TRACK REVIEW: The Wild Things - F.I.A.



The Wild Things

PHOTO CREDITMarcus Maschwitz Photography





 F.I.A. is available at:




London, U.K.


June 2017


NOW that I have The Wild Things in front of me…

it gives me the chance to have a chat about a few particular things. They are a band who is ready for the challenges puts before them; getting stuck in and ensuring their music is properly decent, original and striking. I will touch more on that soon but, for now, wanted to look at female-fronted bands and the band market (and possible struggles); siblings in bands and friendships; sounds that mix classic Pop and Rock together; professionalism and ensuring you are ahead of the curve – a bit about gigs and steadily building a fanbase. The reason I want to look at female-fronted bands – aside from the fact The Wild Things is – is because of, strangely, the brew-ha-ha surrounding the Doctor Who announcement. One would think we are still in the 1950s given the reaction to Jodie Whittaker’s appointment in the TARDIS. The fact Whittaker is a fine act and great choice: it seems some of the Doctor Who ‘faithful’ have been voicing their displeasure. It would be well, to an extent, were Doctor Who set rigidly in stone – and casting a woman would violate and contradict its ethos and reputation. I am not sure what the circumstance would be where that would be true but it is not – the show is flexible as any and allows for a female Doctor. I do not think it is the change that has ruffled feathers but the fact the new incumbent is a woman. If the new Doctor were black/Asian, would that provoke such a spirited and vitriol-fuelled attack? I feel people would get used to it – despite some hesitance at the start – but why would a woman get the Doctor Who super-fans so angered?! The fact most of them would not have been with a woman is probably one reason behind it. Most of the true fans are happy with Whittaker and looking forward to seeing what she bring to the role. The fallout from the announcement makes me worry whether we are as open-minded as we should be. Besides the fact, when it came to the E.U. and the recent election – our nation made a stupid and dreadful decision on both counts. It seems we are not as smart and sensible as we think we are.fanbase. The reason I want to look at female-fronted bands – aside from the fact The Wild Things is – is because of, strangely, the brew-ha-ha surrounding the Doctor Who announcement. One would think we are still in the 1950s given the reaction to Jodie Whittaker’s appointment in the TARDIS. The fact Whittaker is a fine act and great choice: it seems some of the Doctor Who ‘faithful’ have been voicing their displeasure. It would be well, to an extent, were Doctor Who set rigidly in stone – and casting a woman would violate and contradict its ethos and reputation. I am not sure what the circumstance would be where that would be true but it is not – the show is flexible as any and allows for a female Doctor. I do not think it is the change that has ruffled feathers but the fact the new incumbent is a woman. If the new Doctor were black/Asian, would that provoke such a spirited and vitriol-fuelled attack? I feel people would get used to it – despite some hesitance at the start – but why would a woman get the Doctor Who super-fans so angered?! The fact most of them would not have been with a woman is probably one reason behind it. Most of the true fans are happy with Whittaker and looking forward to seeing what she bring to the role. The fallout from the announcement makes me worry whether we are as open-minded as we should be. Besides the fact, when it came to the E.U. and the recent election – our nation made a stupid and dreadful decision on both counts. It seems we are not as smart and sensible as we think we are.

Applying this to music and I am seeing the same Whittaker-flavoured prejudice when it comes to female artists. Maybe it is me being modern (and not a nob) but I want to encourage the industry to promote female musicians and get them headlining festivals. It appears they (female artists) are getting fewer opportunities than the boys – often overlooked when it comes to festivals. This extends to studios and music roles. We are seeing more and more women speak out against the imbalance but should men become more involved? There are journalists like me who passionately rebuke my gender: we should be doing better and not living in such a caveman-like age. Yesterday, I was looking at a series of advertising campaigns from the 1950s – BBC had it on their website – that included one for cigarettes where the tagline, effectively, said; if the man blew smoke in her face, she’d follow him anywhere. Another was advertising hoovers: the woman, on Christmas Day, was on the floor, drooling over the instruction manual. Another, saw a woman hanging off a cliff with two men, above her, laughing that, at least she was useful in the home – a couple more perpetuated that stereotype of the woman being in the kitchen and not excelling in a ‘man’s world’. I was shocked that was seen as acceptable back then but, in truth, have we really progressed in the last sixty years?! I see advertising when we drop similar atom-sized clangers: music is still allowing sexist practices and inequality to reign. The Wild Things are a band where their lead, Sydney Rae White, is a successful actor and musician but one wonders how much of the attention will come based on her looks – and whether her band will be overlooked because she is a woman? It is a frightening thought and, let’s hope, she has not encountered too much discrimination thus far. What is the solution when it comes to blatant sexism and these issues?!

PHOTO CREDITMarcus Maschwitz Photography

I feel we need to change the current order and decision-making cabinet. It is, by and large, white men who are products of an older generation. I feel, sadly, even Glastonbury’s organisers are still not quite up to the times- the fact none of the headliners this year were women is a sad reflection on their booking policy. Music is an industry where the only judging criteria should be quality. Talent, popularity and ability are all important to consider but it is the merit of a band/artist that needs to be the sole consideration. Whether the solution is easy and quick is to be seen but every day, in different ways, I am seeing sexism rear its head and show how unevolved we are as people. Knowing The Wild Things – and how strident and effective White’s talents are – I know she shares my opinions and will keep on sticking a middle finger up to those who dare to doubt her – simply because of her gender. I know the guys have gigs coming up but I do wonder how many are passing by because of the fact they have a woman in the ranks. This is true of festivals who, when it comes to the band, predominantly, are male-heavy. A current BBC reporter shows there is a gender imbalance in their organisation. It is such a widespread problem and I do think it is as simple as blaming it all on men. There are no legislations and lengthy processes to go through to redress the issue: it is, simply, them not wanting things to change. Music is the only industry – possibly the arts/theatre/film – that has that reputation for love, togetherness and support. If female artists are being let down by the corporate heads and decision-makers; how can we continue to advocate this ethos of equality and affection – without it seeming hollow and ironic? I shall move on from this topic but feel, given the fact I am faced with The Wild Things, it deserved a mention.

PHOTO CREDITMarcus Maschwitz Photography

Sydney and Cam, from the band, are siblings which is something that intrigues me. I know bands with siblings – HAIM’s three sisters; Oasis’ duelling brothers among them – but there seem to be very few in the modern age. I am not sure whether Oasis’ ‘reputation’ has led a lot of siblings to forge working that closely together – in case there are irreparable strains on their relationship. With The Wild Things, one hears that close connection and understanding between Cam and Syd. They grew up – thinking back to the time I interviewed them – in quite an interesting household. It is what one would think of when imagining an actor’s household. Playtime would have been more creative, eye-catching and fascinating than most; the sort of people the young Cam and Syd would have seen coming through the door differs to most people – their exposure to music and arts would have been quite prominent and insistent. Perhaps it is the fact they both bonded with the arts at such a tender age they decided to go into a band together. I think of HAIM – more than Oasis – when I talk about the West London quartet. There is a lot of love and friendship in their ranks: solidified and defined by that unbreakable brother-sister bond. Sure, there would have been disagreements and spoils over the years – that is natural when you work so closely with a sibling. It is, I feel, the solidity of their relationship that keeps the band so ambitious and strong – the music instilled with so many positives, joyful moments and incredible highlights. Of course, Rob and Pete – friends of the guys and loyal cohorts – are as crucial in the mix; they are invaluable components in that original and distinct Wild Things sound. It is interesting The Wild Things has siblings in the band; they are female-fronted (or Syd is one of the leads) and are based out of London. The group are in the thick of the British music industry and have potential stumbling blocks at their feet. Not suggesting internal issues and aspects will cause this but, more likely, outside voices.

PHOTO CREDITMarcus Maschwitz Photography

One of the reasons The Wild Things are proving so popular and accessible is the fact they blend mainstream-possible Pop and grittier Rock. Their music has a summery, light nature but can pack plenty of punch and energy. It is a vibrant and intriguing mix that, the one moment, can showcase a seductive and near-hushed verse – before climbing to a colourful and vivacious chorus. Alongside the incredible music is the band’s effective and charming love of vinyl and older recording equipment. Look at their official page and one can see, when they promote their new single, vinyl copies of them. Naturally, the band relies heavily on digital forums but one suspect there is a distinct passion for proper music hardware. I am not sure how many copies of F.I.A. will be pressed to vinyl but I hope there will be a fair few at their gigs. I can see the guys selling their music on vinyl, C.D. and cassette – ensuring it connects with older generation and those who prefer their music on traditional formats. I am not surprised there is a nod to vinyl because, thinking of Syd and Cam again, the guys must have grown up listening to legends of music. That can explain their chemical blends and decades-mix music. I feel one of the reasons artists can rise of fall is down to the core sound. Going into music; it can be difficult knowing what the public wants and how to stand out. It is easy to compromise ethics and go for something commercial but I feel that is a path had to turn away from. When you have that kind of ideal and aim in mind: how easy is it to disconnect and go for music more ethical and individual? In terms of The Wild Things; they had that upbringing of great music – the siblings and two boys would have been exposed to wonderful sounds. I feel, as they are in their twenties, they arrived into the world at the right time. They would have had the finest of the 1990s but, one imagines, the benefits of their parents’ record collection – those legendary artists from the 1960s and 1970s. Now, they are taking in modern influence but have incorporated some Rock and Pop from the previous decade.

PHOTO CREDITMarcus Maschwitz Photography

It is a wonderful blend that manages to create something nostalgic but forward-thinking. The band is not reliant on anyone else to create their sound but have educated and nourished themselves on fabulous music from the past. Genres like Pop and Rock can be quite vague and hard to define and differentiate. So many artists produce a mesh of Pop and Rock that sounds unfocused, limp and generic. The differing styles of music have potential when mixed but it can be risky. Pop, if you take it back to its best days (The Beatles’ harmonies and classics from the 1960s) and unite that with a dose of 1970s Rock and Indie from the present-day. Sure, there is some great Electro-Pop happening now but nothing as durable and genius as The Beatles. I get a whisper of the Liverpool legends in The Wild Things; Rock rumblings from the 1970s and of-the-minute concoctions of Electro-Pop and mainstream tastes. It is a heady brew that engages the imagination and gets the voice primed and eager. Not only do musical tastes and collated influences enforce The Wild Things’ music: one feels, when looking at someone like Syd, there is a lot of herself in the music. I have been reading her social media feed – always a dangerous thing to do! – and hearing about her ‘exploits’ of late. A couple of weeks back, on a particularly ‘memorable’ day; White had her eBay account hacked; her cat vomited over her flat and, most notably, she was caught in her birthday suit by a window cleaner – who didn’t even down his bucket and squeegee (I realise, as I type this, that sounds like a euphemism if ever there was one!). It might sound like something from a Carry On film but, for White, it projects a certain infectiousness and loveable personality – one can imagine a sitcom about her life (fictionalised to an extent) would make a good BBC series, no?! At the very least you have a young woman who, through risqué escapades and nothing-left-to-the-imagination scenarios, brings that quirkiness and fun into the music. I am not sure whether Cam and the get caught in any similar predicaments but one can sense a consensus of fun and frivolity in The Wild Things. Consequently, that D.N.A. goes into the music and differentiates them from the competition.

I shall move on from eBay fraud, Sydney Rae White and the bold-faced window cleaner – she’ll be relieved to hear! – and look at the London band’s professionalism and work effort. Look at their official website and one is greeted with a colourful and striking image of the guys. It is moody and sexy; it is eye-opening and memorable. Look at their social media feeds and you get regular updates and insights into the band. One of my biggest gripes – one that continues to grate the testicles severely – is the fact I get approached by so many people (P.R. companies among them) asking me to interview/review their acts. That is exciting and can lead me to some great discoveries. Even if the music is THAT good, in order to flesh out my pieces; I require a certain number of photos to accompany it. That is not unreasonable but one would think, looking at some artists, the camera had just been invented. If one had to wait for someone to stick their head under a cloth (as the old cameras had) and freeze in position for several weeks – that would put people off taking too many snaps. We are as far from that as humanly possible. People, these days, photo things that go in and out of them; every asinine afterthought and mind-numbing possibility. The fact so many musicians are not putting an adequate number of photos online is something that can risk a career. Fortunately; The Wild Things have an array of gig snaps and portraits that keep people like me happy. It is not only impressive because it suits my ego: it shows the band is serious and wants people to include their music on their pages. The bigger publications are going to be more impressed if they see professional shots and a lot of information. There is no point being enigmatic and piecemeal when considering images and details. This considered and fulsome approach to music extends to their interviews and music. I have alluded to the variegated and fascinating sounds one hears: the band is keen to promote and share their interviews and speak to as many journalists/sites as they can.

PHOTO CREDITMarcus Maschwitz Photography

The Wild Things have a gig at The Lexington on the first of next month but one suspects, when things start to hot up, they are going to be pounding the gig scene rather hard. I am trying to book them for a thing I have coming up later in the year. Their live shows are terrific and have gathered impassioned reviews. It is clear they are meant to be in music and have a real bond with the audiences they perform to. Not only is the London band ahead of the game in terms of their sound and social media: they are one of the most reliable and exciting live forces in the U.K. Maybe it is not a shock as The Wild Things have acting blood in their midst. In fact, one can draw a line through each member and see a varied performance C.V. Sydney Raw White, more so than the three chaps, is a prominent and up-and-coming actor. Many of us saw her in the hit BBC comedy, Uncle. It is being shown at the moment but, sadly, wrapped for good earlier in the year. It would have been an emotional time for White but a happy and happy experience on the show. She got a chance to perform with some wonderful comic actors and open the door to other comedy/drama shows. I feel White (and her sibling, especially) bring acting and that discipline into their music. One need only look at their latest music video – where Cam ‘suffers’ for his art, to extent – to know how closely connected acting and music are. I am not saying musicians who do not have acting backgrounds are less effective live performers but one knows The Wild Things have a definite edge. Their histrionic range and performance talents go into live shows that ensure every song they play gets into the head. The videos they produce, on a fairly small budget, are always terrific and original. I will touch more on that but it seems the gang will see themselves privy to some rather illustrative gigs in the coming months. Proving how effective and compelling they are on the stage: how long until the West London four-piece are receiving nationwide/international requests? It cannot be too long, that is for sure!

PHOTO CREDIT: @marcusmaschwitz

Before coming to F.I.A. and why it is a song you need to get involved with; I want to take the mood down a little and talk about bands. Yesterday, when speaking with a website designer friend in Canary Wharf - the jammy bugger works in One Canada Square and has one of the best views of London imaginable! – he was talking about bands and how hard it can be to break them. He, in addition to designing websites, manages a few acts – including the wonderful XY&O. The boys have played Glastonbury but, despite the expensive P.R. campaigns and endless work, they are not where they should be in music. Some P.R. campaigns can cost a grand. A manager/band can put their latest song/album to a P.R. company who will, on their behalf, contact people like me and get as many sites/journalists talking about it. One hopes, with that attack-on-all-fronts approach to promotion, more and more people will get acquainted with the artist. That is true but, one of the biggest drawbacks for a band, is when it comes to monetising their music. Me and Alex (the guy I was speaking with) bemoaned the fact our music passions were not generated as much money as they should – mine generates zilch, in reality. The Wild Things rely on gigs and the revenue they can generate from that source in order to produce new music/videos. Sure, people like Syd have their acting but, considering she pays rent and needs to survive in London; how much of that pay cheque goes into her music? One suspects the band, like many other, have quite tight and troublesome profit-and-loss sheets. The sheer passion they have for music mitigates a lot of the financial pressure but bands are not being compensated and safeguarded enough. Speaking with Alex; we chatted about streaming services like Spotify and the true ‘profit’ associated with these services.

PHOTO CREDITMarcus Maschwitz Photography

The reason some artists get success on Spotify is that they are part of playlists which generate millions of streams. For most artists, they have to rely on more modest numbers. The money they are paid for each stream is so meagre; one cannot make any decent money from this source. A recent article from The Guardian laid out the facts when it comes to our smaller venues:

A dearth of live music venues threatens the UK’s talent pipeline, according to those in the music industry. “Live venues are one of the few places where a new band can actually make a living, and the big problem is that the money which used to be there from recorded music has all but dried up,” Pink Floyd’s drummer Nick Mason said recently. “It’s really important we try to keep open these places where young bands can play and work.” The venues had believed that their pleas for support were being heard. The former culture minister, Ed Vaizey, said in 2015: “A vibrant music venue which is breaking new acts has just as much right to be considered a cultural venue as a local or regional theatre.”

“A lot of our venues don’t just put on pop music,” (Beverley) Whitrick said. “They will also put on jazz and folk, some put on theatre, and most put on comedy. A lot of the stuff they host, they know they are going to lose money on.”

Darren Henley, the ACE chief executive, said it had strived to ensure the new funding allocation was diverse and inclusive. “We are funding some incredible music organisations as part of the portfolio for the first time, including Readipop in Reading, contemporary music promoter Capsule in Birmingham, Loud in Libraries, NTS Live and Sound City in Liverpool. We also fund contemporary music through our other funding streams – for example, we’ve just announced that we’re funding Boiler Room’s coverage of this year’s Notting Hill carnival through our Ambition for Excellence programme.”

This, alongside the paucity Spotify pays artists for having their music streamed, is creating a real fear among bands. Solo artists/duos are in the same position but it seems bands are being hit hardest. I wrote a piece a few days ago wondering why so few of the best mainstream albums from the last year or two were created by groups. Maybe it is harder for them to perform and monetise their music: that, in turn, means they have less money for creating music and have to compromise in a lot of ways. I am not sure this is the complete truth but there is something in it – money is such a pivotal reason why so many musicians are not producing their best material. For The Wild Things; they are one of those hard-working bands who have to take jobs to fund their music and, one hopes, will not suffer because of the venue issues. I would love to see them become one of the biggest bands in the country – no reason why they cannot – but worry there is an alarming trend unfolding before our eyes. Aside from sexism and imbalances – I shall return to this a bit later – so many facets of music are suffering and being let down. Not only will many great venues close – well before new funding talks in 2020 – but bigger spaces too. These spots are crucial for every band when it comes to getting their music to the people. If they cannot rely on the gig fees and merchandise profit they receive from venues: are streaming sites an attractive and effective alternative? It seems not as we are reading tales of artists not being remunerated from Spotify; the fact modern music is not as profitable and compensated as it should be. Whether the government should be doing more and subsidising venues – so they do not face closure – is hard to say but more needs to be done in general. The likes of The Wild Things rely on the small venues to get them into the public consciousness – take them away and it will be so much harder for them to prosper. Now that I have depressed everyone, I better move on. I have been a bit Grim Reaper in the last section but, listen to F.I.A. and I am in no doubt The Wild Things will succeed and reign on the strength of their music alone.

PHOTO CREDITMarcus Maschwitz Photography

The band’s aim, Syd especially, is to enslave the human race. Not in a Donald Trump manner but something more melodic and loving. The band’s mingling of sweet harmonies and ball-kicking Rock is enough to get the human race buckled to its knees. Anyone expecting a slight and ineffective enslavement is in for a shock listening to F.I.A. I approve of the opening moments of the song’s music video as it castrates and villainises a few public figures – those who are making the world a worse place. Piers Morgan – one of the slimiest reptiles in the pond – is given Devil horns. President Trump has some of his ‘wise’ sound-snips comicalised and mocked – an epic buffoon who, with his sexism and vile agendas apparent, is being seen as a bit of a joke. It is worrying with have people like Morgan and Trump in the world – especially in such high and prominent positions. The video starts with the first chapter: The Sleazeball. In the video, Cam plays a version of the boss in the U.S. version of The Office – Syd is at a computer; subjected to his ‘management’ style. He is a bit of a sleaze and it is this narrative that perfectly supports the lyrics. Syd’s voice is firm and intent as she reveals, about a subject or general figure, who has certain revelations in the public. In fact, wind back, there is tussle as to whether there is accusation towards the perverse and ill-informed – those idiots like Trump and Morgan – or more a personal perspective. White, as the song’s heroine, has this lighthouse-like beacon guiding the way. It seems she is falling and struggling to come to terms with something. Whether there are ambitions not being achieved – her as the office drone; vulnerable to groping and unwanted advances – might represent a stagnation and frustration. She, as a woman, is playing second-fiddle to leaders/managers that perpetrate negative ideals and are, well, rather crude. Why should she, as the dignified and pure, have to suffer this?! Maybe the song looks back at her previous work experience: perhaps it is a commentary on sexism in society or the way men seem to make more of the decisions.

Whatever the interpretations; one is hooked by the video and music. The former has that low-budget charm and humour chapters – Syd and Cam showing their acting chops and presenting a tableau that is going to familiar to many. The song is a typically boisterous and spirited number from the London band. Syd’s voice is as strong and set as ever: the way she can blend the luscious and cherry-ripe with something spiked and kicking is impressive. She has one of the nimblest and strongest voices in new music and demonstrates it here. The guys help to whip up stomping percussion, liquidy bass and stirring guitars – they whip up a storm and provide one of their tightest performances to date. White, as the ill-fated heroine, wonders why she has to be in the position she’s in. The song’s title – the acronym stands for F*ck It All – is her exasperation at the way things are going. The song’s video projects sexist subtitles – Cam, as the boss, belittling Syd and saying, even though she is not a man, if she works hard she can make it happen – and some rather creepy images (not Cam massaging his sister’s shoulders but that all-too-common workplace ill). I get a sense of Syd speaking for many people in society – not necessarily women. It seems, even if you do have ambitions and good intentions, you can be let down by people. As a musician and actor; she must have faced closed doors because she is a woman. The video for F.I.A. certainly highlights a sexism that we should eradicate. There is this assumption things will be okay – telling her parents it will be okay – but there is tension and rage building under the surface. This is visualised by the song’s video which, rather wonderfully, sees the put-upon heroine take action. Her boss’ too-near-the-ear leering and patronising sexism is too much for the heroine to take. She screams and, as we transform from the office into a multi-coloured-disco-floor-cum-battleground; things intensify. Syd wields a sword – her boss looking concerned for his life – and she has taken more than enough! Coinciding with the next chapter (The Criminal); we see the fall from grace of the heroine.

The song’s lyrics might not be as extreme as the visual arc – the oppressed killer having to escape and evade punishment – but there is a tangible sense of relief and release. This is exemplified by the song’s explosion and passionate burst. The guitars, drum and bass volumise and create a wonderfully boulder-like and fiery sound. Everything gets hotter, suffocated and exhilarating. The band, every one of them, shows their instrumental chops – how they can switch from the summery, harmony-rich calm to full-out Rock jabs without much of a breath. It shows how confident and assured the band is. They can switch one-eighty and make it sound natural and expected. As the third chapter, The Stalker, comes in; it becomes clear there is a combination of the personal and observational. Syd has been around those pervy bosses and types that demean women. Then, she looked at those who strike out and damage the world; stalker, who harass women, are those we need to take to task. Whether there is a personal exclamation – fed up with these people getting away with it and affecting women so severely – or a need for society to clean up, it is interesting to examine. It is clear the heroine is not one to take these issues lying down. In the video, she strikes a man who tries to mug a woman. Then, she tackles a stalker and asks who is running the show – The Big Boss is the final villain that needs slaying. The humorous and comic book approach to video-making is a nice companion to a song that addresses something rather serious. The band takes the song through suites and stages. Syd yelps and spits; she has passionate segments and ensures each part of F.I.A. has its own personality. The band is level to the task and, as such, infuses the composition with different sides and flavours. It is one of the finest, if not the best, songs from the band and one of the most complete. There is a definite sense women/sisters can overcome the worst side of man – something that needs to happen (perhaps a little less violently than in the video!). Whatever your take away from the song; it is a huge and anthemic song from the London band and proof they deserve a lot more oxygen and success. Let’s hope that does not take too long to happen!

PHOTO CREDITMarcus Maschwitz Photography

Many of us experienced quite a storm last night – you’d think it was the rapture, the way people are going on – and have been thankful it is a lot calmer this morning. In any case, that storm cleared the air and will take the heat down a little. If that meteorological sensation has, after some turbulence, created something positive; one wonders, applying that to music, whether that is the way to broach issues we are facing (pardon my rather clumsy metaphors and linking ‘powers’). In all seriousness; I, as much as anyone, was aggrieved seeing the online disagreements when Jodie Whittaker was announced as the new Doctor. We are seeing more and more sexism make its way into society – this seems rather baffling in 2017. I feel people are not as evolved as they should be: hanging onto horrible and vile ideas of past decades and thinking that is okay. At the very least, there is a stubbornness and unwilling to adopt anything new and progressive. This can be applied to music in a lot of ways. From the mixing desks and studios; to the festivals and looking at the charts themselves – women are subject to discrimination and this has to stop. A lot of charts acts are still promoted based on their looks: sexuality a big ticket for the girls but not as much for the men. How can we logically rationalise this approach and not take action?! The older boys are calling the shots and, until this order is replaced, we are not going to move on in any meaningful way. Sydney Rae White is the lead of The Wild Things and not someone who pays sexist men any quarter. One imagines she would have experienced sexism and, compared to her male peers, not provided the same sort of respect and focus. For the London-based band; their music shouts in the faces of anyone who dares to overlook them. I have mentioned – and shall not elucidate and return to the well – some of Sydney Rae White’s unfortunate happenings a couple of weeks ago. She, to me, is one of those charming and real people we need to see more of. Having a close bond with her brother, Cam, and friends Rob and Pete; the guys are one of the most together and effective bands I have heard.

PHOTO CREDITMarcus Maschwitz Photography

I look at a lot of bands and feel they lack anything unique and interesting. Maybe their music has some pluses but, looking at the members, and they are rather indistinguishable and bland. That is not the case with Londoners The Wild Things whose individual personalities and stories makes the listener take notice and dig further. The Whites’ acting background - Syd involved in Uncle and other projects – gives one an idea of what their childhood was like. I think they had quite a creative and illuminating space as children: engrossed in the best arts and music of the time; living in a part of the country where they would have been exposed to so many different people, tastes and cultures. I am not sure how Rob and Pete found Syd and Cam but, one suspects, there was a solid friendship from way back. I talked about siblings in bands and how it can lead to mixed results. One will not hear any Gallagher-esque spats and wars between Cam and Syd. They have that tight and loving relationship that makes the music so solid and natural. The entire group has a tight-knit dynamic and that leads to some wonderful music. Like current favourites Methyl Ethel – the latest album from the Australian band, Everything Is Forgotten, is one of the year’s best – one gets some wonderfully rich and summery Pop; echoes of Rock and concrete – music that would sound epic in the live environment. I shall bring things to a close but want to return, very briefly, to professionalism and the gig profitability for modern bands. I have outlined, via The Guardian, how vulnerable the fabric of live music is in the U.K. The Wild Things, of course, are eager to get their music out there and generate funds from tickets/merchandise. If digital streaming services provided a comforting fall-back for bands, that would appease a lot of the stress we are seeing – the sad fact it is exacerbating pressure and insufficiently paying artists who appear on the site.

Those grassroots venues are, as always, an invaluable rite-of-passage that needs proper conservation. The Wild Things are a brilliant live act who is placed in the busiest music city in the U.K. They will want to have full access to the spectrum of venues around London. If, as has been hinted, many spots will close in the next couple of years; what does that mean for their future?! Their music is righteous and bodacious for sure, I get you, but it can only get its voice heard if they can bring the music to the people. Streaming services get the songs into the ether but gigging has always been the effective way of spreading the word. We need to accost the government and open their eyes to the denigration and depletion of the live music scene. I shall not bum the guys out too much as, and I shall end on this point, they have a bright future. I am not sure whether they have plans for an album but I know the guys have an impressive body of work behind them. Surely, new ideas are percolating and one imagines they are brewing something – whether an E.P. or another single. The vibe and chatter augments; there is demand for their music – how will this drive the band and what form will their ambitious take? I feel they have an E.P. inside them and feel a summer-released four-track, for example, would be a savvy move. In that same spirit, they will be looking for gigs and know there are venues that would house them – an E.P. to show promoters and venue bosses would go a long way. The reason the band are making strides is their professional approach to music. They get images of themselves out there and producing stunning songs like F.I.A. Their hard-working and versatile approach to music is going to take them a long way. I have no doubt the London quartet are going to be headlining stages in years to come so it is good you keep your eyes peeled and ready. F.I.A. is a typical slice of brilliance that shows The Wild Things…

ARE here to stay.


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