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Become a member of Cafe OTO and support amazing shows, residencies and new commissions from musicians across the UK and overseas. Your membership also ensures that we can continue to present the most ambitious programme possible.

You can also purchase gift memberships by clicking the "Buy For Friend" links below. Gift memberships come in durations of 3 months, 6 months and a full year. After purchasing you will be sent a pdf voucher that you can print or forward on to the recipient at a time of your choosing.

If you are a student you can get a free venue membership. Find out more here.

Venue only
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  • Early-bird booking and previews
  • Discounts online and in the cafe shop
  • At least one free-to-members event each month
  • Regular member newsletter
  • MORE INFO

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£100 year

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Buy for friend

Venue only

  • Cheaper tickets for you and a friend with no booking fees
  • Early-bird booking and previews
  • Discounts online and in the cafe shop
  • At least one free-to-members event each month
  • Regular member newsletter
  • MORE INFO

£10 month
£100 year

Buy
Buy for friend

Full membership
  • Cheaper tickets for you and a friend with no booking fees
  • Early-bird booking and previews
  • Discounts on records, books and more online and in the cafe shop
  • At least one free-to-members event each month
  • Three downloads each month from OTO Digital and other labels
  • Regular member newsletter
  • MORE INFO

£15 month
£150 year

Buy
Buy for friend

Full membership

  • Cheaper tickets for you and a friend with no booking fees
  • Early-bird booking and previews
  • Discounts on records, books and more online and in the cafe shop
  • At least one free-to-members event each month
  • Three downloads each month from OTO Digital and other labels
  • Regular member newsletter
  • MORE INFO

£15 month
£150 year

Buy
Buy for friend

Digital only
  • The best of OTO's archive
  • Three downloads each month from OTO Digital and other labels
  • New labels added regularly
  • Discounts on records, books and more from our online store
  • Regular member newsletter
  • MORE INFO

£10 month
£100 year

Buy
Buy for friend

Digital only

  • The best of OTO's archive
  • Three downloads each month from OTO Digital and other labels
  • New labels added regularly
  • Discounts on records, books and more from our online store
  • Regular member newsletter
  • MORE INFO

£10 month
£100 year

Buy
Buy for friend

Latest Downloads

"At each concert that I have ever given ( quite a few) at Cafe Oto I have tried to do something different or at least with a different line up.This concert in 2017 I was lucky enough to be able to call on two long time collaborators in Pat Thomas and Tim Hill, one that I have never played with before, Orphy Robinson and Michael Thieke with whom I have collaborated with both in Rome and Berlin on a few occasions in recent years. This concert was another version of my Spirit Songs collection of text made by cutting up Thomas Pynchon’s two novels, Gravity’s Rainbow and V, and singing them over a freely improvised score. There are a few versions, obviously all different and it was a great pleasure for me to have this group to help me help indulge in yet another version. Thank you and thanks to Cafe Oto for being. The text/poem ‘Rum’ is by the great poet trumpet player Shake Keane and is from an edition of his collected poetry work titled The Angel Horn published by The House Of Nehesi, that I picked up in St.Lucia. I particularly liked this poem because it reminded me of The Caribbean Club in Reading where I learned to love many things including the sound of dominos being played on sunday in the back bar by the elders. William Burroughs said something like ‘Cut into the present and the future will appear.’ The future will be improvised and the subtext will be cut up, re-arranged and tweeted I am sure." -Mike Cooper -- Mike Cooper - Lap Steel Guitar / Electronics / Vocals and All Song Text Apart from Lord Franklin (traditional)Pat Thomas - Keyboards / ElectronicsOrphy Robinson - Midi Vibraphone / ElectronicsTim Hill - Baritone and Alto Saxophones / ElectronicsMichael Thieke - Clarinet. -- Recorded by Tom Mudd at Cafe OTO on 29.9.17 Mixed and mastered by Oliver Barrett

"Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers. For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Neilson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real." - Alan Cummings --- Kan Mikami / vocals, guitar John Edwards / bass Alex Neilson / percussion --- Recorded live at Cafe OTO on 3rd April 2013 by James Dunn. Mixed by John Chantler. Mastered by Giuseppe Ielasi

Pioneering Japanese sound artist Akio Suzuki has created improvised and transitory performances since the 1960s, investigating the acoustic qualities of selected locations and utilising an array a self-made instruments. For this beautiful and beguiling release for Takuroku, he presents new work using his ANAPOLAS instrument and “I wa fu e” stone flute.  -- Akio Suzuki - all instrumentation & recording -- Oliver Barrett - mastering & artwork design -- Artist’s Notes (English)  “ANAPOLAS -a” & “ANALAPOS -b” 2021 This ON-KI (sound instrument) is a variation of Voice ANALAPOS-a, an instrument which was created in 1970 while exploring the sound of echo at the “self-study event” of the 1960s. This instrument was used in the LP “ New Sense of Hearing” with Takehisa Kosugi, and in Sesshu Kai work “Interactivity for ANALAPOS.” It was also used in compositions by Aki Takahashi and for Toru Takemitsu’s film music… There was a time ANALAPOS was very active. ANALAPOS -a is mainly played by blowing a vice into one of the cylinders connected by a spring, while the -b type is made into a percussive instrument by arranging several of those cylinders upright and playing with drumsticks. In the 1980s, my ANALAPOS was invited to Derek Bailey’s “Company” of Free improvisation, and was able to presented for the first time in London. I also played with Steve Lacy, and more recently John Butcher and Aki Onda using these ON-KI. These groups of ANALAPOS let me play across the field of improvisation from contemporary music.  I’ve found it difficult to carry the heavy iron ON-KI so I have stored them, but I’m grateful that TakuRoku made these ON-KI see the sun again.  “i wa fu e” 2021 In Japan’s Jomon period, which lasted for about 13,000 years from now to 2500 years ago, according to archiological “i wa fu e” (stone flutes) samples may suggest that there have been a festival of blowing natural stones with holes.  There was a “i wa fu e” that I was given from my father, and it was a family treasure that has been passed down to the Suzuki family for generations. I always took it overseas as my mascot, but in the autumn of 2005, at the request of a filmmaker from London, I headed from Paris to Schiphol Airport on the way back from playing this “i wa fu e” at the old crater of the Italian volcanic island Stromboil. This family treasure disappeared from the net shelves of the train together with my suitcase!  Immediately a lost property request call was made on the page of THE WIRE magazine (issue 265), but still no luck after 16 years since then.  In 2019, Carlo Fossati, the owner of Torino’s gallery e/static contacted me that he managed to archive the documentation of me playing the family treasure at the Stromboil. This is the only video record of this “i wa fu e”.  And in February of last year 2020, when I was invited to perform in Auckland, New Zealand. Phil Dawson from Scratch gifted me another stone flute. This is the ““i wa fu e” I use now.  Phil remembered the incident that family stone flute got lost. He had picked up something similar to the lost stone at a nearby beach and kept it for me.  Phil and I have been “stone friends” for many years.  - Akio Suzuki  Notes on the title “ m e r i d i a n s c e n e r y “  As an Eastern person, I wonder if this is allowed, but I made up this word myself.  I put together “meridian” and “light” with a space in between each letter.  Tango, where I live, is the northernmost point on the 135 degree line of Japan Standard Time. I named it honestly according to where I recorded and in this particular time and season.  I dedicate this title to both the seasonal scene and Keiko, “the child of landscape”, too.   Artist’s Notes (Japanese) “ANALAPOS -a”& “ANALAPOS -b” 2021  ‘60年代の「自修イベント」で、エコーポイントを探るなか1970年に創作したVoice ANALAPOS -aのバリエーションがこの音器です。 Takehisa Kosugiと”New Sense of Hearing・・”というLPレコードの中で使用したり、Sesshu Kaiが、”Interactivity for ANALAPOS”の作曲をして下さったり、Aki Takahashiの委嘱で作曲をしたり、Toru Takemitsu の映画音楽にも登場したりと、活躍をした時期がありました。  ANALAPOS -aは、スプリングでつないだ片方のシリンダーに、主に声を吹き入れて演奏するのですが、それを立てにして幾つかを並べることにより打楽器に仕立てたのが -bタイプで、特性のバチによって演奏をします。  ‘80年代になって、Free improvisationのDerek Bailey “Company”に呼ばれてLondonで初演奏が出来たり、フリー・ジャズのSteve Lacyや、最近では、John Butcherや Aki Ondaと、この音器を使っての共演の例もあります。だから、現代音楽から即興の分野をまたいで遊ばせてくれたのが、これらANALAPOS群です。  現在は、鉄製の重い音器を運ぶのが億劫になって、お蔵入りをしていましたが、”TakuRoku”が、また陽の目を見させてくれて感謝しています。 “i wa fu e” 2021  今から2500年前までの約13000年間続いたという、日本の「縄文時代」には、穴の空いた自然石を吹きならす祭り事があったのではと、考古発掘例の「石の笛」から推測されています。  たまたま父から譲り受けた「石の笛」があって、それは代々鈴木家に伝わってきた宝でした。常に我がマスコットとして海外に持ち出していましたが、2005年の秋にLondonの映像作家の要請に応えて、イタリアの火山島Stromboliの旧火口でこれを演奏した帰りに、ParisからSchiphol空港に向かう列車 Thalysの網棚からケースごとこれが消えてしまったのでした。  直ぐに、THE WIRE Issue265の紙面に消息願いが出されましたが、あれから 16年が経ってしまいました。  2019年になって、Torinoの画廊 e/staticオーナーの Carlo Fossatiから連絡が来て、video document,2003 を 〈vimeo.com/364584092〉 登録したとの朗報をくれました。これが、動画としての唯一の記録です。  そして、昨年(2020)の2月に、ニュージーランドのAuclandの演奏に招かれた折、From Scratchの Phil Dadsonから矢庭にプレゼントされたのが、 この「石の笛」です。久しぶりに再会した彼は、以前無くした「石の笛」のことを覚えていてくれたのです。ぼくのために、近くの浜で似たものを拾っておいたんだと。 Philは、長年の”stone friend” なのです。 - Akio SUZUKI “ m e r i d i a n s c e n e r y “  と子午線と景(ひかり)をくっつけてしかも半角あけて作りました (東洋人が勝手にこんなことして良いのかナ) 意味はぼくの住む丹後は日本標準時の135度線上の最北地です この季節に演奏をしたので正直に名付けました 季節の情景でもあり景子さんに捧げてもいます

Samuel D. Loveless' curious and implacable music arrived in our inbox late last year, and we've been spellbound since. Alone himself in a room, 'krɪstəfə [live crypt] is both an excavation of the voice and an improvised reckoning with space and temporality. The work is book-ended by a 25 minute long composed piece, 'Guardian', which turns the clock off, drifting the narrative into free-fall with slowly moving blocks of resonant piano notes. ˈkrɪstəfə, isn’t daring, or perhaps even very interesting in its audible output. It’s not been researched nor is it refined.ˈkrɪstəfə(tracks 1-6), was recorded live at the beginning of March 2021 on a stunning day in a cold, dark, damp room on Euston Road. The room, a crypt, has not been renovated or changed much at all since its construction in 1822, barring a few lights and minimal plug sockets. It is the resting place of so many. It is beautiful, grounding, harrowing and contemplative.ˈkrɪstəfə, is a duet between myself and the space. Nor I or the space are more important than the other. During the time 'krɪstəfəwas inspired, most of us had been between the same four walls for a large majority of the previous year and had experienced the foreign with our own company, for better or worse. For myself, Lent (of which March is in) is a very spiritual and meditative time of year for many reasons that I won’t go into now.  Within my work as a creative, whether it be sound, visual, performative, whatever, everything is purposed; everything is exactly there for a specific reason. It is hugely researched, deliberate and deliberated over. It comments on something. It is what is have to say. During Lent, on my own, within the same four walls, I wanted to introspectively just ‘be’; setting my main creative tools  aside (trumpet and composition) and simply saying what it is I have to say. Something, that although not daring for krɪstəfə, was and is for me. In order to simply ‘be’, it had to be done by my ’self’ alone. Not least of all because it had to encompass my whole being, but because singing, more specifically choral music, was my entry into the musical world as a chorister. Ironically,ˈkrɪstəfə goes right back to my roots in music, whilst also managing to be removed from anything I’ve done before, improvising with just my voice.  So whilst 'krɪstəfə may not be daring or perhaps even very interesting, it is nothing if not open and forth coming. Thank you.  - Samuel D. Loveless -- ˈkrɪstəfə (tracks 1-6) Improvised and recorded by Samuel D. Loveless Space by Crypt Gallery on Euston Road  Mixed by Josh Wolfsohn  -- Guardian  Piano by Roberto Boschelli  Composed and recorded by Samuel D. Loveless Mixed by Edward Cross -- Artwork by Robert George Sanders Mastered by Oliver Barrett

Otoroku is extremely proud to present the first vinyl reissue of one of the most legendary free jazz records ever produced. Originally released in 1978 on Ogun recordings, Louis Moholo Octet’s Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody  Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti and Kenny Wheeler, this is former Blue Note artist Louis Moholo’s first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza’s ‘You Ain’t Gonna Know Me ‘Cos You Think You Know Me’ alone is enough to make your life a better place. From Matthew Wright’s new liner notes:  The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout –  Evan Parker and Keith Tippett on “Shine Wherever You Are”; the contrasting trombone styles of Nick Evans and Radu Malfatti on “You Ain’t Gonna Know Me...”; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler’s moving and all-encompassing trumpet on the elegiac “Amaxesha Osizi” and the joyous flamboyancy of “Wedding Hymn” with Parker’s relatively straight-ahead tenor and Tippett’s dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis’ early hero, Big Sid Catlett, would have loved it! This 2019 re-issue has been made with permission and in association with Ogun records. Features an exact reproduction of the original artwork and liner notes along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi and packaged in a high gloss sleeve this is the definitive release of one of the absolute free jazz classics of the 20th Century. Edition of 1000 copies.

Venue Membership

Becoming a venue member gets you cheaper tickets, cheaper merchandise, access to early-bird booking and free-to-member only shows. Venue members receive our pre-sale mail outs which offer tickets before they go on general sale. Due to our small capacity, this is sometimes the only way to ensure a ticket to our more popular shows.

Can I use my membership discount when buying tickets on the door?

Yes. Please bring ID with you. You will need to pay in cash as we don't have a card reader on the door. Please note that we cannot guarantee entry to members so advance booking is recommended.

Can I use my membership discount when buying records and other items in the Cafe shop?

Yes. Please bring ID.

Do I get a membership card?

We don't issue membership cards, but your membership is automatically registered when buying tickets or items from our shop online. Please bring ID for discounts on tickets and records in the cafe shop.

Do I need to renew my membership when it expires?

Your membership will automatically renew on a monthly or annual basis - depending on what you initially purchased. To cancel your membership you just need to log in to your account on our website and terminate the membership before your next payment date.

Digital Membership

OTO Digital makes our archive available internationally for the first time. We aim to make two new recordings from our archives and four releases from other independent labels available as downloads each month. Each recording is professionally mixed and mastered in house, and agreed with the artist. The label aims to reflect the diversity of Cafe OTO’s program, support new artists in getting an early stage release out, or showcase new or previously undocumented work from more established names.

OTO Digital also works closely with small independent labels to sell their releases through our shop. Each label is carefully selected, featuring artists with strong ties to OTO’s programme and some long out of print releases.

How do the credits work?

We’ll add three credits to your account each month. Each of these credits can be used to download any recordings from the ‘Digital Downloads’ section of our website - including releases on other labels. If you have credits, you'll be given the option to download any of the available titles under the 'BUY' links.

There is no time limit on using your credits whilst you remain a member.

The website will show you how many credits you have left and when they will next refresh.

Do the artists get paid?

Yes. When you download a recording as part of your digital membership we pay the artist £1. For downloads by non-members we pay the artists 50% of receipts.

What is the recording quality like?

All of the live recordings available will be professionally mixed and mastered and approved by the artists. Most recordings are sourced from the high quality multi-track hard disc recorder we installed in May 2013 and all are handled with the same attention to quality that we’ve given our vinyl LP releases.

Recordings are available to download as 320k MP3 / 24-bit FLAC files or 320k MP3 / 16-bit FLAC in the case of some older external labels.

We would like to acknowledge Sound and Music and The Hub’s ‘Joining The Dots’ project for their support in the development of our digital membership offer.