The E.P., Colours is available from:
The single, Colours is available at:
Mesmeric of beauty and hypnotic of voice; Schofield is an artist whom can seduce with absurd ease. With her latest release, our heroine unleashes a variegated and compelling collection: one that her contemporaries are going to struggle to match.
I have touched upon the realities of new music often enough...
over these pages. With every new artist I survey, it is not just the quality of the music that I asses- but also the potential longevity. As 2014 goes, plenty of fresh and original sounds have entered my brain; great songs and E.P.s have seeped into my mind: it gives me the impression that this year will see a lot of future stars come through. Bands such as Crystal Seagulls and Los and the Deadlines offered up some tantalising sounds: ranging from Zeppelin-esque anthems to '90s Britpop sounds. My barometer is always usually trained towards bands, as it is the music I grew up on- and forms most of my current musical rotation. As much as I am impressed by the offerings and outputs from these bands, I find myself wondering where the diversity is. Plenty of groups have sheer quality and ambition, yet when put side by side, the sonic range is quite narrow. There are exceptions to the rule, but only occasionally do I come across a group whom are doing things differently to their competitors. Each time I review a new band, I am struck by the personalities of the members; where they come from and the drive they have- yet often that is the most lingering and permanent reminder. The solo realm has given me a lot more customer satisfaction (in that regard). From male acoustic acts through to northern Pop/Soul girls, more has been offered up. The person behind the music engaged and made me smile; the music that was being produced was varied, nuanced and filled with different flavours; the originality and flair that each artist offered impressed me hugely. When we look at the future of music (and certainly the rest of this year), it is going to be hard to say how the market will change. I feel that new music is making bigger strides now than it ever has, and the very best examples have the potential to forge their way into full public consciousness. Bands and groups have had an hegemony for a while now, yet I feel tastes and demands are starting to turn more towards the banks of the solo star. Perhaps a certain few 'mainstream' solo acts have left sour tastes in mouths, yet plenty of brilliant and lovable newbies are bubbling up- able to re-appropriate any cynicism or controversy. It is the female side of the market that has provided the most impressive fireworks over the past few months- in terms of sheer quality alone. From Yorkshire, to Scotland- right down to London- there is a restless energy and ambition that perhaps the men are falling short of. It is not just the music itself which has been projected with superiority (by female musicians); there is something else that they are doing better: promotion and touring. One of the things that impresses me most with regards to new musicians, is the effort and tireless hard-work injected. From raising funds, through to performing far and wide; each of the new acts I have reviewed puts in an incredible amount of hard graft. The boys are good at it; the girls are phenomenal (at it). I am not exactly sure why there is such a bridge, yet the female lone stars are putting in the longest hours. When everything is put together- promotion, quality and originality- then the effect is quite overwhelming. As someone in the fledgling stages of music, I am looking around for inspiration and role models: people I can look to whom are doing things just right, and reaping the rewards. I have always been more-than-happy to give my gold standard to acts whom I feel are genuinely deserving; those whom tick all the boxes and work their behinds off- ensuring that they are not only recognised, but have a fan base that will stay by them in years to come. I have witnessed a few (solo acts) whom are going to be around for years to come; those whom seem to be plying and working relentless- in the pursuit of huge patronage. At the weekend, I am going into more depth about the mechanics of new music, and the various proclivities, filibusters and intricacies involved in putting music out there. Many sit back and assume it is as simple as sitting in your room, recording something; uploading it to YouTube and waiting for E.M.I. to knock on your door- hmmm. Examining and considering the sheer amount of cogs that go into making the machine is breathtaking; therefore it is always that much more impressive and wonderful when artists hold strong, keep reaching- and acheive all they set out to do.
In my elegant and subtle way, this brings us rather neatly to Nina Schofield. I have been familiar with Schofield's work for a little while. She studied at the A.C.M. (Academy of Contemporary Music) in Guildford: the town I was born in. Artists such as Elena Ramona, Chess and Emma Stevens have been on my radar at various point over the last couple of years; each have passed through A.C.M.'s halls- and made huge strides since. As Schofield is going to playing near my way very soon, I will be making a promise to myself to come see her, as her music has been making huge marks on my brain since I first heard it. As much as anything, our heroine is the distillation and definition of what I am trying to get across (with regards to new music)- she puts a hell of an effort in. At the moment, she is embarking on a 'schools tour' around the U.K.- taking her music to some very intimate locations. Pubs and festivals are going to be frequented, and the young star's feet are hardly touching the floor at the moment. Before I go into more detail about Schofield and her itinerary, a bit about our heroine: "To mix thoughtful and catchy songs with a uniquely arresting voice and breathtaking beauty is a classic recipe for pop success. But singer/songwriter Nina has also shown a mature determination to achieve an international career. Classically trained and having successfully completed a Degree in Vocal Performance at the Academy of Contemporary Music she has done a great deal of professional work to widespread acclaim. Known as a singer from her early years she has performed in public since the age of 16. Nina was delighted to be invited to perform at the Montreux Jazz Festival, sharing the bill with the likes of Black Eyed Peas, Seal, Lily Allen, Jeff Beck, Gnarls Barkley and Ben's Brother. Since then, she has continued to perform live as well as working closely with internationally noted Producer Richard Niles (Sir Paul McCartney, Ray Charles, Mariah Carey, Kylie Minogue, Westlife, Tom Jones) with whom she has already produced two singles. She has worked in collaboration with musicians such as Richard Cottle (David Bowie, Seal, Tina Turner), the famous photographer Angelo Valentino (Kate Moss, Naomi Campbell, Usher) and one of America's hottest designers, Arianna Power (Kayne West, Estelle, Metro Station). Nina has performed her songs at venues across the UK such as The Buxton Dome, The Stoke Mandeville Stadium for the Paralympics Torch Lighting Event and many festivals. She was given the honour of singing at a British war hero's funeral at Winchester Cathedral and has since taken a passionate interest in supporting British troops including composing a beautifully moving song, "Slow Down Soldier" performed in support of Help for Heroes. The song reached number 4 in the iTunes Singer/Songwriter charts, overtaking both Damien Rice and Eva Cassidy. As well as supporting John Power (The La's/Cast) on two occasions, she has taken part in the semi-finals of the BBC Radio 2 Young Folk Awards. Radio airplay includes coverage by local stations such as Win FM, and, in addition to recorded plays, live studio performances for BBC Southern Counties Radio on South Live (syndicated across the southern counties), BBC Solent Radio, Hampshire and Guildford University Radio, Surrey. In addition to interviews on local TV, Nina recorded with the ACM Gospel Choir as aired on the BBC2 TV show "Genius" in March 2009 and was a featured artist on the Channel 5 advert for "Don't Stop Believing" with Emma Bunton in a national campaign". The past few years have been illustrious, busy and rewarding for Schofield, and she is a musician whom is clearly heading for places. The woman behind the music is incredibly down-to-earth and relatable. Possessing of incredible beauty, she is capable of stealing breath from lungs, before a note is sung- and when she does it certainly gets a reaction. Unlike a lot of fake and facsimile fly-by-night talent that come through- vague of direction- our heroine has a voice that one cannot ignore; songs that demand repeated plays- and a personality that captures you and compels you to investigate throughly. Schofield's official website is beautifully designed. All the information one cold possible demand is there- and more besides. The fan and listener are kept up-to-date about her tours and happenings; the biography and blogs are authoritative and informative; the music readily available in multiple forms. Too many artists do the bare-minimum when it comes to online representation. It may seem like a minor consideration, but it is one that- if done right- can be hugely effective. All of these facets and elements have made their impressions on the public. If you peruse the reviews (below), it provides just a snapshot of just how confident and assured Schofield is:
"Imagine a young (and easier to relate to) Tori Amos, with a dollop of PJ Harvey and a sprinkling of Kate Bush and you're somewhere around half way there...." -
"[Nina has] an exceptional talent for creating original and catchy hooks in her song-writing".
Phil Jackson Southern Counties Radio, host
"[Nina shows] a brave approach to her music, not afraid to take risks…confident... kooky...in control... and totally absorbing – a voice that [I] will not forget."
The Industry Panel, South Live
"exceptional and unique… [I] could easily imagine a crowd at a festival singing along...".
Sally Taylor, BBC Radio Solent
"[Nina has] a beautiful voice that you simply have to hear!"
GU2 DJ, Andy Vale]
"Sweet, soulful, jazzy and dare I say "Lullaby-esque".
"There are many reasons to listen to the phenomenal artist Nina Schofield.... the collective body of work by Ms. Schofield truly doesn't disappoint. She is a soulful young woman working with great material."
Christopher Levine, Author of "Eclectiblogs-Weekly Meanderings for Music Head Consumption"
Before I get down to reviewing the E.P., Colours, I want to touch upon a couple of points. Schofield has been making music for quite a while now, and previous work shows you just how much she has achieved. Her album Drifting is something I have been investigating, and bowled me over with just how compelling it was. Tracks such as Never Found and It's Impossible are filled with nuance and fascinating avenues and mini scenes. I urge everyone to head onto iTunes and seek out the album, as it not only shows you when Schofield has come (and emerged) from, but also how far she has come. The quality has always been high, yet within Colours our heroine has grown, matured and developed- few artists have had such an impressive past few years. Singles such as He Said She Said and Slow Down Solider show different sides to our heroine, and display a rich sound and singular voice. I will end this segment by focusing on that voice; yet will give a quick shout-out to the other plays whom contribute to Schofield's asthete:
Nina Schofield - Keys and Vocals Steemy (Matt Steemson) - Guitar Matt Hutt - Bass Guitar Oli Chipchase - Bass Guitar Jonathan McElhatton - Piano James O'Gorman - Drums Ben Howard - Drums Backing Vocals - Toni Wiseman
One of the reasons I fell in love with Schofield's music, is the vocal performances she provides in each track. For me, the voice is the most alluring and captivating element to any artist, and is something that- perhaps subconsciously- Schofield is all-to-aware of. You can see from reviews that comparisons have been levied towards the likes of Kate Bush and P.J. Harvey- yet the central instrument is unique and very much her own. Schofield has shades of the great female solo stars, and adds a contemporary twist. There is plenty of romance, humour, sweetness and vitality; but also a lot of strength, independence and firepower. Too many artists are rather 2-D with regards to their voice and emotional range, yet our heroine projects a multifarious canvas that not only means she can write with range and diversity, but also make each song full of conviction and authority. Our heroine celebrated her birthday yesterday, and the day (Monday) saw the release of Colours- already it is being spoken of in impassioned tones. I know that the next few months will see Schofield touring and working hard, but I hope she can relax and catch her breath for a second, and drink in the acclaim. She has worked hard and long putting the E.P, together, and she is much-deserving of any kudos and celebration coming her way. Well, then, let us get down to proceedings shall we?
The infant seconds of Colours, grabs your attention firmly. With an impassioned and punctuated piano line, sparring and mingling with a backwards-sampling sound-rush; evocativeness and emotion and summoned up. The intro. is one that provides rush and energy; weight and intrigue- you are enlivened and fascinated before our heroine steps up to the mic. Our heroine's initial words paint the picture of a young woman whom is dislocated; fractured and hurt. Schofield confesses that she is on her own (again); "Lost in this confusion"; her voice tremulous yet firm. Putting a foolish boy to rights, our heroine points the finger at a person that "Lost his sense/To innocence". If you title- Over It Under It- projects images of sexuality and moving on, then the vocal rush that arrives at 0:45 makes you rethink. Until now, Schofield's voice has ranged from sweet highs and breathy evocations to softer and sturdy projections. Suddenly, the mood explodes, and you get wrapped up in the energy and fireworks. It is during the chorus where our heroine explains (to her unnamed subject): "You and your ego trip/Never fit". Whomever the central figure is, he is someone our heroine is giving short shrift to, and it seems like his immaturity and recklessness have caused some anger. In so much as her former sweetheart has caused fraction, Schofield's mood is determined and strong- she is moving on and determined not to let events get to her. The track looks at the fall-out of the relationship, and Schofield's former suitor making his next moves. Although the themes of heartache, infidelity and regret are perhaps well-worn and familiar, our heroine brings something new to the themes. The force and passion that she put into her words get the song into your brain, and it is hard not to picture various images, scenes and sights. When our heroine offers the words "Don't think of me/Just fall apart"; you can tell that there is conviction there: she is done with him and determined not to feel hurt or scarred. If the composition and sonic projection has its heart and sights set towards clubs or sun-kissed beaches, the vocal, perhaps has something more traditional and historic to it. The likes of Kate Bush, P.J. Harvey and Tori Amos have been levied and alluded to; Schofield has the raw force and belt of many of her heroines, yet manages to unveil a fresh and unique voice that has feint hints of past wonders- yet is very much her own sound. "I'm, I'm over It/I'm, I'm under it" is repeated as a focal coda, that shows just how Schofield feels about events. The flavour and sensation of Over It Under It may be more familiar and homegrown to the sounds of U.S. Pop and modern-day acts; yet there are evocations and semblances of the great singers of old. The song is a strong and impressive opener that gives the E.P. a kick and head-rush that is hard to shake off. In spite of some recriminations and scolding, the mood is light and emphatic throughout; it highlights Schofield's wide and emotive voice, and offers up some inspiring and precise words to those going through break-up and fall-out (9.4/10.0).
Following on from the opening salvo's heels, is the title track. As with the lead-off song, the intro. again is fascinating and brooding. There is a quick rush of strings; our heroine's voice working in the background and building up the mood. In a way, the heartbeat percussions and string swathes reminded me slightly of trip-hop and electronic music of the past- Massive Attack and Portishead briefly came to mind. Atmosphere builds up and percolates, before a delicate and tender piano line is elicited. Colours creates a trippy and heady burst once more; the song's early moments shift from romantic delicateness, to energised upbeat. Schofield's vocals (in the fledgling stage) is quite breathy and restrained; displaying elements of some past mistresses within her tone. Initial words have more positive and satisfied embers within their core ("I feel more alive/With you by my side"). Whereas Over It Under It dealt with romantic exsanguination and moving on, here there is a more contended and relaxed mood. Our heroine has found a safe haven; more settled and contended in her skin. The previous track has a constant force projection and gravity to it. On the title cut, the energy and sound rise and falls; there is a sonic sway- both elliptical and evocative. Our heroine's beau, here, is "second-to-none"; someone whom aspires her to say: "The colours of the world/Collide/And make a paradise". Schofield is in a happy and warm frame of mind; determined to embrace a new-found optimism. Perhaps, like its predecessor, the song has its roots in a club setting or within this milieu. Perhaps, befitting of the title, the song has a colourful and variegated energy and spritz to it. Schofield's voice is uplifting multi-tracked; at once cooing and seductive; the next bolstered and filled with sun-kissed smile. One thing that struck me about the song, was how considered and thought-out it is. Our heroine goes to lengths to project as much fascination and delight as possible. Vocals go from syncopated to measured; the composition ranges from slight to sky-bursting: there is a constant energy and sense of intrigue throughout. The track's chorus will surely nestle within your brain; its catchiness and memorable repetitions are calibrated to inspire sing-along quotation as well as head-swaying smile. By the time it reaches its end, you cannot believe 4:18 has elapsed. You get caught up in the tropical bow waves; carried along in the song's energy and blitz, that it is a little disappointing that it ends. Such is the nature of a great song (that it leaves you wanting more), and is a natural stand-out cut (9.7).
At the half-way mark, we have heard a lot of energy; two sides to love and romance; as well as a sense of a young woman with her mind primed to the future. Where as the intros. to the first two tracks had a similar-sounding fascination to them, on Everytime We Touch, a new direction is unfurled. With Colours' bonhomie and optimism still spinning in my head, our third track unveils a swirling electronic opening that keeps the energy level high, once more. Schofield's vocals are more subdued and singular in the opening moments. Our heroine recounts various moments and scenes; a butterfly escaping her hand; the song that (her and an anonymous subject like) "They played it on the radio/Again today"- scenes are being set. The song 'on the radio' acts as a point d'appui for our heroine, whom- once more- is being compelled by the vicissitudes of love. The (anonymous) hero is striking chords in Scofield's heart; leading her "...slowly/Through the dark"; causing feelings that are leading (her) "closer to your heart". Again, kudos must be paid to the vocal projection and delineation. The vocal breathlessly rises and strikes; repeats and comes back; the next moment it levels and consecrates. The way Schofield whips up emotion and sparks with these sort of considerations gives extra weight and emotion to her tracks. Whereas perhaps there was a more frantic and sunshine burst with the initial two tracks, here there is uplift abound (for sure), yet more tenderness and romantic tribute. As well, a sense of girlish coquettishness and innocence comes across in our heroine's outpourings. There is unabated delight, yet nothing is ruined with needless explicitness or dumbing down- in essence it is a paen that provides purity and honest openness. Schofield knows that the chorus is a strong asset, and it is something that is re-introduced to build mood and nestle into your brain. With guitar and percussive slams and sparks, a firestorm of undarkended and rainless uplift is presented. Perhaps there is a touch of Ellie Goulding when the audio and vocals rise and rush- I heard a slight remembrance. Schofield's vocals have a similar potency and sound, yet a more appealing overall tones and implore; as well as more conviction and range. The halcyon mandate that our heroine offers up is one that is instantly familiar; it has airs and D.N.A. of some modern Pop wonder- yet once again Schofield subvert the genre and makes the sound very much hers alone. Catchiness and conviction are twins of synonymous wonder, and you will have a hard time forgetting the chorus. As with all of her music, you believe every word; are drawn in and compelled- caught up in the waves of audio bliss. The entire song is completed within 3:27, yet- like Colours- is one that seems somewhat short. Songs such as Time Is Running Out (by Muse) seem that way to me; it is because you not only get lost within the chorus and indelible quality of the words; yet submerged and seduced by the mood, energy and potency. Everytime We Touch offers comparable rewards and is a song with its heart on its sleeve; one that will emanate and strike a chord with most of us (once more) yet tells the tale (and pays testament) to a young woman deliriously enraptured by love and its psychotropic power (9.7).
Arriving at the feet of the final song of the quartet, and so much ground has (already) been covered. Several sides of love and romance have been investigated, and our heroine has emerged from a fraught start (on the opening track); to someone very much revived and at peace. On the swan song, the opening notes are delicate and still. Romantic and haunting piano notes are traded in (counterbalance to the pulse and force of the first three tracks). Our heroine is in reflective and introspective mood, as opening words back this up: "All of this time/Losing my mind". The piano punctuation and notes are graceful and well-considered. Both melodic and metronome, they build a sense of romance- but also delicately soothe. Schofield needs to re-group she says; perhaps events have taken a turn; and some anxiety is on her mind ("I need to focus"). Breakaway sees our heroine at her most soulful and soothing. Her vocals are sweet and intoxicating, yet also imbued with sexiness and beauty too. Shades of The Sensual World-era Kate Bush, as well as Little Earthquakes-era Tori Amos in the performance. Schofield's voice never cracks or implodes; yet remains firm and headstrong as she states: "If there's a life you can't touch/Then breakaway". The song is stirring and emotive as our heroine admits that sometimes the best thing to do is step back. If you cannot have what you want or feel you need, then sometimes you have to leave it. The sonic backing is kept to a minimum and subtle- allowing our heroine to let her expressive voice tell the story. The vocal performance is one of the strongest on the set, and shows another side to Schofield: one that is a juxtaposition to the central figure of the previous two songs. From opening words (on Over It Under It) that gave sage advice to a no-good (former) love; here there seems to be a polar desire: a longing that is unshakable. Whether there is personal relevance or past heartache that has enforced the lyrics, I am unsure, yet it seems that Schofield is speaking to her audience (and all of us) in general- the song acts as a piece of closing advice; a universal message as it were. Utterance of U.S. Soul and Pop stars such as Alicia Keys linger in the undertones of the song; Schofield projects a similarly impressive sense of majesty and restraint within each line. When our heroine confesses that painful feelings will not leave "until you let them"; it appears that there may be some back story or influence that has compelled her- perhaps a relationship that dissipated or never ignited. It is perhaps appropriate (or emotionally required) that a softer and gorgeous swan song closes the set. The previous three tracks give so much energy and sunshine, then you are ready for what Breakaway offers. If the final track was infused and energised you may feel too worn out; because it isn't, you end the track wanting more. You wonder whether our heroine found answers (in the song), and whether the track acts as an exorcism or a painful recollection. As much as anything it is an impassioned and impressive number that concludes a wonderful E.P. With the embers dying in the final seconds, you cannot help but smile- knowing that our heroine (on balance) is in a good place and satisfied (9.6).
I will sum up the review with a parable (of sorts). Several different songs have been rolling around my brain; obsessing me somewhat, and for these reasons: they provide emotions conflicting yet beautiful in sync. The first track is The Build Up. It is a song that builds from acoustic beginnings; reaching a gorgeous vocal crescendo in the hands of Feist. Her vocal interjection turns the track into a haunting and evocative piece of work. I love the stillness and the unforgettable vocal turns. In Colours, there are moments like this- throughout the four tracks. Like the Norwegian-Canadian commingle, I listened to Schofield's E.P. and felt a comparable shiver.The song (The Build Up) is one that I replay because it drifts me away- puts my mind somewhere away from the hostilities and compression of modern life. In Slight Return by The Bluetones; as well as a stonewall classic, it is a song that is as catchy as it is relevant. Its words and utterances transcend the ages; its simplicity and effectiveness wins you completely- it is a track that has as much sunshine as it does swagger. Although that song was born in the Britpop era, I hear few modern tracks which offer up the same degree of dance-ability and appeal. Within the mid-points of Colours (and in the opening salvo) I found much to smile about. The reason I adore The Bluetones' classic is because it makes you smile- no matter what! Similarly, Schofield's E.P. brims the joy tank when required; taking you to places familiar yet safe. Even though the words being presented have personal relevance to its author, everyone can relate to them: there is a borderless appeal that means their charms and mysteries will never tire. Finally, we have Deacon Blues by Steely Dan. Perhaps it is because I am old (well old-fashioned); yet I cannot get enough of the U.S. legends. Criminally unheard of now, I spin their songs on a daily basis. Their lyrics are detailed, literary and fascinating; their motifs nuanced, filled with layers and richness their songs timeless and wonderful. Schofield has a lot of years in music ahead, yet has caught onto the knack of making sure a song makes its mark. Steely Dan stick in the mind because you can tell they put huge effort and work into each number- ensuring that no fault can be found. Our young heroine has fewer Jazz elements (than Steely'), yet incorporates sound collages and tapestry into some intelligently worked numbers. My overall point is that disparate and diverse music affects you in different ways- essentially they make you happy. Our heroine has managed to seamlessly infuse compartmentalized themes and sounds together; tie personal in with universal- and create something that will make you smile; and inspire the mind. The E.P. from Schofield is a bold and varied collection and one that sets up an intriguing future. Whether she will incorporate Rock, ('70s/'80s) U.S. Jazz or Britpop fever into future songs I am unsure; yet it seems that the confidence abound within Colours will manifest itself in interesting ways. You can intellectualise and examine the songs (within) if needs be; but it boils down to this: it is a terrific and bloody good E.P.
Nina Schofield is going to be an artist whom should get used to life in limelight- or start preparing for it. I have seen many acts and bands whom can turn in some great songs and releases- yet feel that they will burn out of the public mind-set quickly enough. Our heroine has immense beauty, buckets of charisma and charm- a personality that appeals to all sectors of the market; and can seduce all. Her work rate cannot be faulted, and few contemporaries are as hard-working as her. Her online portfolio is impressive and multi-layered and the impression one gets from Schofield is of a young woman whom adores attention and praise, but is equally compelled by music itself: pure and simple. The everyday business of making it means a huge deal to her, and this comes across in her output. Colours is a natural step forward for Schofield, and an ambitious and triumphant E.P.- one that she should be very proud of. Those familiar with her previous work will find that recognisable and unique voice running throughout, yet there are new shades and changes that keeps her sound fresh and ambitions high. A lot of female (or male) acts seem to subjugate a lot of the audience; make music that may only appeal to one gender or lovers of a certain genre. If you want market share and dedicated hearts, then it is paramount that potential fans and audiences are not neglected. Schofield's voice can draw in a vast range of listeners; her songwriting covers subjects familiar to all- her personality and appeal capable of winning even the most stubborn minds. I am not sure what Schofield's future plans are, yet I know that new music will be in the back of her mind. Once she has toured and thrilled schools; played the stages of local festivals and venues, I hope that further-off locations will come a-calling. I have reviewed acts such as Jen Armstrong whom have played in bars and clubs of Nashville and L.A.- as well as venues throughout the U.K. Our heroine's music has a quality that can easily be extrapolated by, and transferred to, the American (and Australian) audiences. There is a ubiquitousness and universal appeal that the crowds and ears of the U.S. will take to heart; her sound will have a natural home around Europe and Australia as well. I am sure that BBC radio play will be something forthcoming; as well as the possibility of major festivals. Acts such as Emma Stevens and Annie Drury have earned these distinctions, and perhaps have less ammunition and potential as Schofield does. The music sector this year is taking turns and is showing signs of mutations. New music has a better chance now- then it ever has- of making huge impacts in general; those artists willing to work for it are going to be at the forefront. There are enough out there that not only have the will and drive, but the talent to back it up: Schofield is a name near the top of that list. Social media devotees have latched onto our heroine's appeal and potential- I hope many more people take notice. On the evidence of Schofield's 4-track E.P., our young star has a firm desire to make a huge name for herself- and rank alongside her music idols. In such a fickle and capricious industry, it is always hugely difficult trying to predict trends, and make bold proclamations. I am confident, mind, that Schofield will be someone you should watch closely, and on pure effort and determination alone, few deserve it more. For now- and before our heroine has some lofty dates to think about- take a listen to Colours, and enjoy the sound of an eager young artist, making music for everyone. In a week that has offered little in the way of sunshine and happiness for me, Schofield has put a smile on my face. As much as anything, I have reappraised my own music collection, and added Colours to it; it is a collection that offers something new with each listen- sure to brush away the cobwebs and inspire the creative mind. When it all boils down to it, the best and most memorable music is that which compels you to make your own; to rethink things in general, and just, well... feel better. It is rare to find an artist or talent whom can offer that; and do so with conviction. When you do discover an act that can do this...
YOU'RE really onto something rather special.
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