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All material contained within this site is the copyright of, unless noted. Unauthorised reproduction, translation, adaptation, usage or distribution in any form of's content is prohibited. All rights reserved.

No part of the website may be distributed, used, adapted, reproduced, translated or copied for any commercial purpose whatsoever without prior written permission to spends a lot of time ensuring that information on the site is correct, yet in no circumstance shall we accept any liability whatsoever for error. Also, every effort has been made to contact the copyright-owner of some work provided herein on However, due to the occasionally restrictive method of obtaining specific contact-information, there may be some photography, etc. that is not possessive of a copyright-holder. If you recognise that your work has been reproduced on rockfeedback without copyright-notice, then - as a service to you - we shall remove the material upon request.

When work is submitted to - such as articles, rants or reviews - it may be subjected to editing, in order for the content to comply with the nature of the site. is not to be held liable for our links to external sites in terms of both content and/or offence; you view outside websites at your own risk and we are not responsible for any materials or content from any associated link or subsequent hyperlink. shall not be responsible for, or liable for, damage to your computer, whether direct, indirect, incidental or consequential, arising from usage of the website.
For all users/contributors of stream, please view our compliance notice, as follows: enables authorised video and audio links, only upon the agreement of the record and publishing company and its official agents and servants waiving all dues and electrical mechanical and publishing royalty payments that may be deemed as liable.

In turn, offers all aforementioned parties a free service to encourage the development and promotion of their artists on a global exposure basis.

Visitors to are reminded that any form of copying of the digital audio/video content is subject to their own country's law, and no liability whatsoever will be accepted by for any administration of that law that you may be subjected to.

Thank you for your co-operation and assistance.

Finally, all written and specifically stated digital photography matter is exclusive solely to Should you require to re-print or re-distribute such information in any form of media, with exception to outside web-links, then please contact us first via the means stated within the score in order for us to consider your request. Non-permission reproduction of's written and digital photo content will automatically denote that you have agreed to accept's 'Sales Invoice' for the use of's content. The billing-process will be handed over to a legal representative in whichever country the unauthorised user resides.

Thank you for your consideration, as well as adherence to these terms and conditions.

Privacy Policy

When you register your details to us for competitions, access to the community, work-submission or when you get in contact with, the following information is collected: your name, age, email-address, and occasionally your postal-address or phone-number (so we can send you competition-prizes, or phone you in order to arrange ticket-giveaways). This information is essential for us to collect in order for your usage of to be maximised for your personal enjoyment, and so we can learn about our users, in order to improve facilities and content on the website.

Your personal details will not be passed on to any third party outside unless this was agreed to during any registration process. If there are any issues of concern you wish to raise regarding such management of, please get in contact with us.

when details will be passed on: If it is the case where rockfeedback is sold or integrated with another company, your details could be disclosed to relevant involved parties, though you can be assured outside companies will still not gain access to your details.

protection: All access to our shared-server is logged, with any failed attempts to access the site recognised and noted. We apologise for any inconvenience in this respect - sometimes the Internet is impossible to control. In regards to your personal details, these shall only be viewed by authorised personnel, and stored in compliance with the Data Protection Act 1998.
community / mailing-list: All information collected from those joining the mailing-list is kept confidential, and members can unsubscribe whenever they choose. reserves the right to moderate the messages posted in forums, and does so to prevent offending matter being read. rarely makes records of conversations held in chat rooms, although we do reserve the right to record and archive transcripts of conversations. Records are only kept in the event of any possible offence or liabel issue arising due to inflammatory material being produced within the community.

cookies: Cookies are stored by your Internet browser on your computer's hard drive. uses cookies to recognise when you return to the site, as well as to enable us to gain information about the site's usage. Thus, these are recommended to improve the site, according to the pages most viewed. However, if you prefer not to receive cookies, adjust settings accordingly via your web-browser.

international laws: All your stored information and its association to us is done so to comply with European regulations for acceptable Internet privacy possession, yet outside of this territory different rules may apply. For this reason, if there are any issues you wish to raise with us of legal concern, we must hear about these in writing and - in the unlikely event of any potential liabel dispute - will resolve all cases in UK courts.

summary of terms of usage: Your personal details submitted to us must be true and accurate; if we find out about any misuse or unacceptable behaviour of our services, reserves the right to terminate any registered accounts; registered users may unsubscribe from the community/mailing-list when they wish to do so at any time. Also, is allowed to provide cookies to viewers of the site; when registration occurs for any services offered on, you have a guaranteed assurance that details shan't be passed on to other companies, unless stated in the above conditions.

disclaimer: cannot guarantee being free of faults, and thus the user recognises any problems arising from viewing the site cannot be blamed on rockfeedback; faults could occur that lead to being unavailable from the Internet for varying periods of time - please note that when this occurs, this occurrence is out of our hands, and we take all efforts to ensure maximum online availability-time; some information is supplied to from outside sources - we cannot guarantee its full authenticity or accuracy.
permission: By viewing, you give your consent to all of the provided terms and conditions within the 'privacy policy' and 'legal info' pages. In addition, you shall still agree with any amendments made to the relevant pages, details of which shall be posted.

We thank you for your adherence to the above, and hope you enjoy using


The saga of began, aptly, on a Friday night - specifically the Friday belonging to the date of September 15th, 2000, when the website was first uploaded to the public's (un)consciousness. Launched by the overly enthusiastic, then 15-year-old Toby L, somehow became one of the first, independent, online music-magazines in the UK. Now one of the longest-standing originals, the admittedly cheesy strap-line employed then - and still to this day - is the idealistic "a new view on music", to showcase distaste at how the British music-media had become narrow-minded, scene-dominated and cynical; Toby and a growing team of writers (which formed around an intial core of Toby himself, Tom Hannan and Matt Tomiak) wanted to form a more open-minded, constructive and above all enthusiastic critique of music-writing.

The site went on to host early interviews with The Strokes, The Libertines, Gorillaz, Bloc Party - often first online exclusives - and had guest columns written for it from the likes of Santogold, Simian Mobile Disco and Be Your Own Pet. In the near-decade since it launched, Rockfeedback has also caught up with everyone from Nick Cave and Patti Smith to the Beastie Boys.

Around its second anniversary in 2002, Rockfeedback launched The Basement Club, a club night ran in association with Strokes producer, site contributor and friend Gordon Raphael. Over its six year lifespan, it became something of a rite of passage for bands who'd later go on to huge things, featuring shows from the likes of Bloc Party, Regina Spektor, The Libertines, Graham Coxon's first 'post-Blur' gig, The Noisettes, The Magic Numbers, The Futureheads, Young Knives and The Subways amongst hundreds of others, to tiny crowds in the intimate North London venue of Islington's Buffalo Bar. The night was highly acclaimed by everyone from Radio One and Xfm to Time Out and the NME for its back to basics approach and phenomenal foresight in booking acts.

2004 saw Rockfeedback's first foray in to the world of music television, producing a show for Channel 4 and MTV across Europe that started with documenting the All Tomorrow's Parties festival and has since taken Rockfeedback TV all over the world, including festivals as far flung as Sao Paulo, Japan, Iceland, Croatia, Las Vegas, Norway, Barcelona and Berlin. Some of the artists to have appeared on Rockfeedback TV include: Bat For Lashes, Dizzee Rascal, Dave Grohl, Gnarls Barkley, Iggy Pop, The Kaiser Chiefs, Klaxons, Laura Marling, M.I.A., Mystery Jets, The Shins, Steve Albini, Vampire Weekend and Sonic Youth. As well as filming festivals and mini artist documentaries, Rockfeedback cameras have also filmed exclusive acoustic footage with the likes of Daniel Johnston, Johnny Flynn, A Hawk and a Hacksaw, Peggy Sue, Andrew Bird, Wild Beasts, Jeffrey Lewis, Fionn Regan, Jens Lekman and many more. As well as continuing to make shows for television broadcast, Rockfeedback streams much of its material on its own website and across various other online platforms, and has added to its repertoire by branching out in to not just half hour shows for TV but also exclusive sessions, and special feature length material.

2004 was a big year for the aforementioned Toby L as it also saw the start of another new venture, Transgressive Records, with partner Tim Dellow (now also an integral part of the Rockfeedback team). Rockfeedback's dear sister company Transgressive are the label, management company, producer management team and publishers responsible for bringing you the likes of Foals, The Young Knives, The Shins, Regina Spektor, Iron and Wine, Liam Finn, Johnny Flynn, Esser and The Noisettes.

With the ascendance of both Rockfeedback TV and Transgressive progressing skyward, control of the Rockfeedback website was handed to long time contributor Tom Hannan in the Summer of 2006. Further expansion across all online, live and televisual aspects of this frankly downright restless company saw Kevin Molloy arrive as head of TV in January of 2009, alongside director Nicholas Abbott. Dan Monsell took over responsibility for live activity from Tom Hannan in 2008. Rockfeedback's live nights have now expanded to other (importantly, equally special) London venues and hosted the likes of Four Tet, Foals, Black Kids, Metronomy, Wild Beasts, These New Puritans, Pete and the Pirates, Clinic, The Rakes and Acoustic Ladyland playing to crowds much smaller than they're used to. Rockfeedback currently runs a few nights a month at The Lexington in Angel, and have hosted stages at festivals the nation over, at Glastonbury, Reading and Leeds, Camden Crawl, Hinterland and The Great Escape to name but a few.

Rockfeedback prides itself, and always has done, on the intelligence and enthusiasm that informs its work. What you get from Rockfeedback is the feeling that whoever's behind whatever aspect you might be gazing upon - a show, a review, a gig - they genuinely want the audience to be as much of a fan of the music as they are. We stand against a 'build 'em up, knock 'em down' style of documenting and promoting music, and favour constructive criticism and the sharing of a genuine love of sound above all else.

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