Leersum (December)
Boxing Day at my parents’. Cooked Indonesian meal.

Paris (December)
It’s hard to pick favourites in a year of many highs, but I did like this one a lot. A bit of family. A lot of G. Everything was small and intimate. Saw ‘Handsomest Drowned Man’ again and it worked so much better than in Brighton.

London (November)
Saw Scott Walker’s Drifting and Tilting twice. Lovely time with Hg, Pixeldiva, B. and R. Traveled by Eurolines coach. Really, surprisingly comfortable. And cheap.

Galway (October)
Didn’t like staying in a hostel (hell very definitely being other people), but other than that it was good to get away and I think I shot my best picture of 2008.

Dublin (October)
The Dublin/Galway trip was my ‘summer holiday’. It was freezing, of course, but sunny anyway when the rest of Europe was awash with rain. Had an amazing time in Killiney filming G. and listening to his new songs.

Antwerp (August)
Unplanned trip to compensate for not getting the Lowlands festival photo gig I’d been promised. Bad karma… nearly got my head kicked in taking pictures in this Belgian city. And that’s no joke.

London (July)
Rogue’s Gallery at the Barbican. Only got photo access to the soundcheck. Light was bad, vibe a little dull, but the gig was good. Really enjoyed staying around Brick Lane. Quiet lunch with G. at morose Italian place.

Dublin (July)
Rogue’s Gallery in the Dublin Docklands. Fa-bu-lous experience. Great access all day, fab to hang with Davey, Gugs and G., lovely vibe in the photo pit, nearly killed myself shooting with the 70-200 for four hours.

Paris (July)
Quick trip to see the deafening My Bloody Valentine. Loved it.

Paris (May)
Became my nephew Louis Gustave’s godmother. Pretended to be Catholic. Everything in French of course. Lovely, but strenous.

Brighton (May)
Brighton was relaxed, just enjoying sea, sand and sun. The gig (‘The Handsomest Man in the World’) was unremarkable.

London (May)
Rather fraught and confused start as I was given the wrong medication hours before my flight and I felt poorly and disoriented. Fire alarm at Gatwick on my return.

Cologne (April)
Birthday trip. Didn’t enjoy this much. Party town, stag nights, large groups. No fun on your own. Crap weather too.

Dublin (Feb/Mar)
Sick as a dog, but I went anyway and coughed and sneezed and dripped through a Marc Almond gig (meeting Gini Ball backstage) and lovely dinner with G. at Eden. Also… Bambi!

Dublin (Jan)
No particular reason. Scouted some photo locations. Saw 30 seconds from Mars on a whim.

I don’t think I will be travelling quite this often in 2009.

Reading Matthew’s ‘premature evaluation‘ of R.E.M.’s upcoming album Accelerate, I realised I’d never posted my thoughts on the two shows I saw the band do in Dublin last summer. I did write about it on my Dutch music blog, but even fewer people probably read that than visit over here. So here’s a quick translation.

‘This is not a show,’ says Mike Mills, addressing the crowd through a megaphone. It’s not a gig, it’s an ‘exercise in terror and music’, Stipe explains, ‘We are R.E.M. and this is what we do when you’re not looking.’

But this time we are looking. Stipe may not be wearing make up and he may be cheating with the lyrics, using printed sheets and a MacBook on an upturned flight case, it’s still R.E.M. on stage: the three members of the band, guest guitarist Scott McCaughey and drummer Bill Rieflin.

We are in Dublin’s beautiful Olympia Theatre, a small Victorian venue in the middle of the city. This is the location R.E.M. has picked for five nights, trying out the songs they are recording with producer Jacknife Lee in a studio in county West-Meath.

It’s not the first time R.E.M. has picked an Irish studio to record in. ‘Uncle’ Stipe has godchildren in this country, he’s part the U2 family in the broadest sense of the word. It’s like the mafia, once you’re in, you’re in for life.

Bono and The Edge are present at the first two shows of the five night run. Stipe thanks them from the stage, for their support and ‘for keeping me grounded’. The band’s real relatives have flown in too. On the fourth night, Stipe is telling the audience a story and when he uses the word ‘blowjob’ he suddenly buries his bright red face in his hands. ‘I forgot we’ve got family members in tonight, young ones too… well, if you didn’t know that word before…’

He’s very talkative in between the songs. They play eleven new tracks every night as well as various oldies from their first couple of albums. They fit in with the new songs the best. For the first time, Stipe explains his obscure lyrics, telling us what the stories are about and shedding light on the art of songwriting. On the third night the old songs are mostly off Fables of the Reconstruction, on the fourth it’s even further back to Chronic Town, Murmur and Reckoning.

The tickets to these shows were exclusively sold via R.E.M.s mailing list, so the people in the audience are mostly big fans, hearts ready to burst. No hits. It’s the dream of every super fan. ‘I hadn’t heard this song in 24 years until this afternoon,’ Stipe says, holding the lyrics in his hands. We savour obscure tracks like West of the Fields, Wolves Lower, Carnival of Sorts, 1000000, Harborcoat, Second Guessing and These days.

The new songs work well in the live setting, sounding like vintage R.E.M. already, with added power courtesy of Bill Rieflin’s power drumming. In ‘Horse to water’ you feel the fire of Gravity’s Pull, and the ballad ‘Until the Day is Done’ is a gorgeous ‘King of Birds’-type ballad. The band was hurt by the slating their last album Around the Sun got in the press and determined to strike back. The songs aren’t finished yet, that much is obvious when Stipe changes lyrics on his MacBook in our presence, or when guitarist Peter Buck stops a song to explain the middle eight to bass player Mike Mills. But they’re getting there.

The band sounds great, a full rich sound, crystal clear even on the upper balcony of the venue. U2′s sound engineer of the last 30 years, Joe O’Herlihy, is manning the soundboard, doing a great job. Whether the band has managed to capture that sound on record, we’ll find out in April.