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.

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

£10 month
£100 year

Buy
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
  • 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
  • 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
  • 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

Dedicated to the memory of Tony Marsh The recordings on this double LP are taken from the first night of Roscoe Mitchell's inaugural two day residency at Cafe OTO in 2012 and his first time playing with drummer Tony Marsh and double bassist John Edwards. It was one of those nights where the music electrifies the room. Everyone on edge. Everything alive with the possibilities. Although there was much talk after the concert of the group playing together again this would sadly be the first and last time the trio would play. Tony passed away unexpectedly just a few weeks later making this his last documented performance and a fitting tribute to a truly great drummer and percussionist. Roscoe Mitchell is one of the most important saxophonists and composers of the 20th Century. Active since the 1960s as a bandleader, mentor, collaborator and teacher. Mitchell was a founding member of Chicago's Association for the Advancement of Creative Musicians (AACM) and the legendary Art Ensemble of Chicago. He has been a pivotal figure in the collective re-imagining of what is possible in jazz, improvisation and beyond combining an instantly recognisable sound on the saxophone with staggering technique (check the lengthy stretch of sustained circular breathing on SIDE C) and an arresting, fractured melodic sensibility. On this date he quickly realised he was in the company of two musicians who could match his vision and create music that is more than the sum of its parts. John Edwards is a vital presence in London's creative music community. A true virtuoso, his staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role. No one else played or plays drums like Tony Marsh. Richard Williams had previously described Tony's "marvelous ability to erase the boundary between time and no-time" and here, on the jerry-rigged suspended percussion set-up he'd developed (no kick or hi-hats) he opens up a beautifully resonant space, quietly directing the pulse whilst allowing you to fully hear the upper-register harmonic detail and flickering pizzicato of John Edward's bass. You'd be hard pressed to hear anything in the playing that would hint at his shock passing only a month later.
 "Listen closely, take a chance, keep going even if money's tight, and you'll find the real reward – that's why Tony was hip in the most meaningful sense … And he didn't need to play loud, or be loud, to get that intensity. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard." - Evan Parker 

 (Quoted in John Fordham's Obituary for Marsh)

"First commissioned by the French Government in 1981, the LP Rose Des Vents Action Musicale evolved out of a six year project by Swiss composer Pierre Mariétan to document and musicalise the sound environment of urban landscapes within France, creating an inter-geographical auditory map of cities and townships located in the suburban reaches of Paris, including Bezons, Herblay, Montmagny and l’Isle Adam. Through a mix of field recording, interviews, vegetable market catcalls, braying animals and urban hubbub, Mariétan paints a broad, psycho-acoustically vivid and decentralised profile of metropolitan life from the period; carried to the ear through a coupling with musical studio performance and serialist compositional technique. Over an hour and forty minutes, the recording provides an intersectional and ambient passage through environmental and urban narratives, the radiophonic voice of Ana de Carvalho offering fleeting, poetic orientation with announcements of each titled scene, divining and evoking the sonorous qualities of each landscape as it comes into focus. Each scene tangible yet non-specific, the artist arranging and signalling the possibility of civic and pastoral space as a musical container for spontaneous, sonorous interactions. Mariétan’s profile is of a rigorous yet open and exploratory composer, utilising principles of chance and curiosity in organising found sound and often negotiating or encouraging encounters with improvisatory gesture or incidental and occurring sound. In 1966 he established the outfit GERM, grouping composers and musicians dedicated to developing new meeting points between composition and improvisation. Members assist in contributing recordings and performances throughout Rose Des Vents, including musical passages on piano, synthesizer, horn and saxophone. These studio pieces, played on saxophone by Daniel Kientzy or piano by Gerard Fremy, recall and redeploy techniques developed over the lifespan of the project, where site- specific actions and concerts were performed within each of the towns. In many ways, the album is a folding of each facet of the author’s life and work into a single representative culmination. A sympathy towards radiophonic or documentary production values is recognisable—Mariétan produced two iterations of Rose Des Vents. Action Musicale for Alain Trutat and Jean Tardieu’s ground-breaking Atelier De Création Radiophonique on Radio France Culture ahead of this LP release—alongside the influence of his work in urban acoustics and research into forms of sound ecology. So too is the obvious pleasure taken in introducing the sweetness of music to children, with notable samples from his educational workshops and sound installations helping to internalise and evoke a sense of inquisitive delight. It’s these components, combined with themes and concerns about the acoustic environment that resonate 30 years later and establish Rose Des Vents as such an approachable, listenable and lovely piece of experimental sound art. The conjuration of an emotional or psychological plane through musical and metaphorical synthesis allows the listener to situate themselves within the montage in a near cinematic manner, discovering an underlying sonority embedded in the psychic atmospheres of communal life."

Rie Nakajima and Keiko Yamamoto are joined by violinist Billy Steiger and percussionist Marie Roux in a dozen deconstructions of Japanese folk music, for this pacy, engaging debut album. Rie’s baby orchestra of rice bowls, toys, clock workings, balloons and motors is by turns haunted, teased, adorned and laid waste by Keiko’s chanting, rumbling, whispering and stamping on the floor. The production by David ‘Flying Lizards’ Cunningham deepens and spooks the mix, which brims over with energy and wit, intimacy and presence, grace and mystery. "Suddenly we are closer to music being made than we have been for many years or longer even, so alarmingly close as to feel warmth and discomfort, as if studying the sole of a foot from a few centimetres away or holding a private whisper within an enclosed hand and feeling its trembling desire to be free; but also so far away distant as to feel each vibrant, pungent ingredient within its box or jar or bowl or packet or bottle or air-tight translucent container or brown paper bag painstakingly stirred, shaken, scattered, poured into the heated cauldron of what we call recording, its imaginary rooms and its production, though my better self prefers not to speak about or analyse the notion of ‘the studio’, this being a working up of spaces that are social, a vision of something beyond us but not quite beyond us because its existence as a listening object is real enough to make us pause and question how it was lost or never found." - David Toop --- Keiko Yamamoto / voice, melodica, flute, recorder, floor percussion, toy dog (1-7, 9-12) Rie Nakajima / objects, whistles, flute, cards, taisho koto, xylophone, piano, abacus, drain horn (1-12) Billy Steiger / violin (2,4,7-9,11,12) Marie Roux / percussion, thumb piano (2,4,7,9,11,12) --- All composition by Nakajima/Roux/Steiger/Yamamoto apart from Yobu, Hebi, Iroha, Kitsune and Are Kore (Nakajima/Yamamoto) and Futari (Nakajima/Steiger). Words by Yamamoto except 5 and 11. Iroha is a Japanese classical alphabet. Sojarobai is a working song from Miyazaki, Japan. Produced by David Cunningham.  Cover image by Marie Roux. Sleeve design by Ayako Fukuuchi.

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.

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.