I’ve Been Waiting
I’ve Been Waiting is available at:
Rock; Blues; Pop; Folk; Pop; Alternative
21st July, 2017
J. Law and L.Edney
LATER today, I am heading off to Harringay…
and seeing three artists take to the stage there. The destination is a lovely pub, The Finsbury, that, not only keeping things quite literal, is a great and underrated space for artists. It is the third time I have visited the place – I am there later in the year – and I have been fascinated by the artists who have played there the last few months. The reason I raise this is that there are spots all over London that are hidden and underexposed. I will start at this point but, when talking of Luke Edney, I want to address Rock; song subjects and living locations; the proximity to London and how one gets into music; song subjects and getting an education, quite literally, in music. Edney is an artist who has a sound that can translate to various venues and appeal to a broad range of people. The Finsbury, and its attractive stage is someone I can see Luke Edney playing very soon. I am not sure what his touring schedule is like but he, like every artist, will want to get out there as much as possible. I think this is an aspect many artists overlook: getting out into the public sphere and ensuring your music is heard. That might sound exaggerated but few artists are being proactive and passionate about getting gigs. I know there is a lot of effort for the modern musician – recording and promoting your music; getting it exposed and keeping on top of things – but it seems, with Edney, there is that desire to have his songs heard by the masses. In terms of looks, one might lazily compare him to Ed Sheeran – the ginger and cool facial hair; the acoustic guitar – but, luckily, he only shares personality traits with Sheeran – the music is very different. There is something naturally cool and effortless about him that will attract a lot of people in.
I know how hard it is distinguishing yourself from the crowd – there are, literally, thousands of guitar-wielding solo artists in the Home Counties alone – and I get that. Back to my point about gigs and spaces; the artists who exploit the smaller venues will be able to clean up. We have all heard how fragile and hypoxic the smaller venues are and the fact the live music scene in the U.K. is dwindling. I am upset seeing cracks form but know, the only way we are going to see a resurgence is by encouraging people to get out there. The only way this will happen is promoting and supporting the best artists. There is something classical and contemporary about Edney. He has a natural confidence and looks that gets into the mind but his mannerism, back-story and music seem to connect with the past. Couple that with a passion and conviction and here is an artist who has the energy and work ethic to hit as many venues as he can. I feel places like The Finsbury would be perfect for him but, being so close to London, there is an array of venues he can play. Many might say that, given the competition, there will many hustling for the same opportunities. It is about reading the market and doing research. It is not good rocking up to a venue and asking to perform there – you need to know what music they host and the type of musician there are looking for. In terms of Luke Edney; he mixes Rock and Folk tones and, in my mind, is a lot more adaptable and promising than most. I would urge him, to promote his latest single, hit up London especially and those spaces that support similar artists. The independent cafes and coffee shops are a great starting place; supplement that with some cooler bars and build that foundation. From there, later in the year, launch another attack and other spaces in the capital. Great venues are always looking for top talent: stubbornly applying and proving oneself is a good way to stick in the memory and get the people in. I know Edney knows all this but, in London alone, he can compartmentalise the place into ‘North’, South’; ‘East’, ‘West’ and ‘Central’ and draw himself up a mini-tour hit-list. I hope he does consider it as, on the strength of his music so far, there is a lot of potential.
One of the reasons I am flaunting London like a ragged pink boa on a middle-aged drag queen is a sense of desperation and vicarious longing. I, like Edney, am based in Surrey and I, unlike Edney, hate the place. It is not a secret confession but it revolves around the people – shall not get too detailed and vicious. Suffice to say, for several reasons – attitudes, intelligence; politically and their overbearing self of entitlement – they get right under my skin and cause a lot of depression. Surrey is a big county and there are a lot of cool people there but there is, in certain parts of the county, a toxicity that is not exactly attracting the best young musicians. I am not sure how Addlestone is stocked for venues – and what the people are like there – but I know the county is struggling to retain its musicians. There are a lot of pubs around Surrey but few genuinely great and reputable venues. The cities will always be the places people gravitate towards and set up to accommodate musicians. In counties like Surrey; there are the odd places here and there but there are limits. Even though Edney plays a mix of Rock, Blues; some Country and Folk tied in; the music tastes in Surrey – certainly among the venues – seems a bit limited. There is going to be that zeal and leaning towards the mainstream and slightly less-interesting artist. If one, like Edney, wants to find longevity and a huge audience, the cities are the places he needs to consider. Looking at his promotional material and he seems to bond with the scenes and countryside of his home – I can appreciate how the solitude and beauty resonate in him. That must provoke inspiration and creative outpouring but, the other end of the process is getting the music out to the people. I wonder whether there is a varied and viable scene in areas like Addlestone.
He, in my view, speaks to a younger audience and those who know their music – not dilatants and those looking for chart acts of the future. Maybe the proximity to London means he gets the best of both worlds, in a way but, I feel, he is a man ready-made for the city. I go down to Brighton as much as I can and always find myself comfortable among the people and the way of life down there – so many good venues and spots for musicians to cut their teeth. I am not sure whether that is an option for Edney but, if not, there are two cities that seem to leap out: Manchester and London. I am not running an anti-Surrey campaign – even though I hate the place – but know so many young people finding few opportunities. It is not that exciting and, if you are ambitious, you move away and go where the people are more open-minded, considerate and youthful. The reason for my vitriol and promotional compunction is the fact, in Luke Edney, here is an artist who is close to the capital and has music that differs from everything out there. I have smacked Surrey down but it has a lot of local spots/venues that are a good starting-point for any musician. It is essential he gets that grassroots experience and builds a name in his hometown. Even though local radio/press is a bit naff; collecting as much kudos and support as you can impresses and builds the C.V. I am thankful; actually, he is based where he is because, if he was raised in the city, one feels his music would be a bit more cynical and different. The woodland, vistas and modesty of his surroundings provoke a palette that blends personal inspection and romance with an uncommon edginess and singular talent. Invariably, the young maestro will have to accept his music has that mass appeal and, even if he wants to project to niche audiences – those who exclusively like his style of music – the city will be the place to go. I have mentioned Manchester because it is a lot more chilled and ‘friendly’, I guess, than London. It certainly has a reputation for its music and the warmth (sometimes directness) of the people. Not only do the people inspire but there is a huge and buzzing scene here – same goes for London.
I will come back to this point later – in my ready-made role as Ambassador for London and Manchester – but, for now, let me move onto something more touching and bespoke. Yesterday, I was talking about two Australian artists with a great sound. One of them is based in Byron Bay; the other has a P.R. company based on Bondi Beach. The inspiration behind their song, Polar Eyes, is different; their back-stories interesting. Luke Edney, in terms of location, is worlds away but, linking them, it seems childhood is pivotal. When my grandparents all died, they left memories and good times – but few physical things. With Edney, his grandfather left him something precious: an acoustic guitar. Rather sadly, the late relative always hankered to play the instrument but never got around to it. In a way, it is a lesson for us all: do not leave those desires and dreams thirsty and longing – grab them and find a way to make them work. If his grandfather kept this musical secret; at least, by handing the instrument down to his grandson, it meant he would have the chance to fulfil his grandfather’s dream. Although he is not around now; I am sure he would be very proud to see his grandson performing and succeeding. From a child who acquired this old and relatively untouched instrument; to a bold and ambitious musician who evokes embers of Eric Clapton and Hendrix – that is quite a leap and progression. One wonders whether that moment – the grandfather bequeathing his guitar to the bright-eyed youngster – sparked a desire to play music and succeed. Without speaking to Edney; I get the sense he is trying to make his grandfather proud and help achieve his dream. That is touching and charming because so many people get into music for the wrong reasons. This is what I meant when I said Edney has that contradiction of modern and classic. On the one hand, he uses the technologies, pertinences and streaming services of the current climb: against that, an origin and backstory that seems timeless and rare.
Most of the artists I review get into music because they want to emulate their favourite artists and make it big. I know Edney has desires to achieve success and popularity but one suspects his motives are a lot more ethical and familial. Carrying on a legacy and annunciating his grandfather’s dreams – that allayed instrument being put to good use – the young man is coming into music for all the right reasons. Teaching himself at high school age; he met and bonded with like-minded musicians who helped foster his desire for music. Again, in terms of influence, I am impressed seeing Eric Clapton and Jimi Hendrix on the list. They are lofty and world-class idols but not as common as one might imagine. A great many of the acts I review have narrow and of-the-moment heroes. I guess, in a way, the younger generations are forced new music and rely on digital means. They are not burrowing through crates if vinyl and getting excited at a near-mint condition copy of Rumours. Edney, in the way he belies his years, seems to be the kind of fella who has that desire to preserve the memory and brilliance of older artists. Maybe it is me being wistful and nostalgic – a first, looking ahead and my city desires; harking back to my childhood – but I find myself supporting artists who pursue music under the correct moral codes and understand where music came from. Edney, from his school days, progressed to the Academy of Contemporary Music and, whilst it is not a school I go to discover the best new talent, can understand how the educational foundations – and the peers he would have bonded with – have been incredibly important. The issue I have with A.C.M. – not to bash Surrey with little mercy – is the first word: it is a contemporary and modern facility that, in a lot of ways, gears its artists for charts and the mainstream. I see buskers nearby and something inside me sinks.
Aside from the odd standout performer; there is a general banality and commercialism that, one suspects, is being actively instilled into students. From Luke Edney’s perspective, it seems like his tastes and personality has overpowered that temptation to conform and modernise. His music has an of-the-moment flavour but there is so much of himself that has not been neutered and deterred by academic proclivities. I know a lot of artists who go to music schools that learn a lot of useful skills and know how important it has been to Edney. The bare bones and technical nuts and bolts are the best things about music schools/academies. You get a curriculum and insight into the music industry and make some useful contacts. So long as you eschew the urge to become a chart act and play the lowest-common-denominator style of music – buskers who play predictable covers with forgettable and boring performances – then it can be a very influential and useful. That is the case with Edney who has developed a talent for music production and, after getting that education in music; he has put it to good use. Unable to find a vocalist for his as-yet-unrealised band; he stepped alone and began his solo career. Before I come onto my next point, and tying to that debate about the city, I would encourage Edney to balance his solo career with future academic pursuits. When I hear him play and sing, I hear a young man who has the talent to emulate some of his heroes. He seems to be unconcerned with fitting into the mainstream and seeing how many millions of Spotify streams he can notch up. There is an honesty and earnestness that gets into my heart. If he were to relocate to London or Manchester; I wonder whether he would consider taking Music Production courses or something in performance – getting new insight from professionals and strengthening his incredible talent. Maybe he feels he needs to learn and evolve via performing and writing but there would be no dishonesty balancing that with additional teaching and instruction. I will return to that later but, stepping away from P.R./management push, shall come to look at Rock, genres and – to end the section – song subjects.
Let’s look at genres and the issue of Rock. Let me back things up for a second because, going back to Edney’s band days and he did play with Andy Steadman and the Handsome Devils. He lent his guitar skills for two years and assisted the band for a while. He would have learnt a lot from those days but, I feel, the artists he grew up admiring have made more of an impact. Whilst I’ve Been Waiting, Edney’s latest single, puts me more in mind of Paul Weller rather than Jimi Hendrix, there is something in the song that carefully see-saws between accessible and rare. I have said how Edney is trying to avoid being a factory-formed chart act but, hearing the song, it does have the ability to transcend into the mainstream – adding a bit of class and originality without compromising its soul and politics. It is a fantastic song whose origins I will explore soon. The tempo changes and the pace quickens as the song progresses. Whilst one does yearn for an arpeggio or Clapton-esque solo somewhere towards the end; there is a lot in the song that puts me in mind of the legendary Rock gods. The genre has been undergoing a bit of change as of late. I have mentioned how the excitement and flair we used to associate with the genre has been diluted and temporised by a lot of current acts. It seems there are these arena ambitions and, as such, something generic and insipid if creeping into Rock. There are artists who keep the spirit and inventiveness of Rock alive but so many who are not doing enough to preserve and progress the form. Big releases from the likes of Royal Blood have been predictable and basic. It seems Queens of the Stone Age show greater promise but I wonder how much room Rock has to intrigue the masses.
Luke Edney need not worry as, despite the fact I hanker for some Hendrix electricity, is developing his sound and, at the moment, does not remind me too much of anyone else. I am interesting seeing whether he assimilates his idols more acutely and forensically – keeping the core sound but adding flourish, fireworks and Blues riffs into the mix. On his current single, one hears a young man who is mixing sub-genres into Rock to keep it fresh and fertile. In the early phases, one has some Pop and Folk acoustics; it grows into something with a Blues sensibility and laces in some 1970s-inspired Rock motifs. A general energy and drive that augments the song provokes urgency and memorability. I worry about Rock because I feel our current crop do not understand the desperate state it is in. Too many are writing songs that are fit for stadiums and have that huge sound and chunky riffs. That is a much-needed staple but there are few providing anything to push the genre forward. Given Edney’s love of Clapton and Hendrix; his current sound and future desires – there is a lot to get excited about. The survival and success of Rock will be built be artists who have a need to gain success and influence without pandering to the mainstream; add new dynamics to Rock and understand the importance of the small genres. This means having a core of physicality and stun – the hard and heaviness that has the promise of stadiums – but subtlety, variegation and emotion. One of the reasons I was disappointed by Royal Blood’s How Did We Get So Dark? was because it lacked the necessary broadness for an album that arrived three years after a simple and no-thrills debut. To me, acts like Royal Blood are perfect live acts. I am reading a recent review of one of their shows and they are clearly one of the best live acts around. There are few that have the same sort of bombast, electricity and sweat-inducing excitement – considering there is only two of them.
What we need are artists who can inspire from the studio. I will bring in The White Stripes and apply them to Luke Edney. He (Edney) is a solo artist so will not be able to project the same sensibilities and exhilaration as Brighton’s Royal Blood. That said, the compositional and lyrical diversity Detroit’s The White Stripes projected throughout their ten-year recording career (might be longer than that) is worth noting. They, to me, were one of the last true genuinely inspiring Rock acts that pushed the genre forward. Not only did Jack White’s immense shredding help but the fact an album could contain acoustic numbers, savage Blues smack-downs and jiving piano-led stompers. I feel Edney is going to be one of those artists, one hopes has the same sort of variation and allure as The White Stripes. He admits himself that his E.P., Bipolar Love, was a little bit rushed. He wanted to get the recording out and have something in the ether. Modern music is so packed and cut-throat artists are releasing material quickly – so they are at least heard and on the board. It is hard asking time to prepare material because there is that feeling, if you take too long, people will forget you. If you release something quick, the quality might not connect with people – and it can be hard to come back. That is why an act like Royal Blood – taking three years between albums – ran a risk of being forgotten. The fact they are an incredible live act is, perhaps, one of the reasons people were excited to see them back. New, unsigned acts like Edney do not have that luxury. I’ve Been Waiting is a single that has been in Edney’s mind for years and he is relieved to get it out there. It differs from Bipolar Love in terms of its sound. The production is more assured and clear – it is still homemade, I think, but seems less hurried than the E.P.
The first think that strikes me about I’ve Been Waiting is how professional and unexpected it sounds. Bipolar Love, befitting of its title, has quite a ragged and rebellious sound that was a bit underproduced but created a definite buzz and excitement. Here, the production is exceptional and polished. It does not whitewash the music and vocal but it sounds like it could have been cut in a high-end studio (not sure if it was but it sounds gorgeous). The introduction is finger-picked and pastoral but it is Edney’s voice that strikes me. One looks at him and might expect something young, high-pitched and petulant (not a personal slight but many of his peers are a bunch of whiny, whinging arse-bags). Edney, to my delight, has a whiskey-soaked, cigarette-ravaged voice that pitches him between Paul Weller, Paul Carrack and Paul Young. It is that soulful and half-husked hue that reminds me of a cocktail joint. I see Edney in a corner – on a velvet-stitched stool – with a drink in his hand – one imagines he is a regular that goes for something like this. There is almost a suave, crooner-like element to him. One gets view of Frank Sinatra and Ol’ Blue Eyes delighting the crowds. All these sensations come to the fore within seconds of Edney’s tongue clicking. The guitar, at this point, is a backdrop to the urgency and romance in the voice. In fact, there are strands of Country in Edney’s voice. One never gets a sense of charts, modern artists and commercialism: this is a song born from a man who loves his older music and knows the importance of originality. This is a pertinent takeaway as the Surrey man addresses how he has been pining to create and sing new songs. I’ve Been Waiting is the anthem of a man running up the flag and keen for people to feel his presence. There is an “old feeling” that has been brewing and imprisoned inside the heart.
Not wanting to play the same song and repeat himself could, in a way, stem from the rigid and over-defined inflexibility of education – where one has to master certain songs and not allowed to spread their wings too much. Maybe it alludes to his band days and that desire to step out-front. In any case, one hears the young man finding his feet and looking for answers. If one imagines a cocktail bar-dwelling young man drowning his sorrows; to me, there is a romance and yearning that provokes thoughts. In one way, the song is a personal plea and campaign about his musical past and need for credibility and success. In another way, one gets romantic longing and urges. Maybe there is, alongside music, an underlying passion that needs quenching. Maybe that is over-analytical but I get a sensation of Edney balancing music and lust. It seems his heart, gut and soul and entwined in a tangle and unable to extract and liberate. The heart longs for music and chances; the gut seems to hanker for a sense of fulfilment and nourishment; the soul pines for music but there is a romantic side that makes me wonder whether a girl is in the mind. The lyrics are simple and clear but have nuance to them so one can digress and interpret as they wish. The biggest transformation comes when the lyrics and music step up and rise. From musical longing: it seems there is a clear romantic ideal. Maybe it is a way of speaking about music through the prism of relationship lexicon but one assumes there is a person in the mind of the hero. Edney has been patient and it seems, right now, there is someone in his mind that he needs to get. I’ve Been Waiting is defined by pent-up desires and waiting for that right time. If music success and clarity has not been as quick and ready as one would imagine; it seems sexual fulfilment is just as repressed. That might be the wrong word but there is a definite frustration.
I keep getting pulled in by the voice which seems otherworldly and born of a different time. Given he grew up listening to Clapton; I wonder who his vocal role models were. It seems like Americana and Blues were as pivotal as British Rock and modern-day Pop. It is such a rich and exciting concoction that affords the song more emotion, quality and depth than one would imagine. Edney is waiting for that “one fine day” to come back around: capturing something that has been there all along. Maybe that is purely the heart of a girl; perhaps it is the chance to take music by the horns. Whatever the true derivation of those lyrics, they are delivered with such a soothing and comforting burr. Among the banter “way after dark”; there is a young man who has these desires that need to be satisfied. The more the song goes on; the harder I find it to separate the romantic with the musical. There is a need to win a girl, it seems but, more than that, a hankering to step on and get the career roaring. Maybe my mind is divided but that might be the purpose of the song – not being obvious and creating speculation. I’ve Been Waiting goes through stages and has a nice quiet-loud dynamic. From calmer and reflective stirrings to all-out rapture and exclamation – the song goes through the emotions and captures the full spectrum of longing and remembrance. It seems there was a time when he and the heroine made time to waste time; have those laughs and forget about things. Whatever your impression of the lyrics, one cannot deny the individual nature and strength of the song. It shows Luke Edney has developed as a songwriter and, by employ a new Muse and inspiration, has crafted a song that gets one thinking and conspiring. I am fascinated by it and a voice that has needs to be heard by more people. If Edney can transport himself from local gigs and get the music to the cities; that, I think, will make him.
Perusing Edney’s social media, and it seems there is a down-to-earth and charming young man waiting to be discovered. He seems to have that conflicting personality that makes me curious. One can imagine him sitting back and having a few beers; maybe a quick fag (or something more ‘herbal’) and living one’s impressions of a traditional Rock lifestyle. Maybe Surrey is not the most Rock ‘n’ Roll county on the planet – more on that in a second – but Edney does not want to be easily predicted or defined. He has that other side: a serious work ethic and very professional approach to music. There have been teaser clips around I’ve Been Waiting. A lyric video has just been released – I have plumped for the SoundCloud link instead – and, one hopes, maybe another video will arrive. Such is the strength of the song, I wonder whether there is money in his kitty to film something. Maybe he will stay local and shoot something in the wilds and country elements of his home; perhaps he will head into the city and film an after-dark eye-opener. I would urge Edney to rustle some contacts and film a video because the song is worthy of as much exploitation and affection as possible. There have been (and are) local gigs played and lots of chances for the young songwriter to play to the local crowds. I wonder whether I’ve Been Waiting is the gateway drug to an E.P. The alluring cannabis-cum-L.S.D. of his current single opening up to a bag of cocaine, heroin and…not sure why I am going down this route. Dispense with metaphors or uppers, narcotics and Class-A drugs and, in essence, one has a musician who has a lot of chances in front of him. I mentioned, jokingly, there is something of the Ed Sheeran about his looks and promotional photos – a red-headed man carrying an acoustic guitar. In fact, that is where the similarities end. Edney is as far from commercial as you’d get and owes more to his Rock idols – than the likes of Ed Sheeran and the modern mass of beige chart-hungry performers.
Before I bring this down, I will end with music education and the modern game; a little bit about small venues but I shall return to the city, for now. I shall stop bashing Surrey because it seems, for Edney, it is working out alright for him. He got his education here and had some great gigs too. At some point, there will be the desire (one hopes) to cut the music apron-strings and relocate. It takes an hour (by train) to get from Addlestone to London Waterloo which seems convenient but, for someone of his calibre, a short Tube hop would be more beneficial. I see a man who has the desire to play the bigger venues and get his music out to the capital. If he does move to a place like London, Brighton or Manchester, I suggest it is then he will get the attention he warrants. It is vital getting local exposure but the media is not as connected and promulgating as it should be. In fact, a lot of the local media is pretty shite so a review of Edney’s gig is unlikely to make its way far beyond the confines of the country. Word-of-mouth only goes some way and, as many artists know, getting into the city is a direct way of pushing the music to the most influential and trendy crowds. I use the word ‘trendy’ but really I mean young and cool. There are cool people in the Home Counties but there pale into comparison to the large mass of uncool young and the middle-aged. I worry, if artists remain in areas like that, their music starts to conform to the sounds of the local radio stations – something numbing, dull and forgettable. A song like I’ve Been Waiting suggests Luke Edney wants to play the big venues and get his songs played by the likes of BBC Radio 6 Music.
Maybe my profiling is off the mark but any artist who wants to succeed and remain needs to dispense with the worst traits of the Home Counties and embrace the best qualities of the city. In this case, Edney has the looks swagger and talent to make it big but, let’s hope, he does not confine himself to Addlestone and Surrey. It is vital playing near home and getting that experience but musicians cannot realistically survive outside of cities. It might not mean relocating but certainly hitting-up the promoters and venues bosses of London, Brighton (or wherever) is paramount. Maybe Edney is already planning that but, to capitalise on the heat of I’ve Been Waiting; he has a chance to clean up. I can see him fitting into the cafes and coffee shops of London – not the corporate chains but those boutiques and independent chains that exist (a few more in Brighton and Manchester might tempt him there). The way I see things – if Edney is planning to release a new E.P. – Edney could formulate this game-plan. Play gigs around Addlestone, Woking and Surrey; get some reaction from the crowds and see how the locals react to the music. It is like warm-up gigs before a comic takes their show to the Edinburgh Fringe. Once he has played, say, a half-dozen shows; from there, there needs to be a bigger ambition. Edney could get gigs in London and Brighton so that is where I’d suggest. I am in London today and Brighton tomorrow: both cities have incredible venues. Brighton has Green Door Store and Komedia. Wander through The Lanes and the seafront and there are some wonderful cafes and spaces that are waiting for musicians to come in. Given the demographic and people of Brighton – bohemian yet laid-back; vibrant and colourful; a great L.G.B.T.Q. populous – the folk there know great and promising music when they hear it. London, closer to Edney, as I said, has great spaces in every corner. If he contacted a couple of venues in South London (Brixton, Clapham and Wimbledon, let’s say) he will find places to perform – this link might help. He could call it the Compass Points Tour (bit crap but something to work on) and contact venues in the East. Here are some groovy, hyper-cool and beautiful-looking spaces he could play.
Another list might give guidance. Look at the North, West and central and one has options here; here and here. Between this list, and researching other spots, Edney could easily curate a mini-tour of ten venues around the capital. This would get his music to the most prominent labels, people and venues in the U.K. Not only will he catch the ear of radio stations and journalists in London – it will open doors for more regular spots and performances in cities like Manchester (and beyond). I see great London artists switching between slots at coffee shops and those reputable small venues. I will not labour on but it is food for thought. Edney, to me, symbolises someone with a lot of promise. Shots of him with a fag in mouth and a beanie on might suggest someone who is a bit of a slacker but, whether he knows it or not, he has transmogrified from a floppy-haired lad playing local festivals to someone whose jib is cut from the cloth of the city musician. He has coolness and ruggedness that will get women swooning and the fellow bands and lads wanting to have them support him.
I feel there is a big social and friendship network for the Surrey musician in the big cities. London might not be on his mind but, given his sound, it is a good starting point. Those Rock gods – Eric Clapton and Jimi Hendrix – might materialise more overtly in future recordings but I can hear their impact thus far. Edney’s music creates a cocktail of 1960s' and 1970s' Rock with Blues and Folk; modern Pop and Rock with something proprietary and unique. He has a level-headed and hard-working approach which, I know, will pay big very soon. I shall leave this but know there will be many talking about Luke Edney very soon. Maybe he will be tempted to study at one of London’s bigger academies/schools and learn more about his craft. He is an exceptional musician but, concerning guitar and production, courses available that means he can be mentored by professionals and, thus, apply this to his own music. I feel – thrashing this horse to death – Luke Edney, when he steps into the cities, will see his music go from local levels to the bosom of national radio and the biggest venues. It is a brave move but he is a talented songwriter and musician who does not want to remain a secret. I’ve Been Waiting seems, in its title, to define a longing and frustration to get music out there and have his name heard. In terms of where he is going, and concerning success and growth, the young artist will not have to…
WAIT much longer.
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