The Leeds-based initiative Small Distractions Club, a monthly book club and event organizer that bridges the gap between music and literature, will launch its first literary salon in London tonight (3rd November) at The Social. In collaboration with music-focused publishers White Rabbit Books, the event will feature members from English Teacher, Opus Kink, Bug Teeth, Skydaddy, and Fat White Family, who will present previously unheard works—poetry, prose, and musings—that are not part of their musical catalogs. Before the event starts, we spoke with Small Distractions Club founder Rhiannon Kane to delve into the motivations behind this project, what attendees can expect from the salon, and the intriguing space where music and books converge.
What inspired the creation of Small Distractions Club? Could you elaborate on your reasons for starting it? My passion for books and music runs deep. Like many, I rediscovered these central interests during the lockdown, a period when I had felt somewhat detached from them over the years. The last five years have been a gradual rediscovery of this love. In 2022, I began sharing insights on the books I was reading. A bout of illness at university (thank you, viral meningitis) severely impacted my attention span, prompting me to select shorter books to ease back into reading, hence the name Small Distractions. Reading became a vital hobby during that isolating period.
I've always enjoyed music memoirs, as they offer a deep understanding of musicians through their interests and lives, sparking the idea to converse with musicians about their reading preferences. I started with my friend and collaborator, Lily Fontaine of English Teacher (who has a passion for sci-fi and Derren Brown), and from there, the project gained momentum. The interviews are available on Substack, though they're infrequent because I dislike transcribing and won't resort to using AI. I also work at Brudenell Social Club, the best venue in Leeds (and the world), where I often have engaging conversations with patrons about books; this inspired me to launch a book club there in May. The discussions and the attendance at the book club indicated a significant interest in the intersection of books and music.
In addition to the monthly book club in Leeds, Small Distractions has evolved to include live literary salons, with the inaugural London edition happening tonight! What criteria do you use when selecting texts for the book club or speakers for the salon? Are there specific themes or perspectives you're aiming to highlight? The idea for the salon emerged from countless conversations about bands and books. I reached out to the Leeds Literary Festival to propose an event celebrating both. Around the same time, I met author David Keenan and Lee Brackstone, head of White Rabbit Books, and I managed to persuade them to join the effort; that's when everything fell into place. We envisioned the event as a blend of a poetry night and a party. While I'm not particularly fond of poetry—I’ve always felt it didn't resonate with me—I’ve been gradually working to change that. I wanted the salons to be welcoming to those who usually shy away from poetry events.
The structure of the book club differs slightly. In the past, I've struggled to stay committed to book clubs; if I have a hectic month or dislike a book, I often fall behind and stop attending. To avoid that scenario, I curate a selection of optional readings each month: one novel, one non-fiction piece (literary criticism or cultural commentary), and a few poems. The goal is to allow attendees flexibility in their reading; if they're busy, they can opt to read just a poem or an essay and still participate without having finished the novel. Sometimes we select a theme for the month, while other times one standout piece guides my choices. Thus far, we’ve explored themes like pride, disability, and the concept of home, while broader themes of gender, sexuality, class, and power often arise.
Based on your experiences with the salons, how does the writing shared differ from the material produced within the context of the speakers' bands? The manner of presenting the written work is a significant difference—band frontpeople are more exposed, without the support of their band or a lengthy performance to navigate. This creates a very intimate atmosphere where the audience actively encourages them. Hosting the event in smaller venues fosters genuine interaction between the crowd and the speakers, making it a leveling experience.
Some speakers are established authors and poets, while others are musicians sharing their writing for the first time beyond song lyrics; this work occupies a different realm than their musical output. I aim for the salons to facilitate a platform for sharing writings they might have felt unsure what to do with. It's a vulnerable and significant experience to provoke reactions from an audience responding to unfinished and raw work. Attendees have presented a variety of pieces at the salons, including poetry, prose, and excerpts from screenplays. Many have hesitated, feeling unprepared or doubting the quality of their work—seeing them
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The members of English Teacher, Opus Kink, and Skydaddy are prepared to present samples of unique, non-lyrical creative writing.