lost”
The Subways    “Young For Eternity”
as well as the recording and releasing the well received solo album “Tales Told”
on the Deltasonic label

Ian’s Studio is now located in Liverpool on the roof of a warehouse, overlooking the river Mersey, in which he mixed the album “Don’t Forget Who You Are” which he had produced for Miles Kane in 2013.
Broudie recently performed a solo concert, which included a collection of his songs and some of his favourite productions, with the Royal Liverpool Philharmonic Orchestra. Guest vocalists James Skelly, Terry Hall, Ian McCulloch and Miles Kane joined Broudie who was backed by guest musicians Sean Payne, Nick Power, Bill Ryder-Jones, Martyn Campbell and Riley Broudie.
He is currently writing and recording the first Lightning Seeds album for many years.

The band’s debut comes on Saturday 27th May at the TT2017 celebrations for Bushys 20th Anniversary.



Bushys are proud to be crossing the 20 year milestone with their presence on the Bottleneck car park synonymous with the TT and essentially for ferry passengers, the first thing they see
when they arrive each year. The tent and the set up has evolved noticeably in those years with more staff, more investment and more technology and production going in to making
each year better and better. 2017 is by no means an exception other than thanks to TRISKEL PROMOTIONS (who themselves celebrate 17 years of the 20 providing the very best of
local and International music over that period) have teamed up with BUSHYS to make the 20th VERY special indeed.
We are therefore proud to announce that opening headliner for the 2017 BUSHYS TT is none other than LIGHTNING SEEDS!!


Half the tickets have been sold on the very first day!

Ian Broudie is a revered producer, singer,songwriter having begun his career with Big in Japan,producing many early classic bands such as Echo and the Bunnymen.
He has to date written no less than 7 studio albums and released over 20 hit singles including PURE, THE LIFE OF RILEY,SUGAR COATED ICEBERG and of course the
classic football anthem 3 LIONS. One of the local support bands will be The Ballaghs fronted by Mike Wade a man and band synonymous with Bushys too.

Full professional concert production from ELS/ULTIMATE PRODUCTIONS

Stunning artwork as usual © Martyn Cain

Tickets for this special one-off are available NOW and can ONLY be purchased ONLINE at



There is an option to also purchase a strictly limited run Special Edition gig-specific t-shirt,the design will be uploaded soon!

On behalf of the Bushys Team, thank you all for your continued support for the products, for the live acts and for the atmosphere, without who etc!!!




or Box Office 01624 600555

Some 8 years in the chasing and we’ve finally persuaded this iconic Scottish phenomenon that is PRIMAL SCREAM to perform at the VILLA MARINA.

Artwork courtesy of and © Martyn Cain

TICKETS NOW ON SALE CLICK HERE  or Box Office 01624 600555

Formed in 1984 and winners of the first ever Mercury Music Prize for 1991’s ‘Screamadelica’, Primal Scream have influenced a generation of fans over their 20 year career. Fronted by former Jesus & Mary Chain’s Bobby Gillespie with Andrew Innes (guitar), Darrin Mooney (drums), ex-Felt keyboardist Martin Duffy (keyboards) and Stone Roses bass guitarist Gary ‘Mani’ Mounfield, they signed to Alan McGee’s Creation Records in 1985 and the rest is history.

Beginning a career that has spanned eighteen hit singles, the band’s 1987 debut LP ‘Sonic Flower Groove’ was influenced by The Byrds, Velvet Underground and the C86 scene. Not only did it publicly introduce the band, but it also set the tone for a musical style that would define the following decade and pave the way for bands like The Stone Roses and The Happy Mondays.

Their follow-up album ‘Primal Scream’ witnessed a musical progression for the band, but it was 1991’s Mercury Music Prize winning ‘Screamadelica’ that became their landmark release. A tour de force produced by Andrew Weatherall, Hugo Nicholson and former Stones producer

Jimmy Miller, it changed the face of British pop music with its kaleidoscopic fusion of dance, dub, techno, acid house and rock, putting Primal Scream at the top of their game.

They returned in 1994 with ‘Give Out but Don’t Give Up’ which was recorded in Nashville and featured the hit single ‘Rocks’, but with 1997’s ‘Vanishing Point’ they created a more complex dynamic of the indie allure which characterised their debut release, re-establishing the group as a major force in British rock.

Two Top Ten albums followed – ‘XTRMNTR’ and ‘Evil Heat’ in 2000 and 2002 respectively – boasting a greater electronic feel and new musical direction for the band. In 2003 they released their ‘Dirty Hits’ collection, a retrospective of their career to date.

In 2006 they returned with ‘Riot City Blues’ and the Top Ten track ‘Country Girl’ – the band’s highest-ever charting single. Laid down live on the studio floor at London’s Olympic Studios, it was produced by Youth and features and impressive supporting cast – Will Sergeant from Echo & The Bunnymen, Warren Ellis of Nick cave & The Bad Seeds and Alison Mosshart from The Kills. A triumphant UK tour followed in November 2006, which included two sell-out dates at London’s Brixton Academy.

Bestowed with NME’s Godlike Genius Award in March 2007, Primal Scream continued their most successful era to date by signing with the highly successful independent label B-Unique, home to Kaiser Chiefs, The Automatic, The Twang and The Ordinary Boys.

2008’s ‘Beautiful Future’ was Primal Scream’s ninth studio album and their first for B-Unique. The bulk of the album was produced by Björn Yttling [Peter, Björn and John] and Paul Epworth (Bloc Party) including the incredible first single ‘Can’t Go Back’.

The album featured guest collaborations from Lovefoxx of CSS, Josh Homme from Queens Of the Stone Age and folk legend Linda Thompson. As you would expect from one of Britain’s most exciting and inventive bands ‘Beautiful Future’ displays a heady mix of genre crunching taking in Philly soul, dark electro, accelerated rock ‘n’ roll riffs and pure British pop, all given that particular Scream edge.

Primal Scream’s later album, ‘More Light’, released May 13th on their own First International label through Ignition Records,was the band’s tenth studio album. It was recorded in London and Los Angeles during 2012 and was produced by David Holmes.

The album is another twist in the band’s history, recorded after their recent successful worldwide tour of their hit album ‘Screamadelica’. Like ‘Screamadelica’, ‘More Light’ presents a musical state that lacks boundaries.

Gillespie explains: “The sense of space in the ‘Screamadelica’ gigs and the arrangements in the music had a wee bit of an effect in this. For
the last few years we’ve been playing high energy, two guitar rock ‘n’ roll, and I think doing the ‘Screamadelica’ shows, we were on the way to doing something more spacious and free form, but I think that helped as well just the sense of space, some of this is quite epic sounding.”

NME reports:

The title of Primal Scream’s 11th album might sound like something band leader Bobby Gillespie dreamt up while under the influence, but ‘Chaosmosis’ is actually a highfalutin reference to French psychotherapist Félix Guattari. His 1992 book of the same name argues human subjectivity is shaped by phenomena outside the “faculties of the soul”, specifically language, mass media and technology. Applying that idea to these songs is an almighty stretch, but more pertinent is Gillespie’s own definition of the word as wisdom gleaned from madness – and ‘madness’ is surely how the Primal Scream of yore would’ve dismissed the notion of making a record about sobriety and recovery.

Back in 2013, as the band’s late-career renaissance was getting underway with ‘More Light’, a newly abstinent Gillespie confessed that drink and drugs had “put my life in chaos” and the music had suffered for it. ‘More Light’ turned out to be the Scream’s best, most intrepid work since 2000’s ‘XTRMNTR’, but while ‘Chaosmosis’ is a worthy successor, it’s a very different beast. Where the former opened with the nine-minute jazz-rock apoplexy of ‘2013’, the latter does so on the melon-twisting exuberance of ‘Trippin’ On Your Love’, which borrows the piano riff from Happy Mondays’ ‘Step On’ and features Haim as a kind of six-legged Rowetta surrogate. Not for the first time, you’ll want some of what Bobby’s having.

Then again, maybe not. Instead of projecting its ire outwards, ‘Chaosmosis’ frequently gazes inwards. ‘Where The Light Gets In’, a pulsing electropop duet with Sky Ferreira, might declare that “peace begins within” but it’s also a place where uncomfortable truths present themselves, as they do on the self-excoriating ‘(Feeling Like A) Demon Again’ or ‘Carnival Of Fools’. It’s strange to hear Gillespie’s famously acidic tongue turned upon itself on ‘Private Wars’ (“Thorns grow in your heart/ Poisoned from the start/ Angry still at everyone/ Time to let it go”), while a breathy backing vocal from Rachel Zeffira (best known for Cat’s Eyes, her project with Horrors frontman Faris Badwan) needles away like the better angel of his nature. Over the course of a 35-year career defined by excess, reinvention and the occasional brush with genius, Primal Scream have made all sorts of albums, but not one quite like this.

Whatever you recall of this band they still sound and play as fresh and are

one of the mainstays headlining festivals throughout the world.

Triskel Promotions are very proud to finally secure them and plan to

make this a legendary visit for the band.

More info at


Triskel Promotions Limited

Triskel was formed in August 2002 and remains one of the last Independent promotion companies on the Isle of Man.

Its remit is simple. To provide for the needs of the music loving public with top quality artistes of all genres. It is equally important we offer local support slots to these events in order that our own home-grown talents are showcased and able to reach a larger catchment area and potentially new fans and success.


Triskel is primarily a promotion company based in the South of the Isle of Man.In excess of £ 3/4million has been invested in acts both locally and Internationally performing in venues Island-wide aswell as some more unusual scenarios.

All aspects of promotion are considered whilst we primarily host artistes from the Uk,Europe and beyond,we do insist on support being provided locally to ensure the high standard of local talent has an opportunity not often available  so they may showcase their talents to a wider audience and demographic.

Please do not hesitate to contact us with your enquiry and we will do our utmost to find a suitable solution that fits your budget too.


We will be putting some bits and bobs from over the years in here! When I find it you will see it! Not just Triskel events.