FEATURE: Spotlight: Revisited: SOFIA ISELLA

FEATURE:

 

 

Spotlight: Revisited

 

SOFIA ISELLA

__________

SOMEONE who I…

spotlighted in 2024, I wanted to reproach SOFIA ISELLA (she styles her name in all capitals, so that is what I shall do throughout), as she did a lot last year. An incredible Mexican-American singer, songwriter, and violinist defined by  her unique sound, blending Pop with deeper themes, gaining traction for her music and opening for major acts like Taylor Swift. Last year, ISELLA put out the I’m camera. E.P. and some brilliant singles, so there has been some movement and evolution regarding her sound since I spotlighted her. ISELLA has some tour dates booked for this year, including some U.S. dates with Florence + The Machine. This amazing artist will be in the U.K. in May, so that will be exciting. One thing you do get with SOFIA ISELLA is amazing value. In terms of the spread of photos on her social media, there is so much to choose from. She is so prolific and releases loads of music, there are regular and great interviews, and a wide range of social media accounts. This is an artist who ticks all the boxes, so I will revisit her and bring in some 2025 interviews. I am going to lead with an intervbiew with The Independent from last August. Ahead of her U.K. headline tour, Hannah Ewens spoke with SOFIA ISELLA. “The alternative musician spent last year riding high after supporting Taylor Swift on the Eras Tour. But the 20-year-old poet is no pop princess”. It is a fascinating conversation:

“I got called demonic by someone online for the first time the other day,” says the alt musician Sofia Isella, who is not annoyed but in a blissful reverie. “There were other compliments within her message: I have ‘the most ominous aura she’s ever seen in her life’.”

I wouldn’t say these things about the 20-year-old LA native goth at all but I might say she’s mysterious. Across the cafe table from me, she’s completely obscured by a big hood and steampunk glasses. I’m trying to interview her but every question I ask is countered with a softly spoken question. ‘Do you remember what you learned in math class?’ ‘What is your least favourite modern word?’ ‘But what do you think about that?’ As she calmly knits herself a fingerless glove – while wearing it – all I can think is that I’m not surprised that this curious person is a curiosity to 1.7 million people on Instagram. She likes to learn about other people, she says, although this sometimes comes across as passionate debate. “I’m going easy on you…” she adds.

In person, Isella is gentle and thoughtful, but that spikier side exists in her music: acerbic whispered poetry set to Nine Inch Nails-style beats. On the distinctive piano-led track “The Doll People”, she is a dark Regina Spektor, explaining in ironic ASMR tones why women are best enjoyed beautiful and mute: “Art does not interpret itself / There are men with a day to save / We are paintings with legs”.

Isella thinks it might have been her elegant rant “Everybody Supports Women”, about how women inevitably get torn down from every angle, that got the attention of Taylor Swift, who chose her to play at Wembley Stadium on her Eras Tour. Or at least, it was that song that was mentioned in a handwritten letter Swift gave to the singer. “It’s easier to play Wembley than it is to play a bar with two people,” Isella says, shaking off any idea that she might’ve needed some extra nerves to scale up her intimate live sets so dramatically.

Her most recent (very unsettling) EP I’m camera – all confrontational images against industrial soundscapes – feels like a musical museum of taxidermied oddities. “Crowd Caffeine” is a creepy track about how we sanitise the human experience with overuse of technology and has Grimes (another notable Sofia Isella fan and follower) listed as a songwriter. She technically didn’t have a hand in writing it but Isella was heavily inspired by something the electronic musician posted online in 2024: “The machines want to be like humans / humans r trying be like machines / I’m sure we can work smthn out”.

While she’s mostly interested in writing about the experience of women, one song, “Man Made”, is for her male counterparts. “It’s an empathetic approach to them shooting themselves in the foot with masculinity demands,” she explains. When she was 15, she asked lots of her friends the question, “What is the biggest pressure that society puts on you?” The girls said beauty standards. “The men – kind men – all said they felt pressured by other men to talk s*** about women, to be mean to them, to not be a ‘simp’ or whatever that word is… to not love women.” This surprised her, but then human beings are constantly surprising her.

Around the time we speak, she’s preparing to return to the UK to play Reading and Leeds Festival – which took place this weekend – and a short headlining tour. “I’ve always known that this is definitely the world that I sacrifice myself to,” she says of pop music, as though it’s the most normal thing in the world. “Because every world is a sacrifice. You gain something but everything you say yes to, you are sacrificing something else.” Take a Taylor Swift, for example. “Somebody at those big levels, we see their highlight reel, but they’re always sacrificing something.” At present, Isella can walk out into her crowds and hold hands with fans, have meaningful conversations with them even. “I’m small enough now that people still see me somewhat as human.” But it may not be long before she’s seen as less human, more icon, more machine”.

IN THIS PHOTO: SOFIA ISELLA performs at the House of Blues in Orlando on 2nd November, 2025/PHOTO CREDIT: Nicolita Bradley

Though I am not fan of when artists put titles all in lower case or upper case and do that sort of mix, you cannot deny the quality and genius of SOFIA ISELLA. Look at her social media accounts and where she played last year. Such incredible live photos, you can feel the electricity and love from the crowd. So captivating and this physical experience, she is one of the greatest performers in modern music. A sensational live act that everyone needs to see. I will heads to a November interview from Los Angeles Times, as we get some background on this incredible artist. If you have not heard her before, you really need to connect with this superstar-in-waiting. Someone who will be as big as artists like Taylor Swift:

“Isella grew up in Los Angeles in a family with enough entertainment-biz acclaim to make being an artist feel like a viable career. Yet they still let her be feral and freewheeling in developing her craft. Her father, the Chilean-Danish American cinematographer Claudio Miranda, won an Oscar for 2012’s “Life of Pi” and shot “Top Gun: Maverick” and the recent racing hit “F1” (Her mom is the author Kelli Bean-Miranda). Looking back on her bucolic childhood in L.A., Isella recalled it as being filled with music and boundless encouragement, worlds away from her social media-addled peers.

“I’d been homeschooled my whole life,” Isella said. “My mom would leave little trails of poetry books for me to find, and my dad would set up GarageBand and leave me for hours with all the instruments and nothing but free time. I didn’t even have a phone until I was 16. When I first was on TikTok, I saw everyone had the same personality, because they had been watching each other for so long. Being around kids my age was so strange, because I’d grown up around adults — like, ‘Oh, these kids are so sweet and kind and adorable, but they think I’m one of them.’”

After her family temporarily moved to Australia during the pandemic and Isella began self-releasing music, it became clear that her talents set her very far apart. Drawing on her early background in classical music and a fascination with scabrous rock and electronic music, she found a sound that melded the Velvet Underground and Nico’s elegant miserablism, Chelsea Wolfe and Lingua Ignota’s doom-laden art metal and the close-miked , creepy goth-pop of Billie Eilish’s first LP.

Her early music showed a withering humor and skepticism of the culture around her (“All of Human Knowledge Made Us Dumb,” “Everybody Supports Women”), but singles came at a rapid clip and translated surprisingly well on the social media platforms she loathed (she has 1.3 million followers on TikTok). It all got her onto stages with Melanie Martinez and Glass Animals and, eventually, Swift. (A Florence + the Machine arena tour opening slot is up next.)

Her newest material (and her subversively eerie, Francesca Woodman-evoking music videos like “Muse”) feel perfectly timed to the apocalyptic mood in L.A. and the U.S. now, where an inexorable slide to ruin feels biblical. “Out in the Garden,” from September, hits some of the Southern gothic moods of Ethel Cain, but with a sense of acidic pity that’s all her own. “That there’s a small part of me that’s envious / That you fullheartedly believe someone is always there,” she sings. “That will always love you, and there’s a plan for you out there.”

Even at her bleakest, there’s a curdled humor underneath (her current tour is subtitled “You’ll Understand More, Dick”). But if this little sliver of young fame has taught Isella anything, it’s that even when everyone wants a piece of you, no one is actually coming to save any of us.

“There’s nothing with weight, nothing that’s meaningful, to blind faith,” Isella said. “On this next record, I’m about to go really angry because religion really pisses me off, it inflames me. But it’s the most beautiful placebo to imagine that there’s a father that loves you no matter what you do. I’m a really lucky person in that I’ve always been safe and protected, but if you’ve had a rough life, that is insanely powerful to imagine that and believe that”.

PHOTO CREDIT: Nicolita Bradley

Even though this interview is mostly photos and that takes up more space than the words, there are some interesting takeaways and responses from SOFIA ISELLA in this FADER interview. Spotlighting this “20-year-old inspired by Sylvia Plath and Anne Sexton, and who has already opened for Taylor Swift”, I do think that this year is going to be another massive one. I am going to end with a review of I’m camera., as it was one of the best E.P.s of last year. I do think, if there is a debut album soon, it will be one of the most anticipated of that year:

“Describe the best show you’ve played this year so far.

Montréal was such an incredible crowd that for the first time, I felt like it was hard to keep up with their energy . They really pushed me . I love that .

What’s your favorite song to play live right now and why?

Above the Neck . Because I take my pants off . That song is out now .

What’s a motto that you think everyone should live by?

Be bored . Boredom has given me creativity and it’s a fight to be bored in this world .

What’s the worst advice you’ve ever received?

Don’t be political . I was told early on to not divide my audience .

What’s the best thing you’ve bought yourself recently and why?

Books . I was in the bookstore and I overheard someone behind me saying very loudly “Is that Sofia ? Isella ? Could be . Maybe not .” I’m not sure if they wanted me to confirm . I’m currently reading The Martian .

I will finish off with this review from Hive Magazine and a simply stunning E.P. Though the tone of the E.P. is darker and moodier than you’d get from most Pop artists in the mainstream, SOFIA ISELLA is not trying to follow them. She is as compelling as the best Pop artists, though I think she offers something deeper and more interesting. Perhaps more in common with Billie Eilish or Florence + The Machine. However, it is hard to directly compare her to another artist. ISELLA is unique. I am excited to see what this year holds in store:

“Moody and atmospheric are words that get thrown around a lot to describe indie music that spares a second to think about itself — SOFIA ISELLA’s second EP, I’m camera. is an example of a record that really fits that bill, and it does so beautifully. Opening track ‘Muse’ is a meditation on the violence of being possessed by inspiration. Backed by an ominous plucked guitar, building into a choral descent into madness, Isella discusses the horror of being a female artist in a deft and stylish authorial voice. She discusses how her work feels like an imitation of her personhood — “a shadow mimicking [her] slightly wrong.” The muse is transmuted from an inert force to a “gun,” holding her hostage but simultaneously making her “scared to die.” Isella captures the intensity and enormity of this dilemma, and manages to pull gold out of what I’d argue is tired material: the stress of stardom, the glare of the spotlight, the challenges of being creative in front of other people.

‘Josephine’ is a low-pitched, rumbling nightmare that climbs, crests, and fans out into a. Isella’s voice is delightfully intense, soaring to gorgeous falsetto and falling to a growl. She puts a clever twist on the “I’m a star and you, someone who doubted me, are not” revenge song by illustrating the darkness hiding in the cracks of that comparative, competitive mentality. As always, Isella takes well trodden ground and treads it in a new way.

‘Dog’s Dinner’ is one of my favourite types of songs: it’s about having bad sex that makes you feel awful. It’s a song about receiving overly enthusiastic cunnilingus from someone you’re slowly coming to be disgusted by. It’s a bitter, cruel little track, and I enjoyed every seething, sardonic second of it. If I’m recommending one track from I’m camera., it’s this one.

While most of Isella’s music wraps a blunt message in poetic, avant garde style, ‘Crowd Caffeine’ has the subtlety of a sledgehammer. It’s a track about phones, technological dependency, and dopamine addiction. It doesn’t quite thread the needle on combining this subject matter in a way that doesn’t sound like evangelism. My reservations aside, the squeal of the guitar before the final bridge made my hair stand on end — like the rest of the EP, it’s sonically sumptuous, something to sink your teeth into. It’s just a bit naff when you compare it to everything it’s surrounded by.

‘Man Made’ is Isella’s most impressive vocal showcase; she sounds better on this song than anything else she’s ever released, and my God, Isella can sing. There’s a cowboy jangling spurs-ism to ‘Man Made’ that works beautifully. It’s an anti-masculine, anti-gender anthem that fits into Isella’s artistic oeuvre, and cements her place (at least in my mind) as the indie music scene’s feminist poet laureate.

‘Orchestrated, Wet, Verboten’ begins with ambient sound that blends into a more striking guitar line than anything else on I’m camera., There’s actual energy here; ‘OWV’ grabs an uncomfortable set of feelings and pulls them until they unravel. It’s about wanting to be wanted in a way that destroys you and the person wanting you. “I want you to take my breath and merge your own” is one of the most achingly horrible bits of verse I’ve heard in a while, and it captures exactly what makes Isella a stand-out musician.

I’m camera. is a brilliant EP. It’s clever and angry and bitter and ironic, and considering how meteoric Isella’s rise has been so far, I hope it's another boost upward. While I have my issues with some of the writing, I think it’s a great record on the whole, and I’d highly recommend it”.

Coming back to an artist I was excited to spotlight in 2024, last year was such a huge one for SOFIA ISELLA, I had to come back. She is being tipped by people for success this year. Still a rising artist, she has this incredible live experience that you can feel in her music. Brilliant photos, wonderful music and these stunning live performances, SOFIA ISELLA is in her own league. Look around music and there are…

FEW are as good as her.

____________

Follow SOFIA ISELLA

FEATURE: Spotlight: BIIANCO

FEATURE:

 

 

Spotlight

 

BIIANCO

__________

ANOTHER incredible D.J. that…

feel people should know about and is going to have a phenomenal 2026, BIIANCO is someone whose work I have known about for a while. I am going to come to a couple of 2025 interviews with her. However, I will head further back to start out. They are an amazing D.J. that I do think is going to have a very busy year. Before getting to this amazing artist and D.J. who has overcome challenges to become one of the most respected and influential modern-day D.J.s, I want to bring in an interview from 2024. The partially blind, proudly queer and inclusive BIIANCO spoke with Broke Magazine about their new music and why it is important for them to represent diversity and queer identity through their work:

“BIIANCO is an artist who recently skyrocketed into viral attention last December with the hit track ‘Against The Wall, gathering an impressive 10 million views, over 500,000 shares, and gaining 150,000+ new followers across socials. These crazy numbers very soon led to international chart inclusions on platforms like Apple Music, iTunes, and Beatport as well as earning coveted spots like a Danny Howard Mini Mix and Jack Saunders’ Next Wave pick.

This dynamic talent—partially blind, proudly queer, and identifying as femme (they/them)—is back with a new dance-floor summer hit titled ‘Got Me Like’. The track has wasted no time leaving its mark, with the Instagram teaser raking in a staggering 1 million views and 40,000 likes in just five days.

But even before the viral explosion, BIIANCO had been carving out a niche in the industry with their high-energy trance sound and musical prowess. Their live performances, often featuring multiple instruments and vocals showcased to their dedicated fanbase through Insta and TikTok, have allowed them to champion inclusivity within the music scene.

Tell us about your upbringing and journey into music…

Honestly, music has been the most constant thing in my life.  I grew up outside of NYC and was a classically trained pianist since age 5.  Learned guitar, bass, and voice lessons and started producing music on a very old Mac by age 15.  I ended up going to UCLA for music and then was in a band for many many years after graduating.  I don’t think there’s ever been in a time in my life when I haven’t been making music.

Who do you draw the most influence from?

I have two pillars of inspiration for BIIANCO music — the first is emotional intensity.  Whether it’s euphoria, rage, dejection, or limerence, I am a person who naturally feels things on 10 and I’ve always wanted my music to reflect that.  A lot of dance music can be very surface-level emotionally, which is wild to me because people experiencing it in these spaces usually feel so much emotion!  So, I’ve always wanted to stay true to that.  The second inspiration is the 90s / Y2K trance culture.  I love the combination of speed, melody, high-octave energy and emotion in that music.  I think that’s always going to be my biggest sonic inspiration.

You’re known for your mad scientist tech skills in music production. Can you share a bit about your creative process when you’re in the studio?

I try to write at least 3 songs a week.  I’m at a place now where I feel like I really know my sound so my palate of tones and musical elements to choose from is super specific.  But honestly, what’s been happening lately is I’ll be out watching people perform or I’m going for long runs listening to people’s mixes and inspiration strikes and I go in the studio with a very very specific idea and execute it.  This happened to me the other day when I was listening to a FJAAK set.  I was like I need a song that dynamically moves its energy like that — that’s what’s missing from my set.  And I went home and made it.

It’s amazing how you’ve overcome challenges like losing sight in one eye and continued to pursue your passion. What keeps you motivated during tough times?

Well, I feel like I was just on the brink of discovering my sound and was just starting to gain traction.  So, when the accident happened I was like absolutely not this is a VERY inconvenient time to be interrupted and have this fire lit to move forward as quickly as I could.  It meant very very long hours of relearning to play drums and instruments that really do require full eyesight.  Only years later now, does the grief of losing my sight and learning to live with a disability fully hit me.  I’ll find myself crying sometimes and be like oh what a delayed impact.

As a champion of inclusion in the industry, how important is it for you to represent diversity and queer identity through your music and platform?

To be honest, I’ve been queer my whole life so it’s really all I know.  I think it comes naturally because if I’m being true to myself that’s just what I’ll choose.  However, if I’m thinking with intention, I think it’s so important to represent diversity and queer community very fluidly.  I think we’re all a bit exhausted of only being included when there’s a “diversity”, “queer” or “femme” title attached.  True inclusion is seamless.  I feel very passionately and intentionally about breaking down the performance of inclusion and helping build a music community where it just simply is”.

The first of two interviews from last year I am including is from DJ Mag. Taking us into BIIANCO’s studio, they guided Mick Wilson and “talked through their setup, creative process, and approaches to sound design, as well as transferring this into a live setting”. It is a fascinating interview with one of the most distinct and awe-inspiring D.J.s in the world:

“BIIANCO is a London-based, LA-trained producer, DJ, and multi-instrumentalist. Known for their high-energy releases, live sets and studio skills, their sound pulls from high-octane acid, trance and techno as confidently as it does from house and luminous pop.

A champion of inclusion in the music industry, BIIANCO also proudly shares their experiences of navigating clubland as a queer, neurodivergent and disabled artist, helping to blaze a trail for others to embrace their authentic, creative selves in the process. It’s a theme the self-proclaimed synth head regularly explores within their releases, including unleashing body positive club bangers with Marlon Hoffstadt, and October’s techno-leaning single, ‘Get You Out’ on Ultra Records, which wrestles with questions of identity amidst a whirlwind romance.

While touring the globe with their thrilling live and hybrid DJ sets, BIIANCO took us through their innovative approach to on-stage performance during an IRL edition of DJ Mag’s How I Play Live series at ADE last October — diving into sequencing, building energy, DAW-based and DAW-less options, and the art of balancing live and DJ elements. Below, they invite us into their studio as part of our new series, taking us through their setup, creative process, and approaches to sound design, as well as transferring this into a live setting.

Your music has a distinct sonic identity. How do you approach sound design in the studio? What tools or techniques are essential in shaping your sound?

“I think the most important thing you can do for building a distinct sonic identity is to know what you want to sound like and then to understand the history and musicology of that sound and what tones, synths, characteristics make that sub-genre. I really try to abide by this. I spend a lot of time studying the original authentic trance, acid, rave and hard house synths of the ’90s and early 2000s so I can incorporate those elements into my music.

“I also try to use real 303 acid synths to make my acid layers, to enhance that authentic sound. Most importantly, over the past year-and- a-half, I’ve been extremely particular about the BPMs I’m making my music at 140-150bpm, always. As a percussionist, I know this means the drums — especially the kick and bass patterns — must stay within some constraints to avoid them sounding chaotic. I think all these intentional decisions are the building blocks to the BIIANCO sonic identity.”

How do you channel personal experiences into your studio work? Is there a specific process you use to translate feelings into sound?

“As a neurodivergent person, I feel emotions very strongly and always have — therefore, music became a utility for me to process them at a young age. So, music has never existed for me without emotion. I have classical training, and that comes in handy when trying to translate my emotions into musical elements. For example, in a song conveying heartbreak, I’ll lean heavily into certain minor key progressions or timbres that can evoke that psychological response. I try to marry the emotion to the musical theory. This is a technique we studied heavily at university in our film scoring and composition-focused classes.”

How do you translate your studio work into a live setting, especially with a hybrid live set? What elements do you keep from the studio, and what changes to adapt to the energy of a live audience?

“I try to preserve the sounds I spend so much time crafting in the studio when going into a live environment, so I love tools that allow me to bring in my sounds. That’s why the Roland TR-8S sequencer is so clutch for performing drums and bass, as I load and sequence all those patterns with my original studio elements.

“For acid, I play the 303 live and in the studio specifically, so the tone is consistent no matter the environment. A lot of the acid people hear on tracks is super hard to recreate with real hardware, so I try to stay away from falling into that trap so I can give audiences authentic experiences.

“I tend to very slightly adjust my song formats to give myself padding in live settings that may not exist in the original song structure. For example, if I need to bring up the fader on the bass, hit the synth at the top of the phrase and start singing all at the same time in the original form, that would be super unrealistic in a live setting. So, I might adjust the structure to stagger the start. I basically finesse the structure so I can deliver a precise and powerful performance where I’m not overthinking what I need to do, and can get lost in the moment.”

hat are the biggest challenges you face when performing a hybrid set compared to a traditional DJ set or a full band performance? How do you overcome these challenges?

“Introducing any live elements means introducing risk into the performance, so an assessment of risk vs reward is the most important first step. For every risky live decision you make, there is extra hardware you need to bring, maintain and set up. Live also requires exponentially more rehearsal. I always tell people, ‘You want to use live elements, then be prepared to practice, practice, practice’. You need to be prepared for every single problem to occur at least once, and you can only do that when you know what could potentially occur. If I am doing live sampling in a performance, I will practice those live movements hundreds of times until it is muscle memory I can do with my eyes closed. That is the only way everything is as clean and smooth as loading up a CDJ with a pre-recorded track.

“A good example of a live challenge occurred when me and Marlon Hoffstadt recently performed our song, ‘Touch My Body’, at Amsterdam Dance Event. I was sampling the vocals while he DJed the instrumental track, and there’s a really cool part in the track where everything drops out but the vocals for a few bars. In a studio setting, this sounds awesome, but it poses a challenge in a live setting without a click track, because you want to drop back in perfectly in time with the track but have no way to know when that is. We could have added some hi-hats to the silence in the track to keep time, but honestly that sounded so blah, and we preferred to find a cooler solution. So after rehearsing it a few times, we figured out I could lean into a repeat roll effect using an RMX-1000 if we matched the tempo of the CDJ with the tempo of the roll. It worked perfectly to help us preserve the timing and even elevated the dynamics in the live performance. It just required us to decide ahead of time what BPM we would play the track at during the set and stick to that decision”.

How do you utilise sampling and looping in both your studio work and live performances? Are there any differences in how you approach this technique in each context?

“Studio performances are actually really different to live setting performances. For example, a lot of my TikTok loops are done with an entirely different method than what I would do on a real stage. Studio looping leans more heavily into controlling Ableton than my live stage elements. With my social media loops, I’ll set up an Ableton session and automate exactly how many bars I’ll be recording the MIDI before it starts looping. I can also set up the session to immediately quantise the loop after it records. So most of what I’m doing in studio loops is arming a track, performing the audio or MIDI live, then I’ll loop it based on my Ableton session, and I’ll also write in automation like fader cuts.

“Sometimes with studio loops based around the Maschine+, there is no prep work that goes into Ableton and I’m really just using the Maschine+ as the performance brain for tempo and recording its master out into Ableton. In a stage setting with both decks and live elements, I try to keep it completely DAW-less and lean into the Maschine+ and hardware only to create the performances. I usually just beat-match the loops into the mix like you would a vinyl or CDJ element”.

I am going to finish with Magnetic Mag and their interview with BIIANCO. I am going to recommend people check out sites like this, where you can hear episodes featuring their music and mixes. Back in June, they published an interview with an artist and D.J. who was coming off the back of some high-octane sets. Their newest single, Bassline Vandal (released via Ultra Records) is fantastic and demands to be heard. As Magnetic Mag say, “It is the kind of track that makes you move first and think later”. BIIANCO’s work is tied to movement and their body – as is also noted -, so this aspect was spotlighted. The physicality and mobility of their sets and work is vitally important:

“Do you move around a lot during sessions, or are you more locked into your chair once you’re in it?

I have my hardware located around the studio so there’s some natural movement when I’m working out of my personal studio. But lately, I’ve been doing a lot more sessions while on tour, and with those I tend to sit stationary for far too long. I do like to stand in the best spots in the studio sonically so I can hear the mix once it’s ready, and during that I’m always dancing.

Have you found that certain gear setups encourage more physical interaction or flow?

I think the best setups are ones that are in a U shape with the DAW and computer at the center because the movement becomes very circular – allowing you to move fluidly from synth to synth. I am a huge fan of hardware and synths in my production, so I nearly always make my music in my studio with my hardware.

When you’re physically tired, do you notice your music sounding different?

When I’m physically tired I’m more indecisive about creative choices in producing. It creates a brain fog, and I tend not to finish those songs in one sitting. If I’m rested and thinking clearly, I can finish a working mix of a song in one session.

Do you think movement helps you make decisions faster—or slow things down to be more intentional?

This is an interesting question. When writing, I think at first being too intentional works against the writing process and impedes the stream of consciousness flow. I try not to have too much intention in the beginning of the songwriting process. That comes out later when I am cleaning everything up and mixing things down.

So most likely, I am not moving a lot at first but towards the time I start getting more intentional with the mixing, I start stepping back and moving more”.

As we are into a new year, there is going to be a lot of emphasis on artists and their promise. Those who are D.J.s and artists are perhaps not given as much oxygen. BIIANCO is a tremendous and inspiring D.J. I am actually writing this on 29th December. As I write, BIIANCO actually has a New Year’s Eve set in Utah. They play in the U.K. later this month (as in January). A combination of British and European dates, it is a busy start to 2026. I am excited to see what the summer holds for BIIANCO. It is going to be thrilling to see…

HOW far they will go.

____________

Follow BIIANCO

FEATURE: The Streams Keeps Flowing: Kate Bush: The First and Foremost

FEATURE:

 

 

The Streams Keeps Flowing

IN THIS PHOTO: Kate Bush singing copies of her 1978 debut album, The Kick Inside

 

Kate Bush: The First and Foremost

__________

I have written some features…

around the modern influence of Kate Bush. How so many of the best albums of last year were very much influenced by her. Maybe not one or two specific albums. However, the artists who were releasing the finest of last year were largely Kate Bush fans. And I could see her very much in the blend. I am going to move away from the artists who are influenced by her and return to a subject I touched on last year. How Kate Bush has been setting records through her career. Literally from her debut single, Wuthering Heights, in 1978 to today. As I write this (29th December), Kate Bush is in the top five of the Worldwide iTunes Song Chart. It is a huge achievement. Running Up That Hill (A Deal with God) could well soon be the most-streamed and purchased song on iTunes. It has over a billion and a half streams on Spotify. Even though its video does not to be in HD, it has been seen over 367 million times. After being featured in the fifth season of Stranger Things, there is this second wave of attention for this song following the initial 2022 appearance and subsequent chart success. The fact that a song from 1985 from an artist who is sixty-seven is no doubt a record! The same song breaking records in different years. Although I do not want a single Kate Bush song to dominate as the expense of her others, it is still positive that she is being discussed and posting updates to her websites. I am not sure of any other female artists who have set so many records across such a wide time period. Madonna maybe? I am trying to think about her records, as she started later than Kate Bush – 1982 was when her debut single came out – and she has a new album out this year. Maybe in terms of number one singles and that side of things, perhaps Madonna has set quite a few. However, I think Kate Bush’s record-setting and the variety of them is more important and notable.

I am referencing Leah Kardos’s 2024 book about Hounds of Love for 33 1/3. There is a section of the book I have referenced before, where she talks about Kate Bush as ‘the first’. A female artist who set a record that none of her peers have. As I am going to publish a couple of features around the forty-eighth anniversary of The Kick Inside on 17th February, this ties into that. The first records she set were in 1978. I do wonder what official records Bush will set with Running Up That Hill (A Deal with God) and its success on the iTunes chart. No other artist of her age and longevity can claim this sort of feat I do not think. I am considering the likes of Paul McCartney, but as a solo artist, has there been a song of his that has done as well on the Worldwide iTunes Song Chart?! Nearly forty-eight years since Wuthering Heights reached the top of the U.K. chart, Kate Bush I setting records and is this pioneering artists. Perhaps there was not the expectation that she would break records with her debut single.

EMI did not want Wuthering Heights to be the first single. Not a single at all. It was only because Bush fought so hard that it got to release. It reached number one in the U.K. and, in the process, Bush was the first woman with a self-written song to reach number one. Even now, female artists are not featured on the singles chart as much as they should. There was a period when male artists were dominating the top spot. That has shifted, though think about the composition and writing credits. Many women who have topped the charts since Kate Bush have co-written their songs. It is not as common as you may think. In terms of those who have solely self-written number one singles, there have been incredibly few. Maybe only a small selection since 1978. That is amazing in itself. However, the fact no other female artist had achieved the distinction prior to 1978 shocked me. Kate Bush no doubt inspiring women who followed when it came to writing their own material. Not to judge artists in general, but so many artists, especially major Pop artists, have teams behind them. Or they write with one or two others. Although there are incredible female artists who do write their own material alone, relatively few get to number one on the U.K. singles chart.

Some might say chart success is irrelevant in a streaming age. I would disagree. Even if they are less important and desirable as they used to be, artists still want to get a number one single. For Kate Bush, reaching number one in 1978 was a massive success. Not only a self-written song but her debut single. Out of the gates with this song purely of her own, she got to number one. It is a remarkable achievement! The Kick Inside went to sell over a million copies in the U.K., making Bush the first woman in history to write a million-selling debut album. I still think that this record has not been equalled much since then. So, in 1978 (perhaps The Kick Inside did not hit a million copies until 1979), Kate Bush set two records. And she was a teenager until 30th July, 1978. So, in terms of age, she was also the youngest female artist to achieve these feats. And I am pretty sure very very few female artists aged nineteen or twenty have released a chart-topping U.K. single that they wrote solo. Same with a million-selling album. I think these records are less about number and chart positions and more about Bush having this writing autonomy and showing that a female artist who writes her own albums could get chart success. This was definitely uncommon in 1978. However, in years since, we can see artists who are following her example. Every major female artist that does this can be drawn back to Kate Bush. Not a record in terms of sales and chart positions, one of the best can also be applied to modern Pop. The wireless head mic is ubiquitous. Every major artist uses it at some point. Taylor Swift, Beyoncé, Dua Lipa. I am naming three major Pop artists, but throw in Sabrina Carpnter, Charli xcx and women I mention a lot.

As I mentioned in December 2024, it was Gordon 'Gunji' Patterson was the sound engineer on The Tour of Life and fashioned a wireless mic out of a wire clothes hanger. I think Madonna is often credited with popularising that. Perhaps in terms of global concerts and this iconic vision. The Tour of Life less known and famous as Madonna’s tour. However, it is surprising that artists did not fashion a wireless mic previous to 1979. David Bowie and other major artists were still using a hand-held microphone. Looking back, it seems like such a wrench having to be tethered and not having both hands free whilst singing. I know someone else would have designed a wireless microphone at some pointy, but Kate Bush opened the door. The Tour of Life not only introduced the wireless microphone. It also was revolutionary for female artists in terms of the spectacle and ambition of a Pop concert. Again, think about Madonna. The biggest Pop artist ever, I do feel like she was influenced by Kate Bush. You can draw a line between Bush and Madonna. Kate Bush definitely revolutionised the live experience in terms of how flexible artists could be. Not having to sing with a microphone and moving slightly. Now, Pop concerts could incorporate more dance and artist could leave the floor whilst singing. Even though Madonna and Bush rarely left the floor, they could bring dance more into their sets and not be worried about being on this static microphone. If 1978 saw Bush set a record with an album relating to its sales, she set a chart record with her third album. 1980’s Never for Ever debuted at number one in the U.K. Bush, again, the first woman to do this. This record has been equalled a lot since then, but no  other female artists accomplished this by 1980. Kate Bush was only twenty-two. It is incredible thinking everything she had done in terms of breaking ground, innovating and being written into the history books. At a time when the industry was pretty sexist and misogynistic, it was a major step forward that Bush set these records. That the record-buying public also helped her do this.

I think back to today and Kate Bush continuing to set records. Running Up That Hill (A Deal with God). Not to repeat too much what I write at the end of 2024. When The Whole Story was released in 1986, it was noted how Kate Bush had self-written all fifteen of her hit singles. That was a first for any woman. I am thinking of male artists who might have achieved this. Even major artists like The Beatles and David Bowie had co-writers. I am wracking my brains to think of any artist before Kate Bush who wrote fifteen hit singles on their own. Again, when it came to the future for female artists, this idea that you could achieve chart success writing solo. I think it was more suggested that female artists co-write. Or it was seen as more normal. However, that record Bush set by 1986 is one that has not been equalled a lot since then. I do really love that Bush was paving the way and breaking barriers just by being true to herself. It was not a big deal to her as she could only write solo. She was such a distinct artist that she would not think of collaborating. I have covered this for another feature, but it is conceivable to call 1993’s The Line, the Cross and the Curve a visual album. In the sense that it was visualisations of songs from The Red Shoes (1993). Not the whole album, but there were quite a few. This was not common for artists even in the 1990s. Look now at heavyweight queens like Beyoncé, Taylor Swift and so many major acts. They have either released visual albums or they have released short films with songs string together. A way of getting an album and music out to people in a more cinematic and filmic way. Kate Bush also set the record regarding the longest gap between number one singles for a female artist. Wuthering Heights in 1978 and Running Up That Hill (A Deal with God) in 2022.

It always amazes me that Kate Bush only had the one U.K. number one until 2022. You would have thought that singles from Hounds of Love like the title track would have reached number one. The music industry is still quite ageist, so the fact Bush was sixty-three when Running Up That Hill (A Deal with God) reached number is a step forward. I know Kylie Minogue was Christmas number one in 2025, but she is fifty-seven. This is still a major achievement, as he industry still very much prioritises younger female artists and it is always important when someone like Kate Bush or Kylie Minogue gets to number one. It would be nice to normalise this more but, as the major radio stations in this country do not include many older female artists on their A-list or regular rotation, it takes viral moments and an original Christmas track from a legend to buck this trend. Kate Bush, again, breaking ground and changing things. Or at least showing that a female artist in her sixties can get to number one. Though I feel this will not be a common thing going forward. Running Up That Hill (A Deal with God) continues to break records. It surpassed a billion streams on Spotify in 2023. Bush was sixty-four. Not even 1980s queen Madonna, who is the same age as Bush, has achieved this! I don’t think that this will also become a norm, as streaming dominance is still very much coming from younger and newer artists. It is still inspiring that Kate Bush set this record. I think that Running Up That Hill (A Deal with God) set more than one record last year. If it reached the top of any iTunes chart, then it will set one in 2026. If Bush releases a new album, if it goes straight to number one, that could be a record. All of her studio albums – and greatest hits album and Before the Dawn live album – have reached the top ten in the U.K. My point is that Kate Bush continues to amaze and innovate. By breaking records and being discussed now (aged sixty-seven), it does give encouragement. I think back to 1978 and Wuthering Heights setting a record. Right now, in 2026, you feel like Kate Bush will break new records and be the first ‘woman’. No wonder her influence is so huge and widespread today! The stunning and decades-enduring Kate Bush is undoubtedly…

A genius and vital influencer.

FEATURE: Spotlight: Revisited: Madison Beer

FEATURE:

 

 

Spotlight: Revisited

PHOTO CREDIT: Hearst

 

Madison Beer

__________

I spotlighted…

the wonderful Madison Beer back in 2021. She is such an important artist and one that people need to know about. Born in Jericho, NY, Beer was discovered on YouTube by Justin Bieber, which then led to her stunning 2013 debut single Melodies. The E.P., As She Pleases, was released in 2018. I discovered her when she released the superb debut album, Life Support, in 2021. I was struck by the raw emotions and honesty in her music. Soul-baring but also connective, in the sense that her music touched people and they could relate to her experience. Although there are quite a few collaborators on 2023’s Silence Between Songs, you can hear Madison Beer’s heart and soul come through. It is her album and voice. What I love is she is an artist who could collaborate and put a load of other artists on her albums, though she prefers to keep things personal and solo. I guess she will collaborate more in the future, but I tend to find it takes away from the directness and personal nature of the music. In the sense these songs are meaningful to her, so having other artists on the top of them takes something away. The extraordinary The Half of It: A Memoir was released in 20232. I would advise people to buy it. I know there are a lot of Madison Beer fans around the world and they will have read her memoir. It will give them a lot of strength. It is an emotional read at times but it does give us an insight into Beer, her music and personal life. I am writing about her now as her third studio album, locket, comes out on 16th January. A matter of days away, I think that this will be one of the most powerful and best albums of the year.

Make you mine, the first single from the album, came out in 2024. It has been a while since the first taste but, rather than release all the singles very shortly before the release and then everything being wrapped up too soon, instead we have this slow release schedule in terms of gaps between singles. Yes Baby and Bittersweet came out in the autumn. They are phenomenal songs. I am excited to see how the album is received. Because locket is about to come out, I want to drop in some interviews with Madison Beer. Someone who discusses mental health issues personal struggles with Borderline Personality Disorder (BPD), anxiety, and self-harm, Beer also promotes therapy and authenticity. Madison Beer has is someone who supports and promotes body positivity, and advocates for L.G.B.T.Q.I.A.+ rights. In terms of chronology, I am not going to start with the oldest interview and work to the newest. I really want to start out with Rolling Stone and their interview from November. Madison Beer, as they say in their headline, is ready to get back to Pop. I do think that locket is going to be among the most talked-about albums of this year:

“Madison Beer knew her third album would be called Locket long before she even really dug into making it. After wrapping her most recent tour last fall, she was ready to dive into a new project, and this time around, the title felt important to her. She wanted it to feel authentic to who she is as an artist, perhaps an item or a word that felt tangible.

“I was in my Notes app for weeks on end just writing words I related to,” she says over the phone in early October. “I just kept on gravitating towards [Locket] every single time I would read the list.”

The word became a north star for Beer and her collaborators before they even got back into the studio. They would listen to songs or exchange ideas and say things like “This is so Locket” or “Locket-core.”

As she describes it, both the album and the accessory it’s named after feel like a vessel for her memories. Locket holds all the experiences she’s had that make the project what it is now.

“Each song contains things that are in my locket that I carry around with me,” she says.

Nostalgia runs deep in Beer’s new music. She wanted to return to the pop sound of her early releases and looked toward early favorites including Ariana Grande, SZA, and Gwen Stefani for inspiration. But Locket’s pop return comes with a growing confidence in her talent, thanks to successful experimentations with her sound and lyricism on recent releases like 2023’s more introspective Silence Between Songs.

“[Silence] really was a definitive moment for me because I was nervous about releasing an album that was extremely personal and very lyrically driven with more acoustic, slower stuff,” she says. “It really wasn’t a pop album at all. I was scared because I was like, ‘Is this not what people want from me?’ And then I was like, ‘This is what I want, and this feels really good to me. So why don’t I just do it?’”

Fans were more than accepting of her new direction. At the shows, they sang back every word, even for deeper album cuts like “Nothing Matters But You.” Before going on tour, however, she wanted to make a big dance-pop moment to keep the energy high at the shows. So she took another detour, crafting the delicious EDM-pop moment “Make You Mine” as a one-off single. It was so well-received that it was nominated for Best Dance Pop Recording at the 2025 Grammy Awards.

“It truly was made just for the tour,” she says. “I didn’t have any expectations for that song other than for my fans who are already attending my tour.” After the song’s success, she crafted two more big dance-pop moments in the vein of “Make You Mine,” including “15 Minutes” and Locket lead single “Yes Baby.”

“‘Yes Baby’ is kind of the finale of that,” Beer says. “Not the finale in the sense of me never going to make another dance song again, but I close that [chapter] for now. I’m returning a little more to my roots.”

The songs from Locket don’t lose the energy of her dance-pop period, even if they don’t go as maximalist as those tracks. Beer returned to the studio with some of her frequent collaborators, including Tim “One Love” Sommers, who worked on her debut EP As She Pleases when Beer was 18 and just getting started.

“I’ve been working with these people for so long, so it’s been really cool for us all to really grow together,” she adds”.

There are a couple of other interviews to cross off before wrapping up. Cosmopolitan published a really detailed and long interview with Madison Beer from August. At a time when locket was still being recorded and there was still some uncertainty about exactly when it was coming out, Madison Beer discussed working on the album and, among other things, her relationship with asocial, media and the press. I cannot imagine how tough it is at time being this high-profile artist on social media. A lot of expectations and criticisms. How the press actually seemed to want to drive her out of music or were putting this pressure on her. How they bullied her. It is another revealing and really honest interview:

“We’re speaking right in the middle of your creative process. How’s it been going?

There’s no clocking in and out of the job. The other day, I broke down out of nowhere. I was working with this songwriter I’ve always wanted to work with and my entire arm started going numb, the side of my head started going numb. I just lost a friend to a brain aneurysm. So I’m thinking I’m having one, straight-up, and I’m freaking out internally. She asked me, “Are you okay?” I burst into tears. I had just met her an hour before. I ended up taking the weekend to do nothing. I was like, I want to sit in my room, watch stupid movies, play Fortnite, go in my Jacuzzi, drink a beer. Everyone can fuck off, leave me alone.

Your body was telling you something.

I’m not doing anyone a favour by burning myself out. Why does it have to get to the point of me having a panic attack? It shouldn’t, but I’m trying to snap out of it.

What’s your main goal with this new music?

I have the highest goals. This is hopefully what solidifies everything for me, whatever that means. That’s why it’s been hard to make — there’s a lot of pressure I’m putting on myself. So it’s taking me a second, but it feels exciting. I don’t want to succeed if it means not being who I am. I don’t need people to love me. And I don’t want people to listen to my music if it’s not real.

And then I’m simultaneously trying not to have a panic attack thinking about if everything goes super well, what my life will look like. Because that scares me, which is something I’m trying to be honest with myself about. When you work your whole life toward something and then it’s right there, it’s like, “Do I want it though?”

PHOTO CREDIT: Hearst

Something that really stands out to me is how you have a lot of compassion toward your younger self and also a genuine understanding that the adults in your life could have done better. And how you’re willing to speak publicly on all of this. Has this prompted any confrontations?

The boy who the whole nude situation happened with,3 he reached out to me and was like, “I had no idea that I hurt you like this. I’m so sorry.” I don’t know how it feels to be a 14-year-old boy receiving photos of a girl. Maybe it’s wishful thinking, but I don’t think he was being malicious showing them to his friends. He was a kid.

I’ve had to sit people down and be like, “Hey, you owe me an apology for what you did to me when I was a kid.” And a lot of the other people from that time in my life — I just have completely severed my relationships with. I don’t care to make up with you or be cool with you.

What about your relationship with the press?

I’ve been bullied a lot. They sometimes do interviews with me just to make fun of me. People around me used to tell me “Shhh, don’t speak back, don’t stand up for yourself.” But I’m at this place now where I will happily be like, “What the fuck are you saying?” if that’s how I feel. And who I am is someone who does stand up for themselves — someone who can be a bitch, if that’s what you deem it as.

And what about social media? Your digital footprint across platforms is huge.

If I could have a perfect world, I would not be on social media at all. I don’t think there’s any way to accurately depict yourself online. I’m so conditioned to everything I say and do on the internet being twisted. Though I do, unfortunately, scroll TikTok for hours on end. I want to delete it but I’d lose all my drafts. I don’t have Twitter on my phone anymore. I’m not going to die on this hill begging all of you to see me when you are clearly committed to misunderstanding me. I do miss my fans who are on there though —I used to talk to them on Twitter all the time.

Where does your self-worth come from?

To be so honest with you, a lot of my self-worth is based on the way I look. I’m trying to change that, but it’s so deep-rooted. It’s been ingrained in me since I was young because of people focusing on superficial bullshit. Unfortunately, that’s manifested itself into a place where if I’m breaking out or I’ve gained five pounds or I don’t feel pretty, I don’t feel like I’m worth anything.

Do you think he’s ready for whatever this next career moment could hold for you?

No, neither of us are equipped for whatever the fuck might come. But it’s kind of exciting to be like, “We’re going to figure all this out, hopefully together.” Yes, I know he’s going to support me, but do I think that he knows or I know or my parents know or my brother knows how we’re going to feel or go through it if and when that does happen? No.

But in terms of certain other people, don’t think that if and hopefully when this album goes crazy, I’m not going to be like, “You didn’t give me the time of fucking day and now you want to be my best friend. Goodbye. Get out of my face, genuinely”.

PHOTO CREDIT: Morgan Maher

I am going to end up with PAPER and a great discussion with Madison Beer. This was published in September and was released to coincide with  the release of yes baby. One of Beer’s best tracks, I wanted to include parts of the interview here, as it is a song that struck me when I first heard it. I am excited to hear the rest of locket. She is such a strong and amazing person. Her music, interviews and writing has helped so many people. The fact she is so real with her fans is refreshing and important. However, you do hope there is a time she can detach from social media and live a less visible life:

“Last time I talked to you was last year when you released "15 Minutes." Take me through the timeline of what you've been up to since then, and what led to this new song coming up?

Obviously there's a lot that I would love to talk about regarding the album, because it is all tethered to the project. I know I haven't announced it yet, but my fans know that this is part of an album, and this is the first song kicking it off. From touring, I've learned a lot about which songs feel good to perform, what I like, what I don't like. "yes Baby" felt like the right way to start this all. In my head, it looked like closing out a little bit of the EDM dance stuff — not that I'll never do more, maybe even on the deluxe — but I wanted there to be a new dance song people could connect to. It's not a representation of the whole project, but I felt like it tied in with "Make You Mine" and "15 Minutes" before moving into album world.

I love that idea of a trio: "Make You Mine," "15 Minutes," and now "Yes Baby." What's your relationship with your fans nowadays?

I got off Twitter a couple months ago, which I'd never done since I started. It was negatively impacting my ability to see my artistic direction clearly. I really value their opinions, but when there are too many cooks in the kitchen, I get overwhelmed. I was second-guessing myself constantly. Deleting Twitter has actually helped me feel more connected, not less. I do IG Lives on my mbhq account and it feels like the same old — we just talk, and it feels like family. Honestly, I feel closest to them on tour, but not reading the constant discourse has made my decisions for this project really my own.

Tell me about the making of "yes baby." I feel like I'm in Ibiza listening to it. Where did you pull inspo from?

We made it right after I got off tour. I was so geeked up on performing "Make You Mine." Every night when that intro came on, people would lose their minds. It tapped into a different part of my performing brain. I'm a singer first, but with songs like "Make You Mine" or "Yes Baby," it's more about performing, jumping, running around. On tour, those moments felt like the club. With "Yes Baby," obviously the phrase is sexual, but I also picture people snapping for their friends and going, "Yes, baby!" I imagine my fans doing that back at me. It's just a fun, affirmational song inspired by the tour energy.

Do you ever feel like people disregard how good a singer you are?

I'm at a really good place with that now. I don't feel the need to prove myself to people who aren't paying attention. I know that when people come to my shows, they leave knowing I'm a singer. I used to get upset about it, but it's a personal opinion. People can think I'm a bad singer all they want — I'd rather that than them not think I'm a singer at all. I know I'm a singer, my fans know it. If you don't, come to a show. The mic will be on.

A lot of pop girls are coming back with dance and club vibes. Were you conscious of that when releasing this song?

Not really. With "Make You Mine," it was completely organic. With "Yes Baby," it wasn't about following a trend. My album isn't really a dance album — it's a straightforward pop record. If I were chasing the trend, I'd make a full dance album, but that would feel alienating. I like too many different genres. I just love making fun songs you can play while getting ready, feeling sexy, and having fun”.

I have so much respect and love for Madison Beer. I have been following her for a while, and I know howe much locket means to her and how much of herself she has put into it. In terms of your dates for locket, I do hope that she comes to the U.K. I will try and see her if she plays in London, as there will be so many people who are keen to see her on the stage and talk to her. For anyone who is new to Madison Beer, go back and listen to her previous albums and listen to interviews with her, as she is authentic, compelling, hugely intelligent and someone whose honesty and bravery is quite rare when major Pop artists are expected to be guarded or filter themselves carefully. I hope that this year offers personal happiness, positivity and success for Madison Beer. There are few artists who deserve it…

MORE than her.

______________

Follow Madison Beer

FEATURE: I Got Sunshine in a Bag: Gorillaz’s Clint Eastwood at Twenty-Five

FEATURE:

 

 

I Got Sunshine in a Bag

 

Gorillaz’s Clint Eastwood at Twenty-Five

__________

WHILST I am prioritising…

big album anniversaries this year, I also want to recognise singles that are celebrating significant anniversaries. The debut single from Gorillaz turns twenty-five on 5th March. Clint Eastwood was one hell of an introduction to the virtual band. Peaking at number four in the U.K., Clint Eastwood was written by Damon Albarn and Teren Jones and received large positive feedback. In terms of the fanbase in 2001, I guess a lot of Blur fans would have followed Damon Albarn. However, Gorillaz were a bit of an unknown quantity. A virtual band that Damon Albarn and the artist Jamie Hewlett created in 1998, Gorillaz consists of four fictional members: 2-D (vocals, keyboards, melodica), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards, backup vocals) and Russel Hobbs (drums). A sense of anonymity perhaps meant that Damon Albarn could write in a different and les inhibited way. This wholly new project, Blur were still active. They would release Think Tank in 2003. However, Gorillaz was this fresh character. Albarn proving he is one of the most enduring, innovative and talented songwriters of his generation. Clint Eastwood is proof of his brilliance. I remember when the Gorillaz album came out on 26th March, 2001. I was in college and was already aware of Clint Eastwood. I bought the album and was not sure what to expect. 19-2000, the next single from Gorillaz, is a highlight. It would be four years until Gorillaz released their second studio album, Demon Days. I think it is a more consistent and better album, though I do love the debut. And Clint Eastwood is fantastic! There is an interesting 2001 feature from Sound and Sound I will come to relating to the recording of Clint Eastwood. Rolling Stone ranked his gem at thirty-eight on their 100 best songs of the 2000s. In October 2011, NME placed it at number 141 on its list of the 150 Best Tracks of the Past 15 Years. With a basic explanation behind the song’s title – named after Clint Eastwood, its similarity to the theme music of The Good, the Bad and the Ugly is obvious -, there is more curiosity to be found in the background and recording of Clint Eastwood.

I do want to come to Sound on Sound and their fascinating chat with Tom Girling and Jason Cox. They engineered Clint Eastwood. They also acted as producers alongside Gorillaz and Dan the Automator. One of the best debut singles in my opinion, there is something dark, cool and unusual about Clint Eastwood. I had not really heard anything like this in 2001. It was a bit of a revelation and shockwave that I felt affect people I knew. Excited by this new virtual band:

“Two years ago, when Sound On Sound last visited resident engineers Tom Girling and Jason Cox at Damon Albarn's West London studio, Albarn's band Blur had recently finished working with producer William Orbit on their album 13, a recording which involved bizarre instruments, experimental recording techniques and endless Pro Tools editing. The studio had also been used to record Albarn's equally experimental collaboration with composer Michael Nyman, the soundtrack to the film Ravenous. Since then, however, Blur have only entered the studio to record one more single, so Girling and Cox have been able to put their feet up and take it easy...

Er, no. Although the only Blur activity in the meantime has been a Greatest Hits album, Albarn had set up the studio (also named 13) mainly to handle his own side projects — and these have proliferated during the band's time off. There has been two more film soundtracks, Ordinary Decent Criminal and 101 Reykjavik, and a lengthy trip to Mali to record material for an Oxfam‑sponsored project drawing together musicians from every nation on the Greenwich Meridian. The studio has been extended to incorporate what was the adjoining unit, with the control room completely rebuilt around a new desk — a task which inevitably fell mainly to Girling and Cox. And on top of all that, there's been Gorillaz, a project which has yielded a top 10 album and a massive hit single in the shape of 'Clint Eastwood'.

The final version of 'Clint Eastwood' in Logic Audio. The track labelled 'rough blues' is Damon Albarn's original 'gibberish' vocal; 'V Comp' is the final vocal as recorded and edited in Jamaica. Kid Koala's scratching, on track 5, has been heavily edited...

The brainchild of Damon Albarn and former flatmate Jamie Hewlett, who was the artist responsible for the cult Tank Girl cartoon strip, Gorillaz have been described as the world's first 'virtual band'. The idea was that while Albarn came up with a suitable selection of songs, Hewlett would devise cartoon characters to front the band and stories for them to act out in their videos. "Once we'd started doing the tunes, Jamie got an idea of what the characters should be like, and once we'd fine‑tuned the characters, people started to think about the whole story around those characters, and it just started evolving like that," explains Jason. "So the music started first, I think. It was Damon, Tom and myself doing the music, and Jamie used to come down and see what was going on and what style of music we were heading towards. He was doing his sketching and demoing his characters while we were demoing the songs — the same sort of thing but on the drawing front."

With initial demos done at 13, the 'virtual band' managed to attract record‑company backing, and recording commenced on an album proper. Unlike the majority of Albarn's previous projects, the Gorillaz album was largely written in the studio. "The comparison would be that Blur would go into the rehearsal studio and rehearse the songs that were written, and then sometimes even go on tour with those songs before they were even recorded, and then go into a studio," says Jason. "The changing point was working with William Orbit, because he'd work in a different sort of way where he'd get the band to do jamming and then make up tunes like that, and then bring them back the next day and do some more on it. So we were slowly getting towards this way of working. It's a lazier way of working!"

"It's not a conscious effort to work in a different way," continues Tom. "I think the reason why we worked in a different way is because we've got this whole Logic thing going on, so instead of working in a linear world where you're using tape, you've got a hell of a lot more flexibility. I think it gears itself more towards this kind of thing, where you haven't necessarily got a specific goal you're after. It just gives you a chance to experiment, basically chuck a whole load of paint at the canvas and see what sticks, and weed out all the drips of paint that you don't want! I know that Damon loves working in this way now, compared to the way Blur would put a track together."

'Clint Eastwood' was in some ways an exception to the free‑form, cut‑and‑paste compositional method employed on the album as a whole. Damon Albarn's initial four‑track efforts with a drum machine and guitar were recreated in Logic at 13, before the other basic instrumental elements and guide vocals were added. Althought the structure of the song was changed, it neither lost any sections to other songs nor gained any. "In terms of sound, the way the song is and the format hasn't been changed much from day one, even though we've had different vocals on it," explains Tom. "Essentially, it's made up of stuff we put together in more or less a day, except the vocals, and then just tweaked. There were a couple of instruments in early versions of the song that were taken out later, but the final version is basically pretty much the same as the first set of arrangements, except for the structure of the song. The actual track's pretty much the same bar a couple of extra drums and the rap, and one keyboard part that's not in the final mix.

IN THIS PHOTO: Tom Girling (left) and Jason Cox in the new control room at 13

“There's no real drums on here. One's off a drum machine, and there's a sample I got from somewhere. Apart from that there's some live percussion on there. You know on a bass drum you've got the lug nuts that hold the skin on? It's actually a load of those in a carrier bag being shaken. It sounds like it's pitched down, too, but it's just EQ'd. The bass is a keyboard bass, which is the Moog Rogue, and on the big fills it's got a low sub‑note which is off a Roland JV. There's a piano in there, which is our little cheesy upright in the other room. The strings came from one of our string machines, the Solina String Ensemble."

"That should have been burned years ago," laughs Jason. "Damon gave us the OK to set fire to it on stage, but we said 'No, you can't set fire to that! It's a classic!' And it's ended up being used on two or three tunes."

'Clint Eastwood' included a rap section from its early days, but the original rap recorded by Girling and Cox at 13 ended up being replaced. "There was a rap on there before done by some English guys called Phi‑life and Cypher, which was used for a B‑side in the end," says Tom.

"That's the version that we do live, as well," adds Jason. "It's a little bit more hardcore, in that English style."

One of the most prominent instruments on 'Clint Eastwood' is the melodica. This cheap wind instrument, with its plastic keyboard, has traditionally been used mainly as a teaching aid, but has become a firm favourite with Damon Albarn for its sound, usefulness as a compositional aid, and capacity to irritate engineers...

"It's one of those school teaching instruments that needs to be brought back," says Jason.

"No, it doesn't need to be brought back, it needs to be binned!" insists Tom”.

There is an article I will finish off with. However, I want to quote from a March 2001. Lobotomy Pop sat down with Gorillaz – if you can physically sit down with a virtual band?! – and asked them about their music and fanbase. It must have been strange talking to actual people but writing them as virtual figures and not photographing them:

“The members of your band have different backgrounds. How do you manage these differences

Russel: We formed as a band in April 1998. It then took some time for our individual characters to gel together. It’s only after many punch-ups, screaming matches, and late-night colouring-in sessions that we have reached a point where we can get on stage, pull our pants up high under our armpits and shout “Hello Mr. President...”

Do you feel related to a musical scene (or a cartoon scene)?

Russel: We live in an animated alter-world where Augustus Pablo can walk into Electric Lady Studios, pick up a Gibson, and play a fuzz lead over a Cachao bassline while Dr. Dre plays the tin flute to Rag Time beatz.

How did you collaborate with such strong personalities as Damon Albarn, Dan The Automator, etc

Murdoc: It was an easy vibe with everyone, you know? We had already been working on the tunes for about a year before we started getting anyone else in, so we had such a strong vision of who we were and what we were about that anybody who came along had to acclimatise to us. Like Russel said, we’re in some animated-alter-bollocks or whatever!

Do you plan gigs? And how will it happen?

Russel: That’s the ace up our sleeves!

2D: Yeah! The world is having a hard enough time wondering how and where we exist and what happens in the studio. People go into melt down when they try and imagine us playing live.

Murdoc: People will bloody melt down when they get an ear-load of what we’ve got to give them.

Is Jamie Hewlett an important part of the group? Do you actually work with him?

Murdoc: He’s as important as any designer or director is to any band. You really put your life in these people's hands when you hand over any amount of control of your visual style to them. He’s cool, as long as you steer him off of his obsession with nudity and military headwear. It gets on my bloody wick when he sticks his ore in on interviews though. He and Albarn are the same, you do them a favour with their tired old careers and they take it as a carte blanche to start gobbing off”.

I am going to hop to this article from Music Radar. It is revealed how that incredible and loved beat on Clint Eastwood was not in fact composed by Damon Albarn. It was an Omnichord loop preset. It takes nothing away from the song, as it is still Albarn bringing that sound into the song. Even if it was not an original sound or composition. I think that Clint Eastwood sounds incredible twenty-five years later:

“Sometimes, finding inspiration can be a hard-won battle. On other occasions, it’s right there waiting for you as soon as you turn on your synth.

Case in point: Gorillaz’ Clint Eastwood. The familiar lolloping piano and drum beat from the band’s 2001 single wasn’t, it turns out, composed by Damon Albarn, but is simply a preset from the good old Suzuki Omnichord - the Rock 1 preset, to be precise.

Albarn made the revelation during an interview with Zane Lowe at the Blur frontman’s Studio 13 facility in London. There’s an impressive level of organisation going on here: each synth has its own spot on a labelled shelf.

And there are a lot of shelves. Albarn casually confirms that he has a whole roomful of drum machines, before showing off his BOSS VT-1 voice transformer and Yamaha QY10, which he used back in the day to create the bass synth line on Elastica’s 1994 single, Connection.

It’s when he turns on that Omnichord, though, that Albarn gets the biggest reaction out of Lowe, with the Apple Music One presenter seemingly amazed that Clint Eastwood’s groove was so easily come by.

“It just came like that?” he asks. “That’s it. That’s the preset. It’s the Rock 1 preset,” replies Albarn, before spicing it up with the Omnichord’s fill button.

Originally released in 1981, with the final model arriving in 1999, the Omnichord was a preset-filled groove machine that could play rhythms, chords and basslines, and had buttons that enabled you to switch between major, minor and 7th chords. The ‘Sonic Strings’, meanwhile, could be swiped to (sort of) replicate the sound of a stringed instrument.

This isn’t the only time a pre-rolled beat has been used in a hit record, of course. The drum loop for Rihanna’s 2007 smash Umbrella comes straight out of GarageBand (Vintage Funk Kit 03 is what you’re looking for) and Usher’s 2008 chart-topper Love In This Club also features Apple Loops.

While some will be disappointed to learn that Albarn and other producers have had hits off the back of what are effectively stock sounds, it just goes to show that you don’t necessarily need to sweat over every element of a song to make a great record. In all of the aforementioned cases, the skill came in recognising a loop’s potential when no one else had”.

In 2001, Jamie Hewlett and Albarn said that they had not received any feedback from Clint Eastwood himself over the song. I wonder if that has changed since. A lot of songs are named after actors (Fall Out Boy’s Uma Thurman among them), but I guess it is optimistic to expect any response from the actor in question. However, it would be nice to think Clint Eastwood has heard the song named after him. A sensational debut single from the Gorillaz album, we mark twenty-five years of Clint Eastwood on 5th March. I think 2001 was a fantastic year for music but bad one for politics and world events, so the way you felt about a song or album then has changed given events that followed. I still have a lot of love for Gorillaz. Their debut album and what they were doing in 2001. Clint Eastwood is one of their best song. A perfect opening salvo from…

A genius virtual band.

FEATURE: Modern-Day Queens: Jaguar

FEATURE:

 

 

Modern-Day Queens

PHOTO CREDIT: Jaguar

 

Jaguar

__________

WHEREAS most of…

PHOTO CREDIT: Lucas Alexander Wilson

my Spotlight features are around musicians, I am keen to highlight some incredible D.J.s. Female D.J.s specifically. For Modern-Day Queens, I am spending some time with one of the most influential and respected D.J.s in the world. Jaguar is this incredible D.J. and broadcaster who I know will have a very busy and joy-filled 2026. I normally like to bring in recent interviews with anyone I recommend. However, it does not seem like there has been anything from last year, so I am going to go back a bit further. I hope people do interview Jaguar this year, as she has done a lot since 2024 and people will want to know more. Go and follow Jaguar on TikTok and Instagram.  I will come to some interviews with the D.J. and BBC Radio 1 host. I am starting out with some comprehensive biography from Resident Advisor:

“Jaguar Bingham is every bit as memorable as her name. Hailing from Alderney in the Channel Islands, but based in East London, the 27-year-old broadcaster, DJ and journalist, known mononymously as Jaguar, is among the new guard of multi-hyphenate talents steering UK dance music towards brighter waters. She’s a next-gen tastemaker instigating change through projects such as UTOPIA and The Jaguar Foundation. Jaguar’s work to date, spanning from her radio internship at BBC Radio 1 and 1Xtra in 2014 to more recent endeavours such as her landmark BBC Introducing on Radio 1 Dance show, has been anchored by a desire to spotlight new artists and minority voices within electronic music. It’s what drew her to BBC Introducing – a platform devoted to unsigned and emerging musicians – in the first place. In 2016, Jaguar joined the crew as Team Assistant at the station’s Sheffield HQ. At the time, she was studying English Literature at Leeds University. (A move, says Jaguar, spurred on by the city’s reputation for vibrant nightlife.) Each week, she would rifle through tunes submitted to the BBC Uploader by new artists. “I was listening to all the dance tracks and sending them to Danny and Monki, and Annie's shows and Pete's shows,” says Jaguar, who later worked for BBC Introducing’s Central Team in London, “so I was ready, even then, for my own show.” That moment came in 2020, when Jaguar launched the BBC Introducing Dance show on Radio 1. A defining moment in Jaguar’s career to date, the show has been met with critical acclaim. In 2021, Mixmag named her Broadcaster of the Year – a poignant accolade, given it was there that Jaguar’s voice and face became synonymous with its weekly office party, the LAB LDN. “I fell in love with dance music at the LAB LDN,” says Jaguar on her time at Mixmag, where she also worked as Weekend Editor for a time. “It was really special.” Elsewhere, she was awarded Best Radio Show for BBC Introducing Dance through a public vote at last year’s DJ Mag Best of British Awards.

The magazine had previously dubbed her “UK radio’s next gen champion”. More recently, Jaguar was tapped to co-present this year’s IMS alongside summit co-founder Pete Tong MBE. Keen to diversify her work, Jaguar has also produced and voiced documentaries for radio on topics such as LGBTQIA+ safe space clubbing and written articles spotlighting unsung Black women pioneers in house music. She was also Beatportal’s Guest Editor in August 2021, and previously helmed a show on South London community station Reprezent Radio, which she dedicated to new music and guests such as HAAi, Anja Schneider and Dance System. In September 2020, Jaguar turned her attention to parties. She launched an event, UTOPIA, with the brand later branching out into a UTOPIA Talks conference and podcast. The latter welcomed SHERELLE, Mary-Anne Hobbs, Sama’ and many more in its first season. “I describe UTOPIA as my vision of the world,” says Jaguar, reflecting on the brand at large and the very first UTOPIA club night: a sold-out celebration at London’s Night Tales. “It’s a world I'm trying to get to through all of the work I do: radio, DJing and so on. It's a community.” Speaking of communities, Jaguar was inspired by some of the queer parties and venues she’d encountered previously as a member of the LGBTQIA+ community. Dalston Superstore, say, or Leeds’ Wharf Chambers. Elsewhere, she’s thrilled to be sharing her latest project, The Jaguar Foundation, with the world. A partnership with Ministry of Sound and Sony Music UK Social Justice Fund, Jaguar described the foundation as a “home for my long-term commitment to [equalising] music through more forward-thinking initiatives and partnerships” in an op-ed she penned for the Independent. The Jaguar Foundation released its first report on the state of gender equality in UK dance music at last month’s IMS. Furthermore, the foundation’s first initiative, Future1000, saw Jaguar collaborating with in-school music education platform Virtuoso (fka FutureDJs) on a free, UK-wide DJ, production and leadership programme which introduced 1000 female, trans and non-binary students aged 12-18 to the music industry. A major move for the industry and Jaguar alike. Tackling issues such as gender imbalance, representation and accessibility within the industry at a foundational level, the initiative provided curious minds with artist-led sessions with the likes of Jyoty, Jayda G and Bklava and course modules curated by the London College of Music Education.

“I wanted the students to feel represented, supported, and comfortable,” explains Jaguar. “It can be scary learning to DJ. I wanted them to feel they were in an environment where they feel safe to explore their interests.” Future1000 was brought to life during the pandemic. It was then that Jaguar, amid the chaos of the time, recognised what her purpose was – and had been for some time, subconsciously – within the industry: amplifying marginalised and undiscovered artists and DJs. “It made me look inward,” says Jaguar on lockdown. “I realised I’m never going to be the loudest person. My way of expressing myself comes through my work and making it clear that I’m going to spotlight not just great music, but great music from women, and Black, brown, trans and non-binary people.” Born to a Ghanaian mother and English father, Jaguar cites the “lineage of Ghanaian women” on her mother’s side, along with her girlfriend, as continued inspirations. Though it was her father who taught her to always go the extra mile and dream big. (She reckons she’s also inherited his work ethic.) She looks up to fellow tastemakers such as Annie Mac and The Blessed Madonna, as well as Clara Amfo and Honey Dijon. This admiration is entirely reciprocated. Jaguar is a regular at the Annie Mac-curated Lost and Found Festival in Malta, for instance, where she treats sun-kissed ravers to her signature cocktail of genre-hopping, feel-good bubblers. She has previously supported Annie at venues across the UK, including Warehouse Project and the Pickle Factory. In 2018, Jaguar was mentored by The Blessed Madonna for the Smirnoff Equalising Music campaign. It was a spectacular ‘pinch-me’ moment that solidified her incredible career trajectory up until then. Let’s rewind though, for a second. Growing up on Alderney, it was the video games that initially piqued Jaguar’s interest in immersive electronic music and world-building through sound design. “I’d play Final Fantasy and Kingdom Hearts,” she recalls. “I loved fantasy games, they’ve got such incredible soundtracks.

I’ve actually started gaming again, since lockdown. Seven-year-old me would be excited to see it.” Her older brother exposed her to much of the music that eventually shaped her personal taste. (Her brother’s collection, that is, along with teenage summers spent raving in WWII bunkers on the island). Back when they were kids, he would transfer tunes from his Limewire-acquired collection to her iPod. “I'd listen to Kanye West and the Chemical Brothers,” she says with a grin so infectious you can’t help but smile too. “I remember hearing Timbaland's Shock Value for the first time, as well as Gorillaz's Demon Days.” A love for pop music soon blossomed, with Beyoncé, Black-Eyed Peas and emo/pop-punk outfit Evanescence, along with Aussie sisterly duo the Veronicas, among her favourites back then. Her affinity for electronic music and genres such as house, techno and disco, along with jungle, drum’n’bass and stacks more floor-filling styles, merged with an interest in student radio while in Leeds. “I loved the way talking about music, discovering music and presenting it to an audience made me feel,” she says of the days spent presenting and producing her own student radio show, Dangerous Jag.

In 2016, Jaguar won two coveted Studio Radio Awards. “It was like winning an Oscar at the time!” she laughs. Since her first stint on the airwaves, it’s been clear Jaguar possesses a natural talent for bonding with listeners via a shared love for great music. Not only that, but a determination to uplift those around her. See, Jaguar isn’t content with making a name for herself alone. Instead, she strives to rise through the ranks side by side with her peers. Take her recent run of headline UK shows with UTOPIA, which saw her inviting Future1000 alumni Badly Drawn Banana aboard the HMS UTOPIA for an intimate party on the Thames. Looking ahead, Jaguar is a resident at iconic hotspot Pikes Ibiza this season, with shows also confirmed at storied venues such as DC10 and Amnesia. Elsewhere, she’ll set out on a must-see European tour of her own, hitting up events such as Glastonbury, Circoloco and Radio 1’s Big Weekend this spring and summer. Jaguar will also fly UTOPIA out to Ibiza for a pair of unmissable White Isle shows, and make her US debut this October at CRSSD Festival. She’s also ideating on future film and documentary projects. She’d like to write some books down the line, and live out her childhood dreams by dabbling in TV presenting. She also plans to grow UTOPIA into a festival one day and aspires to host the BBC’s coverage of Glastonbury. We can expect future club sets to include specially-produced edits of tracks made by Jaguar’s friends, too. A neat touch, one that’s very much in keeping with the spirit of togetherness that permeates through all that Jaguar does. Togetherness, authenticity and the delightful purveyance of effervescent dance music: these are the calling cards of Jaguar”.

Let’s go back to 2023 for the first interview. It is from DAZED. I have seen so many other D.J.s shout out and salute Jaguar. She is someone who is loved and respected. I tell a lie. There is a 2025 interview I have found. That is important, as last year is when Jaguar released her debut E.P., flowers. Four amazing tracks from this incredible D.J. It is a wonderful E.P. I wonder if she has plans for more this year:

“What drew you to dance music?

Jaguar: Growing up, I predominately listened to noughties pop and anything my older brother had on his iPod – so, that would’ve been Timberland, Kanye, or Eminem. And, I guess, the early dance stuff I would’ve listened to would’ve been some Chemical Brothers, Daft Punk, Groove Armada, Fatboy Slim, and then all the 00s trance classics. But, as a teenager, a gateway [dance music] artist for me would have been someone like Grimes and hearing [her 2012 single] ‘Genesis’ for the first time. And, then, [going to] uni: that’s when I started going to clubs for the music and being like, ‘wait, what’s this song?’ or ‘I want to play this [song] on my student radio show that four people listen to, if I’m lucky’. So, the deep love of all music was always there and, then, it refined into dance music as a teenager onwards.

What’s the difference in your approach to building a playlist for and playing a set on your radio show in comparison to DJing at club nights and parties, like False Idols?

Jaguar: I approach DJing and radio differently, but there is a lot of overlap just by default. For my radio show, we probably get sent about 500 tracks a week [via the BBC Introducing uploader] so I’m downloading maybe 60 tracks a week, maybe more. And, naturally, the stuff I’m really into I’ll put in my playlists for my DJ sets. But then, my DJ sets are also dependent on the crowd, the vibe, what mood I’m in that day – so, in the end, they’ll be more of a melting pot of my overall influences. Whereas the radio show has a [defined] brief, which is: new and emerging, UK dance music. Some records work better on the radio, too: I’ll play more chilled stuff, or ambient, or neo-classical, or super heavy stuff [on there]. And that might not be my taste for DJ set but, as a tastemaker, I’ll reflect that on the radio.

If you were queen for the day, what would be your first royal decree?

Jaguar: Equality for all.

What’s one thing you could definitely live without?

Jaguar: The patriarchy.

Describe your vision of utopia in three words.

Jaguar: Colourful, togetherness, free”.

FOUR FOUR spoke with Jaguar in 2024. The statistics when it comes to Dance and Electronic music are shocking. In terms of gender imbalance and the lack of women and non-binary people represented. You can’t be what you can’t see. If women and non-binary people are not being given opportunities, having their music played and are almost invisible, it creates a very bleak future. The Jaguar Foundation has this ethos and ambition: “Our mission is to make electronic music a more equal place for the next generation of creatives and emerging artists. Through forward-thinking initiatives, we want to create a freeing, inclusive platform that inspires people from minority backgrounds to gain greater opportunities and feel represented throughout the music industry”:

“My role evolved as I told them that I loved electronic music and wanted to do more with dance music. I essentially became the dance editor. I listened to every dance track. I would send them to Pete Tong, Annie Mac, Danny Howard, and Monki. Then, in 2020, were getting so much dance music that Radio One said, “Oh, maybe we should do a show.” And I was in line to present Introducing Dance and I’ve been doing it for four years this month, which is pretty cool.”

The digital music renaissance has put pressure on radio, as listeners flock to streaming services and social media to discover new music. Algorithms have largely replaced tastemakers, placing individuals in a bizarre chokehold in which computers dictate our tastes. Previously, the radio and record stores were the only places to find new music, and DJs and broadcasters exposed listeners to new and avant-garde sounds.

Jaguar remains a passionate believer in the power of radio and tastemaking, infusing her programme with new sounds and breathing new life into BBC Introducing in an effortlessly personal way. “Obviously, I am biased. But I believe that having a tastemaker and a curator you trust to select the music is so important that it will never lose value.”

“I don’t think it’s ever going to die. I think the audience is shifting, and the way we consume is very different. But radio is always going to hold an important part and I still see that with my radio show. I have an important job, probably one of the most important jobs. I sift through 500 to 600 tracks a week on the Introducing Uploader. You have to have an ear that develops over time. I don’t think an algorithm can do that and that’s from 10 years of curating music on the radio.”

The concept of community is central to Jaguar’s work, whether it’s her BBC Introducing show, which provides a clear path for new artists to be discovered, her label and platform, UTOPIA, which serves as a voice for new ideas and artists, or her DJ sets, which capture her desire for the new, daring, and unheard.

“Community is an important word regarding my work. My show was built with a community around it. I think the kind of culture we’ve got around the show, which is mainly based around new artists is really special. And then what I do with my label, club night and podcast, UTOPIA, is a community platform, because it’s about bringing people together, it’s about representing an inclusive space on the dance floor with diverse sounds, styles, types of DJs and music lovers. I’ve also got a WhatsApp group, where the UTOPIA community is thriving full of creatives.”

“I’m obsessed with my artists, they’re genuinely my favourite artists in the world and it’s such a pleasure to work with them. I think unless you’re going to work with someone who’s as passionate as I am to put out your music, no one else is gonna be as passionate as you are. I take my job very, very seriously. I’m very, very empathetic with artists.”

The Jaguar Foundation may be one of her most important endeavours as she addresses gender imbalances in the business, going beyond raising awareness by collaborating with Sony to develop the first-of-its-kind study on documenting gender disparity in the music industry.

“The top line of it was that there is a lack of representation of women and non-binary people in dance music. It’s a systemic thing, we live in a patriarchy and there’s no denying that. There are multiple barriers, such as the gender pay gap, women being mothers and having to leave their careers, and whether they enter or not later on. A lot of women are being discouraged from pursuing a career in music and men are the gatekeepers. Ultimately, you can’t be what you can’t see”

“We discovered that only 5% of dance music in the charts was created by women and non-binary artists. Then, within radio, less than 1% of the top 200 tracks played were created entirely by women and non-binary artists. Only 24% of streaming places and streaming playlists were created by women and non-binary people.”

The first report is a stark and honest look at an unjust scene, that has barred so many people from entering and ostracised those who attempted to open the door. It has forced those in power to reflect on what has transpired and what should happen next. It serves as the industry’s starting point for learning.

“A lot of things came up, such as being subjected to the male gaze, feeling unsafe in the workplace or behind the decks, experiencing sexual assault while working, and navigating the club and booth safely.”

The Jaguar Foundation’s results serve as a baseline for the sector to grow and improve in terms of equity. It offered a voice to those who felt voiceless or alienated, reached out to the margins of society, and shed attention on the disparities that have plagued the scene for far too long.

“I’d love to update the statistics, as they were from 2022. So far, I’ve noticed some really positive changes. You know, just last summer, we had Peggy Gou, Jazzy, Raye, and Charlotte Plank all in the top ten of the UK charts, which was cool.”

In addition to statistics, Jaguar has advocated certain hands-on procedures to help carve out a more diverse and fair club and festival environment, one of which is rider requests, which artists may utilise to say that if they are going to play, the lineup must be balanced and fair.

“I have this clause in my contract. That simply means that whenever I am booked, there should be an effort to make the lineup as diverse as possible by including at least one other woman, transgender person, person of colour, or LGBT+ person.”

She goes on to say that it needs to start from the top. This situation cannot be resolved immediately, and while the industry is taking measures to make the environment more fair and open, true change will not occur unless people with actual weight and influence begin to show support and fight for those without a voice.

“I really just implore anyone with a bit of weight and power, which is mostly men, to include this in their contract. I believe it will make a difference because all we can do is put in more effort, work a little harder, and perform better. This is not me having a go. I never attack anyone. I never say, “This is your fault, or you are doing this incorrectly.” We are all responsible for global issues, whether they directly affect you or not. Often, the people who aren’t directly affected have the most power to change things.”

Jaguar’s success story thus far offers optimism for the future generation of dance music. Her influence in the business is undeniable, and her success can be attributed to her complete transparency about how she works, what she believes in, and who she supports. Her voice reflects the current sound and mentality of UK dance culture.

“I’m very passionate about the representation of people who don’t feel represented in the mainstream or in the world, music reflects the world and the world is by no means perfect. So one of my things is I want to help make the world a better place in that sense.”

I asked her to give some advice to those looking to break into the industry, “Be aware that it takes time to hone your sound and become truly good at what you do. If you’re making music, be as creative as possible while still having fun with it. Do not be afraid to experiment. If you’re releasing music, you should have a year’s worth of music planned out so that you can be consistent. If you can release a track every six weeks, or if you have four tracks, make sure you have a strategy for each moment. Know what you’re going to do for marketing and visuals; it doesn’t have to be an elaborate music video. You can do it for free”.

When I interviewed Carly Wilford last year, she said, as a D.J., how she noticed the Electronic scene is male-heavy. In fact, whilst there were steps towards gender equality and balance, there has been a regression. This is something Jaguar discusses with FLO London last year around the release of the flowers E.P. Go and buy this glorious and stunning work. I do think that 2026 is a year when Jaguar will be discovering and spotlighting great artists. She will play amazing festivals and gigs and maybe there will be new music. An L.G.B.T.Q.I.A.+ heroine and icon and someone who is always striving towards inclusiveness and equality, one hope that The Jaguar Foundation and the essential report they published in 2022 goes some way towards fixing growing inequality. Maybe there needs to be more capital and regeneration of British nightlife. More clubs and spaces:

“BBC Radio 1 presenter, DJ, podcaster, and award-winning entrepreneur Jaguar is a trailblazer in the UK dance music scene. As a queer Black woman, she is fiercely committed to championing diversity, equality, and representation, using her platform to highlight emerging talent and push the culture forward. Her work spans broadcasting, DJing, producing, and advocacy, earning her accolades including DJ Mag’s Underground Hero and Mixmag’s Broadcaster of the Year.

flowers is your debut EP. What does this release represent for you at this point in your journey?

It’s about reconnecting with your inner child and recognising how far you have come through hardship. I struggled a lot during my late 20s, but picked myself up, found purpose again, and did a lot of therapy. The title track is a love letter of gratitude to my inner child who got me through this hard time.

The other tracks explore the different sides of my personality - from UK Cunty club bangers for queer clubs to peak-time rave weapons.

The EP explores your late-20s mental health struggles. How did you translate something so personal into music?

I made flowers with Jacana People, who are good friends of mine. I had the idea for writing a song to my inner child ahead of the session, and we worked on the instrumental first. They have a lot of pedals and hardware synths, which was so fun to play with.

I wanted to bring a tender energy reminiscent of being a child running around in nature to the track. We also used twinkling chords inspired by a track from my favourite Final Fantasy game. Then I started working on a poem addressing my inner child, and the spoken word vocal in the track is the initial take we recorded on the day. I felt very vulnerable but also free during this session. It was very healing, and I surprised myself by pushing myself a bit further. The Jacana People boys are amazing to work with and made me feel so comfortable, complementing my artistic vision so well.

In 2022 you published a groundbreaking report on gender representation in UK dance music. What progress have you seen since then?

The report is one of my greatest achievements to date. The impact it left was monumental - it made national news, I went on Women’s Hour, Sky News, the BBC; I saw really amazing conversations and change in dance music on line-ups and behind the scenes at labels, venues, events brands. The statistics in general showed that marginalised gendered are indeed misrepresented, but the stats showed that things were improving year on year. However, I’d say in the last 2 years that line-ups look less diverse again, and the dance space feels very male heavy again, almost like we have regressed. I believe that this is due to the nightlife industry which is currently in an economic crisis. It’s even harder than ever to sell tickets, clubs are closing and younger people are not going out as much due to change in habits and everything being so expensive. I fear the focus has shifted from pushing forward equality and more about trying to keep everything afloat. It’s a frustrating time, but I will never stop fighting for marginalised people. I hope to bring back a second edition of The Jaguar Foundation report in the next few years and reignite the movement. It feels like it is needed again.

A book or text you return to for inspiration?

Anything by Audre Lorde or Octavia Butler. Love Think Like A Monk by Jay Shetty too.

Can’t live without?

Music, a pen, and my diary.

Which artist, living or dead, would you most love to have a conversation with?

Lady Gaga or Honey Dijon.

What should the art world be more of and less of?

More support for artists! More investing in talent over followers. Less following trends and looking at metrics. Let the art speak for itself!”.

I really admire Jaguar. Her role as a broadcaster and championing new music. Her phenomenal D.J. sets and how passionate and inspiring she is. As an artist releasing music. A campaigner and advocate for equality and gender balance. Someone who also wants to unite people and make the world in general a better place, she is someone that we should put on a plinth. Jaguar was an easy choice for this Modern-Day queens, as she has achieved so much and is such a talent. I cannot wait to see where she heads and what she achieves this year. Someone who I am…

ALWAYS in awe of.

FEATURE: Fashionably on Time: Why the Rise of XO and Other Amazing Girl Groups Is Timely and Very Much Needed

FEATURE:

 

 

Fashionably on Time

PHOTO CREDIT: Alice Backham

 

Why the Rise of XO and Other Amazing Girl Groups Is Timely and Very Much Needed

__________

I guess there was a fashion…

IN THIS PHOTO: FLO/PHOTO CREDIT: Melanie Lehmann for NOTION

in the 1990s and 2000s for girl groups to perhaps copy those that were successful and came before. There were some attempts at Spice Girls or All Saints clones. The originals always endure. However, there is something about an amazing new girl group that reminds me of both, though they also have their own patented vocal and songwriting blend that mixes the modern with a glorious era for girl groups. They are called XO. I shall come to them and source some recent interview soon. I think that next year is going to be huge, as there are great British girl groups like Say Now and FLO who will be putting out new singles and touring. I think that the past few years, or maybe longer, has been dominated by female solo Pop artists. It is brilliant to see, though there is a sense of homogenisation. A lot of same-sounding artists and a few that are unique. On 8th July, it will be thirty years since Spice Girls’ globe-conquering debut single chart smash, Wannabe, was released. The album it is from, Spice, turns thirty on 19th September. I do hope that the group reunites for some gigs. There is something about Wannabe that heralded in a new sound in British Pop. At a moment when Britpop reigned and was starting to fade, I feel there was a need for girl groups. In the same way there was this slow build of girl groups in the 1990s that continued into the early-2000s (the likes of Little Mix picked up the baton later on), I do think we will see more come through. Not that the likes of Sabrina Carpenter, Dua Lipa or Addison Rae are in danger of being replaced or overlooked. Instead, I think it will add more balance, diversity and different dynamics to the Pop scene. Mixing in R&B and other genres, I do think that a lot of ‘traditional’ bands are separate from the Pop scene.

Girl groups do offer that sense of nostalgia. However, the crop of great British girl groups coming through are distinct and their songs rich with personality and importance. At a time when many solo female artists are singing of female empowerment, tackling misogyny and abuse against women, in addition to send positive messages to their young fans, I feel that is something that would be at the core of a new girl group revolution. I do love FLO and Say Now. They are not the only ones. However, with XO, there is this holy trinity of girl group queens that will build through this year. Summer Askew, Shali Bordoni, Zoe Miller, Emmy Statham, and Reanna Sujeewon are primed for huge success. XO are signed to Polydor Records. Their Fashionably Late E.P. came out late last year. I do think there is a nod to girl groups and how they are coming through now and perhaps this is something the industry needed years ago. They have been lkened to groups like BLACKPINK because of their shared all-choreo. There is a bit of Gwen Stefani, some Sugababes too. However, now that XO are here, they are going to make an impact and turn heads. The group have influences but they are very distinct and themselves. I will end with Spice Girls and why next year will be a vital one in terms of remember their legacy and also welcoming in girl groups. I do think there is too much sameness in Pop. A lot of competition for sure, the sort of sounds and sensation you get with girl groups is much needed. Let’s start out with Rolling Stone UK and their interview with XO. Definitely on their ones to watch radar, they commended a girl group primed for the big leagues:

“Hello, XO! Excited to have the EP out there?

Emmy: Yes! It’s our little intro to this group. In the time we’ve been together we’ve had so many different eras of music and I think we’ve found a place in this EP where we’ve our little journey and every song has a piece of us all in there. So that’s special, but also seeing the reaction that has come from our headline tour and the fact that a lot of people had learnt the lyrics. We’re dying to get it out.

What’s the story behind your formation and how did you land on your sound?

Shali: Do you know what’s really weird, with the music, we never had a conversation about what it was exactly that we wanted. We all come from performing backgrounds and we’e all danced a lot, so whenever we heard a track it was case of wondering can we groove to it? That was a question before we even assessed genres.

Zoe: That’s it with the EP as a whole, it’s so important to us that the music is just fun and we’re trying our best not to overthink anything because we grew up with the 2000s era, people like Fergie. They just did what they wanted, they had a good time and it was all the vibes in the world. We want to bring that back and just have fun. Make people feel good, let loose and let your hair down.

The Fergie comparison is interesting. Was there any other girlbands you liked growing up?

Zoe: We’ve got to give a nod to the Spice Girls, because they’re iconic.

Shali: Girls Aloud, the Sugababes, Pussycat Dolls. like they’re so iconic.

What’s the things you’ve bonded over aside from music?

All: Food!

Zoe: Horrible taste in men!

Summer: It’s funny because we were lucky enough to go on a schools tour which we were quite sceptical of to begin with, because we had no fan base and we were starting from the ground up with no idea of how these songs were gonna sound. But that was so important, because we built our bonds that way and that was really important for us, going from London to Glasgow for 8 hours. You’ve got to get along and then on stage as well, it was such a great opportunity and something happened. The first time we got on stage was in a school in the middle of Birmingham and to see the journey from that first performance is mad. We’re interacting with each other, we’re a team on stage.

What’s the role of a girlband in 2025 when groups like Blackpink and Katseye have shown that the whole sound and image of such a thing has changed?

Shali: There’s space for everyone. We all bring something different to the table, whether that’s the size of the group or the genre of music. Because we can never do what they do like them, but we did see them in London and it gave us a little kick up the ass.

And finally, Zoe you’ve talked about world domination in 2026. Tell us more…

Zoe: We’ll have a cozy Christmas, go into hibernation and hit the ground. At New Year you’ll see the fireworks and then just start hearing our song ‘Ponytail’ everywhere. We’ve got more music, bigger tours and 2026 will be the year of XO!”.

As we close a great year for music, many are tipping which artists you need to watch. For the most part, solo artists are recommended. You might get a few bands in the mix. However, girl groups are not often highlighted or talked about. I did forget to mention the amazing K and J-Pop groups who are so important. I am not sure about contemporary U.S. girl groups. Back in the 1990s, we had TLC and En Vogue. Offering something alternative to what was at the forefront that decade, I personally leaned towards girl groups as I loved their chemistry and sisterhood. The beautiful harmonies and the power of blending four or five amazing voices together. How you could have girl groups that were more Pop-orientated. Destiny’s Child, my favourite, were late-1990s and they were an edgier and stronger core. What I see with established groups like FLO is a similar chemistry and power. I would expect FLO to release more singles or another album next year. 2024’s Access All Areas is remarkable and filled with incredible tracks. Walk Like This probably the best track, I feel. Say Now released incredible singles like Supermarket and Brick By Brick. I am not sure whether there is an E.P. coming form them, but there will be a lot of excitement around a potential debut album. There are a couple of other interview with XO that I want to include. They are an incredible group that you need to follow. Mixing choreography and sounds from girl groups like KATSEYE with legendary British acts like Sugababes and Spice Girls with one of their modern U.S. influences, Tate McRae, they are unique and have this heady and unforgettable blend.

I think it is the friendships you get in girl groups that makes the music and their bond so special and wonderful. XO spoke with The Gryphon earlier in the month and talked about their debut E.P. They were asked about songwriting and whether they had a hand in it. I think that is essential. Not to hark to bygone groups, but look at All Saints and Spice Girls for instance and they all collaborated. Maybe Shaznay Lewis was the lead of All Saints in terms of songwriting, but the more groups are involved with their songs, the more authentic and distinct they are. The quintet all adding their voices to the songs:

“Erin: I heard you’re all musical fans, I was wondering if you can think of one which you would cast yourselves in?

Shali: It would definitely need to be one with more POC characters, maybe Hairspray?

Emmy: Hairspray’s one of our favourite films, isn’t it.

Shali: Oh what about West Side Story, that’s a good one! Or In The Heights.

Erin: Stan culture is such a big thing for girlbands, are you guys, or have you guys been stans of any bands?

Reanna: Little Mix. I was a Little Mix STAN. Oh my god, I was literally obsessed with them

Shali: Definitely Destiny’s Child.

Summer: And the Pussycat Dolls.

Emmy: We were all such girlband fans.

Reanna: Girl’s Aloud

Summer: Sugarbabes as well!

Reanna: We saw the Sugarbabes!

Emmy: Spice Girls obviously

Shali: Even like the ones we see today, like Katseye. We saw them two days ago, they were INSANE

Erin: How do you guys feel about maybe being the idols of a standom in the future?

Reanna: It’s a weird concept really, like you can’t really visualise –  when you get streams of people looking at your stuff, it’s hard to visualise until you see, like today we’ll see 150 people. Even that’s crazy, like 100 people in a room all looking at us, so it’s hard to conceptualise people supporting you when you can’t see them. That’s definitely a weird thing about music, that you can never see it in person until you do gigs. But it’s definitely cool.

Shali: Yeah and it’s definitely scary because people looking up to you is always scary when you don’t necessarily feel like you should be looked up to… Do you get what I mean? However, I think that as a band we definitely want people to…

Erin: You touched on songwriting there, is that a creative process that you’d all like to have a hand in for the future of the band?

Shali: Yeah for sure! We all write in our free time. I mean we were even fixing one of the demos we’ve been given, today on the bus, we were all doing it together. But on the upcoming EP– which is coming out on the 14th of November, presave in our bio!

Emmy: Fashionably Late!

Shali: Yeah on the EP, obviously Zoe’s co-written on ‘Real Friends’ and then we’ve also written a song called ‘Silly Boy’. So we have two songs that we’ve definitely written on, coming up on the EP and then from this point forward it’s gonna be writing mania.

Erin: Are there any songs on the EP that you guys are especially excited for people to hear? I know there’s a lot of buzz around getting ‘Ponytail’ on streaming services.

Zoe: Yeah everyone’s wanting ‘Ponytail’. I think there’s quite a lot of people excited for ‘Candy’ as well.

Reanna: Yeah, I think that’s going to be the focus of the EP.

Zoe: Until something’s out you don’t know how people are going to react.

Reanna: But we love performing her! If you’re watching tonight, you’ll see. That one is so fun, she’s full-out and the kids loved that one on the schools tour”.

I love how XO call themselves chaotic and they are all about fun and spreading love.  Their live version of Real Friends is gorgeous. They have such beautiful, sultry and captivating voices. Beautifully harmonising and each member has such a strong solo voice, it gives them that versatility on an album. They can write these seductive or heartbreak anthems and match the tones of R&B and Popo legends who could buckle the knees. Alternately, they can bring fire and hypnotic punch with Candy. As profound and skilled as any of the U.S. iconic girl groups, they offer a distinct spice and grit that is swaggering, sexy and hugely confident. They are in control! XO are causing trouble and being true to themselves. They have the same energy and determination that we saw with a group whose debut single turns thirty next year. XO come from different parts of the U.K., but they have a shared musical and dance background, so they slot together. Building a fanbase by performing at schools, you know that they will be playing festival main stages very soon. You can check the dates they have for next year. I live near the O2 Academy Islington, so I will see if I can get a ticket (maybe write a gig review and wangle a guest list pass!). You can follow them on Instagram and check out their TikTok. In November, NME put XO on their radar. There is a lot of rightful excitement around them:

“They’re certainly hungry to deliver it.  XO’s five-member line-up was pieced together in a single day in September 2024 by Colin Barlow, a record exec who worked closely with Girls Aloud, and London-based Massive Management, whose roster includes All Saints singer Shaznay Lewis. Like hundreds of other hopefuls, the five talented young women talking to NME today answered a “very vague” ad in showbiz newspaper The Stage – “Can you sing and dance? Do you like the Pussycat Dolls?” – and turned up not knowing what to expect.

On the day, prospective band members were whittled down relentlessly as their auditions were filmed on Steadicam. “It was like, bang bang bang. Dance, cut! Sing, cut! Dance, cut!” Miller says. “And then it got to about 8pm,” Bordoni continues, “and [our managers] pulled up five chairs and were like: ‘Congratulations, you’re in the band!'”

The new members of XO were so in the zone that they didn’t realise until later that they already had connections: Askew and Statham used to compete against each other at talent shows. “Literally, as I was about to run off to get my train back to Liverpool, I was like, ‘Can you all just give me your name and number so I can make a group chat?'” Askew recalls.

Four members of XO grew up in different parts of the UK, while Bordoni spent her formative years in Hong Kong. A week after their audition, they reconvened in London for their first official band meeting, where their managers played them a selection of demos. “The very first song they played was ‘Ponytail’,” Sujeewon says, name-checking a rhythmic earworm from the EP, “and we loved it immediately. It’s become a real fan favourite.”

XO have just announced a second UK headline tour for May 2026, including a show at iconic Glasgow venue King Tut’s, and promise more new music “early next year”. They’re not touring schools anymore, but given that grounding, do they think of themselves as role models? “I’m not gonna act any certain type of way just for someone to look up to me,” Miller says. “But I’m not going to act like a dickhead either.” Bordoni chips in: “We’ll never act differently, we’ll always be ourselves. That’s our biggest thing as a band: we want everyone to feel confident in being themselves”.

You look at publicity photos of Summer Askew, Shali Bordoni, Zoe Miller, Emmy Statham, and Reanna Sujeewon, and you can tell they are happy to be here and getting hyped. They are making incredible music and this means everything to them! I feel 2026 will see our greatest girl groups join with J and K-Pop girl groups. Giving Pop this essential extra weight and variety. So much sound copy-and-paste. With girl groups, you have these different groups with their own sound and direction. XO would hate me keep comparing them to the likes of All Saints and Spice Girls. I mean it in the most flattering sense! What you get from the photos is the same sort of chemistry and distinction from those pics. How each member has their own look, voice and attributes that they bring to the fore and make XO what it is. Unlike manufactured groups that are thrust together and they seem interchangeable, XO cannot function without one of its members. They are so tight and interconnected that the full five-piece are at their best when all together (not saying a Geri Halliwell-like departure would damage them, but you don’t see that every happening!). Wannabe turns thirty in the summer. I see Spice Girls reforming for gigs and there will be things to mark that anniversary. The iconic one-take video and the chaos Spice Girls reek on a posh London hotel and its stuff guests! I see XO as a modern embodiment. Perhaps there would not be a 2026 Spicemania – XXXO? XOmania? -, but they have the passion, talent and underlooked qualities – the cover to their E.P. is fantastic, the tracklisting is perfect, and their interviews are real and open -, so they can join fellow Brit queens FLO and Say Now in kicking off a girl group summer of love. The first Summer of Love was in 1967 and was defined by free love, Psychedelic music and was U.S.-led. The next Summer of Love was in the late-1980s and was U.K.-led but was the opposite of 1967: this was hedonistic, Acid House and Rave music-heavy. A third can fit in 2026 in the middle. Pop’s girl group queens from the U.K. and beyond providing defiance, unity, liberation, incredibly powerful message but a Charl xcx-level of chaos, edge and genius that I think we all need. XO commonly means hugs and kisses. This is a group who are here to embrace and spread some modern-day good love and positive vibes, together with some kick, freedom, identity and chaos. Almost unifying two Summer of Loves in their own way, I feel they will help kickstart a girl group revolution…

IN 2026.

FEATURE: Kate Bush: Something Like a Song: Experiment IV (The Whole Story)

FEATURE:

 

 

Kate Bush: Something Like a Song

 

Experiment IV (The Whole Story)

__________

THIS is another song…

that I am compelled to write about after Kate Bush brought out Best of the Other Sides last year. There was fan demand to hear these rarer tracks. The Other Sides was released in 2019, though I think that this compilation was not being made anymore. Or you could not easily get a copy. Honing it down to the essential songs, Experiment IV is one of them. You can get Best of the Other Sides on C.D. and vinyl. I have written about Experiment IV before but, as it is in all its remastered glory and it is available on streaming, then I wanted to reapproach it. Also, this was a single specifically written for her 1986 greatest hits album, The Whole Story. That turns forty on 10th November. Experiment IV was released on 27th October and that was the same day as her duet with Peter Gabriel – from his So album of 1986 -, Don’t Give Up, was released. It was an odd case of Bush being on two very different singles at the same time. Competing with herself! However, Experiment IV reached twenty-three in the U.K., whereas Don’t Give Up reached number nine. In any case, it did mean that, over a year after Hounds of Love came out, Bush was very much still at the forefront. Experiment IV would be her last single for a while. I do think that it is one that needs to be talked about, as you can stream it and it has been remastered. So it is more accessible and sounds better than perhaps it once did. The video is notable because Bush directed it, and it features comedy legends like Hugh Laurie and Dawn French. The late Del Palmer in quite a large role. Bush does appear in the video, but in different forms. As this ghostly figure that is summoned up after the scientists put this new machine into practice. Like something out of a Horror film, it is a startling moment. You can see that one image as Bush appearing as a ghost/demon and it inspiring shows like Stranger Things. We see her terrifying Del Palmer as he is stripped into a chair. She also appears as an army cadet or similar role and enters an office. There is a look to camera as we see that Bush in this form is the demon we saw earlier. The one that was terrifying everyone at this establishment, which we believe is an army base or testing facility. She has assumed this human form and has killed pretty much everyone there. Paddy Bush is seen in the video as a maddened patient in a psychiatric ward who presumingly has been tormented by this Experiment IV. This machine that could produce sound and music that kills. At the end, the action pans to the outside and this deserted area with a few shops muddy fields. A sign gets put up saying ‘Prohibited’ and a van pulls up and collects Kate Bush who opens the door, turns to the camera and puts her finer to lip as to shush us and keep the secret.

Before getting to some reviews and interpretation of the song, it is important to bring in Kate Bush Encyclopedia, as they collated some of the critical reviews for Experiment IV and what Bush posted to her website in 2019 when The Other Sides was out and there was this new interest in Experiment IV. I don’t think critics were expecting another single from Bush. She was still releasing material from Hounds of Love in 1986. The title track in February and The Bug Sky in April. As the Meteorological 12” Mix of The Big Sky is also on the Best of the Other Sides, I might feature that in another feature:

“The first lady of progressive rock warbles out another chilling fantasy. Kate crams more into seven inches of plastic than most science fiction writers could fit into a trilogy of novels. An epic to curl up with on some storm torn winters evening.

Edwin Pouncy, Sounds, 1 November 1986

Behind ethereal dreamy swirls of sound, a story line worthy of Stephen King.

Nancy Erlich, BillBoard (USA), 6 December 1986

This was written as an extra track for the compilation album The Whole Story and was released as the single. I was excited at the opportunity of directing the video and not having to appear in it other than in a minor role, especially as this song told a story that could be challenging to tell visually. I chose to film it in a very handsome old military hospital that was derelict at the time. It was a huge, labyrinthine hospital with incredibly long corridors, which was one reason for choosing it. Florence Nightingale had been involved in the design of the hospital. Not something she is well known for but she actually had a huge impact on hospital design that was pioneering and changed the way hospitals were designed from then on.
The video was an intense project and not a comfortable shoot, as you can imagine – a giant of a building, damp and full of shadows with no lighting or heating but it was like a dream to work with such a talented crew and cast with Dawn French, Hugh Laurie, Peter Vaughn and Richard Vernon in the starring roles. It was a strange and eerie feeling bringing parts of the hospital to life again. Not long after our work there it was converted into luxury apartments. I can imagine that some of those glamorous rooms have uninvited soldiers and nurses dropping by for a cup of tea and a Hobnob.
We had to create a recording studio for the video, so tape machines and outboard gear were recruited from my recording studio and the mixing console was very kindly lent to us by Abbey Road Studios. It was the desk the Beatles had used – me too, when we’d made the album Never For Ever in Studio Two. It was such a characterful desk that would’ve looked right at home in any vintage aircraft. Although it was a tough shoot it was a lot of fun and everyone worked so hard for such long hours. I was really pleased with the result.

KateBush.com, retrieved 28 February 2019"

Around the digital release of Best of the Other Sides, Kate Bush shared some memories of particular tracks. Updating what she said in 2019, she discussed Experiment IV and the fact the shoot was not comfortable. You can imagine, given where they were and shooting something quite complex, it threw up plenty of challenges. I do really love the song and think that it has elements of Pink Floyd and Peter Gabriel, but this is distinctly from the imagination of Kate Bush. Definitely the video! Cinematic and Horror-nodding, it follows from songs throughout her career where there are evil spirits, ghouls, ghosts and the dark lurking. This deadly experiment idea. I am not sure how she came up with it or whether it was a leftover idea from Hounds of Love that didn’t fit. A half-thought back then:

“This was written as an extra track for the compilation album The Whole Story and was released as the single. I was excited at the opportunity of directing the video and not having to appear in it other than in a minor role, especially as this song told a story that could be challenging to tell visually. I chose to film it in a very handsome old military hospital that was derelict at the time. It was a huge, labyrinthine hospital with incredibly long corridors, which was one reason for choosing it. Florence Nightingale had been involved in the design of the hospital. Not something she is well known for but she actually had a huge impact on hospital design that was pioneering and changed the way hospitals were designed from then on.
The video was an intense project and not a comfortable shoot, as you can imagine - a giant of a building, damp and full of shadows with no lighting or heating but it was like a dream to work with such a talented crew and cast with Dawn French, Hugh Laurie, Peter Vaughn and Richard Vernon in the starring roles. It was a strange and eerie feeling bringing parts of the hospital to life again. Not long after our work there it was converted into luxury apartments. I can imagine that some of those glamorous rooms have uninvited soldiers and nurses dropping by for a cup of tea and a Hobnob.
We had to create a recording studio for the video, so tape machines and outboard gear were recruited from my recording studio and the mixing console was very kindly lent to us by Abbey Rd Studios. It was the desk the Beatles had used - me too, when we’d made the album Never For Ever in Studio Two. It was such a characterful desk that would’ve looked right at home in any vintage aircraft.
Although it was a tough shoot it was a lot of fun and everyone worked so hard for such long hours. I was really pleased with the result”.

It would be great to see the video in HD, as it is cinematic and needs to be viewed in the best form. In a year where Hounds of Love was ramping down and Bush was looking to her next album. Experiment IV and The Whole Story was a nice bridge. A chance to collate her hits for fans and ensure that there was this continuing momentum. And new people would have discovered here music. I will end with some thoughts and bring in some lyrics. I want to source one of the few reviews for the epic and majestic Experiment IV:

“In 1986, after years of trying to break Kate Bush in the States with only the minor Top 40 hit “Running Up That Hill” to show for it, EMI decided to capitalize on Kate’s recent success with Hounds of Love in the UK by releasing a best-of, which could also serve as a catch-up primer for the US.Á‚  The Whole Story collected various tracks from Bush’s first five albums, along with a newly recorded version of her first single, “Wuthering Heights,” and one new track which was issued as a single to promote the disc.

“Experiment IV” (download) was a creepy tune that told the story of a top secret military operation where scientists were attempting to create a weapon using only sound. Unfortunately for them, they succeed. The single was accompanied by an equally spooky video that was banned from Top of the Pops, but got plenty of MTV play Stateside..  It also featured Dawn French of French & Saunders and a relative unknown by the name of Hugh Laurie:

While “Experiment IV” did not repeat Bush’s Top 40 success in the States, it did chart nicely in the UK and The Whole Story went on to become her biggest selling album. But can you believe The Whole Story is currently out of print? Neither can I, but that’s what Amazon tells us, although there are plenty of used copies to go around.‚ Highly recommended, even if it’s in serious need of a remastering”.

It is interesting how the B-side for the single release of Experiment IV is the re-recorded vocal for Wuthering Heights. Another ‘new’ inclusion on a greatest hits album, maybe Kate Bush feeling self-conscious about the vocal and how high-pitched it is. I prefer the original always, though I can appreciate she wanted to produce a more mature and deeper vocal for the track. The concept of Experiment IV and its video lends itself to something bigger. I wonder if there is a specific film or show that has done something like this. “They told us/All they wanted/Was a sound that could kill someone/From a distance”. I have had a search around and there is nothing involving a military operation and a machine that could kill by sound. Recent films where making a sound could get you killed, then we have  A Quiet Place (2018), which features blind aliens hunting humans by noise. The Silence (2019), where deadly creatures hunt by sound, though it focuses on a hearing-impaired family's survival. Nothing really like Experiment IV. I love the violin from Nigel Kennedy. It is aching, romantic and eerie at the same time. Some brilliant and electrifying guitar from Alan Murphy. Rolling and punchy drums from Stuart Elliott. I am not sure if there is a Fairlight CMI in there and whether that was used for sound effects and replicating certain instruments. Perhaps the best lines from the song are “It could feel like falling in love/It could feel so bad/But it could feel so good/It could sing you to sleep/But that dream is your enemy”. That idea that the sound being produced is seductive and could create all these different feelings. However, not to be lured by it at all, as it is designed to kill. It is a fascinating song from Kate Bush, and I am really glad Experiment IV is on Best of the Other Sides and that it is available to stream too. Anyone who is unaware of this brilliant Kate Bush song needs to…

LISTEN to it now.

FEATURE: True Gold: Madonna in 1986

FEATURE:

 

 

True Gold

IN THIS PHOTO: Madonna in 1986/PHOTO CREDIT: Herb Ritts

 

Madonna in 1986

__________

I think that…

IN THIS PHOTO: Madonna in 1986/PHOTO CREDIT: Herb Ritts

1986 is one of the most interesting years in Madonna’s career. There is a big anniversary when True Blue, her third studio album, turns forty on 30th June. I do want to spend time with its lead single, Live to Tell, as that is forty on 26th March. It is clear that, at the start of 1986, Madonna was already an established Pop queen. Some would argue her first creative peaks was maybe later: 1989’s Like a Prayer cemented her as a global icon and peerless Pop artist. However, I do think that at the start of 1986, Madonna was already there. Aged twenty-seven, she had released two studio albums that were incredible. The 1983 eponymous debut and 1984’s Like a Virgin. The last single from Like a Virgin was Dress You Up. Even thought the first single from True Blue is a ballad and stirring song, it held as much power and quality as Madonna’s singles up to that point. It would be Papa Don’t Preach, the second single from True Blue that arrived in June 1986, that would take her career to another level.

IN THIS PHOTO: Madonna in N.Y.C. in 1986/PHOTO CREDIT: Bruce Weber

That song about Madonna as a young woman getting pregnant, keeping the baby and asking her father not to preach and lecture, was a big moment in music history. Perhaps not something the 1980s scene was used to when it came to Pop artists, it is a remarkable and mature song that was a shift away from what people associated with Madonna. Maybe seeing her as playful and more conventional at that point. In the sense that the singles, whilst they were fantastic, were perhaps not as deep and sonically rich (or mature) as this. Like a Virgin’s title track is sexy and a bit provocative, but you could say that it is perhaps towards the end of a period where we would see Madonna’s music shift. True Blue is the Queen of Pop adopting a new look and direction. The cover of True Blue, and the videos from the album, see her dispense with the very long blonde hair to something shorter and more cropped. Some would say it made he look edgier and tougher. However, it is simply an artist staying fresh and being true to herself.

Look to 1989’s Like a Prayer and the brunette, longer hair we see in the video for the title track. I will cover True Blue in more depth before it turns forty on 30th June. Go into detail regarding Papa Don’t Preach. However, I wonder how Madonna is going to mark the fortieth anniversary of her third studio album. It is one of her best albums and one that I feel remains underrated. We discuss Like a Prayer and 1998’s Ray of Light, though True Blue never gets quite that same level of kudos. It should. Alongside Live to Tell, which I shall come to, we have the exceptional True Blue, Open Your Heart and, perhaps the standout song from the album, La Isla Bonita. If Madonna’s first two albums were more traditional Pop/Disco and had a certain production sound, True Blue, I feel, is a deeper and richer album. More diverse musical influences and styles. The songwriting team of Patrick Leonard and Stephen Bray were instrumental. Madonna wrote Live to Tell with Leonard; True Blue written with Bray. La Isla Bonita was her writing with Leonard and Bruce Gaitch. Brian Elliot co-wrote Papa Don’t Preach with Madonna. Madonna producing True Blue with Patrick Leonard and Stephen Bray. In late 1985, Madonna and Leonard began working on her third studio album; she brought in her former boyfriend Stephen Bray, with whom she had worked with on Like a Virgin. True Blue is the record which saw Madonna co-writing and co-producing for the first time in her career. It was a big step up. Like a Virgin had more people in the mix and Madonna didn’t have a writing credit on all the songs. On True Blue, things feel tighter and slimmed-down. Madonna co-writing everything on the album. A moment where she was growing as a songwriter and asserting more control on her direction. 1986 was the biggest year of her career to that point. Married to Sean Penn (which would not hold for too long) and gaining stratospheric success and acclaim from True Blue and its singles, I do think that this is one of her defining eras. That period between 1985 and 1987. You can get a sense of the big events in Madonna’s career in 1986 here. I shall throw ahead to Live to Tell. However, in January 1986, Borderline re-entered the charts. From her 1983 Madonna debut, it went back on the charts in the U.K. and the live video went to number one in the U.S. The start of this hugely busy – and largely happy – year found Madonna as this icon. Played on MTV and talked about in the press, she was looking ahead to the launch of a new album but also enjoying success from previous work. However, there was personal tragedy to handle at the start of 1986. She was caring for her close friend Martin Burgoyne, an artist who designed her Burning Up cover, as he battled an AIDS-related illness.

After a big end to 1985, Madonna was not resting as we entered 1986. In February, she would attend the At Close Range film festival with Sean Penn, and she filmed the Papa Don't Preach video in N.Y.C. I think that the promotional photography from 1986 is iconic. Herb Ritts collaborated with Madonna and took a lot of her publicity shots from 1986. The True Blue cover was his work. In terms of looks, I associate the short and cool blonde hair and red lipstick with Jean Harlow. A Hollywood star who died in the 1930s, she was shouted out – alongside other Hollywood legends - for 1990’s Vogue. There is also a Jean Harlow 12” mix of Vogue that is pretty banging. Stylistically, we associate 1983 with the bangles, beads, street chic and this more neon and 1980s look. It was this accessible look that was much copied. For Like a Virgin and 1984, there was still some of this. Youthful and street chic still, we had the beads and necklaces. However, think about the Like a Virgin, Material Girl and Dress You Up videos. Long white dresses and this glamorous look. Cool, sophisticated, graceful but also tough and powerful, 1986 saw Madonna dispense with a lot of the accessories and aspects of her first three or so professional years. That was mirrored in the sound of her True Blue album. I have mentioned Madonna’s hair in 1986. It was actually between Live to Tell and Papa Don’t Preach when there was that notable change. Live to Tell, Madonna with longer blonde hair. It was more cropped for Papa Don’t Preach. Always evolving and changing, it is fascinating seeing Madonna’s career blossom through 1986. I will wrap up soon.

As mentioned, I will return to True Blue when it turns forty on 30th June. In December 2020, for their The Number Ones feature, Stereogum showed love for Live to Tell in their 9/10 assessment. Number one in the U.S. and two in the U.K., I think it is one of Madonna’s most important songs. In terms of elevating her career and developing her sound:

“Planetarium music" fits because the production of "Live To Tell" is pure head-blown '80s sci-fi awe -- the kind of wonderstruck synth music that Carl Sagan might've used to soundtrack Cosmos. The term also fits because the song sounds like Madonna staring out into the universe, contemplating her own place within it. Her lyrics are vague but portentous, and they hint at some kind of emotional apocalypse. Her voice is wounded but strong. She comes off as a person dealing with the kind of vast sadness that's hard to put into words, but she also comes off as someone determined to get through it: "The light that you could never see/ It shines inside, you can't take that from me."

In June of 1985, Madonna had just gotten done with the Virgin Tour, her first-ever arena trek. The tour, which featured the pre-Licensed To Ill Beastie Boys as openers, solidified Madonna as an A-list pop figure, and she apparently liked the experience enough that she wanted to keep working with her collaborators. The tour's musical director was Patrick Leonard, a fellow Michigan native who'd previously played keyboards in Frank Zappa's band and in the Allman Brothers Band. Before working with Madonna, Leonard had been the musical director for the Jacksons' Victory Tour. After the Virgin Tour ended, Madonna asked Leonard if he wanted to write some songs together. Leonard was into it.

At the time, Leonard was trying to get into the film-scoring world. Leonard had seen the script for Fire With Fire, a 1986 romance about a girl at a Catholic boarding school falling in love with a boy in a prison camp. He sent Paramount a song he'd written, telling the studio that he could get Madonna to write some lyrics for it. Paramount rejected Leonard's song, and they hired Howard Shore to score the movie instead. I'd never heard of Fire With Fire until I sat down to write this, but it exists. Looks pretty good, too!

At the time, Madonna was married to Sean Penn. They'd made it official on Madonna's birthday in 1985, just after she'd finished the Virgin Tour. When Madonna heard that Paramount wasn't interested in the song that Leonard had written, Madonna decided that it would be great for the movie Penn was making. Penn was starring in the drama At Close Range, playing a soulful and conflicted son in a family of criminals in rural Pennsylvania.

Madonna wrote some lyrics on the spot, coming up with a bridge and a few melodies of her own. She recorded a quick demo and then took it to Penn, who loved it. Madonna thought that she was writing the song from a male perspective and that they'd find a man to sing it. But Leonard loved the vulnerability of Madonna's version, and that demo that she recorded was the one that Madonna eventually released.

At Madonna's suggestion, At Close Range director James Foley hired Leonard to score the movie. Leonard only scored a few more films after that: The 1985 Tom Hanks mob comedy Nothing In Common, the 1991 Michael Biehn sci-fi Timebomb, the 1994 Joe Pesci/Brendan Fraser coming-of-age thing With Honors, the Sundancey 2014 drama Lullaby. Leonard's biggest film credit probably comes from a very different part of his career. Leonard was a writer and producer on Leonard Cohen's last three albums, and he co-wrote Cohen's "Nevermind," which became the theme song for the second season of True Detective. Anyway, Madonna loved working with Leonard, so he'll be in this column again as both a writer and producer.

James Foley directed Madonna's "Live To Tell," video, which is mostly just scenes from At Close Range. I'd have to check through her videography again to be sure about it, but "Live To Tell" is almost certainly the only Madonna video that gives as much screen time to a mustachioed Christopher Walken as it does to Madonna herself. But the video does highlight one of Madonna's many image reinventions. Where she'd previously styled herself as a new-wave New York club kid with a whole lot of jewelry, the Madonna who sings in front of a black void in the "Live To Tell" video is more of a retro Hollywood beauty -- a very conscious decision on her part. (At Close Range was only Foley's second movie, and he went on to have a weird and occasionally-great journeyman career: Glengarry Glen Ross, Fear, 12 episodes of House Of Cards, the second and third Fifty Shades movies.)

Despite generally good reviews, At Close Range was a box-office failure -- though not as big a failure as Shanghai Surprise, the notoriously awful movie that Madonna and Penn made together later in 1986. But "Live To Tell" took off anyway. When she released "Live To Tell" as a single, Madonna was still working on her third album True Blue, which wouldn't come out until a few weeks after the song hit #1. When "Live To Tell" was at its apex, then, it wasn't available on an album. You had to buy the single.

"Live To Tell" isn't necessarily about any particular situation. Madonna once told Rolling Stone that the song is "true, but it's not necessarily autobiographical." Her lyrics are light on specifics; we don't know what secret she wants to live to tell. Instead, it's the kind of song that you feel, not the kind that you parse.

Musically, "Live To Tell" takes the sound of big mid-'80s pop and somehow makes it intimate. Madonna and Leonard produced the song together, and Leonard played the keyboards and programmed the drum machines. All the sounds -- the glowing synths, the big drum thumps, the occasional guitar-growls -- are clean but immersive. "Live To Tell" hit #1 on the Adult Contemporary charts, but it doesn't sound canned and treacly like so many other '80s adult-contempo hits. Instead, it cuts a little deeper”.

I am interested to explore the summer of 1986 and how things changed once more for Madonna. The two success for Papa Don’t Preach earlier in June, and True Blue at the end of the month. It would be a further three years before Madonna released Like a Prayer, though she was incredibly busy asnd was touring, appearing in films and would once more change her sound and look. Those who felt they could predict Madonna’s 1986 at the end of 1985 might have been in for a surprise. Not the artist we associate with her previous two albums, this was an artist whose professional and personal life was changing. Maybe the latter affecting and influencing the former in many ways. The busy, eventful and world-conquering 1986 was…

A glorious year for the Pop icon.

FEATURE: But They Never Take the Country Out Me: Beyoncé’s Formation at Ten

FEATURE:

 

 

But They Never Take the Country Out Me

 

Beyoncé’s Formation at Ten

__________

THE first single from…

Beyoncé’s sixth studio album, Lemonade, Formation was released on 6th February, 2016. To mark its upcoming tenth anniversary, I want to explore articles that discuss its themes and lyrics, in addition to its phenomneallyu powerful and memorable video. Though it did not reach the top of the singles charts in the U.S. and U.K., Formation garnered so many think-pieces and discussion. Huge praise and accolades. I will end with critical reviews and its legacy. I want to come to some articles and think-pieces before that. Formation is one of Beyoncé’s greatest songs. A perfect introduction to a masterpiece album, Formation is the final track on Lemonade. Unusual to release a closing track as the first single, as most artists release songs right near the top of the tracklisting. That is the thing with Lemonade: any of its twelve songs could have been singles, Written by Michael L. Williams II, Khalif Brown, Asheton Hogan and Beyoncé, this surprise-release genius song is Trap and Bounce. It scooped awards and is seen as one of this queen’s greatest achievements. Beyoncé celebrates her culture, identity, and success as a Black woman from the Southern United States. If there was this feature that suggested the video for Formation exploited New Orleans’ trauma following Hurricane Katrina in 2005 and the catastrophe and devastation that is caused, I would disagree. It is not appropriation, as SLATE write. I want to lead with an extraordinarily detailed and thought-provoking article written by Syreeta McFadden for The Guardian published on 8th February, 2016 (two days after the single was released). Reacting to its extraordinary video that is a “inherently political and a deeply personal look at the black and queer bodies who have most often borne the brunt of our politics”, I would urge people to read the entire piece:

“Formation is both provocation and pleasure; inherently political and a deeply personal look at the black and queer bodies who have most often borne the brunt of our politics. All shapes and shades of black bodies are signaled here and move – dare we say “forward”? – in formation. Even the song’s title is subversive, winking at how we have constructed our identities from that which we were even allowed to call our own.

Formation isn’t Beyoncé’s first foray into the political but, in her latest collaboration with director Melinda Matouskas (who has directed eight of Beyoncé’s videos since 2007), Beyonce’s narrative and aesthetic comes in sharp relief. The video articulates multiple identities of southern blackness, while social critiques of the nation’s crimes against its darker skinned citizens acts as ballast.

A child finishes his dance before a line of police officers dressed in riot gear. Photograph: YouTube

Bookended by the flooding of the city of New Orleans after 2005’s Hurricane Katrina – and by which the city’s black residents were disproportionately affected – and a black child in a hoodie dancing opposite a police line and a quick cut to graffiti words “stop shooting us”, Beyoncé morphs into several archetypical southern black women.

The potency of Formation doesn’t come from its overt politics: it comes from the juxtaposition of lyric with the images, which organically present black humanity in ways we’ve haven’t seen frequently represented in popular art or culture.

There is in it a litany of blackness, of what we love, of our diverse selves, of our intersections – class, sexuality and gender – woven so neatly in the visual that the lyrics and music seem secondary, but are intrinsic to communicating this celebration of southern fried blackness. Even Beyoncé retells her own history and by extension, marries the contradictions of black identity in her declaration: “My daddy Alabama, Mama Louisiana. You mix that Negro with that Creole make a Texas bama” – an insult that, perhaps, only Beyoncé was ever capable of reclaiming.

Beyoncé’s use of “slay” is an additional embrace of the language of the black queer community and, in its repetition, it’s an incantation that can slay haters, slay patriarchy, to slay white supremacy.

Formation is a protest and celebration, concerned with and in love with the very particular paradox of the black American identity and experience. The images, which are deeply layered and particular to a black Southern vernacular and aesthetic, beg to be catalogued: Creole and Black American, Mardi Gras Indian, crawfish, Black cowboys, wig shops, socks and slippers, corsets and parasols, parades, high school basketball, step team moves, bounce queens Big Freedia and Messy Mya, cotillions, “twirl on dem haters”, braids, “bama”, black spirituality (church and hoodoo, maybe even a nod to Mami Wata), black mama side eyes, drawls, Blue Ivy black girl magic fierceness”.

the date of the release of this work can’t be ignored, given that February is Black History Month in the US. Mardi Gras festivities in New Orleans have already begun. More to the point, last Friday would have been the 21st birthday of Trayvon Martin, killed by George Zimmerman in 2012 in a shooting widely attributed to racism; Sunday would have been the 29th birthday of Sandra Bland, whose alleged suicide in prison in 2015 after a brutal and poorly justified arrest captured on camera led to unsuccessful calls for further investigation into her death.

Both were considered formative moments for the women and gay men who have been at the forefront of Black Lives Matter and, more broadly, the movement for black lives”.

There is argument to suggest the Formation video is history-making. It is celebratory, unifying, political, body positive, political, and this reclamation of blackness. So wonderful, engaging, educational, conversation-starting and eye-opening. Charlie Brinkhurst-Cuff shared her thoughts and observations on the Formation video for DAZED. Again, I have highlighted sections of the piece, though I would encourage everyone to read the entire text:

“Crucially, “Formation” is a story of reappropriation – in parts of the video, Beyoncé is the mistress of her all-black household in a southern American plantation-style house. Black portraits adorn the walls – in one instance, showing a family dressed in peony-pink traditional African dress, while another depicts a dark-skinned woman almost blending into the backdrop of the painting. This feels like reclamation of the southern slave legacy, and Beyoncé is there, regally spinning her cream parasol, and dancing in defiance. This brazen nod to African history shows that the forcible shipping of African people from their motherland hasn’t been forgotten, especially in the south, where slavery clawed on for so long.

Interestingly, the only white people to feature in “Formation” are a militarised line of police, looking on at an unarmed black boy who dances freely, and beautifully, before them. In 2015, 1,134 young black men were killed by police officers, and were nine times more likely to get killed by police officers than any other Americans, despite only making up 2% of the population. The image of the young boy set against the police is poignant and powerful. It becomes even more so when it is the police who raise their hands in apparent defence at the little boy’s signal, rather than the other way around. “Stop shooting us” reads the graffiti on the wall – the message fearless and bold in its simplicity.

It should be noted that Beyoncé, who has supported the Black Lives Matter movement (she helped bail out Baltimore protestors last year) will also be donating over £1 million to the campaign in the coming months through Tidal, the music service which she co-owns with Jay-Z. Deray McKesson, a Black Lives Matter organiser, is one of the ten people she follows on Twitter.

Her video also marks an unapologetic celebration of black women. “Okay, okay, ladies, now let’s get in formation, cause I slay,” she demands. This formation of ladies symbolises the collective power that black women have, and it’s always nice to see a diverse range of skin shades, tones and body shapes dancing rather than the flat, white norm we are used to in pop culture. As with Beyoncé’s nod to Blue Ivy’s hair, the natural curl patterns on display as the women dance in a basketball court help to emphasise the fact that Beyoncé is telling the world to accept black people’s beauty the way it is, in all of its natural and diverse glory. This is something that felt particularly potent at last night‘s Superbowl performance. While some might have expected her to dilute her political message for the American masses, there she was, dancing alongside a posse of beautiful black female dancers, who were all dressed like 1970s Black Panthers. Needless to say, her powerful celebration of blackness at such a widely-viewed event is not just iconic – it’s historical”.

I would advise people to read this interesting discussion feature from The New York Times, where “Jon Caramanica, a pop music critic for The New York Times, Wesley Morris, The Times’s critic at large, and Jenna Wortham, a staff writer for The New York Times Magazine, discussed the song’s sound, the video’s look and the way that Beyoncé increasingly blends the aesthetic and the political”. Before getting to the final feature prior to ending with critical snapshots and the awards and honours that Formations accrued, it is worth noting that Formation is not only memorable and discussed because of its video. The surprise-release single and video on the same day caught people by surprise and the video’s imagery and plotline/arc is so arresting and compelling. Like Childish Gambino’s This Is America video (2018), the video story of steals a bit of focus from the song itself. Though the two things are intertwined and connected, so a large part of Formation’s brilliance is in the lyrics and the vocal performance. I was interesting reading this NPR article, in which NPR's Mandalit del Barco highlights reactions to the video, including thoughts from filmmaker and writer dream hampton. (hampton has a long-standing professional relationship with Beyoncé’s husband, Jay Z.). They dissect and discuss the New Orleans-set video (though it was primarily filmed in Pasadena, California). It is incredible that Formation was released the day before Beyoncé’s halftime Super Bowl performance. By all accounts, she saved a rather lightweight performance. The BBC wrote why it was such an important performance. A phenomenal two days for this music queen. Delivering a masterpiece song and genius video alongside one of the all-time great Superbowl performance:

“And what about the video itself? Can you talk about the images and the lyrics, both?

Well, the images are very much an homage to the black South, which is often forgotten, you know, in movements. And I don't know why, because we keep having to return to the black South, you know, as we should.

It's very important that this film is not only located –- well, I say "film," it feels like ... an Oscar-worthy feature — but it's very important that it's located visually and actually in Louisiana, which, of course ... is the site of this other trauma, and a kind of freedom and resistance also. It's longstanding trauma. Louisiana is this famous slave port, where so many cultures came together and mixed, but also she references the site of Katrina, where this horrible crime was committed against black people; where its nation didn't show up for us and where this generation is having to learn that its nation continues to not show up for us. And in that, she's both centering black women — her formation is one of black women, who are proudly wearing their natural hair, and she makes a circle amongst her daughter and three girls, which is a little bit of magic and conjuring. But there's also, you know, the centering of queer folks and trans folk, and both by the vocals that we hear and of what we visually see. And that has very much been an intentional thing that's been happening in this new Black Lives Matter movement. From the very outset, there was real messaging that talked about centering queer folks and black women in leadership. So it's really amazing to see all of that reflected back to us in a Beyonce video.

There was a big New York Times article about her being an activist. Is this something new for her? I know you talked about questions over centering her identity as a black woman, but in terms of being an activist — is this anything new, or is this a continuation?

I think it's a stretch to call Beyonce an activist. And I don't know that activist is such a compliment. What we need out here is organizers. No, what she is is a cultural force and artist and icon. She might be her own goddess, might have her own little Orisha power, but she's not an activist. I think that she's someone who is paying attention like anyone her age to what is going on. This is her generation's movement; she's absolutely a millennial, and she's tuned in to what's happening like we all are. So she doesn't live on some other planet, which I think we tend to think of pop stars, and Beyonce in particular. [Laughs.] She's very much in this world, paying attention to what's happening, and affected by it. You know, she's raising a daughter.

She showed up to the Trayvon Martin rally and met his parents, but that was disastrous for she and her husband. All of the eyes, which should have been on the dais, and they were all looking at Jay and Bey, who were kind of standing to the side of the stage. They understand what a distraction they can be. But this is all value add; this video "Formation" is not a distraction. It is a beautiful centering and a beautiful conjuring.

Do you think it's going to make a difference?

Well, what artists can do is provide narrative shifts. That is absolutely their responsibility, in fact. Nina Simone gave that charge decades ago, like, "What are you doing if you're not reflecting the times? How can you even call yourself an artist?" So in my mind, what's been happening is there's been this slumber — particularly unfortunately amongst black artists — for a long time, and now they're realizing that they can't not reflect back what their very audience is showing them.

Beyonce took that a step further; she really did. I mean, she created an anthem, a visual anthem in every way. And that's been beautiful to see. And it's been beautiful to see other artists kind of wake up around this and realize that this isn't going to cost them to put this kind of messaging forward; that it's actually going to benefit them”.

I want to collate some of the critical reactions to Formation. Wikipedia have a fascinating and really detailed page about Formation. There is a lot I have not include here, so go and check that out. It is interesting reading the critical observations. How essential and urgent the song and video is. How needed it was in 2016. A nation (the U.S.) that would see Donald Trump become President. Where Black lives were seen as unimportant (in his eyes). A time of huge division and inequality in the U.S. Lemonade came out in April 2016. Trump won the election on 9th November:

“Formation" was met with widespread critical acclaim upon release. Pitchfork named the song "Best New Track", with Britt Julious describing it as one of Beyoncé's "most instrumentally-dense and trend-forward productions" which is made specifically for black women, "an audience that might not receive the sort of mainstream, visually and sonically-enticing wisdom that Bey has perfected". In a review for the New Statesman, Anna Leszkiewicz praised the experimental nature of the track and wrote that Beyoncé presented "radical" sociopolitical concepts in a familial context, adding: "The more mainstream Beyoncé becomes, the more she functions as a marginal artist." Similarly, Q's Shad characterized the song's lyrics as "deeply personal and political", and praised Beyoncé for celebrating her black Southern roots on a global stage. Writing for The Guardian, Daphne A Brooks described the "brilliance of the single's sonic arc", with the tension from Beyoncé's "restrained, raspy" vocals exploding in a "euphoric release" as she expresses her pride in black identity and culture.

Omise'eke Natasha Tinsley, professor of African Studies at University of Texas at Austin, wrote for Time that "Formation" differs from contemporary political songs by celebrating the breadth and beauty of black women's lives, rather than focusing on black men's deaths. The New York Times' Jenna Wortham praised the song for its expression of black identity and wrote that it is "about the entirety of the black experience in America in 2016", encompassing topics such as beauty standards, police brutality, empowerment, and shared culture and history. In an article for The Washington Post, Regina N. Bradley wrote that the song sees Beyoncé forgoing a "more universally appealing trope of feminine blackness in favor of an experimental and boisterous black womanhood" that can voice critiques of social, political, and economic issues. A Rolling Stone journalist commented that the song "felt downright necessary" in the Black Lives Matter era, deeming it "a powerful statement of black Southern resilience".

Recorded at The Beehive (Los Angeles), and produced by Beyoncé and Mike Will Made It,  Formation received three nominations at the 59th Annual Grammy Awards: Record of the Year, Song of the Year, and Best Music Video, of which it won the latter award. In 2021, Rolling Stone placed the song at number seventy-three on its 500 Greatest Songs of All Time. Even though it reached ten on the US Billboard Hot 100 and thirty-one in the U.K., its relatively low chart position is irrelevant. Apart from Conservative commentators and politicians feeling the video and song was anti-police, anti-white and anti-American, decent, normal and soul-possessing humans correctly identified Formation as this positive, stirring, impassioned song about Black culture, resilience, empowerment. It directly addressed  racial injustice, police brutality, and Black Lives Matter. It is this political anthem and phenomenal song that is still relevant ten years after its release. On 6th February, there will be new inspection and celebration of Formation and its video. New context and framing considering what Beyoncé has achieved since. Phenomenal albums like RENAISSANCE (2022), COWBOY CARTER (2024), and the astonishing COWBOY CARTER TOUR. I want to finish with Wikipedia again and their section on Formation’s legacy. They look at its legacy on popular culture, race and politics, academic studies and music. I want to focus on the latter:

“Critics and scholars considered "Formation" to have innovated popular music in the 21st century. The release of "Formation" was a defining moment of 2010s music, according to Billboard's Bianca Gracie, with Beyoncé setting the standard for what popular music can be. Glamour's Danielle Young wrote that the song revolutionized how music is consumed, with Beyoncé making listeners stop and experience the song together. Writing for Vice, University of Waterloo professor Naila Keleta-Mae commented that Beyoncé went from "manipulating the pop culture music industry machine to usurping it" with "Formation", setting the blueprint for how artists can explore political issues while holding mainstream attention. In his 2025 book Blank Space: A Cultural History of the Twenty-First Century, W. David Marx named "Formation" as "almost a perfect piece of pop culture", given that its creative innovation challenges the artistic and cultural decline that has defined the 21st century to date”.

This sense of surprise, shock, empowerment and joy met the Formation single and video release on 6th February, 2016. Considering how U.S. politics would change (for the worse) that year and what that did to the nation, I think that Beyoncé’s music and place in society was as essential and needed as ever. A decade on and Donald Trump is President. Someone who is racist and does not care about the Black population, the relevance and power of Formation is so hugely relevant today. I think that Formation is one of the most important releases…

IN music history.

FEATURE: Feel the Drop! Highlighting Incredible D.J. Queens and Inequality in the Industry

FEATURE:

 

 

Feel the Drop!

IN THIS PHOTO: Charlotte de Witte is a hugely accomplished and respected D.J. and artist who runs her own label, KNTXT

 

Highlighting Incredible D.J. Queens and Inequality in the Industry

__________

I am going to start out…

IN THIS PHOTO: Kylie Minogue at the OVO Hydro, Glasgow in May 2025/PHOTO CREDIT: Martin Grimes/Getty Images

with one of my favourite subjects to talk about in music. Not one I am happy to talk about. In the sense it is gender inequality, as it is unshifting and not tackled enough. Not by men in the industry or those in power anyway. In terms of the most pressing incident of sexism and gender inequality in the mainstream is festival line-ups. I will come to D.J.s and the world in which they operate and how things are unequal there. Festivals next year will see a split. Smaller or boutique festivals will have women headlining their main stages. Primavera Sound in Barcelona has women headlining in June, though it seems like a slight step back for them in terms of the percentage. Also, in the U.K., Reading & Leeds has taken a step forward. Though it has taken decades for them to actual get close to gender equality concerning their headline acts. And one feels 2027 will see them slip back to their male-heavy ways. Festivals like Isle of Wight always are hugely male-heavy and that will continue to be that way. So many festivals stuck in the tar of prehistoric times and unwilling to move or recognise the sexism. And how boring it having male-heavy headliners! Glastonbury are the leaders of the major U.K. festivals when it comes to their bill being gender-balanced. However, as I have said before, in their fifty-plus years I think there have only been thirteen (or so) headline acts featuring women. Either as a solo act/duo/band. Consider the number of headliners is well over a hundred, that is a massive issue! 2024 was the first year two female headline acts were booked. 2025 took it back to one out the three acts. I don’t think they will ever have an all-female Pyramid Stage. Unbelievable that it is so regressive in an age where women are dominating and there are so many ready to headline. I argued how Kylie Minogue should have been booked this year. I don’t think that she was even considered.

Only one female headliner was over the age of forty (Marcella Detroit of Shakespears Sister). Festivals also have an ageism issue when it comes to female headliners. Often only booked for certain festivals or a Legends slot, most major festivals still book younger women to headline - whereas men do not have those same barriers. The inequality, sexism, ageism and lack of progress is sadly not going to improve whilst the gatekeepers are around and calling the shots. Excuses are made when festivals are challenged on their inequality and sexism – pipeline issues, women ask for too much money, few are available women prefer to do their own tours and not play festivals etc. etc. – and it is all crap. Women are available and are not pricing themselves out or refusing to headline. They are simply not being asked. I shall park this subject until more festival line-ups are revealed for next year. My hope is that big players like Reading & Leeds continue to move in the right direction and Glastonbury books more female Pyramid Stage headliners and considers those over the age of forty too. Life for women in music is constantly challenging. Apart from sexism, misogyny, lower pay, less attention and this attitude they are inferior – whereas the quality of the music and critical reviews suggests they are owning music and putting male artists to shame! -, they face sexual assault, abuse and violence. Last year, I was lucky enough to interview some amazing D.J. queens. I approached a few, but two amazing women came through and provided fascinating insights. Rowena Alice. One of two incredible British D.J.s I interviewed, sections of her interview really took me aback. You can read the whole thing here. I asked about female D.J.s getting paid less, sharing credit with male producers, and facing harassment and abuse:

“I think most women in the industry will tell you they’ve faced some version of this - being underestimated, talked over, second-guessed, or flat-out offered less money for the same work. I’ve definitely felt it myself. Sometimes it’s subtle, sometimes it’s painfully obvious. Even though things have improved as more women push through, the issues are still very much there.

What hits hardest for me is the male aggression and harassment I’ve had to deal with whilst literally just trying to do my job. I got punched in the face by a guy after a set who waited outside for me, but I still played another set the next day. There’s nothing more punk than being a girl and a DJ.

It’s become even clearer recently when I’ve been hanging out at my male partner’s DJ sets and seeing the difference in how people treat him when he DJs, compared to how they treat me when I play.

Another example: just last Saturday, I asked a man to step back slightly so he wouldn’t spill his drink over the club’s very expensive decks. He exploded at me, got right in my face, and had to be removed by security. He then waited outside, brought his mates back, started kicking off, and the venue ended up shutting the night down early for safety. Security rushed me out a back exit because he was outside threatening to “fuck me up.” Sadly, this isn’t a one-off. I’ve dealt with variations of this more times than I should have to. Some venues (like this one on Saturday) handle it brilliantly; some don’t. And, honestly, some will just avoid booking you again because it’s “easier” than dealing with the fact you’re a woman on the lineup and potential issues that may arise from that.

But here’s the thing: the more women, non-binary people and queer people you see behind the decks, the more the culture shifts. Representation changes everything - for audiences, promoters, bookers, and the whole scene. I don’t think the industry is doing enough yet, but I do see more people and venues trying and moving things forward. Slowly, but it’s happening.

What’s important is that the responsibility shouldn’t fall on underrepresented artists to fix the problems we didn’t create”.

IN THIS PHOTO: Rowena Alice

An amazing and prolific D.J., the fact Rowena Alice shared an experience so many women face was brave but also raised questions as to why they keep having to face this sort of thing. They are these amazing D.J.s who are highly skilled and have this deep passion for music. They travel all over the place, work insane hours and have to keep the energy sky-high for a set. On top of that, they look around and see male counterparts get paid more and appear more frequently and higher up on line-ups. Women facing threats and assault. Rather than celebrate these queens and their skill, commitment and the way they are fighting for equality, recognition and respect, instead, I do still think there is too much focus on men in the industry. Even though big publications feature more women on their covers and on their ‘ones to watch’ lists, I think there is imbalance when it comes to the value women bring and how awe-inspiring they are and how that translates into pay, opportunity, safety and greater rights. From festival inclusion, rights around maternity and protection at venues. New Year’s Eve is two days away, and consider the number of people who will see in2026 watching an amazing female D.J. play. A perfect way to party and dance your way into a new year, so many of them will face handsy punters and inhibition-lowered drunks who hurl abuse, sexual abuse and threats their way. However, the majority of club/gig-goers are respectful and want harmony. For both reasons, we need to give props to these amazing and hugely talented women. Carly Wilford is another stunning and super-skilled and passionate D.J. who kindly gave her time for an interview. Someone I have unending respect for and I feel, like Rowena Alice, is going to achieve some huge things. She is a wonderful presenter and has such a warm and amazing speaking voice, I can see her presenting in 2026, in addition to playing festivals, touring to new countries, dropping incredible new tunes, presenting on her must-hear One World Radio show, and building her reputation as one of the world’s best and brightest D.J.s. Like Rowena Alice, go and check Carly Wilford’s Instagram and her website, as she will have an epic 2026. I thought how it would be cool to have a filmed interview series, Twin Decks (or something better. The Drop?!), where you get female D.J.s in a room - or a cool bar with amazing lighting so it looks pretty classy and modern - and they discuss their careers, favourite songs and talk about issues around being a D.J., as we do not often here these amazing and diverse female D.J.s get together. They could bring vinyl, talk about certain festivals, boost a new artist but, above all, it is a unique opportunity to join together amazing women D.J.s from around the world for a YouTube series. It would, I think, help get equality for D.J. sisters and show why things need to change. The thing is, women should not have to solely fight for an issue that was created by men! Like with Rowena Alice, I asked Carly Wilford, I did pose that question about inequality and sexism. Whether the industry has made any progression:

“This is such a tricky conversation, because in all honesty, over the last year it seems to have taken a real step backwards. We had got to a place where line-ups were hugely diverse, but now I’ve noticed that sometimes I can be the only female on there again. The calibre of diverse talent globally is stronger than it has ever been, so really there are no excuses. The diversity conversation isn’t new. So many of us have been fighting for it for a long time, and we should never not appreciate the progress that has been made, especially when it comes to respect in the booth and on dance floors. Things were very, very different ten years ago and trust me, we have come a lot further than we realise. As an industry, I think it’s more about ongoing awareness and day to day decisions when it comes to programming line-ups and highlighting the next wave of talent. I still feel so proud of where the industry is at and how many powerhouse women are at the helm because, for that, it’s never been stronger”.

Shortly after that interview was published in November, Carly Wilford very kindly shared shots of the interview and highlighted the ongoing inequality and how passionate she is to shout about it and campaign. It received a lot of support and praise. I can see her making real changes in the industry. In a future Spotlight feature, I am including amazing D.J.s like BIIANCO (who Wilford shouted out) and Jaguar (who she mentioned to; Jaguar set up The Jaguar Foundation to create balance and equality in electronic music and published an illuminating 2022 report aimed at progressing gender representation in Dance music). I love Jaguar and her fellow female D.J. peers, as they are both playing these phenomenal sets around the world and bringing people together, in addition to making their own music and calling for change in an industry that would not be the same without them - yet one that overlooks and marginalises them. As Carly Wilford said in the interview, there has been a regression and step back in terms of gender representation and equality.

I also spotlighted D.J. queens Olive F (Firth), AZZECCA, Linska and KSMBA. I have previously written about the legendary DJ Paulette. MixMag’s list of ones to watch this year features a majority of female/non-binary D.J.s. In terms of those being highlighted and tipped for success, there is this shift in the media. One only needs to see the sets of my amazing two interviewees and the women they shouted – including Hang the DJs, Savannah, She They Press Play, DREYA V, HoneyLuv, SYREETA, Arielle Free, Hannah Laing, Tini Gessler – and those I have mentioned to realise that their sets are absolutely incredible. Uplifting, life-affirming, unifying, eclectic, fantastically inventive and always defined by drive, passion and stunning talent. It is only right that so many queens coming through are being heralded and spoken about highly. However, this is not being reflected quickly in an industry where so many female D.J.s face inequality, sexism and abuse. Features and pieces like this, this and this that tells of gender inequality facing D.J.s, those in Electronic music and beyond. Throw into the mix iconic queens like Peggy Gou, Charlotte De Witte, Honey Dijon, Amelie Lens, Deborah De Luca, Nora En Pure, Lilly Palmer and a growing number of wonderful and hugely inspiring women, and it bring hope that the sheer power and force of their combined talent will accelerate balance and change. Again, a male-created problem, why is it women who have to address and fix this?! In a more positive sense, I do think that there should be a book published highlighting the amazing D.J. queens from the past few years. I wonder if there has been a documentary where women talk about their experiences of inequality and discrimination (and assault) as a D.J. but also their highlights, when music entered their life, and their favourite venues and cities. There have been documentaries that investigate and spotlight misogyny and sexism across music, though I am not sure whether a new one has been produced where female D.J.s – and non-binary D.J.s – talk about their careers and experiences. Maybe something that icons like Jaguar and DJ Paulette can help bring to the screen.

As I often struggle to get to these amazing venues where these D.J.s play, and so many of them play abroad or in clubs that are pretty intense – and for someone who struggles with tightly-packed venues and that stress -, it would be wonderful to see established queens and the amazing new crop together on an epic bill. A lot of festivals where D.J.s appear tend to push them into smaller tents and they are lower on the bill. Specialist festivals still are not great when it comes to gender balance. Last year saw festivals like FEMMESTIVAL feature an all-female D.J. line-up. Among the sixteen women featured were Kayleigh Noble, Violet, Roma Radz and Billie-Angela. Miss Monique and DJ ReRe are two of my favourite D.J. queens. The thing is, it is great that there is a special festival. How there are shifts at others where more women are on the bill. It is important that all festivals that feature D.J.s give women more headline slots and include more on the bill. It would be great for this year to have a massive one-off event where pretty much every D.J. I have mentioned gets together. This amazing summer event where it would be in the open, but you would have female D.J.s collaborating and at the forefront. Some might say it is excluding men and sexist in itself. It is not. Instead, it gives access to people to see all these women in the same spot. Highlighting their incredible sets and talent, it would be a singular point of reference and awareness for industry bosses and gatekeepers who need to realise the depth, wealth and diversity of female talent. In terms of age too. I do think there is also an ageism when it comes to booking female D.J.s. It would be wonderful if someone curated this incredible line-up of these inspiring and phenomenal women. Changes will not occur overnight, and issues like abuse and pay inequality needs to be tackled urgently. However, a bill where women are at the front and the crowd feel protected, united and safe would be amazing to see this summer. Though I realise it is probably too late to execute something this big with only seven or eight months to go until the peak time to mount this. However, as would be proved, these women are among the best and most important D.J.s in the world. Salute these queens and…

FEEL the drop!

FEATURE: Kate Bush: Them Heavy People: The Extraordinary Characters in Her Songs: The Bride/The Groom (Rudi) (The Wedding List)/Emily/The Actor (Wow)

FEATURE:

 

 

Kate Bush: Them Heavy People: The Extraordinary Characters in Her Songs

 IN THIS PHOTO: Kate Bush during the filming of The Wedding List for her 1979 Christmas T.V. show, Kate (in The Wedding List, she plays the part of a bride whose husband-to-be is killed at the altar and she seeks revenge against his assassin (played by her brother, Paddy)

 

The Bride/The Groom (Rudi) (The Wedding List)/Emily/The Actor (Wow)

__________

THIS edition of this series…

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Brian Aris

finds me focusing on characters from albums that followed one another. I am starting out with 1980’s Never for Ever and characters from perhaps one of the best and most underrated songs from the album. One that has some rare and amazing distinctions. I am then going to move to 1978’s Lionheart and the standout (or most acclaimed) song from that album. In both cases, I want to discuss characters that are not named. Well, there is one from the first and one second song, though there is more mystery as to the identity of The Bride in The Wedding List. In the second half, it gives me a chance to talk about acting and Bush’s stagecraft. Something that would be full developed and realised in 1979. I think there is a character from one Kate Bush song that could see possibly influenced Quentin Tarantino. Even though he is a bit of an asshole, there is no denying he is an exceptional filmmaker. I am referring to his Kill Bill films. Kill Bill: Vol. 1 came out in 2003 and stars Uma Thurman. She plays Beatrix ‘The Bride’ Kiddo (codename: Black Mamba). Of course, there had been vengeful brides portrayed in film before, though there is something about Uma Thurman’s portrayal that very much reminds one of Kate Bush for The Wedding List. Though the Bride in the song is not Kate Bush, she is portraying this character. Its inspiration is fascinating. If Tarantino took the idea of a bride seeking revenge after the groom is killed and took it in new directions for his Kill Bill two of films, I do love how unconventional this song is. We get The Bride and The Groom (Rudi). Although The Groom is named and The Bride is not, we do not learn about their past and how they met. It is about a murder as they are about to be wed. It is possible that Tarantino might have been influenced by the same source as Kate Bush. As we will see in the second half, acting, theatre, film and T.V. is a constant source of inspiration.

For The Wedding List and its Bride and Groom pair, Bush was inspired by François Truffaut’s 1968 film, The Bride Wore Black (‘La Mariée était en noir’). It concerns a groom who is accidentally murdered on the day of his wedding by a group of five people who shoot at him from a window. The bride succeeds in tracking down each one of the five and kills them in a row, including the last one, who is in jail. It is a great storyline and film. Again, bringing it into song is a brave step. Bush always inspired by people, but not your everyday so much. Rather than her talking about her own relationships, heartache, stresses and desires, you can see her moving much more towards the fictional after 1978’s The Kick Inside. Though her debut is not filled with love songs and tales of lust and desire, there are more cases than the albums that would follow. It is much more interesting to hear a song about a bride who goes on revenge spree after her husband-to-be is gunned down. Before moving on, let’s get to the Kate Bush Encyclopedia and their article on The Wedding List. We get some interview archive where Kate Bush discusses the influence behind The Wedding List:

“Revenge is so powerful and futile in the situation in the song. Instead of just one person being killed, it’s three: her husband, the guy who did it – who was right on top of the wedding list with the silver plates – and her, because when she’s done it, there’s nothing left. All her ambition and purpose has all gone into that one guy. She’s dead, there’s nothing there.

Kris Needs, ‘Fire in the Bush’. Zigzag, 1980

Revenge is a terrible power, and the idea is to show that it’s so strong that even at such a tragic time it’s all she can think about. I find the whole aggression of human beings fascinating – how we are suddenly whipped up to such an extent that we can’t see anything except that. Did you see the film Deathwish, and the way the audience reacted every time a mugger got shot? Terrible – though I cheered, myself.

Mike Nicholls, ‘Among The Bushes’. Record Mirror, 1980”.

I like how there is humour in all of it. The song being called The Wedding List. Rather than the traditional gifts for a happy couple, Bush’s vengeful heroine has a death list. We do not know who shoots down The Groom. In the lyrics, Bush sings that he is this “Mystery Man” - that is what the newspaper headlines say when reporting on the murder -, so i guess I should also include him as a character. In the Christmas Special video, it is Paddy Bush. However, on the Never for Ever version, we do not know who the mysterious killer is. I love The Bride. She is the most kick-ass Kate Bush character. I do think that it should have been a single from Never for Ever. We could have had this amazing video where we see the killer(s) and then The Bride hunts down the killers one by one. Luckily, and rather bizarrely, it was included in her 1979 Christmas Special, Kate. With very little Christmas vibes in it, it was more an opportunity for Kate Bush to do an extended televised live performance. The performance of The Wedding List is one of her most dazzling. 1979 was when she completed The Tour of Life. Performing songs from The Kick Inside and Lionheart, there were a couple of new songs. Egypt and Violin were featured on the setlist and would appear on Never for Ever. One of the biggest baller moves from Bush is to premier a song from Never for Ever on a Christmas show. Not only a new song. It is one where she wields a gun and goes on this rampage. I said when talking about James from James and the Cold Gun (The Kick Inside) how there is this association between Bush and guns. Not in a bad way. Instead, it is more about the filmic and theatrical. James and the Cold Gun’s spy hero was a bit of a washed-up agent who is definitely not the cool and suave James Bond-inspired figure you might assume: “You're a coward James/You're running away from humanity”. There are some publicity photos where Bush appeared with a gun. Again, it is more about concept and providing these different and interesting photos. She is not glamourising them. However, you could probably not have a modern-day version of The Wedding List on T.V. I don’t think.

Also, there are guns and loss in songs like Army Dreamers (Never for Ever) and Pull Out the Pin (The Dreaminmg). The latter is less overt (“With my silver Buddha/And my silver bullet”). The Christmas performance is phenomenal. Kate Bush plays The Bride and she is goes from this horrified and despairing woman to someone charged by revenge and the need to get justice. Choreographer Anthony Van Laast – who worked with Kate Bush and choreographed The Tour of Life – is The Groom. The unfortunate man that Bush shoots down is her brother, Paddy. Smoking a cigar and looking like something out of the Wild West. Rather than replicate French cinema and The Bride Wore Black, Bush goes for something close to a Western. In a third incarnation, we get Quentin Tarantino in 2003 fused Japanese samurai/ninja films, Hong Kong martial arts movies, Spaghetti Westerns, and blaxploitation. In this article, we learn more about the films that influenced Tarantino for Kill Bill. Kate Bush would also perform The Wedding List for the Prince’s Trust Rock Gala on 21st July, 1982 (which was almost stopped, as Bush had a dress malfunction and had to use a hand to keep it in place whilst continuing to sing!), though it is not as stylish, theatrical and memorable as the 1979 version. For Kate – the Christmas Special –, The Wedding List was filmed Nunhead Cemetery in South London, a Gothic Victorian cemetery, blending this pre-recorded outdoor scene with in-studio performances at BBC's Pebble Mill Studios. I did forget to mention that Kate Bush’s The Bride kills herself at the end. Rather than being caught and imprisoned, she turns the gun on herself. It was an original and big move having a song about marriage that goes in this direction. Not wanting to live with this tragic loss and let the police do their investigation and the woman move on and lead a life solo, there is this feeling that maybe The Bride cannot live without someone else. Without a man. It is a very dark song, even for Kate Bush!

One additional element of tragedy is at the autopsy of The Bride – who, unlike The Groom, is not named –, who it seems she was also pregnant: “They found a little one inside/I’m coming, coming, coming, honey!/“It must have been Rudi’s child”. I want to bring in part of an article from Dreams of Orgonon and their dissection and analysis of this phenomenal song:

“In this way, Bush kills her positive vision of masculinity and replaces it with a bloodier one. She essentially takes the role of the vigilante usually played by men. When men stop playing a part in this story, women take their roles. It’s a kind of reverse fridging, the moment fridging stops being a misogynistic trope and becomes kind of good and queer. This is a traditionally male role being occupied by one of the most popular young singers in England. This break with gender norms is exemplified by Bush’s Christmas special performance of the song, where she dons a wedding dress while shooting her husband’s assassin to death. It’s terribly fun and extra, but it gets to a key truth about wedding stories: they usually don’t have a lot of women protagonists with guns.

The decisive way in which Bush differs from Truffaut, who ends his movie with Jeanne Moreau in prison but having killed all of her husband’s murderers, is that “The Wedding List” ends with… well… “after she shot the guy/she committed suicide.” “I’m coming, Rudy,” she howls desperately. It gets worse from there: her autopsy uncovers that she “had a little one inside/it must have been Rudy’s child.” This is a song where a pregnant woman commits suicide. And it’s not even the first time that’s happened in a Kate Bush song! If this was bleak for 1980, it is perhaps more so in our historical moment when shootings are a pestilence (and not just in America — the UK has seen the assassination of Jo Cox in the last three years). Violence wins in Never for Ever — the potentially happy wife and mother is never granted domestic happiness”.

The Bride and Rudi, The Groom, are the centrepiece of a smashed and poisoned wedding cake. The anti-romance ideal. The man is shot dead and The Bride gets vengeance but then kills herself and the unborn baby. Bush singing about this “eye for an eye” and “ashes to ashes” – I like to think this is a nod to one of her music heroes, David Bowie -, and creating this film of her own. One that is so evocative and filled with incredible visions. The newspaper headlines telling of a passion crime and this groom being shot down. Rudi being taken away but his wife-to-be not mourning, but avenging his death. Some beautiful wording and phrases from Bush include this: “He swooned in warm maroon/There’s gas in your barrel, and I’m flooded with Doom/You’ve made a wake of our honeymoon/And I’m coming for you!”.

To side B as it were. Again, we have a more generic character and a named one. Whilst The Groom was given a name in The Wedding List, go back two years and Lionheart. The Wedding List was never issued as a single. Wow was. It was the second single from Lionheart and was released on 9th March, 1979. I want to look at the characters in the song. Specifically, one very briefly named right at the start. Emily. Who is she?! The Actor is less about a specific actor, and more about this representation of a certain type of person in showbusiness and music. The Wedding List was performed live twice but never got a wider release. It is quite underrated. Wow is very well know and was performed live several times (30th December, 1978: Rockpop (Germany); 14th January, 1979: San Remo (Italy); 22nd March, 1979: Top of the Pops; 16th April, 1979: ABBA Easter Special; 16th June, 1979: Numéro Un (France). The video is really interesting. The one for the single release features Bush performing in a darkened studio, backed by spotlights during the chorus. For the home video release of The Whole Story (I think that was actually released in 1987 and not 1986),  we got a montage of Bush performing at concerts/live performances. Both Wow and The Wedding List have controversial elements. The Wedding List more obvious and overt. In terms of the violence and the subject of guns and also the death of an unborn baby. The suicide of The Bride. The ‘controversy’ for Wow is a lot stuffier and silly. When Bush sings about The Actor never making T.V., stage or the screen as he is “too busy hitting the Vaseline”, Bush pats her bottom. That was seen as too sexual or controversial, as a reason why the video was changed for The Whole Story. So tame and insane, it does make you wonder about the standards of the time. Would a male artist have their video banned or condemned for something as minor? It is actually a funny little bit from Kate Bush.

At this stage in her career (1978/1979), Kate Bush was still subjected to the worst sexism and misogyny the music press had to offer up. This review from Sounds of March 1979 is an example of what she had to read and process: “I hear this mediocre chanteuse crooning her way through this silly song. (…) I realise that a lot of people would like to go to bed with her, but buying all her records seems a curious way of expressing such desires”. Before getting to the characters in Wow, I want to draw in an interview where Bush talked about the story behind one of her biggest songs:

“‘Wow’ is a song about the music business, not just rock music but show business in general, including acting and theatre. People say that the music business is about ripoffs, the rat race, competition, strain, people trying to cut you down, and so on, and though that’s all there, there’s also the magic. It was sparked off when I sat down to try and write a Pink Floyd song, something spacey; Though I’m not surprised no-one has picked that up, it’s not really recognisable as that, in the same way as people haven’t noticed that ‘Kite’ is a Bob Marley song, and ‘Don’t Push Your Foot On The Heartbrake’ is a Patti Smith song. When I wrote it I didn’t envisage performing it – the performance when it happened was an interpretation of the words I’d already written. I first made up the visuals in a hotel room in New Zealand, when I had half an hour to make up a routine and prepare for a TV show. I sat down and listened to the song through once, and the whirling seemed to fit the music. Those who were at the last concert of the tour at Hammersmith must have noticed a frogman appear through the dry ice it was one of the crew’s many last night ‘pranks’ and was really amazing. I’d have liked to have had it in every show.

Kate Bush Club newsletter, Summer 1979”.

If there was a sense of minor disappointment around Lionheart and the fact it was not as good and original as its predecessor, The Kick Inside – Bush being given an impossible task of releasing a second album in 1978 and only having time to write three new songs doesn’t help! -, many note how Wow is a definite highlight. I want to briefly return to the Dreams of Orgonon piece on Wow. How that idea of taking shots at those in the music industry or showbusiness perhaps came from her being luridly portrayed in the press. The constant sexism and inappropriateness. A veiled attack on journalists perhaps?! It is a fascinating song: “Being a fan of Bush’s music was a private exercise. Public speculation about her was done by voyeuristic journalists, who wrote such scintillating headlines and phrases as “Kate Bush Is A Sex Kitten,” “her flesh, her bones, her erogenous zones,” and this fucking travesty of the printed word (surely an article that begins by declaring that Kate Bush is a girl is going to be a Pulitzer Prize winner. Talk about her having “the breasts of a Victorian princess” and you have an all-time classic on your hands). It’s easy to why Bush would be resentful of this sort of treatment, especially when it manifested itself as a media furor over a photo of her wearing a pink top…The elation of the chorus is belied by the knowing facetiousness of the verses, with the shit-eating grin they flash at showbiz. Bush’s sweet-natured delivery of “we think you’re amazing!” efficiently hides the fact those lines are probably written with gritted teeth. It’s not that “Wow” is bitter, but it’s taking a few potshots as it falls through showbiz. The first verse is rife with tension, laden as it is with the song’s intro, acting as something of a rehearsal for the chorus”.

Rather than The Actor being this specific figure or actor, they are the washed-up and unprofessional. Someone who “always dives too soon, too fast to save himself”. Bush, as this constant professional and someone who was disciplined and amazing, looking at those in music or showbusiness who are hammy or a luvvie. There are lines that I think refer to Kate Bush in music. How good and original she is. How she got some high praise from certain quarters but is still not treated with respect and given the creative freedom by EMI that she deserves: “You say we’re fantastic/But still we don’t head the bill”. Maybe Bush wanting to produce her music but not being granted that responsibility. One thing that is ironic is how she sings about The Actor saying his lines “time and time again”. Wow was a song where Bush did the vocal over and over again. Perhaps exhausting producer Andrew Powell, almost like an actor trying to nail the perfect performance, Bush stepped inside the song and was almost like a director showing how it should be done. The antheses to the lazy and ill-disciplined focus of her song, Bush said in the Lionheart promo cassette how “although it was all in tune and it was okay, there was just something missing. And we went back and did it again and it just happened”. I did not realise this is another Kate Bush song with reference/mention of a gun. In the sense that when she sings about The Actor and how “He’ll never make the screen/He’ll never make The Sweeney”, she mimes a gun being brandished. Lionheart was an album where there was conflict and compromise. Kate Bush wanted to her own band on the record after she performed with (excellent) experienced musicians for The Kick Inside. It started out with them before they were replaced by some returning players like Ian Bairnson. What is pleasing is how Wow does feature some of Bush’s choices. Including her brother Paddy on mandolin, her boyfriend Del Palmer on bass, and fellow KT Bush Band member Brian Bath on guitar. The Kick Inside player Ian Bairnson was on electric guitar, so it was a mix of the old and (slightly) new.

IN THIS IMAGE: Emily Brontë

Going in reverse order, we get Emily mentioned. I have written about this before, but I think that this is Emily Brontë. Bush immortalised her sole novel, Wuthering Heights, in her number one debut single of 1978. Bush was inspired to write Wuthering Heights after catching the end of a BBC adaptation of the novel. Feeling this connection to Brontë, the two shared the same birthday (30th July). Both faced criticism and sexism from critics. Bush felt this bond. I think that it is Brontë Bush is referring to, as when she whispers that word at the start of the video, we see Bush twirling around. This ,might be referencing the Wuthering Heights video and part of its choreography. Though Emily is not mentioned again in the song, the first words after that potential Brontë shout-out is “We’re all alone on the stage tonight/We’ve been told we’re not afraid of you”. I think this is a reference to Bush herself and Brontë. Rather it referring to the solitary practice of acting, how the audience are meant to behave in a theatre and the discipline required from them, I see it as women in the industry – and Brontë as a female author in the nineteenth century – being cast aside or on their own. The expectations of them. Maybe I am reaching. However, the feeling that the ‘Emily’ of Wow is a return to Wuthering Heights is reflected in another part of the Dreams of Orgonon article: “The similarities between “Wow” and “Wuthering Heights” are largely structural. Both songs have arpeggiated hooks (“Wow” opens with the notes of a C major chord), followed by tense, melodically wrought verses, before breaking into the song’s triumphant chorus. “Wow” is shorter, its album version capping off at four minutes, compared to the four-and-a-half minutes of “Wuthering Heights,” with its intro which is built into the verse, keeping the song moving after its chorus. The chorus and verse of “Wow” are repeated twice each, with the intro and outro essentially built into the verses, letting the song flow smoothly while also breaking it into distinguishable segments”.

I love how Emily Brontë is perhaps in Kate Bush’s heart for a song that may be about showbusiness and its phoniness. It may be about Bush’s experiences and how she has been treated. Casting herself as The Actor and playing the fool. Bush miming fingerguns to her head as she sings “We’d give you a part, my love/But you’d have to play the fool”. I feel this is more about Bush. Having to compromise somewhat or being told what to do. A reference to her not being given autonomy at this point? Maybe Bush being a fool or stooge in her own albums rather than the star and someone who has the spotlight. The criticism and mockery from some parts of the press. One thing that didn’t help when it came to parody and stereotyping Bush was the routine and theatrics of the Wow video. The Guardian expand on this for their 2012 article:

“In late 1978 the 20-year-old Bush still seemed an ingenue and it was always going to be tough following an album that contained Wuthering Heights and The Man With the Child in His Eyes. She later complained she felt under pressure from EMI to release Lionheart too early, a problem she made sure she never experienced again. But Wow was always a song that stood on its own merits. It contains many of her trademarks: enigmatic intertextual lyrics, unfeasibly high-pitched vocals that fall unexpectedly to an absurd low note (the last "wow" of each chorus is particularly amusing), tantalising verses followed by a cascading chorus. Musically, Wow is typical of her early work, with pretty woodwind, piano and strings complementing a lyrical bass line.

The song, as far an anyone other than its author knows for certain, appears to be about struggling actors and the disappointments of fame. In the video its most famous lines – "He'll never make the scene/ He'll never make the Sweeney/ Be that movie queen/ He's too busy hitting the vaseline" – were expressed through her much-parodied mime-the-lyrics dancing style. The word "Sweeney" was accompanied by her firing a gun and "hitting the vaseline" by her tapping her backside. Viewers were invited to draw their own conclusions.

 

Bush is such a singular talent it has become too easy to dismiss her as an eccentric, peripheral figure. It was around the time Wow was released that the pastiches began, most famously by Pamela Stephenson on Not the Nine O'Clock News. But those memories would not do justice to her achievements in carving out a career of complete artistic independence and integrity after starting out as a teenager in a male-dominated world, chaperoned by members of England's prog-rock elite. Her influence on so many female (and male) songwriters, musicians and performers since has been enormous, even if they don't know it themselves”.

I love the introduction and the strings. The Pink Floyd spaciness. Cosmic and grand, it like we wait for the curtains to open before the performance. I am endlessly fascinated by Bush and ‘Emily’. Maybe it is not explicitly about Emily Brontë, why mention her debut single muse for Wow? The unnamed actor and the potential Emily Brontë make Wow such a fascinating song. Is it autobiographical and a disguised attack on the press, record label and how Bush was feeling, or is it more about showbusiness in general? Like The Wedding List, acting is a common thread. One that is key and common in so many of her songs. Whether a song inspired by a film or T.V. show or a song involving acting, actors or something theatrical, with the divine Wow being seen as one of her best by MOJO, The Guardian (whose words, “beautifully drawing the gulf between the gushing praise of his friends and the lonely reality of his life” make me think the song is about Bush’s career and reality), and so many others, it is clear that the song is a classic. When it comes to the divine Kate Bush, it is very clear that…

WE think you’re amazing!

FEATURE: Wired for Sounds: Why An Upswing in the Popularity of Wired Headphones Is Unexpectedly Positive

FEATURE:

 

 

Wired for Sounds

PHOTO CREDIT: Tima Miroshnichenko/Pexels

 

Why An Upswing in the Popularity of Wired Headphones Is Unexpectedly Positive

__________

ONE might expect…

PHOTO CREDIT: Anastasiya Badun/Pexels

that, despite a rise in vinyl popularity, people would still fancy music on streaming and using wireless earphones and earbuds. I know that these wireless options provide comfort and ease, though I have always been a fan of wired headphones. I tend to prefer the chunky-eared headphones, as they seem more comfortable and noise cancelling when it comes to sounds around me. As I live in London, there is a tonne of noise everywhere. When it comes to music and how people experience it on the go, I advocate that it should be private and definitely not shared. I appreciate that some people might want to pass a phone to a friend to play them a video or message, but I find that incredible annoying and rude. If you are on public transport or a café, you do not want to hear other people’s phones. It is common in cities where you get people playing music out loud. Apart from a lack of manners and basic respect, I do think that there is something about the comfort of headphones that connects you more to music. I have dabbled with Airpods and earbuds but I find them to be a bit uncomfortable. Maybe I have odd-shaped earlobes, but they tend to come out and I am forever jiggling and repositioning them so they stay in. The price we pay for music portability! It was the same when I was growing up and listening through a Discman. It was not the smoothest of listens. There is also the issue of losing earbuds and the cost and inconvenience there. However, whilst there may be some sense of discomfort and obvious drawbacks to wired options – the eternal and agonising issue of wires being tangled and taking forever to untangle it! -, maybe it is to do with that security and connection. A literal and direct connection to the music. Also, as someone who uses headphones, I do also find they make the listening experience better. Maybe less sound leak or something a bit more panoramic, it does seem better than wireless options.

PHOTO CREDIT: Tony Schnagl/Pexels

Also, there is that thing of going back in time and experiencing music pre-streaming. Maybe a reason physical music is doing so well. I personally prefer to listen to music on a laptop through big headphones. That is optimal for me. Whilst the perfect listening experience is vinyl, if you are listening to albums and songs on streaming or on your phone/laptop, wired headphones and earphones do seem preferable. I was struck by a recent article to The Guardian where they spotlight the upswing and resurgence of wired headphones. Not to be pedantic, but headphones would go over your head and anything that goes into your ears would be earphones/earbuds. I think they are looking more generally at both options but are calling them ‘headphones’. Anyway, the fact that a lot of hugely influential people who you might expect to be wire-free and go with the herd are actually dispending with that in favour of quite basic wired options. It is pleasing to see this trend and change:

“I see more and more people, especially people around my age, rocking the classic white iPod-associated earbuds instead of the previously ubiquitous AirPods. Celebrities and politicians such as Bella Hadid, Zendaya, Dua Lipa and Kamala Harris use them, as do a lot of musicians I know. When New York magazine published its annual Reasons to Love New York issue last week, it featured stars such as Debbie Harry, Cameron Winter and Subway Takes host Kareem Rahma sharing wired earbuds on the cover, because photographer Hannah la Follette Ryan had noticed more and more people listening to music that way on the subway. You see the same casual intimacy on the tube in London and on buses. The other day I even saw a teenager recreating the ultimate symbol of cool of my youth: two white earbuds dangling from the inside of his collar.

IN THIS PHOTO: Zendaya/PHOTO CREDIT: Backgrid

Although there is undeniably some swaggy retro appeal in wearing wired headphones – especially dinky white ones, which allow Gorillaz-loving zoomers, of whom there are many, to relive the era of the Feel Good Inc-soundtracked iPod ad – I think the return to cords was likely born out of a desire for simplicity and economy. The facts of being young right now – just of being alive right now – are that wages have stagnated as prices have gotten higher and rent has become exorbitant. AirPods cost £99, wired Apple headphones are £17: the moment you lose an AirPod – or, as once happened to me, drop one as you leave a bus and look on in horror as the bus slowly rolls over it – you realise that they are emphatically a luxury product, not the everyday essential they may have seemed when you were using them to tune out a rowdy toddler on said bus. As with streaming, or TikTok, or next-day delivery, luxuries we’ve had access to for only a few years can seem indispensable when there’s actually evidence to suggest the world functioned a whole lot better before we had all these things.

That wired headphones are experiencing a resurgence is heartening – it may be a bellwether for a society ready and willing to slowly divest from all the crutches it uses every day. (I hope ChatGPT is next.) On the other hand, it could mean nothing except that 18-year-olds have just discovered the aura-increasing capabilities of white rubber-coated wire and PVC. Either way, I am ready for our corded future. When I go Christmas shopping this week, I certainly know what Shaad is getting”.

PHOTO CREDIT: Moose Photos/Pexels

Of course, let’s not romanticise wired headphones. There is the satanic ball-ache of having to lumber around headphones. Mine are a bit hefty and being wired in can make you feel a bit there and restricted. The cheaper earphones you used to pair with an iPod are cheaper and sleeker but they tangle easily and, like I said, they can be uncomfortable. I love the over-ear option and the comfort there rather than something more in-ear. I am not sure if there is a science behind the sound and experience you get with both options. However, one cannot deny that there are benefits to wired head and earphones. Less likely to lose them for a start. It may sound a weird flex, but how inconveniencing is it to lose expensive earbuds and then having to replace them. You also have to keep them charged and they are not perfect when it comes to reliability. Sometimes basic and older is better than something designed to be more convenient and invisible. I can admire people who want to keep music private and also want to keep things wireless, but there is a psychology behind the new appreciation for the wire. I do think that, as less and less use C.D. players and devices to play our music – other than smartphones -, we are starting to become adrift and lose the physicality of music. I long to see a raft of affordable and stylish portable players and carry around C.D.s and even cassettes. Sure, it means I am carrying this weight around and am almost like a D.J. carrying a stack on vinyl to a gig. However, that relationship to something physical and the process of plugging in some headphones and feeling the music go through the wire and into your ears is something you cannot get from wireless options. There have been quite a few think-pieces and articles around this subject.

PHOTO CREDIT: Olena Bohovyk/Pexels

Whilst there are practical and personal reasons why wired is a better option, I do have to say that there might be a danger than fad, trendiness and this being fashionable risks diluting the argument or making it about being cool and retro – rather than actually there being clear practical and sonic benefits to wired over wireless. With celebrities, supermodels and actors not only going to wired and also purchasing real camera and older technology, like so many things, it is all about TikTok and social media. Rather than it being able the music and opening up discussions about physical music and why wired headphones represent something positive, many are seeing this celebrity-led revival as being about clicks and image. The Times wrote about this back in 2024. Even though Hannah Skelley said she prefers to be wireless, she did note this about a growing trend: “Yes, wires are on the rise, with twentysomethings ditching untethered devices and reverting to digital audio habits last seen in the 2010s. Their interest in the impractical trend is purely aesthetic. They consider it bohemian: just scroll through the 174.8 million videos on TikTok in which users dance to viral songs, eat, or vlog their day and style outfits — all while plugged in”. Wired headphones being more of a fashion accessory than something deeper and more connected to music. However, plenty of ordinary and reality-based people have also fully embraced wired headphones. Something cheaper and a little less easy can sometimes be more advantageous than a more expensive, new and perhaps easy-to-use option.

 IN THIS PHOTO: Lily-Rose Depp/PHOTO CREDIT: Gotham/GC Images

Another article from The Guardian came out last month. Whether you are using Bluetooth wired headphones or some basic white ones that do the job just fine, I think this year will see that intensify. More and more people, especially those in their twenties, forgoing the high-tech and finding joy with physically connecting to music. The fact that cameras and once-obsolete and ‘bygone’ technologies and objects are now being picked up and used by a new generation is a positive thing:

“With white-wired headphones endorsed by celebrities including Lily-Rose Depp, Paul Mescal, Bella Hadid and Apple Martin, a growing number of people are breaking away from wireless listening.

For inspiration, there is the Instagram account @wireditgirls, or a Balenciaga campaign featuring the model Mona Tougaard reclining bed, wired headphones in place.

Daniel Rodgers, the fashion news editor at British Vogue, is familiar with the trend. “[It says] ‘I’m very effortless. I’m very nonchalant,” he says. “It’s become a real styleable accessory.”

But in a culture where the forward march of technology is often treated as compulsory, wired headphones represent more than aesthetics. “It’s an analogue way of opting out – of both tech but also life,” says Rodgers. “They’re visible in a way that AirPods aren’t. There is a sense of ‘do not disturb’.”

IN THIS PHOTO: Blondie’s Debbie Harry and Geese’s Cameron Winter/PHOTO CREDIT: New York Magazine

That symbolism is on full display on the cover of New York magazine’s latest issue, which features celebrities riding the subway: Debbie Harry with the Geese frontman Cameron Winter, Ben Stiller with the Knicks star Karl-Anthony Towns and Macaulay Culkin with the SubwayTakes presenter Kareem Rahma. The real story, however, is not the star power but the shared accessory in each image: wired headphones.

The pictures were taken by Hannah La Follette Ryan, the Brooklyn-based photographer behind the Instagram account @subwayhands, which documents New Yorkers on public transport. She says: “I see the revival as an extension of digital fatigue. Who wants another glitchy expensive gadget to charge?”

Price is clearly part of the appeal of wired headphones – Apple’s EarPods cost £17 compared with £99 for AirPods – but nostalgia is also a factor.

“We’re seeing retro tech come back,” says Tom Morgan-Freelander, the deputy editor of the technology magazine Stuff. “And as part of that, brands are starting to bring back wired headphones.”

He says some younger consumers are switching to wired for sound quality, which is typically better with cables. “Bluetooth became the norm, and there was an acceptance that, for wireless convenience, you’re going to lose a bit of quality,” he adds.

La Follette Ryan suggests this is part of the appeal. “The tangle is inevitable,” she says. “Think of a headphone knot as a more user-friendly Rubik’s Cube. Relish the opportunity to slow down and solve a little puzzle.”

If wired headphones have become the choice of the fashion-conscious despite these inconveniences, that could change soon. AirPods remain the bestseller at Currys but the retailer reports sales of Beats Solo 4 over-ear headphones have risen by 193% since last year.

Morgan-Freelander also points to the £20 FiiO Snowsky Wind, a design that looks like the earphones worn with a Sony Walkman in the 1980s.

Rodgers still believes wired headphones have the edge. “Even though we are constantly being [sold upgrades], there’s a sort of disengagement [with wired headphones], which is always really hot, right?” he says. “You never want to look like you’re too into anything”.

PHOTO CREDIT: Stefan/Pexels

I am going to end with another article from last year. Talking more about college experiences and students wearing wired headphones, there is this debate as to whether stuff like reverting to wired headphones is about nostalgia and the past than it is any natural evolution or sonic choice. People discovering wired headphones are actually fine without having to be upgraded. Or is it being escaping the horrors and increased uncertainty of the future by trying to escape back to a seemingly better (or simpler) time? There is a lot to chew on:

“I thought at first that it might be the beginning of a pretentious aesthetics movement. In the same way that there was likely a boy in your highschool who insisted that vinyl was the only correct way to listen to music only to later prowl the halls with a used SONY walkman playing a brand-new Smiths cassette tape. Or in the way that men who live in Bushwick choose to not own bed frames because they think the room looks better that way. I spoke with my friends later about this, and they basically all agreed that the decision to ditch wires is a ploy to stand out and cultivate an “indie” vibe. Perhaps the purpose of the lesser-quality wires was to blast Clairo loud enough that an indie girl could hear it playing in the next seat over.

I thought about this for the rest of the day though, and I came to an entirely different conclusion about the revival of this trend. It couldn’t just be that all of these people were sacrificing sound quality for an aesthetic. After all, it wouldn’t be long before even a novice audiophile became tired of the muffled quality that more rudimentary headphones produce. It took a bit more thinking to reach the following verdict: that perhaps the shift back to wired headphones is a nostalgia for a simpler time where people my age could leave the house without being concerned about the wellbeing of their technological ecosystem. The daily routine of charging bluetooth headphones and patting down your own pockets to make sure you haven’t lost them is admittedly tedious and inconvenient. Wired headphones are easily replaceable and are convenient — replacing them will run you about twenty bucks, they do not lose battery and they are virtually attached to your phone at all times.

It has been assumed that college-age Gen Z’ers are obsessed with the “next best thing.” The return to wired headphones proves that assumption to be incorrect. Young people on campuses now recognize that new is not always better. This revival of an old listening device is different from the aforementioned person who only listens to vinyl or cassette tapes because that choice is categorically inconvenient. This choice points to a larger desire to return to a simpler time when the priority was listening to as much music as possible, not the newest, flashy device that you could listen to music with”.

It may be a fad, though I don’t think it is. I do think that we need to take the narrative away from celebrities and say how brilliant it is they are wearing them because, as I saw, they are in a minority and there may be some cynicism and jumping on the bandwagon there. Walk around a town or city and take public transport and you will see the everyday person wearing these headphones. Me and my bigger, chunkier headphones perhaps looks a bit odd, though I find them cosy and I like the fact that I am plugged in. I always have them on when I am writing at the ;laptop – like, literally, right now – and I would never fully go to anything wireless – though I can see its appeal. Not just about being sentimental and any sort of new craze, it is part of a wider shift from the hyper-modern and very high-tech, digital, wireless and less human and tangible back to the warmth, physicality, tangibility and, yes, the slight inconvenience of the past. I am not expecting people to rock a Walkman, have disposable cameras and lug a boombox around like a 1980s/1990s teen, though it is encouraging that we are getting more of a blend between the easy and hi-tech and the more modest and ‘old-fashioned’, if you will. Whilst I have scoffed at trendy celebrities who are doing this almost to get focus and parade this new/old fashion accessory, they do love music too and their profile and example could lead their followers to do likewise. Not rely on what is seen as convenient and fashionable. Expensive and often quite stressful, I do feel wireless is not always best. Also, I do think you get another level and layer when it comes to the listening experience of being plugged in. Though I find in-ear headphones to be a little uncomfortable, I do admire those who use them and carry them around. I will stick with my headphones, but also keep an open mind about balancing the wireless and wired. For now, as a ‘trend’ seems to be more of a norm and common thing, the love and appreciation of the humble wired headphones…

PHOTO CREDIT: George Milton/Pexels

CAN only be a good thing.

FEATURE: Read It in the Papers: Supergrass’ Going Out at Thirty

FEATURE:

 

 

Read It in the Papers

 

Supergrass’ Going Out at Thirty

__________

THE first single…

from Supergrass’ second studio album, In It for the Money, the supreme Going Out turns thirty on 26th February. Even though In It for the Money came out in 1997, the band released this amazing first single the summer before. Whilst not as massive as Alright from I Should Coco, Going Out was still a big success. It reached number five in the U.K. There was some tension within the band, as songwriter and lead Gaz Coombes was accused by Danny Goffey, the band’s drummer, of basing the lyrics around him and his girlfriend, Pearl Lowe. Their involvement with the tabloids and the attention they were courting. However, any spat or anger did not cause massive friction in the band and it is a song that they performed many times since 1996. I always thought that the tracklisting for In It for the Money needed a reshuffle. Richard III, the single that followed Going Out, should have been the opening track. It seems like the most natural set openers of all time, as it would whip the crowds into a frenzy! Going Out seems like a natural album closer, as it is epic and ends with those swelling and jubilant horns. Apart from the odd decision to put this whirring/machine-like sound at the end of the song – they should have just let the track fade -, it is a classic and one of my absolute favourite Supergrass songs. I love the single’s B-side, Melanie Davis, and the fact Supergrass recorded these amazing B-sides that deserve more attention. There is a lot to note about Going Out. Arriving in 1996, it announced perhaps a slightly darker, edgier and more mature – not in an insulting way – Supergrass. I see 1995’s I Should Coco as this carefree and brighter album that was released whilst Britpop was still raging. By 1996 even, the landscape of British Pop had changed. Going Out seemed to be the first sign of change and a new direction.

However, it is not to say that it is a angry or depressing song. Instead, I think it is more Supergrass reacting to things around them. Press intrusion, growing fame and that side of things. I think In It for the Money is a slightly stronger album and the shingles from it hit harder and remain in the head longer. Though this could be purely subjective. Going Out reminds me in a way of a Beatles track. Something that is a bit Psychedelic and raw at the same time, though it is has this incredible chorus. Danny Goffey reaching Ringo Starr reveals of genius with his drumming! Gaz Coombes in cool and swaggering from. Brilliant bass from Mick Quinn. Rob Coombes on piano and Hammond organ. Written by Supergrass and Rob Coombes and recorded at Sawmills Studio, Golant, Fowey, Cornwall. It was produced by Supergrass and Sam Williams. The Kick Horns provide those brilliant and rich horns. I want to delve more into this song ahead of its thirtieth anniversary. Even if Going Out could have been this Sgt. Pepper’s Lonely Hearts Club Band (The Beatles, 1967) cut, it is distinctly them. Differing from songs like Alright and that image of cheeky chaps, the song retains the fun and jollity you associate with Supergrass, though there is more bite and teeth for sure. Richard III heightened that! The way Supergrass kept the jollity and this incredible spirit but created something more sophisticated for In It for the Money. Going Out a perfect lead single. Critics commended the step forward from the band. Even if the lyrics to Going Out are quite simple, they do seem relevant for the time. About press, celebrity and how that affects things. The key changes, the circus-like droning organ, the horns and this bigger and deeper sound. Supergrass finding fresh energy, impetus and ambition after the success of their debut album.

I do feel Going Out deserves more written about it. I was looking around trying to drop a feature or two in but, alas, came up with nothing! However, it is a song that deserves a lot more than it has been provided. The video is quite joyous too. Directed by Dom & Nic, it was filmed in the bandstand in Battersea Park, London (the same one that features in the video for Late in the Day). Though it looked like it was a freezing shoot, the band are in good spirits and you feel this infectiousness and energy coming from the screen. I could not let the thirtieth anniversary of this single slide by without mentioning it. A lot of critics albums and tracks turn thirty this year, and I think it is an important milestone. It also makes me feel old realising I was around when Going Out came out – even though I was only twelve at the time! However, I look back fondly. Going Out still seems so fresh and alive. Maybe talking about the end of teenage freedom and the sort of lack of responsibility they may have had, Going Out does signify a change of sorts. I am not sure whether Gaz Coombes was basing the song around Danny Goffey. I think it is a more general commentary on tabloids and musicians who were featured a lot or are out on the town every night. Maybe that idea they were courting attention or they could stop all the intrusion with a call – but did not want to. A song that still is relevant to this day. There was a sense in press interviews around the release of Going Out that Supergrass had changed.

What happened to the cheeky and fun scamps of I Should Coco? Melody Maker said this in a February 1996 piece: “Almost exactly a year ago, when The Maker put them on the cover for the first time, SUPERGRASS were pop's likeliest lads, cheeky young upstarts who seemed to enjoy nothing more than getting totally off their faces. They were brash, rude, lovable rock 'n' roll clowns and their songs were the catchiest teenage anthems we'd heard in years. A lot's happened to them in the last 12 months — a Top Five single, a Number One album, debut tours of Europe, Japan, the US and South America. They've also — gulp! — Grown Up, Come Over All Serious and Gone All Thoughtful On Us. IAN WATSON met them last week, backstage at The White Room, where they were preparing to preview their new single, 'Going Out'”. I guess there was an expectation that Supergrass might repeat what they did on I Should Coco for In It for the Money. Going Out signalled a new direction for Supergrass. But they kept their core ingredients and that incredible sound. On 26th January, we mark thirty years of Going Out. The first taste of a remarkable second album from the band, I still get a rush of energy and pleasure listening to this song. I have not seen Supergrass live, so I am not sure if this is part of their sets still. I can imagine the sort of reaction this gets when it is played live! This stunning and phenomenal song from Supergrass remains…

ONE of their best singles.

FEATURE: While I Sing My Comeback Song: Mark Morrison’s Return of the Mack at Thirty

FEATURE:

 

 

While I Sing My Comeback Song

 

Mark Morrison’s Return of the Mack at Thirty

__________

MANY people will debate…

IN THIS PHOTO: Mark Morrison in 1996/PHOTO CREDIT: Des Willie/Redferns/Getty Images

which songs and singles defined the 1990s. There are so many to choose from. Breakout hits, classic anthems or one-hit wonders, there are these tracks that just endure and seem to also perfectly sum up the period they were released. In terms of endurance, popularity and brilliance, few songs of the 1990s match Mark Morrison’s Return of the Mack. Released as a single on 18th March, 1996, it is the title track from his debut studio album. Return of the Mack was a major hit single for the German-born, British-based artist. It was a number one in the U.K. and multiple countries. It also reached two on the US Billboard Hot 100. To date, it has gone three-time platinum U.K. and five-times platinum in the U.S. It is a hugely recognisable songs that I recall vividly in 1996. At a time when things were shifting in British music, it is no wonder people responded to Return of the Mack. You could see Britpop ending or dying and there was this desire for something different. Return of the Mack puts one in mind of 1980s U.S. R&B. It was definitely not traditional Pop or anything that was being heralded and proffered a year previously. 1996 was a year of transition and evolution. It would be belittling and reductive to simply say Return of the Mack is one of the best songs of the 1990s. It is one of the best songs ever. Impossible to not sing along to, I know there will be celebration around the song’s thirtieth anniversary on 18th March. I wanted to look at the features that have been written about the track. Written by Mark Morrison and produced by Morrison, Phil Chill and Cutfather & Joe, The song's beat is sampled from the song Genius of Love by Tom Tom Club. It was also sampled by Mariah Carey for 1995’s Fantasy (and many other artists used the sample). Some dismiss Return of the Mack as a one-hit wonder or this overplayed song. One that is insubstantial and overrated. The fact is that this world-conquering and enormously successful song achieved so much because people responded to it. In 2025, I still hear the song played widely. Even though it is not the only hit from Mark Morrison, it is definitely the song people associate with him.

The first feature I want to drop in, unfortunately, does very much highlight Return of the Mack as a one-hit wonder. Rather than a brilliant single in its own right, it is often reduced almost to be a fantastic novelty. In any case, The Ringer told the story of Return of the Mack in a 2022 piece. I was not aware of his this song started life and how there was this quite basic and uncool original that then changed and was replaced by something awesome, layered and replete with these finely-selected samples:

“Mark Morrison started writing “Return of the Mack” in prison. In 2020 he told a Leicester newspaper, “I grew up on the St. Marks Estate. ‘Return of the Mack’ was written in Welford Road prison. I’m from here.” End quote. Mark also produced the original version of “Return of the Mack” along with a guy named Phil Legg, who’d most notably worked with Des’ree, the “You Gotta Be” lady. Love Des’ree. Two g’s in Phil Legg, just because.

That original version of “Return of the Mack” is not in the public domain. That’s the version of “Return of the Mack” that gets sent to our dear friend Cutfather and his own producing partner, Joe Belmaati. Cutfather, talking to Mel magazine, does not speak glowingly of the original “Return of the Mack.” He says, “It was very, very soft and sounded very slow. It was just very toothless. It wasn’t really catchy. The chorus was obviously catchy—the singing of it was catchy — but the chords around it actually made it less commercial. It was like pop R&B, but in a quite uncool way.” But he also says, “It was a really cool song.” Don’t you want to hear that version? The slow, soft, toothless, not-catchy, quite uncool version of “Return of the Mack”? That sounds awesome. Let’s pretend that the canonical, smash-hit Cutmaster and Joe remix of “Return of the Mack” is a song about Mark Morrison getting over the heartache of his original, quite uncool version of “Return of the Mack.”

Cutmaster and Joe got a few ideas for how to spice up “Return of the Mack.” First idea: The drums from “Genius of Love,” or drums very close to those drums. Second idea: Some new, way catchier chords from a 1992 song called “Games,” by an R&B singer named Chuckii Booker. That’s Chuckii, spelled Chuck with two i’s at the end, just because. Chuckii’s from L.A. I can confirm that this song “Games” has excellent chords.

Stupendous chords, truly. Tons of samples in this new, vastly improved, soon-to-be-colossal version of “Return of the Mack.” More drums from the French disco master Cerrone. Some noisy bits from the oft-sampled Bronx funk band ESG. Vocal fragments from the Treacherous Three, and Digital Underground, and Run-DMC. There’s a lot going on here. But there would be a lot going on here if Mark Morrison were the only thing going on here”.

Even though Return of the Mack was a number two in the U.S. in 1997, it was released in the U.K. the year before, so there was this delay. It might have been fortunate timing considering what was ruling the charts in June 1997. I think there is a little debate as to the exact U.K. date. I have seen 4th March, 1996 listed, in addition to 18th March. I am sticking with the latter. However, as Stereogum wrote in their feature, Return of the Mack is an epic bounce-back song: “But the narrative is great -- that whole idea of "fuck you, I'm doing great." That's the feeling embodied by Mark Morrison's "Return Of The Mack," one of the great bounce-back songs in pop music history. "Return Of The Mack" is an ideal dumped-guy anthem. It's breezy and fun and just ridiculously catchy, and its feeling isn't stuck in the sting of betrayal. Instead, Morrison sounds transformed, confident, ready to go. Most of the song's lyrics are about betrayal, about the ex who liiiied to him, but Morrison won't let that bring him down. Instead, he's focused on his come-up, on the return of the mack. When he wails out "oh my god!," it's like he can't believe how fly he's about to become. That's beautiful”. This is an endlessly fascinating song. In terms of male R&B artists of today, I don’t think they produce anything like Return of the Mack. Rather than the song being dated, I feel artists are sleeping on a sound and dynamic that we need to see today:

“On the "Return Of The Mack" bridge, we hear a bit about the relationship that brought Morrison down in the first place. A woman's voice gets impatient with Morrison: "Ahh, Mark, stop lying about your big break. For god's sake, I need a real man." (That voice belongs to Angie Brown, a veteran session singer and the featured guest on Bizarre Inc's 1992 single "I'm Gonna Get You," which peaked at #47 in the US.) That seems to be the source of the wound. Morrison talks a big game about becoming a superstar, but she's sick of waiting around for him. That hurts, but you can understand why she might be skeptical. Mark Morrison is, after all, a British R&B singer, and British R&B singers didn't often become international stars in the late '90s.

Mark Morrison was born in West Germany, and his parents came from the Bahamas. He also lived in Miami for a while as a kid. But Morrison mostly grew up in the English city of Leicester. (When Morrison was born, the #1 single in the US was Roberta Flack's "The First Time Ever I Saw Your Face.") He started making music in 1993, but his career really started later. In 1995, Morrison spent a few months in prison after a nightclub brawl, and the experience convinced him to devote himself to music full-time. Later that year, his single "Crazy" made the UK top 20. "Crazy," like "Return Of The Mack," is a hard-strutting club track that doesn't have anything to do with the different variations on techno and house that were dominating the UK charts at the time. Instead, "Crazy" gets its juice from dancehall and from new jack swing, the kinetic and rap-adjacent form of R&B that had come out of the US in the late '80s.

I was living in London when new jack swing first came along and made its presence known, and pretty much every kid I knew went nuts for that stuff, me included. At the time, Bobby Brown, an artist who will eventually appear in The Number Ones, felt like a legit contender to Michael Jackson's top-dog status. Bobby Brown's success faded, but I love the idea that the UK was still all-in on new jack swing more than a half-decade later.

Morrison followed up "Crazy" with "Return Of The Mack" in March of 1996. Morrison wrote the song, and he co-produced it with Phil Legg, a UK producer who'd done a lot of work with the London singer Des'ree. (Des'ree's highest-charting US single, 1994's "You Gotta Be," peaked at #5. It's a 4.) The "Return Of The Mack" beat is built almost entirely out of samples. The purring electric piano comes from "Games," a 1992 single from the R&B singer Chuckii Booker. ("Games" peaked at #68. Chuckii Booker's highest-charting single, 1989's "Turned Away," peaked at 42.) The needly guitar sounds and some of the drums come from "Genius Of Love," the 1981 dance classic from Talking Heads offshoot Tom Tom Club. ("Genius Of Love" peaked at #31. Another track with a "Genius Of Love" sample will eventually appear in The Number Ones.) Other drum sounds came from "Rocket In The Pocket," a 1978 live record from the Italo-disco producer Cerrone. (Cerrone's highest-charting single, 1977's "Supernature," peaked at #70.)

There were other samples, too, like the staccato siren sounds from ESG's culty 1981 club classic "UFO." There are echoing, buried-in-the-mix scratches: "Huh hah" grunts from Treacherous Three's "Feel The Heartbeat," "Good!" from Run-DMC's "Peter Piper," "straight gangsta mack" from Digital Underground's "The Humpty Dance." ("The Humpty Dance," from 1990, peaked at #11, which is the only thing stopping me from giving it a 10.) Effectively, Morrison and Legg were doing what good rap and R&B producers did in the '90s. They took sounds that were floating around in the ether -- often, sounds that had been sampled dozens of times -- and blended them into a seamless whole that felt new.

And "Return Of The Mack" really rides. The huge drums, the itchy little guitar stabs, the tremendous strut-roll of the bassline -- it all works together. Morrison sings over all of it with a breezy nasal intensity. You can't place his accent as British or as anything else. It's just a voice in love with itself, shaking off old betrayals. When Morrison sings that you lied to him, he doesn't even sound mad. He just sounds excited that his mack is returning. He's in full-on party mode even when he's talking about his lowest moments.

The dissonance between Morrison's heartbroken lyrics and the wild exuberance of the song itself is the secret weapon of "Return Of The Mack." Morrison says that he cried, but he doesn't sound like someone who's been crying. Instead, he drips triumphant swagger all over everything. Unlike many of the other R&B singers who scored hits in the '90s, Morrison never ever slows to show off his voice. Instead, he floats on top of the groove, radiating just-set-free relief. The video reinforces all that. Director Jake Nava, whose work will eventually appear in The Number Ones, films Morrison partying his way through London, his hair immaculately angular and his chunky chain enormous. (Morrison's whole style in the video is pure late-'80s, which fits the new jack swing feel of the song perfectly.)

"Return Of The Mack" went to #1 in the UK, and Morrison released his Return Of The Mack album a month after the single came out. In the UK, the album was big enough to send five singles into the top 10. "Return Of The Mack" also hit big throughout Europe. Finally, the song slowly caught on in the US, lingering in the Hot 100 for the better part of a year and finally peaking at #2 more than a year after it had topped the UK chart.

I am not going to include the entirety of this feature from Shortlist. But I did want put in quite a bit of it, as it delves into the hidden meanings within this timeless song. Thirty years after its release and Return of the Mack is being heard and appreciated by a new generation. Not alive when it was released in 1996, it is a song that transcends time. It stands up as a terrific song no matter how old you are and when you discover it:

“In the radio edit of the song, the words ‘return of the mack’ are sung no less than twenty-four times in three-and-a-half minutes. The effect is claustrophobic. It feels like he’s desperately trying to convince himself that he is who he once was - by God, he is The fucking Mack, man - and the chorus turns into a hypnotic mantra.

Despite being more than twice as long, the extended edit, the C&J Mix with all that piano, sees the title sung only seven extra times and yet it’s so much more effective and affecting. Again the song shifts from a meaty tale of persistent funkiness guiding a man’s way to personal redemption, and into an elegiac ballad of frail masculine ego.

Take the extended edit’s chorus backing vocal. Read alone they tell a tale of self-esteem finally being understood - ‘There it is! Come on! Oh my god’, he says, jubilant at realising his returned sense of being. “Once again! Top of the world! Watch my flow!” - but then…

“Mark…” whispers a woman’s voice at 2:25. “Stop lying about your big break… I need a real man… Stop bringing me down!” WHO SAYS THIS? It comes out of nowhere. Mark Morrison barely even references what just happened, merely internalising the slight, and the tone turns darker…

Return of the Mack (there it is)

Return of the Mack (hold on)

Return of the Mack (don't you know)

You know that I'll be back, here I go

Return of the Mack (oh, little girl)

Return of the Mack (once my pearl)

Return of the Mack (up and down)

You know that I'll be back (round and round)

While in the previous chorus he is triumphant, the pain in his wails and the backing vocal now tell another story. The Mack’s The Mackness is here for now, once again, but for how long? He cannot bring himself to move on, doomed to infatuate over his - presumably adult - former lover, doomed to constantly dredge up the past. He is doomed to go round and round. The question, eternally, remains: once damaged, can anyone - you, me, The Mack - ever be quite so strong?

You think back to the mysterious woman’s voice - “Mark… Stop lying about your big break…” - and another question emerges: What if the person Mark has been hurt by is… Bloody hell. Look at the video: The woman who enters the room to deliver these lines - tall, beautiful, dressed in a long blac… FUCKING HELL SHE’S DRESSED AS MARK MORRISON. It was Mark Morrison who hurt Mark Morrison all those years ago.

It’s little wonder that the song still resonates to this day. Even besides the song’s perfect tempo - quick enough to party to and slow enough to drunkenly sway through - have such deep, personal questions ever been more en vogue? And have they ever been more catchily sung? You already know the answer.

For this song to come in March 1996 - twenty years ago, almost to the month, at the peak of gangsta rap, of tough guy posturing - is nothing short of monumental. That it packs so much into a soundtrack so funky and so, at once, of-its-time and timeless, allowing you ingest its message without realising - like a sickly dog’s pill hidden inside a blob of delicious peanut butter - is a testament to the insurmountable courage of true art and to the indomitable spirit of a dancefloor classic”.

Return of the Mack turns thirty on 18th March. An incredible anthem from a wonderful decade of music, his 1996-released chart-topper never loses its brilliance. So catchy and brilliantly performed, you feel and believe every word. Even though there is a complex legacy regarding Mark Morrison’s time in prison and the circumstances behind that, there is no getting around the fact that Return of the Mack is a work of genius. Whether you see it as a one-hit wonder or give it more respect than that, you have to give respect and salute to this…

COMEBACK song.

FEATURE: Consideration: Rihanna’s ANTI at Ten

FEATURE:

 

 

Consideration

 

Rihanna’s ANTI at Ten

__________

PERHAPS the best album…

PHOTO CREDIT: Christopher Polk/Getty Images

from the legendary Rihanna, I think ANTI is at least her most significant. Rihanna started recording ANTI in 2014 after departing from Def Jam Recordings, who had released all of her albums since her 2005 debut. Released on 28th January, 2016, I wanted to mark ten years of this phenomenal album. One of the best of a year that provided us with more than a few masterpieces, I will come to the legacy of the album and explore some of its critical reviews. However, there are some features that I want to get to before any of that. Multi-platinum-selling in the U.S., Anti reached the top of the album chart there in 2016. It is a worldwide smash that I think was a big step up from her seventh studio album, 2012’s Unapologetic. Even though that album features Diamonds and boasts one of the best album covers ever, I feel ANTI trumps that brilliant release. Also, the cover for Anti is pretty damn good too! Also significant is that ANTI is the most recent album from Rihanna. There have been rumblings and rumours regarding a ninth studio album. However, as Rihanna has been busy with family and other commitments, maybe we will not see anything for a while. However, she could surprise us and release a new album this year! With the lead single, Work, coming out the same day as this album and creating a double hit, Rihanna dropped one of her most iconic songs to show how great ANTI was! There were critics who said ANTI was too genre-hopping and confused. I will introduce features that argue why ANTI was a lot stronger than many gave it credit for. Although there is no release date or new news for R9 and whether that will arrive, we can look back on ten years of ANTI. Last year, Rihanna did say ANTI is the only album of hers she listens to top to bottom with no shame. NME were among those who reported it:

“Rihanna has revealed that ‘Anti’ is the only album of hers that she can listen to without “shame”.

The record, which turned nine last month, featured huge hits like ‘Kiss It Better’ and ‘Work’, and topped the Billboard charts for two weeks. It went on to remain on the charts for an impressive 456 weeks.

Since then, Rihanna hasn’t released another album, though she has shared two songs – the last being 2022’s ‘Lift Me Up’, which was written for the Black Panther: Wakanda Forever soundtrack and a tribute to late actor Chadwick Boseman.

Now, in a new interview with Harper’s BAZAAR, she revealed that the 2014 record is her favourite from her discography.

“I listen to ‘Anti’ from top to bottom with no shame. I used to always have shame. I actually don’t like listening to my music, but ‘Anti’ — I can listen to the album,” she told the magazine.

“It’s like it’s not me singing it, if I’m just listening to it. That’s the one album that I can have an out-of-body experience where it’s not like … You know when you hear your voice in a voicemail, and it’s like, ‘Ugh’”.

There is a lot to cover off which I hope gives background to the album, explore its legacy and gauges what people thought of the album. How it was reviewed in the context of music and Rihanna’s career in 2016 and how that has changed in years since. I am starting with Rihanna’s cover interview for Vogue, which is one of the most interesting interviews with the Barbadian superstar. Of course, as the music media cannot resist pitting women against one another, Rihanna was being pitted against Beyoncé, whose Lemonade album came out in April 2016. This Vogue interview was published in April 2016:

“After her last tour, in 2013, for Unapologetic, Rihanna vowed to take a break from recording. “I wanted to have a year to just do whatever I want artistically, creatively,” she says. “I lasted a week.” The paparazzi got a picture of her going into the studio, “and my fans were like, ‘Oh, yes! We’s droppin’ a single.’ ” From that moment, she says, the Navy was expecting an album. It would be another two years.

Turns out it takes a while to reinvent your sound. As Delevingne says, “Anti’s got its own genre, and that genre is her.” Had Rihanna gotten bored with the pop formula? “Very much,” the singer says. “I just gravitated toward the songs that were honest to where I’m at right now.” From the first song, “Consideration,” a trip-hop collaboration with SZA, the message is clear. The chorus has Rihanna singing, “I got to do things my own way, darling.” It’s “like a PSA,” she tells me. She recognizes the risks: “It might not be some automatic record that will be Top 40. But I felt like I earned the right to do that now.”

Avoiding the bravado and easy hooks of past hits, another song, “Higher,” reveals a woman who’s been burned by love. Rihanna compares it to “a drunk voice mail.” She explains, “You know he’s wrong, and then you get drunk and you’re like, ‘I could forgive him. I could call him. I could make up with him.’ Just, desperate.” The candor is heightened by a husky, soul-inflected warmth. “We just said, ‘You know what? Let’s just drink some whiskey and record this song.’ ”

Then there’s “Work,” on which she repeats the word work until it is no longer recognizable, a flourish one critic called “post-language.” While it evokes a technofuture, it’s actually a nod to her home culture in Barbados. (Though Rihanna now splits her time between New York and L.A., her ties to the island remain strong. She is close with her mother, Monica Braithwaite, who owns a clothing boutique there, and with her maternal grandfather, Lionel Braithwaite, a frequent star of her Instagram feed.) “You get what I’m saying, but it’s not all the way perfect,” she says. “Because that’s how we speak in the Caribbean.” In the accompanying video she made with Drake—“Everything he does is so amazing”—Rihanna grinds and jerks in a knitted Rasta-colored Tommy Hilfiger dress at a raucous dance-hall party, the kind “we would go to in the Caribbean and just dance and drink and smoke and flirt,” with her real-life best friends, Melissa Forde and Jennifer Rosales.

There have been a few singles dropped along the way, including “FourFiveSeconds,” an acoustic collaboration with Kanye West and Paul McCartney. “It’s almost like no one ever told him about his success,” Rihanna says of McCartney, whom she found to be endearingly humble. “It’s like, Aren’t you busy being a Beatle?” Last spring brought “Bitch Better Have My Money,” an over-the-top revenge fantasy whose video walked the line between empowerment and misogyny. “It’s just a way to describe a situation,” she says. “It’s a way to be in charge, to let people know that you’re all about your business.”

PHOTO CREDIT: Mert Alas and Marcus Piggott for Vogue

Over the past two years, Rihanna has definitely been all about her business. After fulfilling her contract with Def Jam, she created her own imprint, Westbury Road Entertainment, on Universal’s Roc Nation label. In a bold move, she then acquired the masters of all her previous albums and made a reported $25 million promotional deal with Samsung. Robyn Rihanna Fenty, the island girl plucked from obscurity at sixteen by a posse of music moguls, is becoming one herself. It’s because she’s so attuned to the seismic changes in her industry that she also bought a share of Tidal. “Streaming counts now,” she says. Like any savvy businesswoman, Rihanna knows it’s important to diversify. Last fall, she announced a new venture, Fr8me, an agency representing stylists and hair and makeup artists. She has a passionate interest in beauty and often scouts her own talent on Instagram.

In the midst of all this, she somehow found time to take a role in Valérian and the City of a Thousand Planets, a film based on a French comic series. Directed by Luc Besson, it costars Dane DeHaan and Delevingne and is due out in 2017. Speaking by phone, Besson is reluctant to give too much away about her character, except to say that her personality changes “every fifteen seconds.” “As you can imagine, because she’s number one in her business, she has a protection, like a crocodile,” the director says of Rihanna. “But she really let herself go. I was so touched by her.”

Earlier at the house, two men in suits arrived from the Recording Industry Association of America to present Rihanna with two plaques: one certifying Anti’s platinum status, the other commemorating a benchmark she reached last July, when she became the first artist in history to reach 100 million downloads online. (In another sign of the turbulent state of the music industry, reports will later cast doubt on Anti’s platinum status, pointing out that the RIAA took into account one million giveaways that were part of the Samsung deal.) Rihanna seems genuinely surprised by the accolades. “In flats and sweats!” she says, stretching out a leg. “If only I knew they were coming, I would’ve at least put on a cute little thing.”

With the sudden release of “Formation” during Anti’s week of ascendance up the charts, it’s no wonder the Internet is pitting Beyoncé and Rihanna against each other. But that’s not how Rihanna thinks. “Here’s the deal,” she says. “They just get so excited to feast on something that’s negative. Something that’s competitive. Something that’s, you know, a rivalry. And that’s just not what I wake up to. Because I can only do me. And nobody else is going to be able to do that”.

PHOTO CREDIT: Mert Alas and Marcus Piggott for Vogue

This fascinating article from NPR was published in February 2016. A month after ANTI arrived and was receiving all this attention and sometimes mixed press reaction, this was a considered and fascinating piece. Looking into the meaning of the title and why Barbados and the Caribbean is central to us when trying to understand Rihanna:

“The release of Rihanna's much anticipated Anti was a mistake. Or it was on purpose? The album is "adrift," "confused," "not what we expected at all." What's Rihanna doing anyhow? Review after review has seemed to struggle with the Barbadian superstar — the coolest girl in the world is being just plain frustrating. But maybe that's the whole point.

"That all these songs exist side by side reaffirm that Rihanna is our least aesthetically consistent — least aesthetically committed? — major pop star", wrote Jon Caramanica in The New York Times. But could it not be that Rihanna's aesthetic project might be consistently committed to representing Barbados and the Caribbean? As Rihanna's fame grows, there seems to be less and less of a reference to the relevance of her Bajan roots. Yes, she's super popular worldwide — despite the bumpy release of Anti, the album sold 124,000 copies last week, making it Rihanna's second No. 1 album — but she is also from Westbury Road, Bridgetown, Barbados. And this matters. To understand Barbados and the Caribbean is central to understanding Rihanna.

"Rihanna wants to remind us of those Caribbean, Barbadian roots," says Heather D. Russell, co-editor of Rihanna: Barbados World-Gurl in Global Popular Culture a 2015 book of scholarly essays on the phenomenon that is Robyn Rihanna Fenty, the most famous Bajan on the planet. Rihanna shouts out Barbados at awards shows, features her island home in videos, makes sure she's always back home for the annual Crop Over Carnival, and soundtracks perfume launches with local soca. These roots in the Caribbean, however, are arguably front and centre on Anti, and it's not just because there's a cover of a 20-year-old dancehall reggae riddim that's the foundation for the first single, "Work."

Featured prominently as part of the album art — and featured in much of Rihanna's recent self portraiture — is the crown of Neptune. It's hard not to see this as a direct reference to the trident on the Barbadian flag. And on the wall of the first "room" in the Samsung-sponsored series of "ANTIdiary" videos — a room filled with white sand that would match the beaches in Rihanna's home country — is a crayoned map of the world with Barbados, indicated in big letters, clearly between America and Africa. The historical relationships are not hidden.

The album is called Anti. It's anti-establishment, anti-expectations, but it's also anti-colonial. Is Anti also a wide-ranging commentary on relationships? Sure it is. That's part of what makes it a consistent, coherent representation of the postcolonial. It doesn't have to be (or want to be) one thing. Rihanna is a one-woman argument for the importance of cultural studies.

Jamaican-born cultural studies scholar Stuart Hall revolutionized his field by calling for the decoding of meaning from popular messages. From this perspective, Anti provides perhaps Rihanna's most obvious pop music expression of postcoloniality. There are layers to the lyrics, the videos, the imagery on her Instagram to decode. "I do advise you," Rihanna sings, "Run it back, run it on back, when you breaking it down for me".

The struggle that reviewers seem to be experiencing seems to really be a struggle with language to frame her artistic output. The use of the fraught, exoticizing term "tropical" is emblematic of this difficulty to describe. People don't know what to do with Anti and its lack of coherence. "And I think that's radically Caribbean!" exclaims Russell. "They want to fix it into defined, pre-determined categories and they can't. That resistance to conformity, that resistance to needing and pleasing and placating the global marketplace is absolutely very much situated within her context. Anti is actively telling you, song after song, that it's not trying to fit."

Rihanna plays with her positionality as Bajan and Caribbean, but also American. She's a huge star in the U.S.A., but she's still speaking from foreign. The chemistry that exists between the Canuck Drake and the Bajan Riri is well acknowledged, but could it also be explained by seeing how the two are consistently speaking from spaces as outsider insiders? Canada and Barbados exist externally to the juggernaut that is American culture, but Aubrey Drake Graham and Robyn Rihanna Fenty have been able to navigate the waters of the U.S. pop music industry. Their collaborations, with "Work" being the most recent, act as a story of negotiation and navigation: from a ditty demanding name recognition, to a promise to protect each other through to Anti's acknowledgement that continued resistance takes work. Cultural studies demands we take a look at this; saying "it's only a song" holds us back from valuable analysis. The fact that she seems to continually produce these complicated cultural products means that it's not possible to deny layers. Discussions of Anti in the context of how the pop music industry functions or should function leaves out the possibilities of situated, nuanced arguments that place her solidly within the frameworks of Barbados world girl.

Guyanese-Canadian poet Cyril Dabydeen has written of the "many selves" of Caribbean migrants. Rihanna presents a consistent, coherent aesthetic representation of this multiplicity of identities. She experiments with style, image, voice; evoking roots and staking out routes while challenging colonial, Caribbean and gender narratives, resisting fixity at every turn. And all this takes work, work, work, work, work”.

This review from 2021 is sort of mixed, though I think it is constructive. That is why I wanted to bring it in at this point. I know there will be think pieces and new assessment a decade after ANTI’s release. Especially considering recent records it has broken, Rihanna saying it is the only album of hers that she listens to, the way Pop has evolved since 2016, and the fact it has been nearly a decade since we have had an album from Rihanna. Maybe critics who were lukewarm towards ANTI when it was released might reassess their opinions:

“Anti fared well on its release, despite what was one of the messiest promos and rollouts I think I’ve seen for an album. But I do wonder if Anti would have fared differently if released now, at a time when streaming is a complete norm, and attention spans seem to be at their shortest when it comes to music and consumption of pretty much anything online. Anti being as scattered as it is, with such short songs, feels like an album for a moment in music such as now. It’s probably why the album charted for as long as it did, and why it continues to be an album that people play and discover even now - more than for the reason that people are starved for a new Rihanna album. But the sound of Anti as a whole feels more curated for now than it did in 2013, when mumble singing and rapping was nowhere near as popular as it is now. In a few short years, mumble R&B and mumble rap has pretty much become a genre unto itself, with mumble queen SZA, Travis Scott and Migos all being insanely popular. Even pop acts are catching onto it and doing their own versions of it, just listen to some of Charli XCX’s material from when she started working with PC Music.

Anti is another instance of Rihanna being ahead of a trend, and she and her team knowing who to tap at a given moment. It’s absolutely no coincidence that SZA and Travis Scott both have songwriting and production credits on this album for “Consideration” and “Woo” respectively, and that they’re huge stars now. This album also features the songwriting talents of The Weeknd, just as he was popping off. And there’s even a cover of a Tame Impala song, an act who was always known, but having Rihanna cover one of his songs undoubtedly put a fair amount of people onto him - especially considering that “Same Ol’ Mistakes” is an album highlight for so many.

Whilst it’s easy to dismiss Anti as being a mess and a little unfocused, it really does show that Rihanna has a very hyper specific taste level, and that even in moments where the plan isn’t clear, there is still a focus and an intention. She may not have always had as much control over some of her previous albums, but she definitely learned a few lessons and adopted them along the way to put Anti together. And one thing which has certainly carried over from her previous albums is amassing an impressive roster of talent to write and produce. Do not let the lack of big obvious singles or the lack of Stargate, Dr. Puke and Calvin Harris get anything twisted. The talent on this album is stacked. SZA, Travis Scott, The Weeknd, James Fauntleroy, The-Dream, PartyNextDoor, Starrah, Hit-Boy, Jeff Bhasker, Boi-1da, Noah "40" Shebib, Timbaland, No I.D, Shea Taylor, Brian Kennedy, and an up and coming Bibi Bourelly. The only other female artist who could amass talent like this for one album is Beyoncé.

Anti is an album about making a statement, and it does so in ways that I think Rihanna’s previous albums didn’t. They were fun, they had some cool songs, and each album spawned singles which were far more responsible for pop trends and shifts in music than most care to admit. But Anti is about stepping away from that. It’s about Rihanna trying to cultivate something which feels a lot more honest to her.

As much as I value the honesty in this album, there is a lack of polish about it, which is something that I’m sure will be subjective. Sometimes the roughness around the edges is fine. I can imagine that it felt liberating for Rihanna to not feel that she has to chase a song which is so prim, proper and perfect for radio. Other times I feel that it prevents songs, which are already really good songs, from being the best that they could be. Some songs feel like they’re cut short, or were straight up unfinished. “Consideration” is quite literally an album intro, clocking in at just under 3 minutes and just ending. “Higher” has Rihanna giving a vocal performance which hurts my throat just listening to it. But the main offense this song causes isn’t Rihanna’s dry throat vocals in all of the wrong keys, but how the song is like a preview. “James’ Joint” is the only short song on this album which feels like it ends when it should and was intended to just be a short lil’ interlude. The others genuinely sound like unfinished songs. And even some of the songs which are of your average song sound incomplete. “Kiss It Better” is a great song, but it feels overly repetitive, and could have done with an additional verse or a middle-8 with a killer electric guitar solo. “Pose” is a really fun song, but again, it feels like it’s cut short. Like it’s an unfinished demo. "Yeah, I Said It" is a fuck record, but its 2 minutes and 13 seconds long, when it shoulda been 5. Who is fucking in 2 minutes!? Not every song has to be 4 minutes long and take me on some magic carpet ride, but regardless of whether a song is 1 and half minutes long or 4, it should feel complete, like it has a beginning, a middle and an end. Rihanna really said ‘Fuck it, I’m done’ on half of these songs.

Then there’s Rihanna vocals. They’re all over the place. Sometimes she sounds great. Sometimes she sounds awful. Sometimes I don’t know what I’m even listening to. The saving grace is that Rihanna’s energy at the very least always matches the song. She sells every song on this album, even when she’s sounding like a piece of shit. The vocals on “Higher” are TERRIBLE. But she still has me waving my handkerchief in the air with my good Sunday hat on. It really is a testament to the conviction that Rihanna is able to sell when she approaches music, which isn’t something that she’s always had. Her lack of conviction and giving herself to her music completely is what made Rated R such a lacklustre album for me, because Rihanna didn’t really give a lot of those songs what they needed. Where-as now, I feel like she could do songs like “Hard”, “Rockstar 101” and “G4L” a far greater justice.

Anti might just be one of Rihanna’s best albums. Not only is it a collection of good songs (albeit some incomplete), but they all form a solid body of work in ways that Unapologetic and Talk That Talk didn’t. And you can feel that Rihanna’s heart is in these songs, in a way it wasn’t for the whole of Loud.
Anti is one album in Rihanna’s discography which I feel accurately captures her as she is, and not what other people want her to be. For how off the sequencing of the songs on Anti are, the narrative of it is still clear, as is what Rihanna wanted to achieve with this album, which is freedom from expectation. And what Anti also shows is that Rihanna could pivot right back to pop if she felt like it, or do something different. What will make the album isn’t so much the sound, but the energy and the vision she brings to it. Rihanna was always seen as a fearless artist, but I never really saw it in anything she’d released before. But in Anti, I see it. The bottom line with Anti is that Rihanna gon’ do what the fuck she likes, and everybody gon’ have to deal with it”.

Just before getting to ANTI’s legacy and why it is breaking records, I want to drop in this feature from last year. Highlighting the ways in which Anti is a revelation and hugely important album, they write how “After ruling the charts for over a decade, Rihanna was ready to leave the pop assembly line and get personal on her eighth album, ‘Anti’”. I think that ANTI is one of the best and most significant albums of the 2010s:

“Despite a meticulous launch plan, Anti leaked on January 27, 2016 – the same day the singer dropped its first single, “Work,” and two days before the album’s scheduled release date.

Though “Work” shared similar dancehall DNA to Rihanna’s previous albums, it saw her pay tribute to her Caribbean roots in more than just production. Singing in Jamaican patois, Rihanna confused most international listeners, who initially wrote off the lyrics as gibberish. In the same Vogue interview, however, the signer explained how “Work” was one of her most authentic singles: “That’s how we speak in the Caribbean. It’s very broken and it’s, like, you can understand everything someone means without even finishing the words.”

While many listeners were hooked by the earworm chorus, which helped propel the song to No.1 on the Billboard Hot 100, they missed the more nuanced context.

Featuring a guest verse from Drake, “Work” operates on two counts: working hard to maintain a relationship, while also working hard to fix oneself. Just as Rihanna states, “I got to do things my own way, darling,” on Anti’s opener, “Consideration,” “Work” also refers to how the singer tirelessly worked to maintain her status.

An album of moods

Though most of Rihanna’s discography is punctuated by flashy dance-pop numbers and radio-ready R&B ballads, Anti is made up of moods. With a more scaled-back production, her voice takes center-stage over minimalistic beats as she embraces the more languid, genre-averse approach to the then-emerging strain of pop-R&B. To achieve this, she enlisted all the star architects of this sound, including The-Dream, Timbaland, and The Weeknd.

If Rated R was all bombast and arena-sized pop-rock, Anti (and its second single, “Kiss It Better”) paid homage to the sexier, funkier side of 80s pop. While not as commercially successful as some of her bigger hits, the sexed-up “Kiss It Better” was emblematic of everything that Rihanna had been working towards; channeling Prince throughout, Rihanna also gave the song the erotically-charged video it deserved.

Throughout the 2010s, Rihanna had been the outlaw of pop music, but even with her unorthodox style she managed to find hits that reached large audiences. Following “Kiss It Better” with the trap-R&B hit “Needed Me,” she returned to her gun-toting persona, flipping the script as she declares, “Didn’t I tell you I was a savage?/ F__k your white horse and your carriage,” on the Top 10 hit.

Just as Anti was an experiment with genre and production, Rihanna also used the album to explore new vocal techniques. From her Island drawl on “Work” to the staccato delivery she employed for the outlaw balled “Desperado,” Rihanna plays with different personas on each track. “Woo” features even more vocal distortion, plus a guest vocal and production by Travis Scott, as Rihanna sings about an on-again, off-again relationship.

A pop rebellion

From the title alone, it’s clear that Anti was a reaction to popular music at the time. That said, Rihanna still expressed a desire to create “timeless music,” which is where “Love On The Brain” fits in.

The doo-wop-soul ballad is darker than you realize upon first listen, as Rihanna confesses, “It beats me black and blue, but it f__ks me so good.” A year after Anti’s release, and its accompanying world tour, “Love On The Brain” reached the Top 5 on the Billboard Hot 100. Elsewhere, the acoustic ballad “Never Ending” is clearly inspired by her previous collaborators Coldplay (it would have felt right at home on that band’s Mylo Xyloto album) and borrows a vocal melody from another adult contemporary staple, Dido’s “Thank You.”

The latter half of Anti is full of more downtempo, sensual cuts. Both “Yeah, I Said It” and “Same Ol’ Mistakes” see Rihanna at her most vulnerable. Produced by Timbaland, the former is a steamy romp that nods to moody 90s quiet-storm R&B and is reminiscent of the track “Skin,” from her 2010 album, Loud.

An exploratory nature

One of biggest surprises on Anti was Rihanna’s faithful rendition of Tame Impala’s Currents track “New Person, Same Old Mistakes.” Retooled and retitled as “Same Ol’ Mistakes,” Rihanna sings the song from a feminine perspective, giving it a new artistic meaning. It’s here that she realizes she can’t dwell on the mistakes she keeps making and learns to love the individual that she’s become.

At the tail-end of the album, Rihanna displays her vocal talents on a string of ballads. On “Higher” she sings with abandon, tapping into a more raw, raspier part of her voice, while closing track “Close To You” is the kind of torch song she’d been striving for her whole career. As a whole, Anti’s exploratory nature revealed more facets of Rihanna’s creative restlessness, as she retreated further away from music, turning the album into what came to feel like a closing statement”.

Let’s quickly get to the legacy of the album. Or a selection of critical impressions. I am taking this from Wikipedia and their page about ANTI. If some felt this was a mishmash that didn’t work and was too confused and didn’t really have a central focus, theme or narrative, it is clear that Rihanna helped redefine and shakeup Pop in 2016. A year marked by musical loss and tragedy, together with dark days in U.S. politics, I do think that ANTI is an album that added something much needed to the landscape:

“Doreen St. Félix of MTV News stated that Anti was a "rock-star" album and was noted as a "banner for heterogeneity in R&B — the real range of it," continuing to state that in the early 2010s EDM was the popular genre. St. Félix stated in a more in-depth review that "Anti could even change with the seasons, depending on which tracks you chose to listen to."

Rolling Stone's journalist Brittany Spanos stated that Rihanna was one of three black women, alongside Beyoncé and Solange, who "radicalized Pop in 2016". In an in-depth review, Spanos stated "the album is a startlingly direct statement from a black female pop star, one that many are not afforded the opportunity to express. In the media, black women are often cast as either jezebels or mammies – oversexed or undersexed with no choice as to how they are received. Rihanna's resistance to typecasting and her positive affirmation of her sexual agency made her the year's slyest rebel, a maverick living life as she pleases." Taj Rani of Billboard stated "Work" has brought the genre of dancehall to the forefront of American music, as it became the first dancehall song to top the Billboard Hot 100 since Sean Paul's "Temperature" reached the feat in 2006. She opined the song is a prime example of "an unapologetic black woman proudly showing her heritage at a time when our politics are dominated by #BlackLivesMatter and Donald Trump's racist, xenophobic and misogynistic tirades."

New Zealand singer Lorde's second album Melodrama (2017), when Lorde was reportedly "moved to tears" listening to "Higher" and this helped her to write "Liability". In 2020, Rolling Stone ranked Anti at number 230 on their The 500 Greatest Albums of All Time list”.

I am going to end with a Forbes article from last month. Just before this incredible album turns ten, it has broken these records. Or has a notable distinction in terms of its chart longevity and success. Perhaps one of the most anticipated albums in recent memory will be a new one from Rihanna. Whether it will be called R9 or something different, there is so much excitement:

“In a little more than a month, Rihanna’s album Anti will celebrate its tenth anniversary. The critically-acclaimed bestseller still stands as the superstar’s most recent full-length, as it has been nearly a decade since she delivered a project. For much of Rihanna’s career, such a gap would have been unimaginable, as there was a time when she dropped a new album every year and was known as one of the hardest-working and most prolific musicians in the industry.

Since Anti, Rihanna has refocused her attention on her hugely successful cosmetics business, Fenty Beauty, as well as becoming a mother three times over with fellow artist A$AP Rocky.

While Rihanna has promised a new album multiple times, there has been no sign that she is actually planning on delivering such a studio effort. As fans continue to wait and see if Rihanna will ever properly return to music, Anti reaches an incredible milestone on the Billboard charts and makes history.

Anti reaches 500 weeks on the Billboard 200 as of this period. Billboard notes that it is the first full-length by a Black female solo artist to make it to that landmark figure on the company’s list of the most consumed 200 albums in the U.S.

Anti Slips Slightly on Billboard’s Albums Chart

This week, as Anti celebrates its historic showing, the title dips 10 spaces to No. 134 on the Billboard 200. Luminate reports that the project moved another 10,500 equivalent units throughout the U.S. between actual purchases and streaming activity.

Anti is Rihanna’s Longest-Charting Album – Twice Over

Anti has ranked as Rihanna’s longest-charting title on the Billboard 200 for years. The 2016 project has spent more than twice as many frames on the roster as her second-longest-running winner, Good Girl Gone Bad, which is up to 211 stints somewhere on the tally”.

There have been musical smatterings since 2016. A couple of fairly recent film soundtrack inclusion. Lift Me Up from Black Panther: Wakanda Forever - Music From and Inspired By (2022); Friend of Mine from the Smurfs Movie Soundtrack (2025). She is broad and unpredictable at the very least! Rihanna also featured on BELIEVE IT, a single from an artist who can’t get enough of capital letters, PARTYNEXTDOOR. Apart from that, there has not been too much music-wise. However, I do think that will change this year. Before that, on 28th January, we mark ten years of ANTI. A remarkable and massive-selling success from Rihanna, it is a hugely impressive and important album that I feel should be reevaluated ten years on. Let’s hope plenty of writers spend time re-examining and exploring this album. If anything, the phenomenal ANTI sounds more essential and relevant than it did…

IN 2016.

FEATURE: Resizing Those Red Shoes: Reasons Why Kate Bush’s 1993 Short, The Line, the Cross and the Curve, Should Get a 2026 Screening

FEATURE:

 

 

Resizing Those Red Shoes

IN THIS PHOTO: Kate Bush in 1993 in a promotional photo for The Red Shoes

 

Reasons Why Kate Bush’s 1993 Short, The Line, the Cross and the Curve, Should Get a 2026 Screening

__________

THERE are perhaps…

songs or moments from Kate Bush’s career that are perhaps not fantastic and do not warrant reinvestigation or upgrading to the wider public consciousness. There are not many, and I won’t name specific things, but there are maligned gems that I do feel are worthy of better. It may be a split between generations or the public/Kate Bush fans. Maybe the media dislike it more. I know Kate Bush herself is not a fan. I am not sure the last time she talked about it and whether her opinions have changed, but I think that she is seeing the thing with too much subjectiveness. Perhaps not appreciating the important and influence of the short film, The Line, the Cross and the Curve. One might ask how this practically unheard of and definitely unloved short is influential. I am going to mention this in detail when I return to Leah Kardod’s 33 1/3 Hounds of Love book. She dedicates a section on Kate Bush being the ‘First Woman’. In terms of achievements and records, Bush has set a few. One feat that I think goes beyond gender is the visual album. How many artists before 1993 had put out a short film that is essentially album tracks strung together around a story? Can you say The Beatles did that? I guess Magical Mystery Tour, Help! and A Hard Day’s Night could be called visual albums, though I would argue those are feature length films where songs from the titular albums are woven in. Not visual albums themselves. I cannot bring to mind other artists who put out a short film that was like an album promotion rather than a separate film. We can quibble with technicalities, history and the cinematic musical archives. My point is, even if Bush feels The Line, the Cross and the Curve is a load of bollocks and not great, she is wrong. Critics have piled onto it, less because they genuinely thing it is rubbish. Their patented blend of misogyny, Schadenfreude and ignorance is a more prominent and factual explanation.

One thing I would say is that Kate Bush is an artist that desperately needs to upgrade her music videos. I noted this when specifically addressing this for a feature. Most major artists have done this. The Beatles have 4K/HD videos. Madonna has. David Bowie. Perhaps people think music videos are irrelevant now and it does not matter if they look great. However, music is and always will be a visual medium, and these videos are essential and part of history. In the case of Kate Bush, some of the videos look really shabby. Suspended in Gaffa looks particularly bad. If you search YouTube for 4K or HD videos of hers, the ones there are by fans. They are not authorised or official and, to be fair, a lot of them look really terrible. How has Running Up That Hill (A Deal with God) not been upgraded by Bush for YouTube?! Look at the thumbnail/screenshot of that video on YouTube and it looks blurry. Bush is a huge music video fan and she has remastered her albums and reissued stuff. Why are music videos not being given some much needed restoration and renovation?! Sucha visual artist whose videos are so watchable, in many cases, you get these grainy, low quality and lo-fi examples that could be switched to HD. I know there are examples of her website that are HD, but they have not been transferred to YouTube for some reason. I am going off on a bit of a tangent1 It connects into The Line, the Cross and the Curve. I know a fan has done their HD version of the short. It looks a bit plastic and inauthentic. I am not sure how they do it, though I would like to hope that Kate Bush will recognise the brilliance of the 1993-premered film and give it a modern-day overhaul and gloss. Even though it is not perfect and there are some definitely issues – Bush bringing in another director (she directed, wrote and starred in the short) would have freed her up and a more experienced film director could have given her advise on her acting and performance -, I think there are some standout, stunning moments!

Kate Bush does that, unfortunately. She is dismissive towards her first two or three albums, even though they are wonderful. I can appreciate that she took on a lot and it was perhaps not the right time to make a short film. Her view on The Line, the Cross and the Curve has become more explicit and less nuanced as years have gone by. However, she did say this in a 1993 interview with Now Magazine: “In a way, it was very restrictive because it’s not my conceptual piece from scratch. Also, I’m working around the songs and I had to put myself into the film. I would’ve preferred to cast myself in a smaller role. It wasn’t the ideal situation because it was very rushed and we had little money. But it was an intense project. And I’m very glad I went through it, even if the film is not received well, because I learned so much. The film is really interesting. There are eight tracks in it, though three of them are The Red Shoes. That is the 1993 album it is tied to. The sister project. We have two incidents of the track and an instrumental. The others are Rubberband Girl, And So Is Love, Lily, Moments of Pleasure, and Eat the Music. Like with The Red Shoes, I think sequencing is one of the issues. That album is too top/middle-heavy, so you have a final four or five tracks that are mostly made up of lesser or less-known songs. All the biggest and best are done with in the first third or two. In terms of the story arc and the music sequencing, I would have had Eat the Music higher and Rubberband Girl lower. However, not one to criticise Bush’s script and her vision! Though it got its wider release in 1994, it was near the end of 1993 when it was premiered (less than two weeks after The Red Shoes arrived):

“The Line, the Cross and the Curve is a musical short film directed by and starring Kate Bush. Released in 1993, it co-starred Miranda Richardson and noted choreographer Lindsay Kemp, who had served as dance mentor to Bush early in her career. The film is essentially an extended music video featuring songs from Bush’s 1993 album, The Red Shoes, which in turn was inspired by the classic movie musical-fantasy The Red Shoes.

In this version of the tale, Bush plays a frustrated singer-dancer who is enticed by a mysterious woman (Richardson) into putting on a pair of magical ballet slippers. Once on her feet, the shoes start dancing on their own, and Bush’s character (who is never referred to by name) must battle Richardson’s character to free herself from the spell of the shoes. Her guide on this strange journey is played by Kemp.

The film premiered at the London Film Festival on 13 November 1993. Kate got up on stage before the screening to thank “everyone who’d been a part of making the film” and to speak of her trepidation because her opus was following a Wallace & Gromit animation by Aardman called The wrong trousers. Subsequently, the film was released direct-to-video in most areas and was only a modest success. Soon after its release, Bush effectively dropped out of the public eye until her eighth studio album Aerial was released in November 2005.

Two years after UK release, due to the late promotion in the US, the film was nominated for the Long Form Music Video at the 1996 Grammy Awards. The film continues to be played in arthouse cinemas around the world, such as a screening at Hollywood Theatre in 2014 where the film was screened along with modern dance interpretations to Bush’s music”.

I mentioned it almost in passing for another feature. How there should be a screening of The Line, the Cross and the Curve. Maybe Kate Bush would not permit it. However, as there are fans that love the short, a limited run at smaller cinemas would be amazing. Not tying it to big anniversaries – as everything has to be these days and it means we have to wait until 2028 or 2033 to celebrate it on that basis -, I think this is something that needs to be seen and re-examined. Kate Bush’s acting is not as fine as Miranda Richardson’s, but that is no shame as Richardson is one of our greatest ever actors! I think that Kate Bush is an eminently watchable screen presence and it is incredible seeing her in a film. Outside of music videos and interviews, this is a unique experience where we get to see Bush act in something she wrote. Bush’s ‘film career’ is brief-cum-non-existent. She was offered a load of stuff but always turned it down and focused on music. It is tantalising to thing what could have been if she had made a concession for a genuinely great film role. However, as Bush wanted to do a film around Hounds of Love’s The Ninth Wave and never did – she brought it to the stage in 2014 for Before the Dawn but there are limitations that you do not get with film -, The Line, the Cross and the Curve is a unique example of Bush being in a film – even if it is only just over forty minutes.

I think context and personal circumstances blur the lens somewhat. Bush and critics dismissing it was of its time and subjective. Lacking energy and perhaps in desperate need of stepping away from the public eye, The Line, the Cross and the Curve is not as complete and accomplished as a Kate Bush film from 1985 or 1989 would have been. However, there are some stunning visual moments and beautiful acting examples that elevate this beyond the trashcan of cinema and warrants fresh inspection. I did write about this back in 2023, but I want to add something new to the mix. Bush’s recent Christmas message saw her thank everyone who donated to War Child and watched her Little Shrew (Snowflake) video. She also shouted out the Duffer brothers and Stranger Things. Running Up That Hill (A Deal with God) is used again. Both film examples and works where Bush is very proud of what was achieved. I think we can make a connection here. Little Shrew (Snowflake) is designed to raise money for War Child. Max in Stranger Things uses Kate Bush’s music as a totem and source of strength. I think, if there was a screening of The Line, the Cross and the Curve and ticket feeds went to War Child, it would appeal to Kate Bush. Also, I do think there are similarities when it comes to Max’s story and arc around Running Up That Hill (A Deal with God) and some of the visual, scenes and storyline from The Line, the Cross and the Curve. Bush is a huge film and T.V. fan. As Stranger Things especially has brought her music to a new audience, I do think it would be naïve to overlook her 1993 film and its impact regarding drawing people to her music once more. Sure, the final piece is not as good as she would have hoped and there are problems – I still think the sequencing of the videos and the plot hundred things; a slightly tweaked narrative and running order could have led to a stronger film -, but perhaps a one-off screening in London to raise funds for charity would at least mean Bush does not have to live with the film again for too long! Fans could wear red shoes or there could be some Barbie-level cosplay and colour-specific outfits choices – the Barbie pink replaced with The Line, the Cross and the Curve red -, and it would be great to enjoy this film that remains practically unloved and disregarded. I would imagine Bush is at least more ambivalent and less narked now than she was even a few years back. Also, as she did her 2014 residency in 2024 and there was a screened/visual component to that, she did not abandon film or that medium when it comes to representing her work.

IN THIS PHOTO: Kate Bush in the make-up chair whilst filming for The Line, the Cross and the Curve in 1993/PHOTO CREDIT: Guido Harari

I would love to see The Line, the Cross and the Curve upgraded and looking great. Show it at London’s Regent Street Cinema as a matinée and give the proceeds to War Child. If that argument is not strong enough for Bush to reverse her apathy and indifference towards thew 1993 film, I will end by discussing how it may well have influenced some of the biggest modern artists. However, before that, a feature-nick verbatim. I am going back to Collider and their 2022 defence of The Line, the Cross and the Curve. A ‘defence’ makes it sound like a so-bad-it’s-good film that should only be shown in the darkest and most off-piste screens. Shane Stahl made some excellent and well-observed points about a part a film that I feel is cannon:

“Created as a promotional tool for her 1993 studio album The Red Shoes, this short film is a spin on the classic fairy tale of the same name, in which a young woman puts on a pair of enchanted shoes that cause her to dance unceasingly until and unless she can find a way to remove them. Here, we open on Bush's character in rehearsal with her band until a power outage causes them to take a break. Left alone in the studio, Bush is suddenly confronted by a dark and mystical dancer played by two-time Oscar nominee Miranda Richardson, who implores Bush to help her break the curse of the red shoes by drawing three symbols—the titular line, cross, and curve. However, Richardson's ulterior motive soon becomes clear—by receiving the symbols, she passes the curse onto Bush, and flees through a mirror. Bush pursues her and finds herself in another dimension (an Upside Down, if you will), soon greeted by an otherworldly figure portrayed by British dance legend Lindsay Kemp. He tells her she must "sing back the symbols" to break the curse. After visiting an elderly woman named Lily who gives her advice and comfort, Bush draws on the memories of her loved ones to guide her closer to Richardson's twisted prima ballerina. Giving herself over to the sounds of a jubilant choir, Bush is able to regain the symbols, rid herself of the curse, and escape through the mirror, leaving Richardson crushed under the weight of a cave in with only her feet, once again bearing the accursed shoes, sticking out.

Bush had long expressed a desire to collaborate with famed British director Michael Powell, director of 1948's The Red Shoes, itself an interpretation of the classic tale told through the lens of a modern ballet company. However, the two were unable to work together before his death in February 1990, though the inspiration she drew from the film is clear. In essence, the film is en extended music video; it would end up receiving a 1996 Grammy nomination for Best Long Form Video. A recording artist first, Bush's primary storytelling convention is the music itself, and her material is successful in helping express the short's larger narrative arc, taking us through sonic and visual peaks and valleys.

Lead single "Rubberband Girl" kicks off the film—its percussive, steady beat catches the viewer's attention immediately, accompanied by Bush being virtually puppeted by a fellow dancer through a series of simple but effective movements. The whole setup is decidedly unglamorous, a stark contrast to what awaits us shortly. Following the power outage, Bush lights a single candle, drawing us into the atmospheric and moody timbre of "And So Is Love," which also features first-rate guitar work by Eric Clapton. Sensual and dark, it's in direct opposition to the chaotic energy of Richardson's character, a vision in red and black who we meet at the song's end. As she woos and convinces Bush to help her, we hear the album's title track, "The Red Shoes," all Irish jig and pan flute, filled with frenetic and enticing rhythm. Soon, Bush is cursed with the shoes, becoming her own red and black vision, venturing into the mirror dimension and pleading for help. "Lily," named after the wise elderly woman who helps guide Bush on her journey, is a prayer of strength, promising to help Bush "protect herself with fire." Soon, we hear the instrumental strings of the title track once more, and all hope seems lost until Kemp's specter implores Bush to "call on the strength of the ones you love." This leads to the most beautiful song in the film, "Moments of Pleasure," whose lyrics about, "Just being alive/It can really hurt/And these moments given/Are a gift from time" hold perhaps even more significance in light of a world still in the clutches of a pandemic. The final track, "Eat the Music," is a joyous ode to self-expression, self-love, and falling under the spell of the drum, accompanied by Bush swaying along to the sound of an ebullient chorus and visuals of abundant fruit—a signal that the spirit has once again bloomed in her, breaking the curse and allowing her to return to this mortal coil.

Though Bush was reportedly displeased with the final product, it's an artist secure enough in her own power and vision that can create an ambitious piece of film alongside an equally ambitious album. Not one afraid of revisiting her old work, Bush would rerecord a majority of the album's tracks for her Director's Cut project in 2011, and "Lily" would serve as the opening number of her 2014 residency Before the Dawn. As more and more people begin to discover the Kate Bush library, this is the ideal time to take in this fascinating, unique piece of cinema featuring of one of music's most unique artists”.

Coming back to what I said about Leah Kardos and her 33 1/3 book for Hounds of Love. In the section where she discusses Bush as a female innovator, she mentions how The Line, the Cross and the Curve could conceivable be seen as the first visual album. Like I said, I don’t think artists were doing this prior to 1993. Think about two major artists who are definitely influenced by Kate Bush, even if they do not discuss her. One is Beyoncé. Whilst she had a larger budget and was working with arguably a better album, Lemonade (2016) is essentially a visual album. You can draw a line between that and The Line, the Cross and the Curve that goes beyond coincidence. I do think Bush influenced Beyoncé. In the same way Madonna was praised as being the ‘first’ major Pop artist to use a wireless headset for her tours (notably 1990’s Blond Ambition World Tour), Bush did it first in 1979 for The Tour of Life. Also, I saw a lot of people saying Beyoncé was the first major female artist to make a visual album. Bush got there twenty-three years before! Lemonade turns ten later this year (23rd April), and I will write about it closer to the time. You can read more about the Lemonade film here. Another global superstar influenced by Kate Bush who needs to mention it now and then is Taylor Swift. In more ways than once, Swifties owe a certain amount of love to Kate Bush. Taylor Swift | The Official Release Party of a Showgirl from last year could tie to The Line, the Cross and the Curve. Other major artists who have released albums and work that is more visual/narrative-driven include Halsey, Janelle Monáe and Frank Ocean. Could one say Janet Jackson's Rhythm Nation 1814 of 1989 was a visual album? I don’t remember it being one, though A.I. says it is. Though they are f*ckign unreliable, so I am still saying Kate Bush was at least the first woman to get there. Ed Sheeran did a visual album for Subtract in 2023. You can read about it here. Arguably among the most influential artists of the past two decades. The Line, the Cross and the Curve is more influential and worthy than critics, some fans and Kate Bush give it credit for! Screening it and raising money for War Child would not only bring fans together in a way that has not been done for many years. Conventions are not really a thing and tribute or charity nights bring together maybe dozens rather than hundreds. In any case, making it an event where we could get fans together to admire a film worthy of more would be brilliant. It would also highlight its influence and pioneer qualities. Upgrading/restoring the film might push Kate Bush to do the same with music videos, and any extra money for War Child is a bonus. In a year where we do not need and will not have album remasters and anything like that, it is a perfect opportunity to remaster and reappraise something…

OWED it more than thirty-two years after its release.

FEATURE: That Cloud Looks Like Industrial Waste… Kate Bush and the Ongoing and Important Family Connection

FEATURE:

 

 

That Cloud Looks Like Industrial Waste…

IN THIS PHOTO: Kate Bush in 2014/PHOTO CREDIT: Trevor Leighton

 

Kate Bush and the Ongoing and Important Family Connection

__________

I did not write…

a feature specifically about Kate Bush’s Christmas message, as there are some thoughts and words from it that inspire features of their own. However, I did want to say it is a typically and reliability excellent one from Kate Bush. I did watch the King’s speech, though I found it to be too generic and platitude-filled. Several references to Jesus and with a religion message at its heart, maybe it is aimed at those who feel the U.K. is a Christian land and that a more traditional narrative is needed. However, in a year of genocide, hatred and bloodshed, it would have been nice to dispense with religion – for atheists like me, it was especially meaningless – and actually talk about nations like Palestine and how it has been ravaged! Maybe a bit too edgy and family-unfriendly for a message that is, sadly, too concerned with cosiness and ‘traditional values’ (though the messages of togetherness and kindness were great) than anything more important. Not to say Kate Bush’s Christmas message was a charged and political one that took evil nations and dictators to task. However, as she is someone who has raised money for charities supporting those affected by war and genocide, and this is something she has done a lot through her career – charity fundraising -, she can be forgiven. Also, Bush keeps it specific about her career and year, rather than providing an examination of the wider world. I did half-expect – in a rather optimistic way – some sort of new album news. Like Taylor Swift picking up an award and then announcing a new album in that rather opportunistic fashion, that would be beneath Kate Bush. Thought it would be a revelation that would perfectly lift a rather crappy year! However, as I shall expand on for another feature, there is a little clue in the photo she used in the post (that you can see above), where we see something reflected in the Christmas tree bauble.

PHOTO CREDIT: Bernard Fallon

I am not sure whether that is a stock image or from Pexels/Unsplash and Bush imposed the image into the bauble, or whether it is her actual tree – I suspect the former -, but it is quite intriguing. Maybe it might be there to represent Best of the Other Sides and bringing that out, though there is a studio we can see. Or a mixing console at least. Some have intimated this as a sign an album is finished and may be announced. In the same way Bush hides ‘KT’ on her album covers, is this a little clue for the eagle-eyed, or something that represents the time she spent bringing out the Best of the Other Sides compilation? I will muse further in a separate piece. However, I want to bring in these words from her Christmas message:

“It’s been wonderful to see the response to the vinyl release of Best of the Other Sides. To put the running order together, I had to listen to songs I hadn’t heard since they were first released. My favourite part of revisiting those songs was listening to the middle section of The Meteorological Mix of The Big Sky. My favourite line is delivered brilliantly by my brother, Paddy. It still makes me laugh… “That cloud looks like industrial waste“.

There are also lines in that section of the track that were spoken by my mother and father. I love to hear their voices. It makes it feel like they’re still with us. Over the last few years, I often wonder how they would’ve felt about the major events that have happened. Particularly the pandemic, the undeniable effects of climate change, and of course all the wars.

I think they appreciated that Golden Age we had until recently in a way we can’t imagine. They had lived through a war and seen the horror, they’d felt the exhaustion that Britain had experienced afterwards. My father had practised medicine before the introduction of antibiotics and my mother had been a nurse, but I still feel they would’ve been bewildered by the intensity and the speed of the many changes over these last four to five years.

I remember when I was little, how our parents would carry in the Christmas tree every Christmas Eve. It was always in the evening and made the Christmas tree even more special and magical because it was only with us for a few days. We always used the same decorations, going back years, and this real tree would be draped in tinsel. A rather worn fairy would grace the top of the tree in her faded pink dress.

The Christmas tree is still the centre of our festive Christmas decorations at home. Of course, like most people this goes up and is decorated weeks before Christmas Eve, but it still holds a truly special magic for me”.

If previous years have seen Kate Bush muse on subjects such as art or loss in the world, this one very much had family at heart. The thanks she gave to fans for supporting the Little Shrew (Snowflake) video. Raising money for War Child. The Duffer brothers for using Running Up That Hill (A Deal with God) in Stranger Things’ fifth (and final) season. Max’s “totem” (in Bush’s words) and anthem, it has helped boost streaming figures of the song. It is great that this song continues to reach people and grow in stature. However, it is her recollections of childhood Christmases and her parents that really touched me. Family has always been so key to Bush. I have explored this in previous features, though are there are major artists where their family is as integral and important in terms of the music and career progression?! From her parents encouraging her young musical ambitions and supporting her, through to those earliest years where brother Paddy and John (Jay) were exposing her to poetry, music and a range of different sounds, words and sensations, I do think that a reason Bush was so hard-working and determined was partly as a thanks to her family. Rewarding their faith and love with this incredible music, I think of those early years. She has lost both of her parents. Her mother, Hannah, died on 14th February, 1992 from cancer. Her father, Robert, died in July 2008. Even though her father lived to eighty-eight, the fact that neither are here is especially tough this time of year. As they are in her mind for the Christmas message, I find that touching. Perhaps Bush has been working on material and her family have been in mind. Though, in a more factual sense, it is clear that her family have been so essential right through her career. Not to say other artists do not have that quality, yet there is something quintessentially and distinctly family-focused with Bush. Her dad providing encouragement when hearing her early demos (some of which were epic and saw other members of the family/friends walk out!), to giving her access to a piano and an organ at East Wickham Farm. Throw in all these happenings around Bush learning dance and mime and how her parents would have provided support, lifts sand money. That all influenced her.

Her brothers’ impact too. Opening her eyes to so many different styles of music and literary/poetic works. Her connection to the Trio Bulgarka (who appear on 1989’s The Sensual World and 1993’s The Red Shoes) came from Paddy Bush. Her mother’s voice has appeared on record and we see her briefly in a cameo in the video for Suspended in Gaffa (from 1982’s The Dreaming). Her father appearing more in voice form rather than visual. I think his vocal/spoken part on The Fog (from The Sensual World) is most striking. Rather than ot being nepotism or anything like that – can you have nepo parents?! – it is, rather, key to Bush to have her family close to her. It is no coincidence that her happiest recording came when she was making Hounds of Love and built a bespoke studio right next to the old family home at East Wickham Farm. When she moved out of there as a teenager and relocated to Wickham Road – I like to think she chose a flat there as it had ‘Wickham’ in the name -, she and her brothers had a flat each. They had their own floors but were essentially under one roof. Bush moved to Eltham in the early-1980s but never too far away from family. Wanting to remain close to that base. Flip through the pages of her albums and you can feel and hear her songs very much imbued with familial support and reference. A Coral Room (from 2005’s Aerial) mentions her mother’s old brown jug. Her mum is mentioned in Moments of Pleasure from The Red Shoes. She shows love and admiration for her parents and brothers on Hounds of Love’s closing track, The Morning Fog. There is a whole chapter – or playlist – around family and their role in her music and lyrics. Of course, Paddy Bush played on most of her studio albums. Apart from, oddly and mysteriously, 2011’s 50 Words for Snow (let’s hope we hear him on another Kate Bush album), he has been there providing vocals, playing a range of instruments, and giving the records general good vibes. Everything from exotic instruments to strange backing vocals to general noises and, as we gloriously discover from Bush’s Christmas message, a funny line from a remix version of The Big Sky (from Hounds of Love), it was important to have a brother on her albums. As Paddy did so much to encourage his sister and push her imagination beyond the conventional, this is perhaps a show of her appreciation. And Paddy Bush is an incredible musician in his own right!

John/Jay also features on her records – you hear him adopt an Irish accent for the spoken word section of Jig of Life from Hounds of Love -, and I feel his poetry directly influenced his sister’s lyrics right from the off. The mention of Paddy Bush made me smile! Someone who is not discussed enough when it comes to her music and legacy, I find it intriguing he is mentioned when speaking about Best of the Other Sides. Perhaps relating to that overall message of family, I do feel like they have been working together and it is a nod to his recent engagement in new music. Who can tell! However, it shows that as much as any collaboration, engineer or studio bod, members of her family have been driving forces. Whether that is for lyrical inspiration, musical directions or even something as big as where Bush lives and records, take that away or push it to the peripheries, and you have a lesser artist. That safe and secure family household in the 1950, '60s and '70s. Bush immersed in music, culture and literature (film and T.V. too). Her mother’s Irish heritage having a big impact. Bush recording bits in Ireland and writing a lot of the album there was because of her mother I feel. I can’t overlook a third generation of Kate Bush influence. We know about her parents and siblings, though her son Bertie continues to be in the mix. Although not mentioned in her Christmas message, you know that Bertie is in her heart. Keeping him private. He twenty-seven now, and he may well have his own family or he is off doing his own thing. I am going to write about him in more detail for another feature, as he has been a huge part of Bush’s later-career work. From an eponymous paen on Aerial to so many of the best and most touching moments on that double album – not by name, though Bush’s happiness and ambition on that, I feel, were motivated and propelled by Bertie’s presence – he has made his mark. Born in 1998, he arrived at a time in Kate Bush’s life when she had not released an album for five years, and perhaps was at a stage when she was re-prioritising things. Less about constant grind and work and more about something deeper and more important. Bertie replaced Rolf Harris’s parts – he is the disgraced sex offender who died in 2023 – when Aerial was reissued in 2018. Before then in 2014, thank Christ, Bertie appeared on stage for Before the Dawn and was essentially playing Rolf Harris’s parts there. Harris was convicted in 2014, and I don’t think he was ever in mind. However, Bertie helped encourage his mum back on stage and did a fine job – though I was not at any of the twenty-two Hammersmith dates, reviewers noted his natural acting and impressive turns. Little Shrew (Snowflake) is essentially Snowflake from 50 Words for Snow. The first track on that album, the first voice you hear is Bertie’s. So now, when Bush is fundraising and produced this powerful video, her son is still inspiring her.

Who knows, if Bush becomes a grandmother, will we see a new generation on her albums or in her lyrics?! I would like to hope Bertie is not too old or ‘cool’ to jam and sing with his mother if there is another album. Paddy needs to come back into the fray to compensate for that 2011 omission (there may have been a solid reason he could not appear on 50 Words for Snow)! Her parents always close to her; no doubt that will be explored more in future material. I am going to write about the Meteorological 12” Mix of The Big Sky, so I shall come back to Paddy Bush and that golden line!  The fact she loves her parents’ voices being on the Meteorological 12” Mix. How many other Kate Bush tracks have featured her brothers/parents? I think Waking the Witch from Hounds of Love perhaps. She wanted personal connections on that song, and they appear on a crucial track on The Ninth Wave from that album. I would love to hear a Kate Bush track with Paddy, Bertie and recordings of her parents! Maybe it was Christmas and Bush thinking about family, but it has compelled me to look wider. Even at six-seven, Kate Bush has keep her parents’ memories and importance alive.

Thinking about her childhood and the Christmas trees. It is magical to visualise East Wickham Farm and the whole family congregating by the tree and opening presents. Maybe the T.V. was on or music was playing. I don’t think there is a major artist in history who has brought her family more into their music than Kate Bush. Not even The Beatles, Madonna or anyone you can think of. Maybe I am wrong, though there is this massive, ongoing and hugely important familial connection. In 2026, I feel Kate Bush’s family will play a big role. Her brothers, Paddy and John, may well inspire new music and promotional photos (John is a photographer and has shot several of Kate Bush’s covers, including Hounds of Love, and photographed her since she was a child). Her parents will work their way into words more prominently than before. Let’s hope Bertie’s adult voice features. Though I feel her son will very much compel at least one or two new songs. As Bush notes in the first line of her Christmas message, “2025 has been an interesting year…”. That is definitely true! I do feel like next year is going to be less horrific. I do also think we will get something from Kate Bush. Either an album or a single. And I feel family, one way or the other, will be included. In what form remains to be seen. (And does that studio reflection in a bauble denote imminent activity?!). I, and every Kate Bush fans, looks forward to seeing…

WHAT 2026 holds.

FEATURE: Blood Roses: Tori Amos's Boys for Pele at Thirty

FEATURE:

 

 

Blood Roses

Tori Amos's Boys for Pele at Thirty

__________

IT is quite common…

IN THIS PHOTO: Tori Amos in 1996/PHOTO CREDIT: Cindy Palmano

that a third studio album is the moment an artist changes direction and assets more production autonomy. It happens with a lot of solo artists. I mention it enough when I write about Kate Bush and her third studio album, Never for Ever. Bringing different sounds into her music and co-producing, it was a step forward for her. It has happened with so many artists. I am not sure why the third album particularly is the point in which this happens. It was also the case for Tori Amos. After two successful and hugely acclaimed albums – 1992 Little Earthquakes and 1994’s Under the Pink -, 1996’s Boys for Pele found her recording in rural Ireland and Louisiana. A broader album (of eighteen tracks) that features harpsichord, clavichord, harmonium, gospel choirs, brass bands and full orchestras, she also served as sole producer for her own album. This was a big moment in terms of Amos truly deciding on the direction of her album. Amos had co-produced before, but this was her in the driving seat solo. Even if the songs are seen as less commercial or ‘radio-friendly’, I do feel that Boys for Pele is underrated. Recorded across multiple studios, Boys for Pele reached number two in the U.S. and U.K. It was a massive success for Amos. As it was released on 22nd January, 1996, I wanted to mark thirty years of a truly great album. I am going to come to some features about Boys for Pele, and I will end with a review from Pitchfork. It is fascinating how Tori Amos’s sound, aesthetic and production changed from 1994’s Under the Pink to Boys for Pele. For anyone curious, I would urge people to get the 33 1/3 book about Boys for Pele that was published in 2018. Amy Gentry, the author of the book, published an extra from her book for The Guardian, that caught my eye:

“It started with the album art. The cover insert for Little Earthquakes (1992) had been in excellent taste, featuring lots of white space, its bulbous, phallic mushrooms the only hint that something wasn’t quite right; Under the Pink (1994) pictured a miniature Amos, etherised in flowing white and surrounded by crumpled cellophane-like layers of atmospheric transparency. On the cover of Boys for Pele, she was life-sized and filthy, covered in mud and hoisting a gun in front of a dilapidated shack. In other images, her piano was engulfed in flames and appeared to be stranded at a truck stop outside of town, as if it had broken down on the road in the middle of the night. Amos herself seemed trapped in The Waste Land by way of an Erskine Caldwell novel. She suckled a piglet; she posed on all fours in a barnyard, among the animals and garbage, one shoe missing, face turned away from the camera, her once-white clothes now the same soiled colour as the squalid mattress under her knees.

The album sounded like a wasteland, too. A bull groaned in the background of Professional Widow – shades of Tobacco Road again – and other, less identifiable sounds presented themselves throughout the album. On some tracks, the piano was so distorted that it sounded as if it really were being set on fire; and although it still appeared on every track, it had been demoted, replaced as the dominant instrument of the album by the harpsichord, a piano with a head cold and a nasty sneer. Softness was all but missing from Boys for Pele; at once alien and archaic, the harpsichord is not capable of softness. The transitions were too abrupt, the stripped-down songs too stripped-down – Twinkle was a one-finger lullaby, Beauty Queen a single note plunked over and over – and the whole thing sounded as if submerged, not in musical white space, but in something like black space. The more complicated songs, Blood Roses and Professional Widow and In the Springtime of His Voodoo, were exhausting, the thread of their bizarre lyrics and multiple bridges and breakdowns and deliberately contorted vocals impossible to follow. Melodies were stretched like taffy and then suddenly interrupted to make way for abrasive, spitting lyrics: You think I’m a queer, I think you’re a queer! Chickens get a taste of your meat! Stag shit! Starfucker! It better be big, boy! Fragments of prettiness would reenter the scene, skewed and nonsensical, Band-Aids of grace just soft enough to hurt when ripped away.

“Mannered” was not a word I knew to use in high school, but mannered it was. Boys for Pele was Tori Amos’s baroque phase. It was also the last time she ever allowed herself to be quite that ugly, and ugliness, I am now convinced, is much more important for an appreciation of Tori Amos than beauty, though both are always present. On Boys for Pele, their very coexistence is what disgusts. For a woman to be ugly in a way that’s not readable as rebellious, or punk, or cool – ugly in a way that, because of its proximity to the remnants of beauty, reminds you all the time of your potential failure to be the right kind of woman, to be any kind of woman at all – ugly because trying too hard, overflowing, whining and gibbering, too much – not a scream, but a broken soprano – not an abortion, but a pig hanging off a porcelain breast – is worse than tasteless. It’s disgusting.

What if disgust were something every woman had to navigate in order to access the idea of taste – in music, in art, and in life? What if an aesthetics of disgust could show us that what we despise in others is actually something we fear within ourselves – and, with the dreadful, frightening persistence of the disgusting, teach us to love it?”.

I do think that it is important to bring in the entirety of this feature from CRACK. Not to pull things back to Kate Bush, though the critical reaction for Boys for Pele reminds one of The Dreaming. That 1982 album, where Bush was more experimental and it was a real departure did horrify her label and many critics. I am not sure if Amos was channelling that but, like The Dreaming, the influence of Boys for Pele is huge. This retrospective feature argues how Boys for Pele is the misunderstood magnus opus from Tor Amos:

“On its release at the start of 1996, Tori Amos’ third album was met with responses that ranged from bafflement to outright derision within the music industry. It was the follow-up to 1994’s ​Under the Pink​, a transatlantic best-seller that had spawned a breakthrough radio hit in the whimsically catchy ​Cornflake Girl​. But instead of building on this, Amos had delivered a dark, uncompromising 70-minute opus in which she had stripped her music down and her soul bare – while almost entirely abandoning traditional pop song structure and lyrical directness.

Amos’ label, Atlantic, were horrified; critics, sensing that she had escaped the “confessional singer-songwriter” pigeonhole but unable to pin down exactly where she had gone, lashed out in confusion by dismissing the album as “self-indulgent” and “obtuse”. Throughout the first two months of her world tour to promote ​Boys for Pele,​ Amos has said that she was told to cancel her shows and go back into the studio.

Ploughing on was an act of faith in a record so raw that Amos would describe it as a “blood-letting”. The collapse of her relationship with former co-producer Eric Rosse had informed much of its genesis, but the fire of Amos’ cathartic rage was as rapacious as the Hawaiian volcano goddess who gave the album its title. ​Boys for Pele​ is nothing short of a full-scale purge of patriarchal repression aimed squarely at its sources of power – religion, history, politics, community – manifest in music which is both the sparsest and most confrontational of her career.

All of this makes it easy to cast ​Boys for Pele​ as a difficult record, but the actual listening experience is more complex. It’s an album of extremes, often within the same song, but Amos veers between them with such ease and command that she elides any real distinction between ugly and pretty, soft and hard. The baroque stateliness of ​Blood Roses​ is ripped through the middle by the full force of Amos’ latent Diamanda Galás tendencies. A visceral howl of pain gives way to dreamy delicacy, culminating in an astonishing set of triple rounds, on ​Father Lucifer​. Paring her arrangements back for the bulk of the album serves only to expand her range, which takes in thrash harpsichord backed by a sampled bull roaring (​Professional Widow​), piano tearjerkers that could be standards in a different context (​Hey Jupiter,​ ​Putting the Damage On​) and, briefly, the mimicking of a daytime TV theme tune on a song declaring Jesus to be a woman (​Muhammad My Friend​) – probably the outright funniest moment of Amos’ career.

Some of ​Boys for Pele​’s ostensibly most forbidding aspects prove to be its most inviting. Experimental song structures simply end up giving Amos’ underrated gift for melody more room to shine: ​Boys for Pele​ is secretly one of her most hook-rich works, but the way in which they flow into each other is entirely in keeping with the album’s shifting sands building its own strange internal logic. The same is true of Amos’ lyricism: a stream of consciousness that moves with no explanation between mythological references, startlingly raw imagery, literary allusions, private in-jokes, wordplay that exists only for the pure phonetic hell of it, parsing meaning from any given song is to open a door to many worlds. Amos has been reductively labelled a “confessional” artist, but the oblique nature of her songwriting is a dismantling of the idea that piecing together a straightforward “confession” is a useful goal; rather, Amos communicates the fragmented, blurry nature of trauma in her words and unvarnished emotion in her voice.

Twenty-five years on, Amos largely remains an artist given her due by real heads only. Her position in the canon – such as it is – has not been the result of any large-scale critical re-evaluation, and unlike many of her peers from the 90s rock landscape she has never been deemed a cool touchstone by the music press: her piano perceived as too polite at a time when grunge was in vogue, her virtuoso theatricality an ill fit for a turn-of-the-century indie scene that prized lo-fi mumbling, her earnest feelings a turn-off to generations of critics who have preferred to seek refuge in jaded irony.

Instead, Amos has been a cult artist, a term that may have been once commonly used in the music press to disparage her notoriously devoted fanbase – uncoincidentally, one that skewed heavily female and/or queer – but should instead be a reflection of a rare gift to create the kind of human connection with an audience that is arguably the entire point of art. The past decade has seen elements of Amos’ aesthetic quietly return to prominence, thanks in part to self-avowed fans from Taylor Swift to Perfume Genius to St Vincent. But few comparisons survive much interrogation: Bat for Lashes and Joanna Newsom, for example, bear much the same relationship to Amos as she did to Kate Bush, the point of reference continually and lazily thrown at her by critics unable to hear beyond a shared instrument and vocal range.

Indeed, the best comparison points to ​Boys for Pele​ in recent years have been albums that sounded nothing like it, by artists working in entirely different genres. Angel Haze’s 2015 album ​Back to the Woods​ turned emotional wounds and religious trauma into a source of power in a similarly cathartic fashion, manifest in Haze’s furiously confrontational rapping and bone-juddering percussion; while electronic R&B visionary Dawn Richard’s headiest experiment yet, 2013’s ​Blackheart​, was also a triumph of inventing its own internal logic. Both, appropriately, are also cult classics that exist on the margins rather than mainstream breakthroughs. Amos’ legacy is as an entirely sui generis artist with an unparalleled ability to strike the realest of chords in the most unpredictable of ways – and ​Boys for Pele​ is her most unreplicable work”.

I am going to end with a review from Pitchfork. In 2016, twenty years after Boys for Pele was released, Tori Amos reflected on the album with Stereogum. She also premiered the B-side, Amazing Grace/Til The Chicken. In as year that saw epic releases from Beck, Manic Street Preachers, Kula Shaker, DJ Shadow, Fugees and Suede, I do think that Boys for Pele fits into the year and what was popular. Maybe some critical backlash was less about what the album sounded like and how long it was. Perhaps more misogyny towards a woman who was pushing boundaries and going beyond the Pop mainstream:

“STEREOGUM: Boys For Pele ended up being a turning point in your career. What was going on in your life leading up to the making of this album?

TORI AMOS: I’d been on tour for a long time in 1994 for Under The Pink. We had gone to so many different places and I met so many different people. We had a full crew out there then and that was different for me, because before that it was just an engineer and my tour manager, just the three of us. Then I had a proper crew and they sort of became, I don't know, my band [Laughs] and I became friends with them all. It was a mixed bunch. There were some Brits. There were some Americans. My tour manager was British and the reason this matters is because of Mark (Hawley) and Marcel (van Limbeek), Mark was sound and Marcel was my monitor engineer, and they had worked together in the past. It was just working out really well with them on tour. By October, Mark and I began dating but we had hardly ever really spoken before the tour... It's funny that you and I are talking right now. What's today's date?

STEREOGUM: Under The Pink was a pretty big hit. I’m sure the record label was like "just do some more of that," or wanted to put you in the studio with Rick Rubin or someone like that who can make something palatable to the mainstream, but instead you came out with this record that was more dense and difficult, but great in its own way. What did the record label first think when it first heard it? Were they happy, or like “hmmm...”?

AMOS: Oh my God, it was played in New York and I don’t sit in during the listening sessions, so I was just out to dinner, but not partying or anything, and I walk in and say hi to everybody and it was being played in the recording studio in New York and Mark and Marcel were there in the control room. My God, I’ve never met such frosty reception in my life! [Laughs] I guess I had a frosty reception once with (former band) Y Kant Tori Read. I have had rough receptions, but I just was not expecting the look on people’s faces. I can’t even tell you what it was like. It was really just vicious, the most shocking, awful things you could hear from people. Only the classical music department got it.

STEREOGUM: Did you have to fight to release it the way that you wanted it or did they want you to go back in the studio and cut a few more hit singles or something?

AMOS: By that time, the discussions had already happened. That album was already coming out. I had been warned. I had been warned. But the champion of this record was the legendary Bob Ludwig who mastered it, and he did the remaster. He looked at me and said: “This is the record of your career.” He said that other artists have done this in their career, sometimes later and not on their third record or this early, but it’s respected. It’s raw. He came to understand that about it.

STEREOGUM: You’ve had angry songs on your albums before like “The Waitress,” but for this one we have “Professional Widow” and “Caught A Lite Sneeze,” which is you at your most visceral, in a way. Where did that anger come from?

AMOS: I don’t know, thirty years of processing. I don’t know. Maybe it was about control. Maybe it was about a trigger that I sensed or was happening when people wanted more of the same and I don’t mean... I’m not talking about just hits. I had a great relationship with (former Atlantic Records executives) Doug Morris and Max Hole. They were like my fathers. No that’s not right, they were like mentors. They broke Little Earthquakes, and Doug had been locked out of Atlantic Records, and I say when he left, he’ll correct me and say: “Tori, they threw me out of the building, who are you kidding?” He had to start again, and boy did he start again. He is probably one of the most legendary record men that has ever lived. And listen, I understand with the new people at Atlantic, I understand how this record would just be “what?” after Under The Pink. And the promo people... I get it Michael, I get it. But if you look at it in the way you said before, there's a tradition where any artist that will be around for 20 years will have to make this kind of record at some time.

STEREOGUM: Some of the early reviews were kind of harsh. Wasn't the Rolling Stone review a pretty bad pan?

AMOS: Fuck you, critic at Rolling Stone. Next.

STEREOGUM: It’s interesting, because eventually the album caught on and you started getting a lot of rotation at rock stations. You heard “Caught A Lite Sneeze” and “Hey Jupiter” all the time if you were paying attention back then. Did you notice you were reaching different people and getting into a different strata after that album?

AMOS: Yeah, the audience got a lot younger. A lot of teenage girls started showing up. A lot. Before, I had a lot of heterosexual men in their thirties, and some women of course. But something with this record really kicked in. And the gays were always there. They have always been there. Without the gays, I am nothing. Men and women, I am talking about. But really they were the best, they were just there from day one.

STEREOGUM: What was it about this album that got the teen girls, finally?

AMOS: Well, you know, I didn't set out to do it, but I think that “Me And A Gun” and “Silent All These Years” did speak to people of all ages, but I think there was a kind of... This is how it has been described to me by people over the years; that some of them were 13 years old, 15 years old in their room, listening and experiencing similar emotions of not being able to express that feeling of being controlled by their parents, or their life feeling out of control. They didn't have control of their life. So hearing Tori quote-unquote rationalize that at the time after having a successful couple of records and carving a path that people maybe didn't think she should carve because they knew best about what she should do, and standing up against that was something that they really identified with. It’s kind of like when your parents are telling you: “No, you want to do this, you want to go to college and you want to be that and we’re doing this because we love you.” And you feel like saying: “No, you’re doing this for you. You’re not doing this for me.”

STEREOGUM: Obviously you’re at such different place in your life with your marriage and your daughter and you seem very happy. Do you recognize the woman singing these songs anymore, or does it seem like a completely different person?

AMOS: I recognize her, because I wouldn't be here without her. I recognize her. But I don't know if Tash would want her to be her mother. To be where I am right now and to be chill and to be laid-back, but still present and clear and a decent listener, I had to make some changes in my life and I had to confront some stuff. I had to confront the idea of mending, and control of my life, whether it was corporate or the industry, whether it was my dad, whether it was whomever. I thought, “No, I have to be an equal in my life” as far as not just performing and writing and being the type of artist people want me to be. That, to me, is not honest. That, to me, is you aren't responding as a songwriter to what is happening in front of you today and writing about that. See, what you’re doing is not fabricating, but you’re creating in a way that everybody has agreed is acceptable, and, to me, that is not a liberated woman. A liberated woman who happens to be a songwriter says, “No, I need to write some truthful space,” whatever that truth is at the time”.

I love all of Tori Amos’s albums, though I remember when Boys for Pele arrived. In January 1996, I was twelve, and I was more into Britpop and stuff coming out from my native land (the U.K.). I was well aware of Tori Amos, but tracks like Professional Widow really opened my eyes. It was so different to anything I had heard before. In terms of its themes and lyrics, it perhaps caught some unaware. The Pitchfork review properly salutes a divisive third album that is “a strange and unsettling amalgam of distorted harpsichord and bloody revenge fantasies born of ayahuasca, Mary Magdalene, and the blues”:

“On top of its nonsense lyrics, Boys for Pele also offers little respite from the harpsichord. In keeping with her quest for provenance, Amos traced the piano’s bloodline to its plectrum-equipped ancestor—an instrument she swiftly became obsessed with, despite its scant melodic or textural range, and, more crucially for Amos, its lack of sustain. For someone who pumps her piano’s sustain pedal as if she’s trying to resuscitate the notes back to life, Amos was severely tested by the harpsichord’s constraints. “I wasn’t interested in anything that didn’t challenge me, and as I started finding different parts of myself, I brought in different instruments to express that,” she explained to Spin. The greatest challenge with the harpsichord was to cleave it from its Baroque associations. She wanted to take out the whimsy and give it some ass. To do that, she made the low end growl by feeding a Bösendorfer piano through a Marshall amp . You can hear the rusty buzz and rattle of each of its keys. For Amos, compression was the ultimate taboo.

Amos referred to Boys for Pele as her “thrash harpsichord” record, a descriptor most befitting of two songs: “Professional Widow” and “Blood Roses.” She plays the former in an unnervingly standard waltz time, with parallel fifths that she smashes to smithereens in every other measure. On “Blood Roses,” she growls, “Chickens get a taste of your meat, girl,” alluding to a scene in Alice Walker’s Possessing the Secret of Joy in which the byproducts of female mutilation are tossed to the birds. On the harpsichord, she jounces between rapid-fire triplets and largo sequences, all while traveling across scales so swiftly it inspires the awe and horror of watching someone tap dance themselves into flight. She discovers the instrument’s blood.

Amos’ quest for provenance is also reflected in her deliberate choice of recording locations: a deconsecrated church in County Wicklow, Ireland, and a studio in New Orleans, Louisiana. Boys for Pele, with its bluesy tones and syncopations, re-synthesizes the influences that make up the musical identity of the rural South. She draws particular attention to the way Irish music made its way through the rivers of Louisiana in the 19th century, influencing the blues and the region’s cultural sound. “Mr. Zebra,” with its bouncy piano line, has the feeling of a slip jig; “Horses” rolls in non-linear arpeggios like an Irish air. Boys for Pele is a spiritual as well as musicological investigation of place.

To Amos, these sites symbolized, more specifically, the New World church’s stripping of Mary Magdalene’s sacred sexuality. Much of Amos’ musical project has long revolved around recovering Magdalene’s legacy—a legacy the modern church had reduced from Jesus’ bride to an unrepentant sinner. “If we were going to use a term to describe my music, it would have to be ‘theology of the feminine’,” Amos told The Oregonian in 1996. She believed not only that Mary Magdalene was pregnant with Jesus’ child but that this buried truth formed the blueprint for all women’s sexual culture—and that had the original myth remained intact, Amos would have been raised with a healthier relationship to her sexuality, to men, and to herself. Boys for Pele is her attempt to violently write into existence the sacred Bride that Christian theology has long obscured.

These ideas were so heady that Amos was never quite able to synthesize them into talking points during Boys for Pele’s lengthy press run. Many of the interviews instead concerned Amos’ relationship with the internet, a hot-button topic at the time. A curiously under-remarked aspect of Boys for Pele is how much the internet contributed to its success. Though Amos had touched a computer maybe twice in her life up to that point, she had an unusually devout online following. Her fans were very early adopters. Digital mailing lists devoted to Amos even preceded the World Wide Web as it came to be known, with some fans sending out digests on a daily basis in the early ’90s.

With the dot-com boom, a flurry of Amos fan sites emerged, including the First International Church of Tori, with its own dedicated “Altar Room.” At the time of Boys for Pele’s release, there were some 70 websites devoted to Amos—an extraordinary amount for that nascent era of the internet—and Amos supported those sites by giving them exclusive interviews. Atlantic Records cleverly tapped into the new niche by making “Caught a Lite Sneeze,” the album’s lead single, one of the world’s first songs to premiere as a free digital download ahead of its official release. Amos’ website also debuted samples of three Pele tracks on December 15, 1995, and upon the album’s release a month later, the Atlantic Records website scored two million hits, their most in a single day.

At school, Amos, a self-proclaimed nerd, was voted homecoming queen by the school’s nerd committee. This is sort of how her fame worked then and still does today. Despite significantly less radio play than her previous two records, Boys for Pele achieved platinum status much faster than its predecessors. The album debuted on the Billboard Hot 100 at No. 2, held from the top spot only by the unmovable Waiting to Exhale soundtrack. Her extensive 187-stop Dew Drop Inn Tour, running from February 23 to November 11, 1996, sold out within days and grossed $4.4 million, making it one of the highest-earning ticket sales of the spring.

Amos’ reputation and fame in the ’90s did not carry into the new millennium quite the way it had for her contemporaries Björk and PJ Harvey. She didn’t possess either’s sanguine cool. Before Amos made it as a musician, she’d ousted Sarah Jessica-Parker for a role in a Kellogg’s commercial. The director told her she did a good job, but to “tone it down please.” Instead, Amos toned it up for the rest of her career, transforming herself into a meta-Jungian girlband for 2007’s American Doll Posse and caressing herself onstage with a knife.

Even today, Boys for Pele remains the most distinctive record in her discography. Amos embodied such an extreme scope of emotion that it fell outside any frameworks capable of packaging or aestheticizing it. While other exceptional women of the ’90s transmuted their rage into power, Amos did something more akin to turning excrement into ecstasy, delivering her rage with a barnyard stench. It was an absolutely monumental achievement, a dive into another world from which no sound could escape. On Boys for Pele, Amos truly came undone, un-disciplining music while disassembling the spirit. She was convulsing, untouchable, and often illegible. Mystical Christianity dictates that this kind of abjection is a sign of close proximity to the divine, but on Boys for Pele, there was no God to be found”.

I think that Boys for Pele is a masterpiece and the third in a perfect run from Tori Amos. She would follow 1996’s Boys for Pele with from the choirgirl hotel. Not to bring it once more back to Bush, but perhaps there was a feeling that, after an album that divided critics but was a commercial success, some compromise was needed for the next album. Amos’s fourth album was acclaimed and ‘won back’ a lot of people. NME wrote how “The kookiness isn't dominant, she's stopped the attention-seeking lyrics almost completely and, yes, her pianos don't try to be guitars too often…At last, she's putting the songs first, and the band-led From the Choirgirl Hotel is, by any reasonable yardstick, a glorious coming of age”. I think that there was a lot of sexism and misogyny that meant women had to record certain music and could not be different and slightly experimental. Boys for Pele turns thirty on 22nd January. I wonder whether Tori Amos will mark it or write something about one of the best, and most underrated, albums of the 1990s. There is a line from Professional Widow, the third single (it was a U.S.-only single) from Boys for Pele, that seems to sum up the album or is a mission statement from Amos: “What is termed a landslide of principle”. The glorious, pioneering, hugely intelligent, beautiful and raw Boys for Pele is…

A sublime and fascinating album.

FEATURE: I’m the Fear Addicted: The Prodigy's Firestarter at Thirty

FEATURE:

 

 

I’m the Fear Addicted

 

The Prodigy's Firestarter at Thirty

__________

ONE of the…

most important and highest singles of the 1990s was released on 18th March, 1996. The lead single from The Prodigy’s third studio album, The Fat of the Land, was like an explosion! A song that still resounds to this day. A song that has credited writers of Liam Howlett, Keith Flint, Kim Deal, Anne Dudley, Trevor Horn, Gary Langan, Jonathan Jeczalik and Paul Morley, Firestarter reached the top of the charts in the U.K. Because the song turns thirty soon, I am focusing on, for the most part, its creation and legacy. I will end with a 2020 feature from The Guardian. They placed it eighth in the list of the one-hundred greatest U.K. number one singles. A song that is defined by the electrifying and distinct vocals of the much missed Keith Flint, I remember when Firestarter came out. It was a revelation. This was the first timer Flint provided vocals for The Prodigy. More of a dancer with the group prior to that, he knew this was the song he had to sing on. Writing these incredible lyrics and so committed to working on the music video and making it as unforgettable as possible, Firestarter is one of the defining tracks of the 1990s. I want to highlight a 1997 Rolling Stone cover, which has this sub-headline: “How a faceless ass-rumbling hard rock techno band found a voice (and a haircut) and set the world on fire”. I wanted to highlight the sections below, as we learn how Keith Flint being from someone in the background for The Prodigy to being at the front. He would also sing on another The Fat of the Land single, Breathe, but Firestarter is his finest moment. The best song he ever put his vocals to:

“Before “Firestarter,” the only singing that anyone had heard Keith Flint do was the routine he and Thornhill would sometimes perform, bored, in the back of the tour van: crooning U2’s “One” as they waved their lighted-up mobile phones in the dark, pretending they were lighters. But Howlett had this instrumental, and Flint announced one day that he’d like to try doing something over the top. They wrote the lyrics together. Howlett thinks he came up with the “Firestarter” idea and masterminded the structure. The words are simply a picture of Flint. “He’s got not a cent of common sense, but he’s actually really intelligent,” says Howlett. ” ‘I’m the self-inflicted mind detonator’ — that’s him. He’ll build things up in his head until he’s on the edge of going mad. That lyric was spot-on.”

Flint highlights both the “self-inflicted” line and “I’m the bitch you hated.” They’re both ways that he thinks of himself. “It’s quite deep,” he mutters. “I don’t know if I want to say.” He eyes the tape recorder. “I could explain it to you, but I wouldn’t for the magazine.”

Listening to you spit out those words, I say, you get the feeling of energy and joy mixed up with self-hate.

“That’s absolutely spot-on. That’s absolutely spot-on.”

I’m the bitch you hated. That’s a very weird thing to say about yourself.

“Yeah. I don’t know that I’d want to describe it,” he says. “That is a very deep thing to me personally, and I can deliver that with far more power than the other lyrics.”

Why, suddenly, did you decide to write lyrics?

“That’s unexplainable,” he says. “Why does a river turn into an oxbow lake? I’ve spent six years expressing myself with my body, shouting with my body. It’s like a conductor of the music. From the party scene, when a tune came on and it was your tune, I wanted everyone to know it was my tune. Yes! Fuckin’ hell! Rockin’! Just yelling at each other, dancing away. This is just an extension of that. If I could get a mike and just go, ‘Fuckin’ hell! Fuckin’ hell!’ I would do it. That is the punk-attitude, DIY aspect of the Prodigy.” And this was an age of change for Flint. The nose bolt. The pierced tongue. The new hair. “Fuck it,” he reasons. “I’m in a band. I’ll do what I want.” He worries that it’s becoming too much. An image. He might dye his hair all black. (He wants to get his penis pierced, partly because that one will be just for him. That’s one that will not be on display.) He also got inflicted tattooed onto his stomach. He got Howlett to design the letters. Inflicted. It was saying what people were thinking when they looked at him.

The night that Flint and Howlett wrote “Firestarter,” they played it about 30 times in the car. “I don’t think either of us could quite believe it was me,” says Flint. “I’m not a singer. I love the fact that there’s people out there that have been trying since the age of 9 to sing and get the voice right — do, re, mi and all that — and I can roar in, not ever written anything or performed lyrically anything, and write a tune that’s so successful. I think that’s a brilliant piss take on a lot of people, and that gives me a buzz.”

It was the video that best communicated the hyperactive psychosis of “Firestarter”: Flint leaping and leering around in a disused London subway tunnel. It is said that when it aired on Top of the Pops, Britain’s most-watched music TV show got a record number of complaints, simply because Flint was so scary”.

The Fat of the Land received some huge reviews when it was released on 30th June, 1997. If there are problematic songs on it such as Smack My Bitch Up (which many saw as glorifying domestic abuse and being misogynistic), there are some underrated classics like Diesel Power. Breathe is the second single, and I always see it as too similar to Firestarter. A slightly inferior version. It is weird that Firestarter is track eight on The Fat of the Land and not nearer the top. It does sort of get buried towards the end when it should have been the lead track or the second one. However, it has this incredible legacy. It created shockwaves and tremors when it came out on 18th March, 1996. Over a year before the album arrived, fans of The Prodigy were realising why Keith Flint should be front and centre. His lyrics and incredible vocals, tied to his distinct look, huge energy and infectiousness – and some chaos into the mix! – helped bring the band to a new audience. I was one of those people who became a convert in 1996. There are two features I want to include before wrapping up. The Delete Bin reviewed Firestarter in 2015. They have some interesting takes. I forgot about the furore and controversy the song caused. Especially the video. It does seem insane that thee was this sensitivity around a song that was not exactly urging people to start fires or incite destruction and violence:

“The Prodigy were dogged with controversy over many aspects of their presentation and their content. With this song, maybe controversy was stirred up because of the video, and the meaning of what a “firestarter” really is, too.

Controversy aside for moment,  the reason I think that this song, and the album off of which it came, was so popular is because it provided a series of varied musical textures that Brit-pop guitar bands didn’t provide, while still managing to reflect the guts of rock music which so many guitar bands were trying to capture in a new paradigm. The first time I heard this, I didn’t really process it as dance music. To me, it was punk rock. Maybe this is because it sampled the Breeders. But, there was more to it than that.

Not too many dissenting critics took into consideration that “fire” as a concept isn’t necessarily about destruction, or pain, or murder, or hell, or whatever. Fire is about creativity, too. Think about Prometheus in Greek myth. And about “holy tongues of fire” in the book of Acts in the Bible. Fire is a classic double-edged sword in storytelling. It can be destructive. But, it can be used as a literary device, emblematic of a force that sweeps away the old to make way for something new. It can be about inspiration and about clean slates. That’s what I think the band were really driving at, and what really makes this song as punk rock as it is.

As Flint spits out “I’m the firestarter!” all punked up and full of feral and wide-eyed fervour as he is in the video, he seemed like some Anti-Christ figure to some, maybe. It followed that a lot of people just took it all at face value. But in the song, he also asserts “You’re the firestarter!” which seems to undercut all that, not that too many people noticed. As such, this tune is actually pretty empowering. It’s the dance-rock, punk rock expression of Ghandi’s “be the change”. Or at least that’s certainly one fair interpretation, and certainly an example that makes it important to always question the wisdom of most decisions that lead to bans on things in the name of public decency”.

I am going to visit NME’s 1996 article. They followed The Prodigy on the set of Firestarter. As they say in this revisit (published in 2019): sensitivity: “Please be aware that sensitivities may have changed since publication”. This unfiltered band that wanted to definitely shake things up and ruffle some feathers, it did seem like it was a handful being around them! However, by all accounts, the band were perfectly amiable. Especially Keith Flint. A lot different to the impression people had of him. Definitely after the Firestarter video:

“People say Keith looks insane these days,” shrugs Liam, during a break from overseeing the filming.

“But he’s been insane for five years! He was insane the day I met him dancing in The Barn in Braintree. People only started to notice when he dyed his hair. And obviously the press and the fans are going to latch onto him now. But it was always going to be like that. It’s a natural progression.”

His public profile is surely set to go ballistic in about two weeks, though, in the wake of his starring role on ‘Firestarter’. And Liam may not be responsible for the ensuing carnage.

“I recorded it as an instrumental,” recalls Liam.

“And as usual, all three of the others come round to have a listen. Keith happened to be the first, and I said to him, ‘We need one more element’. Now I’d have been happy with a good sample, but Keith says, I’d really like to try some vocals on that’. And I’m like, ‘Whaaaaaaat?!”

“We had no idea how it was gonna sound,” admits Keith, “because the only singing Liam’s ever heard from us is me and Leeroy singing U2 songs on the way home. We always harmonise on ‘One,’ and instead of lighters, we put up our mobile phones and wave ‘em in the air!

“It was so ridiculous because my English isn’t my strong point, by any stretch of the imagination. So I end up singing in this weird accent (puts on a daft yokel voice), ‘Oi’m a muckspreaderrrrr, twisted muckspreaderrrr’. But it ended up sounding quite… menacing.”

So are we to assume that ‘Firestarter’ is autobiographical, then? Have you burnt down any houses lately?

“Oh no, man!” counters Keith. It’s never that direct. It does make you think though. They played the white label at Stamford Bridge the other day, and I was thinking, ‘I hope it don’t start any Bradford fires!”

“Leeroy knows me inside out, though,” he concludes, “and when he heard it he said, ‘That tune sums you up, man’. So there you go.”

This is the second video The Prodigy have made for ‘Firestarter’. The first one was directed by the man responsible for a Mustang jeans ad the band liked. “It didn’t represent us properly,” according to Liam. Which roughly translates as, “We were barely even in it”. Presentation and representation are a high priority, some might say absurdly high, for The Prodigy, possibly the only successful band in Britain who refuse to appear on Top of the Pops or, indeed, most other TV programmes. It’s not a ‘real vibe’ is their usual argument. But Keith, inevitably, has something more to say. And there could be casualties.

“TV corrupts people, I think. A lot of acts get that little break and they change from T-shirt and shorts to designer stuff, swanning around like arseholes. I mean, to me Goldie and Björk are like that. Goldie’s coming on as the bad boy of the jungle scene — and then next thing you know he’s going on to give an award to his girlfriend at The Brit Awards. Now to me, that was as sickening as Michael Jackson and Lisa Marie Presley. I’m not dissing him, right, but if I watch that, it’s Bon Jovi. It’s Hollywood. You give ‘em a few front covers and they wanna play the pop-star game.”

“Nah, that’s bollocks, Keith,” Liam calmly corrects his colleague. I’ve got respect for Goldie, because all he’s doing is bringing a music that’s actually quite small – ’cos jungle’s not as big as the press make it out to be – to a new audience. He hasn’t commercialised his music. And he hasn’t sold out. It’s good stuff man.”

“Sure,” says Keith, slowly trying to dig himself out of the the hole his big mouth has created. “But I’m just saying, you put a camera in front of someone and they do something a little bit cheesy. It’s just the hypocrisy, man. If you slag off the mainstream when you’re small, you shouldn’t embrace it later.”

Never mind. I hear Goldie takes criticism with good grace.

Bit of a shame about Top Of The Pops, though. Just imagine the nationwide tea-choking that would doubtless be introduced by Keith Prodigy breaking and entering your living room at 7pm on a Thursday evening…”.

I know 18th March is a little way away, but I wanted to be the first to mark thirty years of Firestarter. There will be anniversary celebrations coming soon enough. It is bittersweet as we lost Keith Flint in 2019. He is not around to see those words published. How people are responding to the song today. Firestarter still sounds like nothing else! I think it is the best thing The Prodigy ever did. A Molotov cocktail of a song where Flint seems fevered, hallucinatory and raving, his lyrics are genius. His performance is iconic.

IN THIS PHOTO: The Prodigy’s Keith Flint performing at the Phoenix Festival in 1996/PHOTO CREDIT: Mick Hutson/Getty Images

I am ending with The Guardian and their article from 2020. When deciding the best one-hundred U.K. number ones in 2020, Firestarter was placed in eighth. A huge recognition of its legacy and importance. Revolutionary and still so powerful to this day:

“It starts with a riff: not a distorted guitar but a contorted squeal from a twisted fairground. It’s a riff nonetheless, the instantly sticky sign of an unstoppable hit single. Firestarter was one of the biggest pop-cultural events of 1996 and by the end of the year the Prodigy were one of the world’s biggest bands. The Essex four-piece’s first No 1 was a flashpoint of teen angst, TV infamy, moral panic and tabloid outrage, carried aloft by big-beat pyrotechnics and a lethal barrage of lyrical vitriol. “Ban This Sick Fire Record,” squawked the Mail on Sunday – but it was much too late.

The Prodigy were already a dominant force in pop. All but one of their singles since 1991 had made the Top 15, including 1991’s Charly, the cartoon-sampling hit that famously “killed rave”, according to clubbers’ bible Mixmag. Liam Howlett, the band’s musical engine, was bored with cranking out rave hits to a formula and started experimenting with elements of hip-hop and rock on their second album, Music for the Jilted Generation. Now the Prodigy were ready to reintroduce themselves as stadium-sized heroes with The Fat of the Land, taking dance music deep into the moshpit while promoting dancer-cum-hypeman Keith Flint to songwriter and vocalist. As an opening salvo, Firestarter was flamboyant, surreal, terrifying – and, like all the best pop songs, totally novel.

I have a faint recollection of watching Firestarter on Top of the Pops that week. The Prodigy didn’t want to perform, adamant that their anarchic live energy wouldn’t translate to the nation’s living rooms, so after Gina G and PJ & Duncan had done their thing, the BBC exposed millions of young minds to the video, depicting a diabolical figure in a reverse mohican twitching and gurning like a thing possessed. Too young to have any context for the music, I was transfixed but repelled, vaguely aware that this was something I probably shouldn’t be seeing.

That scuzzy black and white clip, filmed in a disused tube tunnel, was Firestarter’s second video, produced on a shoestring after the Prodigy had blown £100,000 on a hated first attempt. Flint flicks his pierced tongue at the camera, eyeballs glowing against his black eyeliner. The Prodigy came from the rave scene but this was more Marilyn Manson than Orbital, and Flint was a tortured rock god, snarling lyrics about mental anguish and self-harm: “I’m the self-inflicted mind detonator / I’m the bitch you hated, filth infatuated.”

The music press had been building them up as the “electronica” act that could finally crack the US, but the Prodigy didn’t see themselves in that lineage. They weren’t avant-garde like Aphex Twin and Autechre, and they weren’t purveyors of what rock writers liked to call “faceless techno bollocks”. Firestarter proved that the Prodigy was a squirming, sweating, fleshbound beast – the very opposite of the futuristic “braindance” coming from the electronic vanguard. It was pure boiling animus, doused in petrol and set off to ruin someone’s birthday party. “I have a philosophy that most of our music works on a really dumb level,” said Howlett, “which is the level most people understand.”

He imagined the Prodigy as a stadium-filling spectacle on a level with the rock bands such as Red Hot Chili Peppers and proto-nu-metallers Biohazard. “No glow sticks, no Vicks, people spitting everywhere – brilliant,” as Flint put it. They even brought in spiky-haired guitarist Gizz Butt, who’d played in early punk bands such as the Destructors and English Dogs. But where so many rock-historical references of the mid-90s felt like cosy nostalgia, Firestarter squeezed a final gob of spit from the spirit of 77 while becoming a legitimate stadium-sized alternative to Oasis. The Gallaghers so desperately wanted to be adored. The Prodigy didn’t give a toss. Howlett’s harsh sample collisions (a vocal scrap saying “hey”, from the Art of Noise’s Close to the Edit, and that squealing riff, pinched from the Breeders’ SOS) reflect his roots as a hip-hop DJ and breakdancer, but although he took production cues from righteous outfits including Rage Against the Machine and Public Enemy, he wasn’t interested in their message.

Firestarter doesn’t care about anything, nor does it contain a shred of self-regard. When Flint brought his “twisted” persona to life, he aligned himself with a 90s seam of edginess that brought us Fight Club, Tank Girl and Scream. It’s strange to imagine that we gawped and laughed. The decade’s flippant treatment of “insanity” is risible now, and especially tragic after Flint’s death in 2019. Journalists compared him to cartoon characters, but in those lyrics he is nothing but human. Firestarter is the worst of us, splattered on the kerb for all to see. “I wasn’t trying to say, ‘look at me, I’m Satan!’ But certainly I’m not nice,” Flint told Q magazine. “We’re everybody’s dark side”.

I was completely in awe of this song when it came out in 1996. I was twelve and had heard nothing quite like it. The extraordinary and seismic lead single from 1997’s The Fat of the Land, there is no doubt Firestarter is one of the most important and groundbreaking…

SINGLES of the '90s.