FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. IXX)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Ghum/PHOTO CREDIT: Louise Tse 

An All-Female, Summer-Ready Playlist (Vol. IXX)

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THERE are new releases out in the world…

IN THIS PHOTO: Nina Nesbitt

so it is a great day to discover some brilliant music. I am concerned with the best female-led/female-scored music out there and what variety there is (there are some slightly older songs thrown into the mix). If you feel you have a clear view of what a modern-day female singer-songwriter is all about then you need to follow these lists – and have a listen at the latest instalment. From Pop and Country through to something a bit dirtier; it is another collection of songs that will bring the sunshine back and get us in the mood for when the heat rises again. Slip into the weekend with another rundown of songs that are perfect…

IN THIS PHOTO: NINA/PHOTO CREDIT: Joakim Reimer 

WHEN holding on to the memories and warmth of summer.  

ALL PHOTOS (unless credited otherwise): Getty Images/Artists

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PHOTO CREDIT: Ryan Watanabe Photography

Doll Skin – Rubi

PHOTO CREDIT: Katie Knight-Adams

NINA – Sleepwalking

PHOTO CREDIT: James Harris

Ellie Gowers – Flowerchild

Anteros – Call Your Mother

Starcrawler – Chicken Woman

Tygermylk – What God Would Keep Us Apart

Nina Nesbitt – Loyal to Me

Hannah Paris – Halfway Home

RuthAnne – Liquid

Gretta Ray – A View Like This

Whitney Rose – You Don’t Own Me

PHOTO CREDIT: Tim Nguyen

Jade Jackson – Salt to Sugar

Daniella Mason – Human

PHOTO CREDIT: @jondbarker

Emma Blackery – Take Me Out

Lauren Sanderson – Los Angeles

Elle King – Shame

Nadia Rose – On Top

Angie McMahon – Keeping Time                

Lucie Silvas – Kite

Cher – Gimme! Gimme! Gimme! (A Man After Midnight)

Broods – Peach

ARTWORK: Louise Tse

Ghum – I’m the Storm

VanJess – Control Me

Sahara Beck – Here We Go Again

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. XVIII)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: DEVMO/PHOTO CREDIT: @_delsoul   

An All-Female, Summer-Ready Playlist (Vol. XVIII)

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STRAIGHT after I produced one list…

IN THIS PHOTO: False Advertising/PHOTO CREDIT: Chris Patmore Music Photographer

another batch of incredible female-led songs came to my ears! I have been looking through some recent releases – and a few cuts from last year - and compiled them in a handy rundown. It is always impressive discovering the sheer width and breadth of female-made music; seemingly more variation and depth than their male peers. As the rain is still lashing, and we need a bit of sun back, I thought these tracks would help bring a bit of joy. I am sure I will compile another feature/list next week but, before then, enjoy this assortment of music that is perfect for…

IN THIS PHOTO: Pinky Pinky/PHOTO CREDIT: @erina_uemura

A drizzly Thursday.  

ALL PHOTOS (unless credited otherwise): Getty Images/Artists

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Ronika – Lose My Cool

OhHeyMy – Numb

Pussy Riot – Bad Girls

PHOTO CREDIT: Lauren Kallen 

Minke – Maybe 25

Chløë Black – Spaceman

PHOTO CREDIT: Shervin Lainez

Palehound – Room

Sophie Meiers – Something About You

CAGGIE – Here We Are Again

DEVMO – Kylie Jenner

Pinky Pinky – Margaret

Linn Koch-Emmery – Wires

PHOTO CREDIT: Stevana

Vox Somnia – Tremor

Kathryn Joseph – From When I Wake the Want Is

PHOTO CREDIT: Lizzie Coombes

Nervous Twitch – Promised Me the World

PHOTO CREDIT: Carl Farrugia

Panic Pocket – Don’t Get Me Started

PHOTO CREDIT: Matthew Attard

Cryptic Street – Let’s Go Suki

Julia Carlucci – Take Me Down

PHOTO CREDIT: Shannon Stew

Stefana Fratila – Swallowed Seeds

Ella Hooper – To the Bone

PHOTO CREDIT: Elissa Graddy

Lunar Vacation – The Basement

Tiffany Young – Over My Skin

PHOTO CREDIT: Derek Bremner Photography

The Franklys - Too Tall

Peach Club - Cherry Baby

Ms. Mohammed - Pandora

Wolf Girl - Toast for Dinner

FEATURE: The Times They Are a-Changin’ Why the BBC Radio 6 Music Schedule Shift Is Good News

FEATURE:

 

 

The Times They Are a-Changin’

IN THIS PHOTO: Mary Anne Hobbs

Why the BBC Radio 6 Music Schedule Shift Is Good News

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THE expected disappointment, moaning and…

IN THIS PHOTO: Shaun Keavney

confusion has greeted the news that, from the start of next year, some of the much-loved BBC Radio 6 Music presenters will change to a new slot (and that, the moaning, was just from Shaun Keaveny!). You’d imagine people had lost their jobs and had been forced to drink toilet water in order to survive! One of the only complaints I have had regarding BBC Radio 6 Music is the rigidity and the fact there have been few changes since its start. It is great to see the same personnel and there is clear brand loyalty and passion among the ranks. I am thrilled we get to wake up and, through the day, hear from D.J.s who we know will put a great show together. That is alright for a while but can be a bit samey – you are listening to the same routines and songs at the same time of day. I can imagine, for D.J.s like Shaun Keaveny and Lauren Laverne, it has got a bit familiar and safe. I know Keaveny, especially, will enjoy some extra time in bed. He moves to the 1-4 P.M. slot; Mary Anne Hobbs, who usually presents the weekend breakfast show, comes into the 10:30 A.M. to 1 P.M. slot; Lauren Laverne takes Keaveny’s show – starting half an hour later at 7:30 A.M. Chris Hawkins gets an extra half-hour in his regular slot and RadMac (Mark Radcliffe and Stuart Maconie) move to weekend breakfast (see the official BBC Radio 6 Music Twitter for all the changes and times).

IN THIS PHOTO: Lauren Laverne

Those who are used to Keaveny greeting the morning with his unique blend of suicidality and anger will adapt to him coming into a later time. Maybe he will be a brighter and changed person – delivering something more Chris Evans in terms of speed! That is unlikely but the man has been in the breakfast slot for over a decade and deserves some time to sleep in! I know he will appreciate the later start and things, apart from that, will not change too much. Matt Everitt is still by his side – not sure who they are getting to do the early music news?! – but all the usual features, I assume, will be in place (and the same jingles, beds and dynamics). It is not as though the show is having a complete face-lift and it is a new thing! Fans and ardent listeners will have to acclimatise but those loyal will come along and, in fact, realise change is good. Ironically or not, Keaveny has had to endure an early wake-up all this time and it is good he gets a later start. Laverne, children and husband an all, will get more time later in the day to be at home and bring her vitality, personality and stamp to the breakfast show.

IN THIS PHOTO: Matt Everitt with Sir Paul McCartney

It will be good to wake up with her voice and see how she approaches her new position. I am unsure whether the BBC Radio 6 Music honchos will introduce new features for Laverne but let’s hope we get Memory Tapes, Desert Island Disco and The People’s Playlist. There is no physical or time-related reason why that would not work! The biggest shift and decision is whether there will be live sets during her show. Right now, she hosts musicians just after lunch. I do not know whether they are going to bring that with her when she does early mornings – maybe Keaveny will take that on?! I am pumped Chris Hawkins get an additional half-hour to his show because he is a warm and incredible talent who, I feel, does not get enough airtime. He is always hunting for great new artists and putting important work into the ether. I feel he has a lot to say and deliver, and so, when he is allowed some more time, that will benefit us all. The biggest change is the ‘demotion’ of RadMac to the weekend show. It is not really a bad thing as the weekend breakfast show is a great slot but it will mean they will not have their usual weekday show. I was surprise by the decision and would have preferred another D.J. to go to that timeframe.

IN THIS PHOTO: Chris Hawkins (left) and Stuart Maconie (right)

The fact they are still gainfully employed, as they say, is a good thing. Their partnership remains and I know their fans, myself included, will follow them with eagerness. The best thing to come out of this is the definite elevation of Mary Anne Hobbs to weekdays. She is always great when standing in for Keaveny or Laverne and has a definite hunger to bring the best artists around – championing female artists heavily –; it means we will get a more curated and personal playlist in the afternoons. Her sensual, velvet tones are a difference to the voices of RadMac but it will be a good thing for radio. There are so few female D.J.s in afternoon and evening slots so it is nice to see her there – the fact she and Laverne are both on during the weekdays is a great improvement. I have discovered so many different artists from Mary Anne Hobbs and cannot wait to hear her in a full-time capacity. The fact I am moving to Manchester – she is based in the Salford studio – is great and I can, I hope, get to see some of her local-promoted artists live and up-close. It is great to see two incredible female broadcasters being given new opportunities on the station. I think it will benefit them both and provide a stronger angle to BBC Radio 6 Music.

IN THIS PHOTO: RadMac with Maxine Peake

All the other runners and riders are unchanged and it is going to be some minor changes. There are complaints and those who are scared the station will blow up and suck but, in fact, these are necessary alternations. It is great, as mentioned, the same D.J.s remain there and love their jobs so much. Even the best shows can suffer or seem tired if they endure for years and moving them to new times can add something that will benefit everyone. The simple fact is they are not recruiting D.J.s and replacing those we love – maybe some fresh faces in other slots might be a benefit?! We still get to hear Laverne and Keaveny in London (although the latter will not hand over to the former or vice versa) and Hobbs’ more-regular appearance is a necessary reaction to the call for change – having more female D.J.s in the weekday, big shows. Maybe the sleep patterns and changes will impact some of the on-air talent, but the fact they are in new slots will add energy and a sense of the new. I am excited to see how Shaun Keaveny sounds with a bit more kip and time to refresh; what Lauren Laverne brings us for breakfast and how Chris Hawkins uses an extra half hour – hearing Mary Anne Hobbs five-days-a-week means we get to hear (with Laverne) some newly-championed artists and unexpected tastes the earbuds.

I wonder whether, between now and the start of January, there will be further plans to change slots. It might be interesting to see if they do bring in more D.J.s – female and it would be good to see greater diversity in terms of race – but the same lovable and dependable BBC Radio 6 Music is there. I am pleased and glad ‘we’ (the BBC Radio 6 Music family) are not losing anyone. It is sad RadMac have a reduced role but they are still with the station and it will be tough for them for a bit! A station that holds onto its staff is great but when the schedule is unmoved and unflinching for so long means there is a risk of losing some listeners. You need to change things a bit and try new ideas. I guess Laverne will have to cope with a bit less sleep but she is relishing the chance; I know Keaveny will still find things to moan about (got to love the guy!) and, with the latest RAJAR figures showing the station is growing and more popular than ever; the bosses have the consider how to keep that pace going and how they will move into the next year. The fact BBC Radio 6 Music continues to recruit new fans and grow – where other stations are stagnant or decline – is a sign of great music, wonderful staff and a sense of loyalty and love! That, in turn, will be thrown back to the brilliant D.J.s and producers who embark on new challenges. The rest of this year will see them carry on as normal but, as we ring in 2019, we will have a slightly changed BBC Radio 6 Music that is…

GOOD news for all!                               

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ALL PHOTOS/IMAGES: Getty Images/Press Association/BBC Pictures      

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. XVII)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: RAY BLK

An All-Female, Summer-Ready Playlist (Vol. XVII)

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I said I would resist the urge to publish…

IN THIS PHOTO: Kris Angelis

another one of these all-female lists for a while because the weather has taken a turn. Whilst it is rather wet and un-summer-like, I felt a good dose of summer-suited music would help keep the heat and good vibes alive. I have collated the best new music from some fantastic female artists/female-led bands. From various corners of the musical map; there is something to satisfy everyone. No matter what the weather is doing, this assortment of talent is guaranteed to bust the clouds, bring the sun and…

IN THIS PHOTO: Skating Polly

GET you in a better mood.                         

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Artists

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Chelsea Shag – Funk Love

LION – Oh No

RAY BLK – Run Run

Shenna – Conversation

Zuzu – All Good

Petal – Tightrope

PHOTO CREDIT: Ania Shrimpton Photography

She Makes War – Devastate Me

Caoilfhionn Rose – Awaken

Nicole Bullet – Nicotine

Folly Rae – You Don’t Love Me

Sasha – Waterworks

Skating Polly – Camelot

Lauren Daigle – You Say

TS Graye – Take Notes

Tinx – FMLU

Kris Angelis – Bravest

PHOTO CREDIT: Abby Weeden Photography & Design

Kate Kelly – Honey

Nya – Hollywood Hills

L.A.D – My Toy

iamhill – Phuk Wit You

PHOTO CREDIT: Tommo

Girl Ray - The Way We Came Back

False Advertising – Hey You

Goldilox – Very Best

ORKID – Wasted

Militant Girlfriend – Letters

FEATURE: Magnum '66: Revolver at Fifty-Two: The Beatles’ Greatest Work and Its Endless, Mind-Bending Firepower

FEATURE:

 

 

Magnum '66

IMAGE CREDIT: Klaus Voormann 

Revolver at Fifty-Two: The Beatles’ Greatest Work and Its Endless, Mind-Bending Firepower

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IF you think the title of this piece is a little unwieldy…

IN THIS PHOTO: The Beatles recording Revolver at Abbey Road Studios (1966)/PHOTO CREDIT: Getty Images

then you’ll forgive me going for baroque! Although The Beatles’ Revolver arrived fifty-two years ago to the day in America – it arrived a few days earlier here in the U.K. - I felt it ripe for new spotlight and appreciation. There are so many revolver/gun-related lines one can go down when it comes to America but, rather than go off on an armoury tangent; it is a great opportunity to focus on an album whose legacy and potency continues to exert and stun. This year, in November, we will all witness the fiftieth anniversary of The Beatles' eponymous album (better known as 'The White Album'). That record, like Fleetwood Mac’s Rumours, was created at a time of great interpersonal stress and strain within the band. Whereas Fleetwood Mac’s resulting album floored critics with its consistency and incredible cohesiveness; The Beatles proved to be a more scattershot and expansive album. It is the sound of four musicians, at once bonded, now headed in different directions – even if the album itself remains extraordinary and fascinating. I feel The Beatles’ last real year of togetherness and harmony was in 1966. Maybe there were cracks starting to appear but there were definite strains by 1967. It is no surprise, therefore, many feel Revolver is the height of their critical power. My favourite Beatles album is Rubber Soul (which came a year before Revolver) but many see the two albums as part of the same – Revolver is the more daring and experimental brother.

IN THIS PHOTO: The Beatles travelling through Europe by train in 1966/PHOTO CREDIT: Getty Images

If The Beatles were forging their own path as unique songwriters and a band reshaping Pop by 1965; only a year later they were upping their game and, yet again, taking music in new directions. Those who feel Sgt. Pepper’s Lonely Hearts Club Band (1967) is The Beatles’ finest hour must remember a few things. I love the album but feel it is more influential than quality-laden. It seems more a Paul McCartney project – he devised the concept and has most of the songwriting credit – and the album has one or two weak moments (George Harrison’s Within Without You is among them). Whereas that was a case of an album signifying a time in history and a movement of free love and colour; Revolver is a much more focused, nuanced and crack-free (or should that be weed?!) effort that showed what promise there was on Rubber Soul. The writing is a bit more balanced in terms of the band’s contributions – Lennon and McCartney, I think, wrote five songs each; Harrison takes three (Taxman, Love You To and I Want to Tell You) whilst there is a co-write in Yellow Submarine – maybe more in the McCartney camp. The fact that Harrison’s Taxman opens the album – and has that immense McCartney bass work on it! – proves there was greater equality and boldness in the group. It is, in fact, the perfect way to start the album. Revolver has perfect programming; some of their earlier work suffered from the odd track being in the wrong place – I feel Rubber Soul and A Hard Day’s Night could have done with a reshuffle.

The sort of studio experimentation and effects that would mark Sgt. Pepper’s Lonely Hearts Club Band was coming through on Revolver. Backwards effects and tape loops – personified on the closer, Tomorrow Never Knows – added another dimension to the band’s exceptional work. If the band were still indulging in substances – LSD was taking more of a role in their creative meetings than other drugs – the fact they had taken a break from professional commitments meant there were free to write at their peace and not be hurried into touring. You can hear the band pulling together and still very much a unit. If there were slight signs things were not as rosy as their beginnings; the material does not show the strain that would define albums like The Beatles and Let It Be (1970). The extraordinary Rain and Paperback Writer were also penned during that time (non-album singles in the same way Strawberry Fields Forever and Penny Lane were created, but not released, when Sgt. Pepper’s Lonely Hearts Club Band was taking shape) and the band were moving from a more traditional, if ground-breaking Pop band, to the psychedelia and mind-bend that would take their sound in new directions. One of the reasons Revolver deserves big acclaim and birthday (if a couple of days late) is how it changed Pop music in 1966 – it is advanced and rare today, even! There is nothing in modern music, or has been, that pushed music as far; nothing from a Pop band that garnered such a huge reaction.

IN THIS PHOTO: John Lennon during Revolver's recording/PHOTO CREDIT: Getty Images

The band were not only talking about love and leaning on lyrical themes that defined their earliest work. The guys were representing the countercultural movement and addressing Tibetan Buddhist ceremony practice and, with Harrison making his first foray into Asian/Indian music, sounds beyond the U.K. and U.S. Rubber Soul gained a fantastic critical wave and, it seems, gave The Beatles the confidence to take their music to the next level. Creative control pre-Revolver was more in favour of Lennon – that would change after only one album – and it might be the only Beatles album since their start where the two lead songwriters had equal billing. New styles and genres were coming into their work; the boys were almost inventing and developing their own movements; the studio was less a place to record and more a temple where they could tamper, wonder and change the rules of popular music. With George Martin, of course, in the producer’s chair; The Beatles were vibing from the swing and cultural reputation of London. The band would often visit plays and shows and take inspiration from them; the buzzing streets and wave of art that was flooding the city fed into their blood. It was a moment when the band were completely together and there was no ego control – although an argument during the recording of Lennon’s She Said She Said saw McCartney walk out of the studio – and Martin was given more trust and a bigger role (often adding new elements to songs and realising their full potential).

IN THIS PHOTO: The Beatles in 1965/PHOTO CREDIT: David Mcenery/REX/Shutterstock 

Compression and tonal equalisation added fresh nuanced into the band’s music; a greater range of instruments was brought into the mix – from Harrison’s locker of Asian instruments to sound effects and horns – and The Beatles were taking more risks. The backwards effects one hears on I’m Only Sleeping – the backmasked guitar solo – was new to Pop music; McCartney’s bass was given more prominence and influence on the recordings; the closed-mic orchestrations on Eleanor Rigby and the biting horns on Got to Get You Into My Life were all new to the band – they were breaking from the past and almost reinventing themselves. Lyrics, as such, rarely touched on love and, instead, looked at death, dreams and spirituality. Maybe drugs and the culture of the time had a big role in that decision: the fact the band were confidently together and as hungry as ever meant another Rubber Soul was not on the cards! From Harrison’s protest at increased taxes by Labour P.M. Harold Wilson (Taxman) to Eleanor Rigby’s perils of loneliness – after only two songs, The Beatles have subverted expectations and introduced their fans to subjects they were not used to hearing. Although some of the subject matter deals with deal and isolation; there is a lot of beauty and fizz to be found. Revolver is a more expressive statement than any work they had done to that point.

IN THIS PHOTO: Paul McCartney during the recording of Revolver/PHOTO CREDIT: Getty Images

Got to Get You into My Life has jubilant horns and Stax/Motown-like qualities (certainly, there is an air of America) whereas Here, There and Everywhere and nods to The Beach Boys’ Pet Sounds – Brian Wilson, in turn, was inspired to write that album after marvelling at Rubber Soul! There was the old (love and tender songs) but a more expansive and brash Beatles. Bob Dylan, the English summer and Tibet influenced the album’s second-half. In fact, that extra-terrestrial closer (Tomorrow Never Knows) remains the band’s most progressive and astonishing offering. Not only had The Beatles never produced anything as radical and progressive: look around music and it sounds like an alien from another planet! It was the moment that closed an album that took The Beatles to new heights. The title came from a typical Ringo Starr malapropism (in the same way A Hard Day’s Night and Eight Days a Week came to be) but the composition seemed to take from sources all around the musical and physical world. There is the spiritualism and haunt of the lyrics: the physicality and audio head-fu*k of the composition creates a balance that is uneasy, eye-watering and psychotropic. McCartney’s laughter was magnified and sped to sound like seagulls; Lennon wanted his voice to sound like the Dalai Lama singing from the top of a mountain – the band were on a different plain and, in yet another way, was changing music forever.

The fact Revolver has shifted critical and public opinion this century is because of the way it has influenced music today – in terms of the studio experimentation, genre-hopping and lyrical themes. Sgt. Pepper’s Lonely Hearts Club Band was always considered the master and most important Beatles moment. Many say the album is only as revered because of the epic closer, A Day in the Life. Revolver is a more complete work and it is hard to pick out any weaknesses. It was only natural the band would take another leap from Revolver to Sgt. Pepper’s Lonely Hearts Club Band but the shift they took from Rubber Soul to Revolver is immense. This article (written to celebrate the album’s fiftieth anniversary) – drills down to the essence and brilliance of the album/period:

“But in and of itself, Revolver is quite an achievement, a testament to the collaborative power of what was, essentially, a simple four-piece rock band. The Beatles were always a collective—even when they were at their most frayed in the late ‘60s, the band’s chemistry shone through on their best recordings. And on Revolver, the complementary dynamic between John Lennon, Paul McCartney, George Harrison, and Ringo Starr reaches its creative zenith, buoyed by an eclectic set of songs and, in George Martin, a producer eager to realize his proteges’ ever-expanding creative vision.

But from the moment you hear that fake count-in that opens the ornery “Taxman,” along with it’s jagged guitar solo (played by McCartney, not Harrison), punchy rhythm, thumping bass and off-kilter backbeat, it’s clear that the Beatles weren’t just far away from their Beatlemania sound, they were also uninterested in rehashing what they’d so successfully mastered on Rubber Soul. That album was barely six months old when Revolver was released, and two albums have rarely been so close chronologically but so disparate sonically and musically”.

Greg Kot, writing for the BBC in 2016, stated why he felt Revolver exceeded Sgt. Pepper’s Lonely Hearts Club Band’s reputation:

“It does everything Sgt Pepper did, except it did it first and often better. It just wasn’t as well-packaged and marketed. The hype that preceded Sgt Pepper had a lot to do with the leaps in imagination, the studio-as-instrument adventurousness, that flourished on Revolver in half the time: the sessions for the 1966 album spanned two-and-a-half months whereas Sgt Pepper took an unprecedented five months to record”.

There are a couple of reasons why The Beatles’ magnum opus deserves year-in-year-out investigation and hoopla. For one, it is the creative and personal harmony/height of the greatest band in music. Pre-Revolver, there was a bit of rush and occasional creative disparity; post-Revolver, the band started to splinter and dissolve. Their 1966 masterpiece is them as a band with no leaders and bitterness: it is four friends taking everything music was about then and turning it on its head. I mentioned how modern Pop/music does not push boundaries like The Beatles did then. I have not heard anything in the last couple of decades that has pushed music to such an extent. Even though there is not an album to rival Revolver’s calibre; from its production and techniques to its musical and lyrical eclecticism, it is a record that is very much alive and well today – various acolytes, cousins and embers infused into all corners of the modern market.

IN THIS PHOTO: Recording of Revolver at Abbey Road Studios

If it were not for Revolver, who knows when we might have experienced something as giddy – outside of The Beatles’ minds, that is! Another reason why the album should be marked is how seamless and faultless it is. Many argue albums are irrelevant and people only listen to singles these days. That is a tragic thing to hear and maybe there are few albums you want to listen to from the start to end. Revolver offers no weaknesses and, instead, provides an emotional and sonic banquet that will leave you arrested and smiling. In fact, the album sort of whizzes by and you are compelled to put it on again – perfect in vinyl form when you need inspiration and calming. It is what albums were made for and, fifty-two years after its release, has yet to be equalled in terms of its sheer quality (many might argue but I would refute anyone).

You have that variety and musical variation; the incredible cover (by Klaus Voormann) and two world-class songwriters at their peak; the fact Yellow Submarine doesn’t sound out of place – you cannot forget the guys were experimenting with no instruments and felt their work growing stronger and more ambitious. The band spent longer on Yellow Submarine than the entirety of their debut, Please Please Me; most of the tracks are three minutes or under; all four band members contribute lyrics to Eleanor Rigby…Revolver seems ultra-complex and simple all at the same time! The guys knew Revolver was a big step (in the dark) but they were unafraid to shed the odd fan or two for making an album that did not repeat or conform. They wanted to blow minds, change music and stand ahead of all competitors – they did all of that and some! I hope Revolver’s fifty-second (and-a-bit) birthday means younger fans discover the album and those who are familiar pick up their copy and play it to death! It was a record that surpassed anything The Beatles had created (and would go on to create) and, in many people’s mind, it’s an L.P. whose innovations, wonderful songs and sheer brilliance…

IN THIS PHOTO: The Beatles in Washington, D.C. on 13th August, 1966/PHOTO CREDIT: Getty Images

HAS not been equalled since!                  

FEATURE: Re-Birth of the Cool: Is the Jazz Revival Here to Stay?

FEATURE:

 

 

Re-Birth of the Cool

PHOTO CREDIT: Unsplash 

Is the Jazz Revival Here to Stay?

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THERE are still a lot of people…

PHOTO CREDIT: Unsplash 

who have a limited impression of what Jazz music consists. They assume it is all rather ponderous, pretentious and, for the most part, boring. Many of us do not have the patience to sit through music without vocals. Submitting yourself to music that requires you to provide words can be a bit strange. We live in a time when music is constantly available and in front of us – most of what we hear on a daily basis has a vocal element of some sort. Jazz is a genre that relies, for the most part, on instrumentation and texture. There are great Jazz singers like Billie Holiday but we often associate the genre with these trumpet-heavy passages and sprawling songs. There are so many different styles of Jazz and we do not really have a handle regarding its depth and brilliance. If you want a classic by Miles Davis or John Coltrane then you have choices; if you want something more modern then there are some fantastic artists ready to excite the ear. Maybe it is hard reappropriating Jazz’s ‘reputation’ and how it been on the outside for a very long time. Whilst it is not toppling the mainstream and swinging in with the swagger of Britpop; Jazz is back in the news...

PHOTO CREDIT: Unsplash

It seems the genre’s popularity is starting to hit the new generation. We may not see the popularity it acquired in the 1920s but I can see a definite upswing – I will look at why many, in recent years, have slated Jazz and feel it is dead. Before I look at artists bringing Jazz into the mainstream; it seems there is a lot of stuffiness and futility swirling. We have seen the shortlist for this year’s Mercury Music Prize announced and, like every year, there is that ‘token’ Jazz album. Last year, we saw Dinosaur nominated; The Comet Is Coming were nominated the year before – this year, Sons of Kemet have made the cut with their record, Your Queen Is a Reptile. Even before people have heard a note, they are writing off the Jazz albums and assume they are there to make up the numbers! I feel the Jazz albums included on the Mercury list warrant a lot more acclaim. Modern Jazz is among the most exciting and innovative we have ever seen. Some purists prefer Jazz to be true to its roots and not modernise itself. Many modern Jazz artists, like Sons of Kemet, bring in other genres to give the music much more life and adventure. They fuse Rock and Caribbean Folk together; some African strands and stir it all together.

Critics praise Your Queen Is a Reptile’s killer charts, tightness; the great improvisations and how it tackles racism, immigration and troubling political times. Ecstatic, fulsome and endlessly inventive; not only have Son of Kemet shown British Jazz is thriving but they prove what can happen when you bring new ideas to Jazz. I doubt the album will win the Mercury but its genius and quality warrants recognition and celebration. One of the reasons why Jazz is starting to gain popularity and traction is how diverse and exciting it is. I mentioned how we have this impression of soothing, smooth and one-dimensional Jazz songs. The days of beard-stroking players noodling for hours still seems to pop into our minds. Look at the modern breed and you are treated to something heady, fantastic and vivacious. Whilst Jazz bands like Sons of Kemet are helping change minds and show Jazz’s flexibility; one has to look at U.S. artists like Kamasi Washington and Kendrick Lamar – two of the pioneers who are mixing Jazz sounds with political and social messages. Washington, in a recent interview with The Guardian, was asked about his upbringing and how Jazz came into his life:

“The cheerful ease with which he can bowl into a club and take over the stage is partly down to these links with jazz’s legacy. Up-and-coming musicians in the field often talk of the pressure they feel to not only appease the gatekeepers of tradition but to live up to the greats. Washington never felt daunted. “It wasn’t alien to us,” he explains. “[Jazz] comes from poor black neighbourhoods, so because of that foundation we thought of it as a support. It feels more like a horse that you can ride out on than a weight, the horse that’s taken all your forefathers around the world and allowed you to express yourself”.

Listen to Washington’s new (double) album, Heaven and Earth, and there are meditations on black identity and brutality: big social themes and powerful messages are mixed with gentler, spiritual codas. Modern Jazz artists are using the genre to deliver something hard-hitting and thought-provoking. Whilst Pop and Rock have a big role and are more popular than Jazz; I wonder whether artists are providing anything substantial and observant. Genres such as Post-Punk and Jazz, instead, are platforms where artists can discuss what the world is like and the problems out there. Washington, on his latest record, blew critics away with his epic soundscapes and immersive brilliance. Some noted a slightly limited scope in terms of improvisation – little harmonic momentum in his solos; pentatonic pattern-work harking back to Jazz’s traditions rather than reshaping them. The biggest compliment, mind, was levied at how he creates frameworks so his bold and expressionistic style can rouse battle-cry and buckle the knees. Rather than rip up the rulebooks and forensically evolve Jazz’s structure and core; Washington uses music as a way of creating transcendence, talking about his struggle and making Jazz accessible to the masses. More than anything, modern Jazz artists are making (the genre) easier to appreciate and love – rather than the academic and rather technical form that drove some away.

IN THIS PHOTO: Kamasi Washington/PHOTO CREDIT: Nina Corcoran

Returning to that aforementioned interview; Washington was asked whether he could see modern Popstars like Rihanna employ Jazz in their music:

“Yeah, if she wants her show to be great,” he says, laughing. “I mean, I think it’s already [begun]. Even at Coachella, seeing Beyoncé with a brass marching band, people are learning the value of what jazz represents: ideas of musicianship and allowing multitudes of people to express themselves within your show. It’s growing. Once you kind of get a taste of that, it’s hard to go back”.

Jazz is registering and resounding because of the messages coming through. Washington talks about police brutality and the role of the black citizen in America (in the world) in a way other artists aren’t. Aside from black musicians like Childish Gambino; there are fewer revealing what it is like in modern America; what life is like for the black population. That sort of honesty and harsh truth is speaking to people all over the world – not only the black population of the U.S. Look at Kendrick Lamar’s 2015 masterpiece, To Pimp a Butterfly, and that can be seen as a catalyst for the modern Jazz revival. Kamasi Washington was involved with that record and helped bring Jazz to the mainstream. Artists like A Tribe Called Quest and De La Soul did that years before but, at a time when Jazz was struggling and not a populist force; Lamar reshaped our opinions regarding Jazz’s flexibility and promise – spicing incredible compositions with lyrics that hit the heart and made you think.

Other artists, such as Thundercat, are keeping Jazz’s flame and elasticity firm and fluid. I wonder whether we get caught up in clichés and stereotyped views regarding Jazz. Why, then, has the genre acquired a bad name? This feature goes back and time and tries to explain where Jazz went wrong:

“When jazz trumpeter Nicholas Payton wrote a famous essay about the demise of jazz, "On Why Jazz Isn't Cool Anymore," he made a curious declaration:

"I create music for the heart and the head, for the beauty and the booty."

When, however, was the last time anyone associated shaking their booty to jazz music? Probably not since the swing and big band era of the 1930s and '40s, when people actually danced to jazz.

They also sang along to jazz tunes. Vocal standards like "Summertime," "Alone Together" and "Days of Wine and Roses" were written for Broadway or Hollywood. Jazz offered accessible melodies that anyone could hum along to.

Then bebop came along after World War II and fans had trouble keeping up. Titans like trumpeter Dizzy Gillespie and saxophonist Charlie "Bird" Parker played music that was hyper-fast and fiendishly complex. The focus was on the virtuoso soloist -- not a catchy melody. People stopped singing and dancing to jazz; bebop supplanted the booty.

 IN THIS PHOTO: Charlie Parker/PHOTO CREDIT: Getty Images

Jazz also became more esoteric, its leaders becoming self-indulgent and playing primarily for themselves. If you were too square to follow, too bad. So when trumpeter Miles Davis started turning his back to the audience while performing live, it symbolized what jazz had already done -- it tuned out its audience”.

Modern Jazz, in the U.S. and U.K., is starting to reconnect with the audience and gain a sense of cool. That rather stuffy and elitist attitude to Jazz is turning. The genre does not require listeners to be experts or have a great knowledge of the form. Modern artists are not turning audiences away; they are eager for them to experience the music, hear their words and discover something wonderful. If political and socially-aware artists in the U.S. are trying to spearhead a Jazz revival; there is a wave of British artists who are getting under the radar:

“In the UK, a new and thrilling jazz movement has evolved. As with Lamar, Thundercat and Washington, it is born out of fresh experimentalism, is reaching far younger, more diverse audiences and doesn’t care for snootiness. Unlike in previous waves, these musicians are in their 20s and early 30s, come from diverse backgrounds and, as with grime, have created their own community outside of major labels and concert halls”.

PHOTO CREDIT: Unsplash

“…Their music, meanwhile, pulls liberally from other genres, whether hip-hop, neo-soul, UK club sounds such as broken beat, or from the African and Caribbean diaspora. And it’s not just at gigs that you can hear it but, much like in the acid jazz days, nightclubs too. British DJs such as Bradley Zero and Floating Points have liberated jazz for the dancefloor to the extent that it’s now not unheard of for a 10-minute Pharaoh Sanders odyssey to be spun on the decks to an appreciative, twentysomething crowd.

Notable, too, is how prolific this wave is, with jazz musicians infiltrating summer music festival listings, signing to indie labels or taking their sound abroad. The sheer volume of talent is being recognised across the world. “Wherever I’m travelling, whether it’s in the States, Argentina, Japan, or all over Europe, everyone is talking to me about the British invasion,” says DJ and broadcaster Gilles Peterson, who himself helped usher in the acid jazz sound of the mid-80s. “I’ve had people talking about Courtney Pine and Steve Williamson in slightly hushed tones, but I’ve never had this before. They feel this is a very important movement”.

New British Jazz stars like Moses Boyd have seen the changes in Jazz coming. He looks at technology’s role and how it has brought the music to a wider audience. We are now allowed to see the personalities of Jazz artists through social media – audiences get a better grasp of the inner-workings and how the music comes together; where it comes from and the sub-genres it brings in.

They (modern British artists) are not playing to standards and repeating what has come before: they are taking the history books from the masters and rewriting it in their own vision. Jazz allows British artists to talk about their culture and upbringing; add a distinct and personal stamp to a style of music that is still misunderstood and maligned. Sheila Maurice-Grey, in the article I have just quoted, talked about her experiences:

“She says the jazz world at large is closed off “and that’s a big problem”. She belongs to a seven-strong, mostly female collective, Nérija, and says, “most of our audience is basically white, middle-class [and] upper-class, elderly people. It’s cool, but that’s not what we want to do. In the next five years, we want to play to people our age.” But the jazz establishment is finally waking up to her generation, and Kokoroko are themselves due to play London jazz club Ronnie Scott’s in May. Maurice-Grey thinks there’s still a way to go; Scott’s is “trying to develop a new relationship with different artists, it’s interesting,” she says, one eyebrow raised – but she’s ready for the test of trying to make a seated dinner club get up and dance. “The audience is very much part of the show,” she says. “There’s no us and them. It’s more about collaborating to make it magical. We’re all part of this journey”.

There are, also, differences between the London and Manchester Jazz scenes. In Manchester, the genre is more spiritual and has a different ethos. Artists here have a different style and character; Jazz is a genre that can change its shape and aura depending on which part of the country you travel to. Many of us associate Jazz with male players. Nubya Garcia is one of the few female brass players who one can see in the contemporary Jazz movement. She reacted to this statistic:

“People do look at you, and it used to bother me a lot, but I’m trying to learn how to deal with it,” she says. “If you get comments like ‘Whoa, it’s so nice to see a woman on stage’ every time you gig, which I do, eventually you’re like, ‘Godammit!’ It’s not a negative thing, it’s just that person one doesn’t know that person 30 is also saying that. It’s just normal to me, but not normal to everyone else”.

It is clear there is a way to go until Jazz reverses opinions and gets full acceptance. Like Folk and Grime; it is still on the outskirts and has its particular audience. From great U.S. Jazz artists like Kamasi Washington, Thundercat and Kendrick Lamar (Jazz and Hip-Hop) to the British wave; it is clear there is an appetite and new view of Jazz – one not being widely reported in the media. Modern Jazz is much more engaging and political; it has variations and there are so many different cultures and choices. It is not about cold readings and rather listless solos: there is so much energy, story and motion one can discover! If you take a look at the artists defining modern Jazz and evolving its name; you will find something wonderful, intriguing and…

IN THIS PHOTO: Nubya Garcia/PHOTO CREDIT: Jim Aindow

INCREDIBLY moving.

FEATURE: You Ain’t Seen Nothing Yet… Big Albums Due Before the End of the Year

FEATURE:

 

 

You Ain’t Seen Nothing Yet…

PHOTO CREDIT: Unsplash 

Big Albums Due Before the End of the Year

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WE have already witnessed some pretty meaty…

IN THIS PHOTO: Anna Calvi

albums and been treated to some right beauties in 2018! We are in August and, whilst the summer looks like it might be slipping away very soon, we have music to keep us warm and occupied for as long as we need. If you are getting ready to collate your end-of-year ‘best albums’ list already then you might want to stop in your tracks and consider music’s golden rules. For one, you can never decide which albums are the best of the year until the start of December – artists do not really bother that close to Christmas and many wait until the following year! You can also never trust the ‘expected releases’ lists because, as the name implies, they are the ones that have been announced. You always get these sneaky artists that drop something from nowhere or give you no notice. You never know who might release an album before the end of the year! We might get a retiring icon bringing something out; another album from someone who has already released one this year – you never can tell what will happen. That said, given this might need to be revised at some point, here are the known and expected albums that you need to save your money for. Get out your pennies, note the dates in the diary and ensure you keep your 2018 music horizons…

READY and open!

ALL PHOTOS/IMAGES: Getty Images

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Nicki Minaj – Queen

Release Date: 17th August

Animal Collective – Tangerine Reef

Release Date: 17th August

Death Cab for Cutie – Thank You for Today

Release Date: 17th August

Alice in Chains – Rainier Fog

Release Date: 24th August

Mark Lanegan & Duke Garwood – Wild Animals

Release Date: 24th August

Anna Calvi – Hunter

Release Date: 31st August

Tash Sultana – Flow State

Release Date: 31st August

IDLES - Joy as an Act of Resistance

Release Date: 31st August

Lenny Kravitz – Raise Vibration

Release Date: 7th September

Paul McCartney – Egypt Station

Release Date: 7th September

Paul Simon – In the Blue Light

Release Date: 7th September

St. Paul & the Broken Bones – Young Sick Camellia

Release Date: 7th September

Pale Waves – My Mind Makes Noises

Release Date: 14th September

Paul Weller – True Meanings

Release Date: 14th September

Christine and the Queens – Chris 

Release Date: 21st September

Cypress Hill – Elephants on Acid

Release Date: 28th September

Cat Power – Wanderer

Release Date: 5th October

John Grant – Love Is Magic

Release Date: 12th October

Elvis Costello & the Imposters – Look Now

Release Date: 12th October

Yoko Ono – Warzone

Release Date: 19th October

The Prodigy – No Tourists

Release Date: 2nd November

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. XVI)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: ARXX/PHOTO CREDIT: Jessie Morgan Photo

An All-Female, Summer-Ready Playlist (Vol. XVI)

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THIS might be the last playlist…

IN THIS PHOTO: Snoh Aalegra

for a little while. Before moving to something else, I wanted to collate some great female artists/female-fronted bands that have produced some great songs from this year – there are some ace cuts from 2017, too. I have been looking around the musical world and looking for those songs that express the contrasts of summer: the blazing heat and warmth combined with the cooler moments and night-time relax. Have a listen to the selection of tunes and, hopefully, there are some tracks that will catch your ear and…

IN THIS PHOTO: Ocean China

MAKE your day.

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

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PHOTO CREDIT: @violetfoulk for Hooligan Magazine

Kississippi – Mirror Kisser

Track Not Found – Science (Gone Wrong)

Jena Rose – Boy with the Balloon

PHOTO CREDIT: Rosie Powell Freelance

ARXX – Intervention

Snoh Aalegra – Sometimes / Worse

PHOTO CREDIT: Katie Gatt

Colour Me Wednesday – Sad Bride

Anna Clendening – Boys Like You

PHOTO CREDIT: Robin Christian

Muncie Girls – Locked Up

Jade Holland – Drive Thru

Tiana Major9 – Mr. Mysterious

Lucy Neville – Shameless

Essie Holt – Magnetise

Danielle Bradbery – Worth It

H.E.R. – Against Me

Jamilah Barry – CLOSER

Ellie Rose – Plastic City

Gazelle Twin – Hobby Horse

PHOTO CREDIT: Elliott Arndt

Emma-Jean Thackray - Make Do

Delaire – Something More          

Holander – Smoke

Beth McCarthy – Mr and Mrs Brown

Ocean China – Treasure

Chloe Foy – Asylum

The Regrettes – Helpless

FEATURE: In Vogue: Madonna at Sixty: How the Pop Icon Has Remained Untouched and Ever-Inspirational

FEATURE:

 

 

In Vogue

IN THIS PHOTO: Madonna in 1994/PHOTO CREDIT: Bettina Rheims

Madonna at Sixty: How the Pop Icon Has Remained Untouched and Ever-Inspirational

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IT is rather wonderful…

IN THIS PHOTO: Madonna in 1995/PHOTO CREDIT: Mario Testino for Versace

that I get the chance to wish a happy sixtieth birthday to two female music icons in the space of a couple of weeks! Although Madonna does not hit the big six-o until the 16th of this month; many publications and fans are coming out and wishing her all the best. The other artist who I paid tribute to was Kate Bush – it seems strange far fewer people have celebrated her birthday and contribution to music! I will bring in other articles, that mark Madonna turning sixty, but I wanted to put my thoughts together; two different periods where Madonna’s music has made an enormous impact on me. It is undeniable they (music) make fewer genuine personalities than they used to. When talking about Kate Bush, I was keen to explore her attachment to literature and nature; her love of dance and how her personality and unique edges fed directly into the music. I will talk about her more a bit later this year but, right now, it is the turn of Madonna. We all know about her musical talent and her activism; the way she fights for gender rights and, alongside that, you get the raunchy, controversial and always-exciting star – who has not tamed or dimmed since she announced her musical presence in 1982. I was born, literally, a year after Madonna was (musically).

IMAGE CREDIT: Getty Images

Although I did not truly connect with Madonna’s music until, say, 1987-ish; I was instantly aware of who she was and why people were crazy about her. True Blue had been out a year – Like a Prayer was a couple of years down the track! Having True Blue as the first taste of Madonna is a rather eye-opening and in-at-the-deep-end revelation. The album was dedicated to her then-husband Sean Penn but if you think it is all matrimonial bliss and safe music, you’d be very wrong! Unlike her earliest work, which I will track back to, there was something unapologetically raunchy and direct. Songs like Papa Don’t Preach showed she was not a crowd-following Popstar or someone playing it safe. Looking at subjects like pregnancy, sex and true love (explored on the album’s title-track); there was a lot more for eager ears than what the mainstream was providing. It is the album where we saw the Popstar Madonna dubbed an icon and legend. Taking more control as a writer – fewer cooks in the kitchen than previous records – everything about the young superstar caught the media’s eye. From her rebellious fashion – she managed to mix sexy and alluring with stylish and chic – and songs that sparked conversation and debate…this was all very exciting for a child who was not used to an artist like Madonna.

Whilst, in 1986, Madonna was joining the ranks of music royalty like Prince and Michael Jackson; I was making up for lost time and discovering her previous albums (through my parents plaing them). I feel her first ‘big’ hit, Holiday, is a bit of a red herring. It is undeniably catchy and populist but it shows Madonna in a more traditional Pop mould. It is amazing to think the artist who performed that song in 1983 would, very quickly, ditch the cutesy clothing and choruses to produce something much rawer and adult. Madonna’s eponymous album (1983) contained blistering songs like Borderline but, as a writer, a lot of other people were telling her story. Even in 1983, Madonna had her own style and sense of flair – more on that later. Like a Virgin, in 1984, saw the controlled and directed Madonna take more control and call shots. She was unhappy regarding her debut and the men making calls – too many songs written for her and producers like Reggie Lucas exerting too much influence. For Like a Virgin, she selected Nile Rodgers to produce. She was impressed by his work with Chic and felt he would allow her more control (Madonna is listed as a co-producer on the album). The reason the record struck me was that self-expression and strength come through. Look at the changing fashions and sonic shifts; the way her music retained its catch and memorability but employed more sass, funkiness and tautness – a true artist coming into her own and shining a light for female musicians and artists.

Tracks (from Like a Virgin) like Material Girl and Like a Virgin showed a transition and what was to come: the awakening and revolution from the put-upon and slightly muted artist taking a stand and standing out. If materialism and sexual revolution were, by her later standards, a bit tame; one cannot deny how Madonna’s rise and popularity changed music. I am too young to remember the album when it first came out but was discovering it when I was at school. The reason why Madonna’s early music made such an impression on me was, like Kate Bush, because of her immense talent and strength. So many artists of the time were being directed and moulded to be rather average and boring. These incredible artists, like Madonna, inspired generations to come and show female Pop artists could write and plan their own music. My female role models, outside of my family, were limited at that age. Music took over and, in the 1980s, most of the music I was being exposed to male-recorded; a lot of band stuff and musicians like Michael Jackson and Prince. Female empowerment was being explored and brought into the limelight on 1989’s Like a Prayer. I remember that album arriving and being blown away by this blonde-haired (although, she might have been slightly brunette at that point) siren whose Like a Prayer video caused all sort of shocks and headlines.

Independence, power and family were playing big roles in her music. Like a Prayer talks about Madonna’s mother, father and her Catholic upbringing; female empowerment and this young woman growing up in a very saucy and brilliant way. As a boy, I was struck by the music but was aware of her iconography and consistency. The U.S. artist was changing her fashion once more and lyrical themes. I had never encountered an artist as chameleon-like and primal. Her 1990s work like Erotica (1992) and Bedtime Stories (1994) kept up that move from traditional Pop artist to a sexualised and emancipated woman. Songs from those albums like Erotica, Rain and Human Nature were the talk of the playground for boys and girls alike! I will return to my love of her music and the second stage of her career that caught my mind. But, right now, I want to bring in a few other like-minded features that talk about the icon turning sixty. This article charts the fashion progression and how Madonna’s looks inspired other musicians and fans alike. It is clear that sex and female expression were big areas for exploitation:

“More than anyone, Madonna knows that sex sells. From her early performance at  the first-ever Video Music Awards in 1984, writhing on the floor in a wedding dress while she sang Like a Virgin, she knew that shock was the surest route to superstardom. Her stylist at the time, the much-overlooked Maripol (Madonna is better known for working with the stylist Arianne Phillips), was one of the few people close enough to witness the backlash she received, recalling how ‘they [MTV] tried to destroy her that day… they went under her skirt with the camera, trying to intimidate her’. If this early example of upskirting was intended to break Madonna, it actually did the opposite. It made her”.

IMAGE CREDIT: Getty Images/The Guardian

Even for a boy at school, I was aware of the ‘Madonna effect’. So many girls were copycatting her fashion during the 1980s and 1990s. In the 1980s, there was the teenage/young woman with all the excess of the period. There were bangles and hair tied back; lots of makeup and plenty to catch the eye. The more raunchy and revealing her albums became, so too did her fashion choices – much more provocative and rebellious. We all remember the 1990s conical corset that become part of Madonna’s Blond Ambition tour. That iconic fashion was designed by Jean Paul Gaultier and made a huge impact. Although that look was not mimicked at school – an unwise decision that would see many being expelled! – other artists were taking chances and liberating themselves. Madonna’s sexual pride and feminism has caused a stir throughout her career:

“Equally revolutionary, of course, is Madonna’s refusal to ‘put it away’. Feminism may have come a long way, but the vitriol aimed at Madonna’s sexuality as she ages is a stark reminder that when it comes to equality, we still have a long way to go. Slammed by some commentators at the 2016 Met Ball for wearing a gown that showed her (very pert) breasts and butt, it’s little wonder that she used her speech at the 2016 Billboard Women In Music Awards to highlight age discrimination.

‘Thank you for acknowledging my ability to continue my career for 34 years in the face of blatant misogyny, sexism, constant bullying and relentless abuse,’ she said. ‘Do not age. Because to age is a sin. You will be criticised. You will be vilified. And you will definitely not be played on the radio’”.

IN THIS PHOTO: Madonna during her Blond Ambition tour of 1990/PHOTO CREDIT: Sandy Hill/AP

Look at this piece in The Guardian and there is a lot of evidence to suggest Madonna’s fashion and iconic looks have managed to remain to this very day:

“In truth, popular culture still reeks of Madonna’s influence for a good reason: she’s earned it. Far from being a shallow shape-shifter, she always knew her way around a pop classic (her oeuvre is full of them), and developed a flair for choosing talented collaborators to keep her music fresh. Moreover, back when she could have played it safe, Madonna called herself an artist and acted like one, tirelessly reinventing herself. From plonking a black saint in the Like a Prayer video to putting out a book called Sex, at the peak of her fame, just about everything Madonna did alienated middle America, because she wanted to define the zeitgeist, not merely reflect it”.

Madonna managed to establish real change for women and shone a light on feminism (and not being controlled). She was the engaging and always-hungry artist who spoke out and represented those whose stories were not being heard. Madonna was a big supporter of gay culture and gay rights. At a time when the Aids epidemic was in the news (in the 1980s) Madonna was seen as irresponsible – often promoting gay culture and shining a light for the community.

IN THIS PHOTO: Madonna in 1982/PHOTO CREDIT: Gary Heery for the album, Madonna

If some saw her patronage as a catalyst for sexual expression, good times and recklessness; in actuality, she was representing members of a community hidden and cloistered. Gay rights have improved since the 1980s but artists like Madonna openly discussed the scene and gave many gay people a voice and sense of confidence. If it were not for her then many would have, as I am reading reports, taken their own lives or hidden their sexuality. She provided that flame and fire in order to bring to the masses the warmth, energy and togetherness of the gay community. Many also argue Madonna has helped advance the cause of L.G.B.T.Q.I.A. rights and opened many doors. Before I move on and conclude; I want to bring in an article where SOPHIE talks about Madonna’s impact on her – one of many modern artists who has been inspired by the icon - whether it is her fashion, boldness or music:

“Whatever is the established, easy‑to-consume current thing, Madonna always seems to push past that. I think anyone who has struggled with having their voice heard can relate to what Madonna stands for and feel empowered by her story and her music. She is not buying into people’s bullshit.

I think what I’ve learned from her is that you can work hard and still be a good person. Anyone who fights so long and so hard deserves to be an important figure in music.

And she looks like she’s having more fun than a lot of people I know at that age, so whatever she’s doing, in my opinion she’s doing it right”.

IMAGE CREDIT: Getty Images

After I had digested all the brilliant 1980s and 1990s work from Madonna – I shall fill some audio gaps in with a playlist at the end of this feature – it was her 1998 work, Ray of Light, that opened my eyes once more. Madonna has, since then, produced some brilliant albums and continues to be a major and always-changing force in music. Ray of Light, to many people, is her finest hour – I cannot argue against that declaration! I adore all the fashion, awakenings and perfect moments you get on records such as Like a Virgin and Bedtime Stories: Ray of Light was the rebirth and reinvention of a legend. There was a period, between 1994-1998, when many asked what Madonna would do next. She had not really put a major musical step wrong since her introduction to music – there was a lot of pressure to create another album that looked at sex, liberation and after-dark themes. Although Ray of Light does have its saucier moments; the album is more noticeable because of its sonic surprises and new maturity. Bringing in producer William Orbit meant Ray of Light effortlessly fused Pop (a Pop icon) with Electronic music. Ray of Light is the first album to truly fuse disparate genres like Trip-Hop, Pop and Dance and have it articulated by such an established and famous artist. Madonna had given birth to her first child and was embarking on a new phase in life...

Still in her thirties (just) when the album was released; it is an incredibly mature (that word keeps coming up!) record that remains her highest-rated and celebrated work. It won four Grammy Awards and has sold over 16 million copies; helped break new ground and, as you’d expect, inspire generations and change music. I was fourteen when the album came out and was still in high-school. British Dance music was a bit limited and tame – it was another year or so before Basement Jaxx came out and shook things up – and me, as a Madonna fan already, was not expecting what was to come. I think Frozen was the first song from the album that caught me. Its captivating and stylish video was a perfect accompaniment to a song we had never heard from Madonna – a complete change of pace but, still, distinctly her. By 1998, Madonna’s attachment to spirituality was making the news. We can all recall her talk of Kabbalah and how much mocking that accrued (The Simpsons even had a little dig!). In fact, it is the more spiritual and meditative moments of Ray of Light that stick out. Transcendent and beautiful songs such as Mer Girl and Shanti/Ashtangi showed Madonna in a new light and added new dimensions to her music.

More traditional and Madonna-like tracks such as Ray of Light and Nothing Really Matters sat alongside gems lik Candy Perfume Girl and The Power of Good-Bye (I am quoting from the U.S. version of the album). I was amazed at how an artist who had been in the public eye since 1982 has managed to not only sustain a career but seemingly hit a peak some sixteen years later! This article explored Ray of Light on its twentieth anniversary (earlier this year):

“The 41st edition of the awards properly reflected the female energy coursing through late 90s mainstream music. Only one out of 10 nominees for the record and album of the year categories was male-fronted, while Shania Twain, Sheryl Crow and Garbage’s Shirley Manson were all in their mid-30s; The Miseducation of Lauryn Hill ran out eventual winner in the album bracket. Madonna, snubbed in any meaningful category for so long, also finally got her dues. She took home three for Ray of Light and its title track. But, if anything, the album’s stock was modest then compared to now.

…For one, the themes tackled are more complex than your usual dance-pop smash. She reconciles her complicit role as a bratty star in a male-controlled industry (Nothing Really Matters), the breakdown of love with Lourdes’ father, Carlos Leon (Frozen), and, purportedly, her stormy marriage to Sean Penn (The Power of Good-Bye). For Anna Cafolla, the Quietus pop critic who had an Irish-Catholic upbringing, the stark closer Mer Girl, wherein Madonna lets loose the weight of witnessing her mother’s overgrown grave, hit home hardest: “Lush, haunting, one I still feel particularly close to as a woman now … It also makes me want to give my own mum a really big hug”.

IN THIS IMAGE: Madonna in a promotional shot for the album, Rebel Heart

Although post-Ray of Light Madonna albums have varied in quality – from the below-par American Life (2003), Hard Candy (2008) and MDNA (2012) to the brilliant Music (2000) and 2005’s Confessions on a Dance Floor…I am still undecided which camp to put Rebel Heart (2015) in! – it has been an interesting period for her. I love the fact she managed to follow up the critical success and enormous impact of Ray of Light with the very different Music a couple of years later. Brilliant tracks like Music and Don’t Tell Me – with William Orbit still on board – became big hits and cemented her new-period reputation for reinvention and glory. Genre-hopping, curious and endlessly experimental; Music was another critical success and proved the Queen of Pop was not going to grow older with disgrace or any sign of retreat.

PHOTO CREDIT: Carl Timpone/BFA/Rex/Shutterstock

Now, in 2018, there is a lot of talk as to whether Madonna will release another album. She has said, in recent interviews, how she is not going to perform on her sixtieth because she is enjoying semi-retirement. I am sure we will see more material from Madonna but she continues to speak her mind and enjoy she is in the public eye. Whether you are drawn to her fashion and changing styles or her feminism and political activation; her incredible music and the way she manages to change skin and remain essential and world-class – her sixtieth birthday is a good time to look back at her glorious back catalogue and discover why she remains timeless and ageless – someone with no equals and one of the most innovative talents from all of music! Let us, on the 16th, raise a glass for Madonna but, as it is her, make sure it is full of booze, in a glittery and provocative glass...and, once we have downed the contents, smash the bloody thing and…

IN THIS PHOTO: Madonna in 1987/PHOTO CREDIT: Bert Stern for Vanity Fair

DANCE the night away!

FEATURE: Sunshine After Clouds: Joni Mitchell: 1970-1976

FEATURE:

 

 

Sunshine After Clouds

ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images 

Joni Mitchell: 1970-1976

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THIS article looks at Joni Mitchell…

and her golden run of album from 1970 through to 1976. So many artists have this chunk of albums where they hit a wonderful stride; get into the groove and find hidden inspiration. I wonder whether (that run) is because of the time in their life or what is happening around them. In the case of Joni Mitchell; she was on that ‘difficult second album’ when Clouds arrived in 1969. Mitchell’s 1968 debut, Song to a Seagull, was released with little fanfare. The American songwriter was twenty-four when the record arrived and critics were not expecting much. The reviews for the album are good – nothing that compares to the wave of praise and adoration that occurred a couple of albums in. Clouds was released the year after – Mitchell showing, as she would later in her career, how prolific she was – and gained more praise. Whereas the debut contained nothing that rivals her career-best work; Clouds contains two (at least) peaches: Chelsea Morning and Both Sides, Now. Although fans consider songs like Both Sides, Now and Chelsea Morning to be among her best work; some critics back in 1969 considered those songs a little weak – other artists have done it better elsewhere. Standouts like Roses Blue and Tin Angel make the ten-track album a curious and intriguing work.

Mitchell was coming to maturity and still trying to find her voice. The subtle expressionism of the vocals and the confident songwriting was a step up from her debut. Others felt Clouds-era Joni Mitchell was a little young to be talking about disillusionment and heartache. Other female songwriters – who wrote their material and had the same confidence – would prove that myopic and odd assumption faulty. Mitchell was an innovator and portrayed an older-and-wiser tone compared to her peers. She was sprinkling humour in and showing much-improved chops and sunshine – breaking through the clouds, as it were! Even on her sophomore disc; we were getting more than commercial pomp and traditional Folk. Mitchell explored lovers and intimacy on The Gallery; The Fiddle and the Drum talked about Vietnam and warmongering; I Think I Understand spoke of mental illness – a subject that was unusual at the time (and still is in many ways). The evolution and maturation from sensual hippy to the prosodic-styled poet – as critics and commentators noted – was taking shape. That early promise, whilst not fully-formed, was to change when Ladies of the Canyon arrived in 1970. Mitchell was starting to get outside exposure so, one feels, that attention and confidence led to more risks and boundary-pushing songs. Maybe she was a little reticent and shy on her debut; exploring new ground and ideas on Clouds – one could forgive Mitchell a break after releasing two albums in as many years!

IN THIS PHOTO: Joni Mitchell at her Laurel Canyon home in October 1970/PHOTO CREDIT: Henry Diltz/Henry Diltz/CORBIS

It is amazing to see the one-album-a-year songwriter continuing to push herself and embolden her songwriting in such a short space. Many modern songwriters are lucky if they put out one album every few years; many artists leave huge gaps and it is rare to see a popular artist putting out an album every year! One cannot argue there is simplicity and a lack of complex production: Mitchell’s music, as was then and is now, is packed with colour and nuance; plenty of texture and substance – something that does not come easily and overnight. Ladies of the Canyon (1970) does not get the same billing as Blue but is an important stepping stone and point d'appui. Written for Laurel Canyon – an area popular with artists and musicians of Los Angeles in the 1960s – it is a phenomenal achievement. Maybe the confidence and critical backing gave her the impetus to be brave and open with her music. I feel her age – she was twenty-six when the album was released – played a part. She was transcending from a woman embracing the hippie scene and embarking on the sensuality of the times to a mature and inquisitive woman who was keen to look beyond the horizons of weed, free love and community. Not that Mitchell was ever a weed-toking, freedom-for-all type of artist: matters of the heart were making a bigger impression on her music.

There were still abstract impressions and vignettes of lovers and those who she had introduced in previous songs. Mitchell was reacting from critical and public feedback but was exploring the world more, literally and creatively, in terms of subject. Ideas like the weight of celebrity – obese gods sitting on wicker chairs – and its aesthetic demands were spliced alongside observations regarding the ‘Woodstock generation’. Leitmotif and candour were a stepping stone from her traditional Folk albums to what would be a more poignant and affecting cannon. Even pre-Blue; Ladies of the Canyon was unafraid to look at hard-hitting subjects and balance wit with pathos. Mitchell was taking inspiration from her friends, Crosby (David), Stills (Stephen), Nash (Graham) & Young (Neil). Their songs, renowned for their wordless vocals and dense harmonies, were making an impact on Joni Mitchell. The title-track and The Arrangement are standouts from the opening half: Big Yellow Taxi and Woodstock, her two-most-famous tracks from her career (to that point) ensured the album ended with real bang and brilliance. Mitchell was reacting to conservationism and urban planning; the perils and ennui of her generation and the lies of the U.S. Government – these were themes that spoke to her audience and were a lot more compelling the usual mainstream fodder. It seemed, after only a couple of years, Joni Mitchell was hitting her stride. Critics agreed with that assessment.

Allmusic, in a retrospective review, provided their thoughts on Ladies of the Canyon:

“Mitchell sings more clearly and expressively than on prior albums, most strikingly so on "Woodstock," her celebration of the pivotal 1960s New York rock festival. This number, given a haunting electric piano accompaniment, is sung in a gutsy, raw, soulful manner; the selection proves amply that pop music anthems don't all have to be loud production numbers”.

The ‘golden era’ for Joni Mitchell got her into the public mindset and amazed critics. The songwriter, as you would have guessed, was eager to follow up on Ladies of the Canyon’s success and get another album out there. In fine form and starting to write the material that was natural to her, Blue (1971) is regarded as her finest-ever album. I will come to the reaction and legacy of the album but, around the time period (1970), there was a lot of change happening in her life. Mitchell decided to take a break from performance – despite her success and songs like Woodstock being played on the radio constantly – and set off on a trip around Europe. With the continental air in her lungs, ideas were starting to take shape. Her travels around Formentera provided a canvas for tracks like Carey and California. Graham Nash, a sonic and vocal inspiration for Ladies of the Canyon, provided a much more direct and lyrical muse for Blue.

The two songwriters were romantic paramours from 1968-1970 and it crashed into the waves as she was relaxing by the rocks on Formentera. Nash sent Mitchell a telegram – oddly romantic and hard to conceive in this modern time – to say the relationship was over. I often feel like Blue is the film that has never been made. One can imagine these once-enraptured lovers separated by emotional distance and geographical divides. Nash was moving on with his career whilst Mitchell was about to write her finest record. Many modern songwriters, upon learning about a breakup, would not be able to discipline themselves to write anything productive and coherent. Mitchell, instead, injected suggestions and embers of the relationship into songs like My Old Man and River. I feel the resurgence/creative shift can be explained by the role relationships, broken and good, played. James Taylor, another sweetheart of Mitchell, provided influence and respite. Transitioning from a bad breakup from Graham Nash and leaping into an intense bond with James Taylor; we can see Blue as an album of two halves. There is the nostalgia of a former love and having to adapt to life in a new milieu: balance that against the rush of fresh love and flowers blooming once more. This Flight Tonight, Blue and All I Want reference the relationship with Taylor at the time.

Blue was formulating and brewing in January of 1971; the two lovers very much as-one and, in Mitchell’s mind, destined for old age and marriage. Taylor’s mounting fame meant friction came into the relationship by March. When they broke up, a devastated Mitchell had new inspiration and, once more, had to adapt to life alone. At the time, Mitchell had personal defences and was writing in a more distant and less evocative manner. Blue is her at her most overt and the artist being unveiled and stripped naked. There was nowhere to hide and, as such, her material reflected all the pains and pleasures happening at the time. Mitchell was employing new chord sequences and alternate tunings; the rawness and revelations in the album shocked many – some felt she would not be able to follow that milestone! Critics now consider the album to be one of the finest from all of music: back then, there was amazement that such a young and relatively new artist could create something so sublime and personal. Rolling Stone, reviewing the album in 2003, had this to say:

“…And yet, despite the title song. Blue is overall the freest, brightest, most cheerfully rhythmic album Joni has yet released. But the change in mood does not mean that Joni's commitment to her own very personal naturalistic style has diminished. More than ever, Joni risks using details that might be construed as trivial in order to paint a vivid self portrait. She refuses to mask her real face behind imagery, as her fellow autobiographers James Taylor and Cat Stevens sometimes do.

In portraying herself so starkly, she has risked the ridiculous to achieve the sublime. The results though are seldom ridiculous; on Blue she has matched her popular music skills with the purity and honesty of what was once called folk music and through the blend she has given us some of the most beautiful moments in recent popular music”.

It would be understandable to think Mitchell would take a couple of years off to mend her heart and find some space. She was, as she admitted, in a new stage of life and unable to hide her scars. As a result, For the Roses was released in 1972. Court and Spark was released two years later – showing how prolific and determined Mitchell was. I prefer the sounds and range of Court and Spark. For the Roses looked at the breakup with James Taylor formed the basis for some songs but, at this point, Mitchell was adapting to life as a solo artist – in every sense – and finding fresh inspiration. The best-known song from the album, You Turn Me On, I’m a Radio, was a response to the record company’s need for a ‘radio-friendly hit’. Ironically, the song became a big hit and made a big impression on the charts! In any case, Mitchell was keen to leave herself in the open and be as connected to the listener as possible. Never a writer to hide behind pillows and metaphor; commentators noted how For the Roses brought the listener into the record and made them feel like they were less alone. Mitchell, perhaps less keen to stick to formula and expectation, was exploring new genres and patterns. Cold Blue Steel and Sweet Fire is a look at heroin addiction with Jazz semblance; Judgment of the Moon and Stars hints to Beethoven – much more than one might expect from an artist (still) being labelled ‘Folk’. Many noted the vocal phrasing and acting – bringing personality and filmic characterisation rather than merely singing songs – was beyond compare; the way she could elongate and emphasis single words…all of this impressed critics and made her music so special.

Court and Spark, whilst placed second – in the minds of most critics and fans – to Blue, remains her most commercial-successful work. It reached number-two in the U.S. and number-one in Canada; it was a top-twenty success in the U.K. and topped many critics’ end-of-year polls. Again, unlike many modern stars and peers back in the 1970s; Joni Mitchell did not find commercial success and popularity to be a negative thing. Rather than conform and provide something more akin to what was out in the world; Mitchell actually took a little time to record Court and Spark (1973 was the first year since 1968 where she had not put an album out) and was concentrating more on the material. Performances were scarcer and Mitchell was investigating and studying Jazz. Again, she was doing things her own way and keen to create an album that was truly hers but did not repeat what went before. Whereas touring might have given her the audience reaction to make an uplifted and open album; her focused writing and new-found obsession with Jazz saw a different L.P. enter the market. SLANT, when reviewing Court and Spark in 2004, paid tributes to its spirit and identity:

“…Mitchell is, with Court and Spark, represented at the peak of her talents for crafting song-stories that are simultaneously inventive, intricate, and unfailingly melodic. And while many of today’s artists have exhibited shades of such talent, not many—of either gender—have been able to match such a dizzying height. Thus, also taking into consideration its mid-‘70s California dreaminess, Court and Spark is not only the best soundtrack to a Sunday morning ever made, it’s also an essential, timeless artifact of an era when pop could be both popular and personal, and would be rewarded critically and commercially for such qualities”.

IN THIS PHOTO: Joni Mitchell in 1975/PHOTO CREDIT: Norman Seeff

The Hissing of Summer Lawns (1975) does not have the same reaction as Court and Spark but shows new inventions and wonder. Mitchell remained in inspired mode and was taking her pen in new directions. In France They Kiss on Main Street, a Jazz-Rock song about coming of age in small-town 1950s, uses Rock ‘n’ Roll as a frame; The Jungle Line uses field recordings from Africa of the Drummers of Burundi; Edith and the Kingpin is Jazz-fused and paints a picture of a gangster’s new moll arriving in his hometown. Mitchell, at this point, was bringing in stream-of-consciousness and lyrics that looked at patriarchy and women stand up to male dominance. The album looks at female stereotypes – whether modern-day moulds or the southern belle discussed in Shades of Scarlett Conquering – and the role they play in life and the home. The Hissing of the Summer Lawns’ title cut is about a woman seen as an extension of her husband’s portfolio; The Boho Dance talks of commercial compromise and surrender; Sweet Bird is a more confessional track that harks back to Mitchell’s earliest days. Some critics felt the record betrayed Mitchell’s romantic outlook and nature; it was a distinct shift and a departure from what she does best. Retrospective reviews have shown how good the album is and the bravery of the subject matter.

Pitchfork, when looking at the record in 2012, assessed how audiences and critics perceived Mitchell:

“Mitchell had never made a record that wasn't bigger than the one before and was shocked that her fans and many critics saw her new sound as an abandonment and misguided move, respectively. Reviewers chastised her for her ego. While the album went gold and brought her a Grammy nod, as her 1974 live album Miles of Aislesattests (a wonky fiasco, skip it) there were still plenty of people shouting for "Big Yellow Taxi". But that Joni didn't live here anymore. Hissing was proof. The era of Mitchell doing no wrong was over and if her audience couldn't hang, she wasn't about to do anything to reel them back in”.

If there were some shaky comments; there was still plenty of genius and brilliance to be found in the record. I feel, mind, that Joni Mitchell’s diamond regency was slightly less-gleaming by 1976. Many consider Hejira to be the last of her early-career gold. The lyrics (on the album) are denser and the songs sprawl and stretch. Jazz was playing a bigger role and travels were affecting her songwriting. The album was written during three journeys she took in late-1975/early-1976. Mitchell was going through a fractured relationship and using cocaine regularly.

Whilst songs like Coyote and Song for Sharon prove Mitchell had lost none of her spark; reviewers were noting new sides to her work:

“But if Mitchell is not always inviting, she is never complacent. With Hejira she redefines the elements of her music with as much courage as when she scrutinizes her aims and motivations. And despite the songs of love lost and plans changed, despite the urgent, often stark consciousness of mortality and the absence of comfortable solutions, Hejira is a curiously optimistic album. In “Black Crow,” Mitchell sings, “In search of love and music/ My whole life has been/ Illumination/ Corruption/ And diving, diving, diving, diving…,” her voice swooping and spiraling on the repeated word. That is what Hejira is about: it is not the answers that are most important but the search itself”.

Maybe Hejira, the transliteration from the Arabic word ‘hijira’ (journey) proved to be an important album in the sense it was Mitchell embarking down a more Jazz-orientated road; there was still the flecks and brilliance that was evident on a work like Clouds. Unlike that record, Hejira is a more complete and solid work and, despite addiction and cancelled tour, it stands the test of time. It ends a glorious run of albums that put Joni Mitchell in the mainstream and marked her as the finest songwriter in the world.

Joni Mitchell, today, is still seen in public but has not recorded an album 2007’s Shine (her nineteenth). She suffered a brain aneurysm in 2015 and has fought her way back to health. I am not sure whether we will see another album from the seventy-four-year-old songwriter. If we do not, then we have seen more than enough brilliance from her to mark down in the history books. I wanted to look at the period between 1970-1976 because it upped her game and brought her music to another level. 1969’s Clouds was a brilliant hint at what was to follow; Don Juan’s Reckless Daughter gained mixed reviews in 1977 and ended a brilliant collection of records. We have seen other brilliant albums from her since then (including 1994’s Turbulent Indigo) but she had never hit the giddy heights of that early period…I doubt whether any other songwriter has or will we see anything like it. There are other bands/artists that have distinct periods where they can do no wrong: maybe a faultless run of albums that can be attributed to commercial success, personal circumstances and newfound creative outlets. In the case of Joni Mitchell; she moved from a slightly reserved songwriter to someone willing to reflect the pains of relationships and depression alongside fictional motifs and impressionistic sketches.

PHOTO CREDIT: New York Magazine

Her songwriting, during that time, explored politics and gender issues; politics and corruption – she also looked at her generation and her role in society. The boost she got from great reviews and certain inspirations – lovers and close associates – created that explosion and led to a purple patch. I feel the six-or-so years where Joni Mitchell ruled music should act as an example to all songwriters regarding form, inspiration and evolution. Mitchell was not expected to create the albums she did follow Clouds – many felt she was promising but could not predict where she was headed. However you explain that golden era – maybe maturity and greater confidence played their part – you cannot argue it is a fascinating and beautiful time. The fact she barely dropped a step over the course of those six albums is amazing. It is something you only really see from the real legends of music – The Beatles and Bob Dylan among them. Their story is for another day. For now, I wanted to put Joni Mitchel under the spotlight and focus on a songwriter who still makes a huge impression on artists. She has released many wonderful and enduring albums but, for my money, she was at her very finest…

BETWEEN 1970 and 1976.

FEATURE: Information Overload! Do Artists Need to Be SO Revealing on Social Media?!

FEATURE:

 

 

Information Overload!

PHOTO CREDIT: Unsplash 

Do Artists Need to Be SO Revealing on Social Media?!

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EVERY artist out there…

PHOTO CREDIT: Getty Images

is entitled to connect with their fans and share whatever they want. I do wonder whether there is this essential need to reveal every facet of their waking lives! It may seem like old news but there is something ambiguous about ‘social media’. That desire to be connected and conversational is resulting in a mass of information put our way. I do not follow that many people but I struggle to keep up with everything that is put out. I can look at Twitter, let’s say, and get a grip on what is happening. I turn my head and a stream of new tweets comes through. A band might post a GIF or update; they will then share someone else’s status and, before you know it, there is a flood of stuff in front of you. If you ever sleep – I occasionally do – then you wake up and have missed out on a lot of stuff. You will look at a timeline or whatever and search around for anything relevant and interesting. It is not only musicians culpable of sharing too much: all of us get into a habit of giving too much away and passing on every inane and random piece of information to followers. I have lost so many contacts because I get fed up with all the posts and retweets – Facebook statuses, stupid photos and pointless updates. The introduction and rise of Instagram have made this even worse.

Once was a time only had Facebook and Twitter infiltrating our brains. Now, there is a slew of Instagram updates and photos for everyone to see. I am all for artists being open and letting us into their lives but I wonder how much ‘useful’ and relevant information we are receiving. I do love artists like Florence + the Machine but so many big artists are sharing every thought and reflection with us! New artists are the same. They are less reliant on commercial gain and record label pressures but they are posting out constant updates and news stories; photos from gigs and thoughts that come into their head. I guess we are all guilty of too much sharing: I have been known to spend a lot of time posting articles and realise it must be a bit full-on for many. I get a bit fed up with the unregulated and over-the-top nature of social media. I do not like unfollowing artists or people in general but get a little weary when they post endless photos, updates and retweet endlessly. Not only is it impossible to keep up with it all but it sort of turns into harassment, albeit it quite inoffensive, after a time. You never really know if you have missed something important or something monumental has passed you by. The modern artist, mainstream or otherwise, need to keep their fans updated – I wonder how far they need to go.

“You have to remember that nothing remains the same.” -Pattie Boyd 📷 @alexilubomirski

A post shared by Taylor Swift (@taylorswift) on Jul 10, 2018 at 9:05am PDT

You look at a typical mainstream artist and there might be a couple of dozen updates/tweets on an average day. There might be some random Instagram photos and they retweet praise and mentions; there are some off-the-cuff thoughts and one or two things that might be worthy. I wonder whether the modern interpretation of being a musician has altered the way social media is used. This article shows how social media has changed and ways musicians can utilise it:

“Social media has played a massive role in rekindling this tribal group mindset. Artists in all industries no longer need to appeal to millions of people to succeed and make their mark. Instead, a group of even a few hundred loyal followers can enable the artist in question to pursue their dreams.

The results of this drastic change are phenomenal. Instead of artists having to adhere to certain genre’s or change themselves to appeal to more people, they can remain true to their essence and create whatever they want (well, within reason!)”.

Musicians have their music on platforms like SoundCloud and YouTube; they post behind-the-scenes videos and photos; they share reviews and news that comes their way – it all adds to a sense of productivity and marketing. I understand artists need to remain visible and cope in a saturated market.

The problem with keeping things strictly ‘musical’ means we are seeing more updates and bombardment. If you follow a selection of big and small artists, you will get to know them pretty well but I wonder how much of what we see is relevant. It might be fun seeing a GIF or a photo at a gig; we might smile a bit when they post wacky videos of them at a venue. Not only does the endless stream of updates get a bit much; you miss out on so much and it is impossible to connect with all your fans all of the time. I might miss an important update from a band who posts several pointless photos of them messing around in the studio. After a while of useless posts; I get a little fatigued and yearn for a bit of a breather. It is hard balancing between effective marketing and giving too much away. Look at the Pop market and some of the biggest artists there. Many will reach out to their fans but I wonder how many pouting photos and windows into their personal lives can be tolerated. Maybe there should be better filters so artists can better target their audience and, for people like me who do not need to know everything that comes out of their mouths, it would provide some rest. I would happily follow an artist and set what I want to get from them.

PHOTO CREDIT: Unsplash

I am not interested in any retweets coming from them; I do not want to see their Instagram feed – I only want to know about the music and what is going through their minds (in terms of creative thought). I feel the need to reach out and be so prolific is a way of coping in a saturated market. Artists feel revealing all and being constantly in the public view is a way of getting their name out there and getting ahead of the competition. Not only is that all-cards-on-the-table approach wearisome and overloading; it can affect mental-health and make the fan a bit addicted. I wonder whether the average Ariana Grande fan really needs to see her chilling at home or with her boyfriend; seeing every thought and being THAT connected. For the artist, there is that demand to have them spend hours a day on social media and open up their soul. That can backfire: fans and critics taking shots; feeling exposed and the need to keep pushing themselves in order to get more fans. I understand things are hard and it is a real struggle for a new artist.

This article posts a set of rules for social media dos and don’ts. Have a look here, too:

·         Keep your content varied. From a user’s perspective, nothing is more boring (and eventually, annoying) than seeing repetitive posts over and over. You’ll get more followers by mixing up your content to contain all sorts of material. Don’t just blast your followers with requests for likes or retweets – give back! Upload videos, share photos, make creative use of hashtags, offer giveaways, share sneak peeks, discuss albums or equipment you enjoy, and don’t forget to interact with your fans.

·         Don’t post too often – or too little. Different sources give different recommendations for the optimal posting frequency depending on factors like which website or app you’re using and how many followers you have. Generally speaking, two posts per day is recommended for artists with large followings (10,000 or more), while a lower posting frequency is typically advised for musicians with smaller followings. Planetary Group can help you find an effective social media strategy for maximizing your visibility and outreach to listeners.

·         Offer rewards for fans. Who doesn’t love being rewarded? You can make free downloads available to fans, or offer other simple, low-cost treats and exclusives, in exchange for liking your page or sharing a certain hashtag.

·         Get creative with interactive features. Artists often fixate on the “media” aspect of social media and forget about the “social” part; but the beauty of social media is that it creates a two-way street. Not only can you share content with fans, they can share content with you – which also happens to be a great (and cost-free) way to make an impression and forge a connection. For example, you can invite fans to submit their art, upload videos, or simply share their opinions.

·         Use a personal tone. You’re not the spokesperson for a multi-national corporation, so you shouldn’t write like one on Facebook (or, for that matter, on any other social media site you’re using). While you should definitely give your posts a once-over for basic grammar and readability, you should write like you speak so that your content has a genuine tone.

Steve Jobs you are one of my biggest inspirations and your story spirit and drive helps to push me everyday      congratulations on Apple hitting a trillion dollars also congrats to Eddie Q and Johnny Ives and Tim Cook and the entire Apple team

— KANYE WEST (@kanyewest) August 3, 2018

I do wonder whether it is hard to know where to draw the line and whether artists get too obsessed with getting as much information out there as possible. Whilst the musician has more ground than ever to cover; for those on the other end, it can be a bit heavy-handed and much. The musician is under more and more pressure to stay online and do as much as they can on social media. The effect on mental-health is clear – more and more artists committing suicide and suffering breakdowns. In any case; I feel there needs to be more of a balance and, yes, for artists to take it easier. I have followed artists only to regret it a day later – when they post more useless information than anything about their current projects. I feel we all need to take it easier and decide what is purposeful and needed.  Social media sites need more sophisticated filters so people like me will stick with artists and receive only the prime social media cuts. I am pleased there are so many artists coming through and putting their music online. I love the growth and choice but, when we have to see every movement and breath from them; it can get a bit annoying and lead many to hit that…

PHOTO CREDIT: Unsplash

UNFOLLOW button.

FEATURE: The World Is Your Oyster? WOMAD and the Visa Fiasco – and Why We Need to Do More to Welcome International Artists

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The World Is Your Oyster?

IN THIS PHOTO: The members of Tal National who were able to perform at WOMAD (some of their bandmates were denied entry to the U.K.)/PHOTO CREDIT: Judith Burrows/Getty  

WOMAD and the Visa Fiasco – and Why We Need to Do More to Welcome International Artists

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MANY of us have been hearing about…

PHOTO CREDIT: Getty Images

WOMAD  and the issues around visas. There are those who feel ‘World’ music – a rather broad and misunderstood term – is not really that good and something we do not really need to protect. The diversity and brilliance of the music world need to be embraced and spread as far as possible. The Guardian reported what happened at WOMAD and the musicians who missed out:

“Three of the acts scheduled for the festival – Sabry Mosbah from Tunisia, Wazimbo from Mozambique and some of the members of Niger’s Tal National – were denied entry to the UK and either had to cancel their festival appearance or perform stripped-down sets. Indian duo Hashmat Sultana passed through border control 24 hours after they were due to go on stage. Smith said that an increasing number of performers were now declining invitations to the event because they deemed the Home Office’s iron-fisted process humiliating.

Questions have been raised about what this means for the future of world music in the UK. The festival’s co-founder, Peter Gabriel, this week released a statement calling the situation “alarming” and asked: “Do we really want a white-breaded, Brexited flatland? A country that is losing the will to welcome the world?” Channel 4 News’s Jon Snow, meanwhile, tweeted: “The ‘hostile environment’ took its toll at Womad … a number of events were seriously affected by visa refusals. By definition, a festival of world music requires visas for many bands. What on Earth is the Home Office doing refusing them? Is music the new enemy?”

The fact Gabriel has come out in such strong terms shows you how ridiculous the situation is. I am not an expert regarding the Visa process – few of us are – but this is not the first time musicians have been restricted entry into the country. It costs hundreds to have a visa (for international artists) slow-tracked – it costs so much more to have it fast-tracked. There are countless boxes and processes the musician needs to go through. It is almost like renewing a passport and filling out a job application in one – to those whose first language is not English. They then have to find a wad of money to get a visa. There is that endless wait and, often, musicians are being turned away and denied. Artists including Serbian D.J. Tijana T revealed – to a Dance music site – she felt criminalised for having her U.K. visa denied three times in a year. Other artists have expressed horror and sadness at the lengths they have to go to in order to get a visa. The Home Office have said, last year, 99% of non-settlement visa applications were processed within fifteen days. That sounds like a pretty good statistic but you only need look at the difficulties surrounding the visa application process to know it needs changing. Artists often need to appear in-person at visa centres.

IN THIS PHOTO: Peter Gabriel/PHOTO CREDIT: Getty Images

Many of them do not live near one at all – it is hard when you’re in Africa and do not really have a choice. There are, as The Guardian’s article continues, other challenges:

“Performers invited by a number of approved events such as Womad (there are 45 in the UK in total) can apply for a permit-free festival visitor visa without the need to issue a certificate of sponsorship. But they must “provide bank statements showing a consistent balance of around £1,000 for at least three months,” says Richard. Even these visas are clearly no longer guaranteed, often due, according to David Jones, a director at live music producer Serious, to spiralling processing times. “What used to be the absolute maximum period they would turn the visa around in, 15 working days, has become the norm.” Often this means that passports are returned long after a gig has taken place”.

It seems, since 2015, it has become harder for non-residents to enter the U.K. to perform. Not only has the process got harder but, when many appeal after they are denied, many have to spend thousands rebooking flights and uprooting themselves. It is not as though people working in the visa office are racist and want to keep people out. There is costing-cutting happening and there is less accuracy/competency when processing forms. The fewer people employed to process applications, the more incidents like the WOMAD situation we will see.

There is another presumptions (international artists) are here to remain and not return to their countries. Musicians are here to do a job and bring pleasure to people. The fact those who can successfully get a visa and play here have to go through so much tells you how changes need to come in – we need to take measures and ensure there are no barriers imposed. Maybe it will be a case of festivals sponsoring acts or acting as references. Maybe there needs to be greater differentiation between non-genuine performers and those faking the application. That, again, comes down to resources and capital investment. Many others will say there is not enough money to overturn the visa situation – others are not concerned with the problem and feel there is no big loss. I am wondering whether Britain is pushing people away to keep ‘safe’ its own people. We are leaving Europe – in the worst and most embarrassing way possible – and it seems like we are becoming less connected with the rest of the world. Musicians from continents like Africa and Asia bring so much talent and colour to our shores. It is not only festivals like WOMAD where musicians are feeling excluded and frustrated. If artists have to pay a lot of money to get a visa and others are rejected for no good reason; we risk sending a bad message to the rest of the world.

PHOTO CREDIT: Getty Images

U.S. and European musicians will see how hard it is getting through barriers and customs; how stringent and complex the visa application process is. Many will not take the risk and stay where they are. The reverse may be true for British musicians: countries not willing to freely let in our artists if we are excluding theirs. All of this is a mess that needs untangling and getting to the bottom of. I am not sure whether there is an easy solution but is clear the Government needs to realise their current policies are not working. More money needs to be sourced to better staff the visa offices; the forms need revising and we need to make sure the process for applying for visas is affordable, thorough but not too difficult. Seeing festivals with a sea of white performers is not something I want to witness. Diversity and cultural richness rely upon openness and the understanding we cannot keep British music solely British. WOMAD director Chris Smith had this to say regarding other countries and their attitude to international musicians:

"Without a doubt it is harder to get into the U.K. than it is to get into other countries," he laments. "In other countries, the authorities bend over backwards to actually solve any problems that we may come across. Here you don't get the support. It's a premium cost phone line to an answering machine. We very often have staff sitting in the office making very expensive phone calls because the artists simply can't afford to."

 IN THIS PHOTO: Chris Smith/PHOTO CREDIT: Getty Images

He adds, "When you have your prime minister saying she wants to create a hostile environment for immigration, you have to assume that part of that is actually about being hostile and finding reasons [not to let people enter the country] -- whether it's racial or religious or any other grounds"

Musicians in Mali, for example, have to travel to Senegal to lodge applications; others have to wait endlessly for a decision and many others find the application itself user-unfriendly. Many artists find there is nobody to speak with regarding their application and it is a confusing and frustrating process. WOMAD has revealed a real problem – one we have only seen the tip of. We do not know how far the problem extends and how problematic it is for artists all over the world to get into Britain. If Brexit represents a new and more independent Britain then I wonder whether we need to look at our views of the world and why we are isolating ourselves. We are less keen on doing business with Europe and there is a view Britain is better off when it makes its own decisions and has a bigger say on the world market. Britain is hardly a shining example of openness and unity when it comes to people outside of our nation.

IN THIS PHOTO: Meklit performing at this year’s WOMAD/PHOTO CREDIT: Judy Totton/REX/Shutterstock

I know there are a lot of questions that need to be asked but the fact the visa process has got worse the last few years shows the current Government is dropping the ball. The real risk is a shrinking of our music culture. Britain, soon enough, will only produce its own artists and exclude everyone else. We are more welcoming when it comes to American and European artists; it is a simpler process and they have greater access to visa offices and assistance. In any case, many are calling for real change and a realisation this nation is losing what makes it great. If we push everyone away and make it impossible for great international artists to play here; festivals like WOMAD will be in danger and that will have a knock-on effect. I am concerned this is a sign of worse things to come: other festivals losing musicians because of the visa process, for instance. Let’s use WOMAD as an example of how brilliant World/international music is and why we need to make it easy for artists to come and play in the U.K. I am becoming more ashamed of the country and where we are heading. The music industry is the last industry I want to see suffer because of our restrictions and visa processes. Let’s learn from this mistake and hope the Government gets themselves organise and ensures…

IMAGE CREDIT: Getty Images

THIS never happens again.

FEATURE: The August Playlist: Vol. 1: Kong, Mods and the Hunter

FEATURE:

 

The August Playlist

IN THIS PHOTO: Neneh Cherry

 Vol. 1: Kong, Mods and the Hunter

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THIS week brings some very exciting…

and unexpected releases to the fore. Neneh Cherry has released her first new material in a while and it is a classic slice – a nod back to her early career with plenty of original lashings! There is awesome new work from Sleaford Mods and Robyn; Slaves and YONAKA – a varied and exciting basket.

The weather is still pretty sweaty so, rather than endure it; get involved with a great selection of songs and sit back. Relax inside a week of brilliant music that shows, even though we are past the half-way mark of this year; there is no sign of things slowing or dimming for a moment!

IN THIS PHOTO: YONAKA/PHOTO CREDIT: Ryan Saradjola

ALL PHOTOS (unless credited otherwise): Getty Images/Artist

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PHOTO CREDIT: Wolfgang Tillmans

Neneh Cherry – Kong

Interpol – Number 10

Anna Calvi – Hunter

Sleaford Mods – Stick in the Five and Go

Robyn – Missing U

Slaves – Chokehold

Wild Nothing – Letting Go

Paul Weller – Movin On

YONAKA – Waves

Darwin Deez – Say It First

PHOTO CREDIT: Harriet Brown

Black Honey – Midnight

Paloma Faith – Warrior

Jungle – Heavy, California

PHOTO CREDIT: @alexvnderblvck

Snoh Aalegra – Sometimes / Worse

Moses Sumney – Rank & File

Casey Lowry – Me & You

The Coral – After the Fair

Boy George & Culture Club – Let Somebody Love You

CXLOE – Show You

Death Cab for Cutie – Autumn Love

Ella Mai – Trip

Jade Bird – Uh Huh

Kid Ink – Big Deal

Nadia Rose – WUT2

Olivia O’Brien – UDK

XYLØ – I Don’t Want to See You Anymore

Amanda Shires – Take on the Dark

Iggy Azalea – Tokyo Snow Trip

CHVRCHES (ft. WEDNESDAY CAMPANELLA) – Out of My Head

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. XV)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Daddy Issues/PHOTO CREDIT: James Rice  

An All-Female, Summer-Ready Playlist (Vol. XV)

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IT may seem a bit ironic…

IN THIS PHOTO: Eilish Gilligan/PHOTO CREDIT: Giulia Giannini McGauran

launching a summer-themed playlist when the weather is less than beautiful right now! It is lashing with rain outsid but, in a few days, it will be back to the usual heat and sunshine. If anything, a good assortment of songs from great female artists will distract us and keep us all occupied. If it is too wet to go outside where you are; stick on this fulsome playlist – composed of songs from this or last year - and have a look at some tremendous artists. It is an exciting and quality-laced collection of songs that ensure the sun will come back…

IN THIS PHOTO: Vera Blue

SOONER rather than later.

ALL PHOTOS (unless credited otherwise): Getty Images/Artist

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PHOTO CREDIT: @juliafletcherphoto

Daddy Issues – Lemon

ELIZA – All Night

Haiku Salut – The More and Moreness

PHOTO CREDIT: Poppy Marriott

Dream Nails – Cookies 4 U

Vera Blue – Regular Touch

Katie Belle – Promises

Sasha Keable – That’s the Shit

Tertia May – White

Ariana and the Rose – How Does That Make You Feel?

PHOTO CREDIT: @biuh

Party Nails – My 404

Dami Im – Love on Top

George Maple – Like You Used To

Bethia Beadman – At the Beach

Laolu – So Right

Gia Gray – Call Me

Chloe Lilac – Stolen Liquor

Jaz Karis – Petty Lover

Hannah Woof – Hold on You

Ariel – We Bring Our Friends

Julietta – Smooth Sailing

Lola Godheld – The Bird Song

Anna Lunoe – Blaze of Glory

Eilish Gilligan – S.M.F.Y.

Estère – Ambition

YEBBA - Evergreen

FEATURE: Bad Reception: Why More Artists Need to Take a Stance Regarding Phones at Gigs

FEATURE:

 

 

Bad Reception

PHOTO CREDIT: Unsplash/ALL OTHER PHOTOS (unless credited otherwise): Getty Images 

Why More Artists Need to Take a Stance Regarding Phones at Gigs

__________

MORE and more musicians are starting to…

rebel against those who come to their gigs and spend the entire time on their phones! It is frustrating attending a gig and seeing a sea of people filming the entire set on their Smartphone or whatever they have available! When researching for a piece on Kate Bush; I was listening to an interview she gave to promote her Before the Dawn live album and she was asked about phones - she requested people not to record and be involved in the actual show. By and large, most of the audience obeyed and could not turn down an order from Kate Bush. In fact, it was more of a polite request. I wonder why you’d go a huge gig like that and film it. Maybe you’d want the posterity and proof that it happened – knowing it will never be released on DVD – but you wonder how much of the actual music is being missed! You cannot get any real sense of what is happening and what the mood is if you are looking at a screen and seeing everything second-hand. Prince had a policy regarding phones at his gigs and wanted to have the audience paying attention to what was happening. It is difficult for musicians to enjoy what they are doing and actually spend time connecting with fans if they cannot see eyes.

Jack White is someone else who has come to the point of being angered by fans using their fans when watching him perform. He heard an artist – maybe Beck or someone like that – who got the audience to put their phones in a special pouch that was locked and could only be opened if they stepped outside of the venue. They would be able to use it away from the actual gig but would not be able to get at it during the performance. I feel this is an incentive that should be rolled out across all live performances. We do not need to take photos and record video when we are at a gig. If you are more concerned with what is happening on the phone and less bothered about the physical reality of the performance then I wonder what the point it! The person who compelled this piece is Paul McCartney. He played a legendary gig at the Cavern Club earlier this week and gave his crowd a free show! The only thing he asked was people actually put down their phones and respected what he and the band were doing. That seems like a pretty good deal for someone who about to embark on a life-affirming and brilliant set! Most people were willing to oblige but there were some who had their phones and were filming things.

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Mike Coppola/Getty Images

If you come to a Paul McCartney gig and are too busy taking pictures and filming then there must be something wrong with you! He gave those guilty a warning and explained why he was doing that. He had seen other artists have a no-phones policy and he wanted to connect with the crowd. It seems reasonable and I wonder why we all get so hooked and unable to give up that addiction. When Jack White was speaking; he felt like there was a wave of blue screens and technology blocking the view and causing a distraction. If people are being sly then they look down and he cannot see their eyes. He is not sure what they want from his set as they cannot provide reaction and response. Because of that, he has to fly by the seat of his pants and guess things. When you go to a gig; you need to be in the moment and give that instant response to what is happening. An artist vibes from that and they know the audience are in the moment and with them. If you are too busy and are engrossed on a phone then it is a rather synthetic and strained experience. Some people (idiots) defend the phone at gigs because we get great videos and memes – the videos are always crap and the quality is terrible. Why would you watch a gig on a shaky and poor-quality video?! I find it baffling anyone would get any enjoyment out of it at all.

PHOTO CREDIT: Unsplash

A lot of articles came out earlier this year and looked at the divide between those who need shots for Instagram/social media and pictorially showing their experience of that gig – others who want them banned and feel like they are spoiling the gig experience. Look at this article and you get a perspective from a company that sells mobile phones:

“The smartphone issue is such a big deal because, well, everyone has one now! For some, they're an essential part of the gig experience – snapping some shots for Instagram, a selfie with your mates in the crowd, a Snapchat video to tease friends who couldn't get tickets. For others, they're annoying, produce rubbish photos and videos, and get in the way – how can you enjoy the gig if you're watching it through a tiny screen?

Bands themselves are divided – Kate Bush, the Yeah Yeah Yeahs and Neutral Milk Hotel are among high-profile acts who have banned smartphones from their gigs, while others like Fall Out Boy and Weezer encourage loyal fans to upload their gig photos to Crowd Album.

As lovers of music and sellers of phones, we felt compelled to get involved in the debate, and surveyed the UK's gig-goers to find out their views. We also chatted to a few of our favourite up-and-coming acts – the bands and artists for whom social media exposure is the most useful – to hear their side”.

IN THIS PHOTO: Yeah Yeah Yeahs

The article polled people and reported the facts coming through regarding usage of phones at gigs and the public viewpoint:

“For those who are fed up with iPhone screens blocking their view of the stage – take heart, because it could be worse. Of the people we surveyed, only 44% said they used their phone at live music events, although this does rise to well over three quarters (79%) for the 18-24 age group – the bulk of the gig-going public.

Fortunately, at least, people are mostly watching the bands – 73% only used their phones to take pictures at concerts and gigs, rather than quickly checking Facebook during the new songs. And although young people use their phone more, they're more concerned with documenting the gig than with checking social media – it's older men who are the most likely to be tweeting through the set.

The public remains in their favour too – just. Slightly under half (46%) said that phones should be banned at live music events, so the majority are still pro-phone, although two-thirds (69%) did say that they would keep their phone in their pocket if the artist requested – whether it was being enforced or not”.

The piece went on to interview various artists and their views. Many said a total ban on Smartphones would be too radical and wrong. They are in favour of pictures being taken but less happy with footage being taken and filming a whole gig. I do not feel you can have modifiers and be half-arsed when it comes to phones. Whilst I feel having them locked away might be wrong – in case someone received an urgent text or does not have a watch and needs to know the time – I do not get the need to document the gig and post to social media.

IN THIS PHOTO: Lucy Spraggan/PHOTO CREDIT: Getty Images

The photo quality is never great and you have grainy and awful videos that you cannot really tell what is happening. I find actual memories are more reliable and strong than the footage you get from social media. I wonder whether we are in danger of losing our memories – or not needing them! – if we rely on phones and get lost in the digital world. In the article I have just quoted; musician Lucy Spraggan gives her views:

“Do you think smartphones should be banned from gigs?

I think that should be down to the artist that is playing; some musicians and singers are distracted or think that the audience are not getting the full experience. I believe if they paid for a ticket they can do what they like”.

 The dilemma comes when you have the legendary artists against the new breed. The upcoming musicians often rely on people sharing snaps and videos online to get their fanbase up. It can be useful having videos showing their set and getting others engaged through seeing that performance and being tempted to go. We are in a time when promotion is everywhere and artists rely on social media and spend so much time there. I wonder, if they want that sort of promotion, get somewhere (one person) to post a video from the official site. By that, I mean have an official photographer or person filming gigs and putting them online. You get better quality and it means others at the gigs do not need to get their phones out!

The bigger artists do not really need the promotion and feel it is better, if you have paid all that money, to concentrate on what is being said. Chris Rock, the U.S. comedian, has adopted the no-phones policy. If you are putting out something important and personal then I would want people involved and not hiding behind screens. I agree there are circumstances where we need phones and there are emergencies that crop up. I think, rather than chuck them all at the door, it is better to have some common sense and respect for the artist. You can take a quick snap after a song and film a video before the show starts. If everyone films and photos all the time then it is rude and can be very distracting for them. There is no point playing to people who are not really about the music and more concerned with followers and what it looks like on social media. This article, published earlier in the year, look at other issues associated with images and video:

“Guns N’ Roses, Jarvis Cocker, Alicia Keys and the late Prince all made a stand against fans who filmed their gigs with phones. Two years ago American folk rock band the Lumineers even put the house lights up to shame those who were “ruining the ambience” of their concerts, urging their audience to “be more present with us”. For music-lovers it might seem a simple way to record a real-life encounter with an idol, but now the question of who controls the images of a live concert is becoming a big issue for performers.

 IN THIS PHOTO: Kendrick Lamar

After Jack White, the former White Stripes frontman, decided last month to stop the use of smartphones at gigs, hip-hop superstar Kendrick Lamar, who launched his European tour in Dublin last week, is the latest high-profile performer to attempt to take charge of his image in the face of modern technology.

The Grammy-award winning rapper, who has collaborated on the soundtrack of the new Black Panther Marvel film, is not even letting professional photographers into the auditorium for this leg of his tour.

While the rapper’s management did allow a few official photographers into the North American dates of his show, showcasing songs from his latest album Damn, Lamar’s fresh concern to limit the market is an attempt to protect his valuable “brand” and ensure the appetite for tickets remains keen. A large part of the income of the music industry, even for bestselling artists, relies on the profits made by concert tours”.

A lot of my trouble concerns people’s real motives behind shooting video and photos. A lot of people do so to get popular on social media and gain some sort of status. Many people post to Instagram and do so for credit and a false sense of celebrity; many do not bother to watch the videos back and most people in the world do not want to see photos of them and friends watching Taylor Swift or Foo Fighters. For personal memories, then you cannot object to a few photos or whatever – if someone was celebrating a birthday or it was a rare chance to see your favourite artists. When it comes to those who spread it all over social media and turn it into a huge event…that is where I start to run up against things.

PHOTO CREDIT: Unsplash

Whilst only one-third of young people want phones banned at gigs; I feel there need to be limits and people actually should question why they are at gigs. I wonder why they spend all that money and then shut yourself away and not properly pay attention to what is happening on the stage. If you want a few quick shots, and it is not distracting to their artist, then that is the line. I disagree with those who do not mind fans filming because it creates buzz and attention for their music. The music itself is the way to get attention and is why people release songs! If you need to rely on fans’ videos and photos to get more people your way then I query how good the music itself really is. I think people should be able to keep their phones with them but show a lot more respect and keep them in their pockets! Some artists are standing up and getting tough but too many are either suffering in silence or being a bit timid regarding rules. The live experience is a precious thing and the best way to enjoy the music and hold onto memories is actually watching the artist. I doubt the posts that are on social media will be remembered and recalled years from now! If you literally watch a gig and pay attention then that will stay in the mind longer and stay lodged in the memory.

It is a controversial issue but we need artists to start the move and at least discourage people from using their phones. I was staggered anyone would be at a Paul McCartney gig and not witness every move he made with their own eyes! He wanted the fans to enjoy and see what he was doing – if you film it then you are missing out on so much! There are financial and moral reasons why fans feel fleeced and cheated if they are not allowed to take photos:

“It may already be too late, given that many no longer see a problem at all. With Adele tickets costing as much as a three-star mini-break in Cyprus, some fans argued it was their right to harvest all the footage they wanted. After all, didn’t the punters already fight and win the home-taping-is-killing-concerts war a decade ago, when stars would regularly issue YouTube takedown notices on any inaudible three-second pixel-soup?

The truth is that it is always going to be an imperfect solution when the imagined expressive freedom of our musical lives is turned into a patronising prison ritual. The choice isn’t always obvious. Would the raw blood and faeces of a GG Allin performance have suffered from people Snapchatting jumpy video stacked with poopy emojis? Or would his art have suffered more from the indignity of a microchipped neoprene baggie in every pocket? It’s another one for Plato”.

I feel very strongly about the no-phones rule and think we miss out on so much if we spend our lives viewing everything through screens. There is a rudeness attached to those who ignore a musician and care more about getting ‘value for money’ as opposed getting the most from their ticket. You pay a lot of money but the only way you can benefit is getting the more human and rounded experience from the artist. If thousands of others can film the same thing – and you can watch that at home – then why pay all that money (needlessly) and waste all that time? I find no logic with those who say it is their right to film everything and do what they want. Artists are putting their all into gigs and feel it is the only way they can make money. So many new musicians rely on people coming to their gigs and talking them up – the best way to do that is watching the gig, telling friends and spreading the word on social media (not photographing endlessly and giving a rather detached and unreliable version of events). If we actually open our eyes and remember why live music is such a special thing; artists will be more confident and feel more connected with their fans. Technology has pushed music a long way and made some big changes but I feel, when it comes to the phones-at-gigs-quandary; it is far better to have the phones in the pockets and ensure live music is…

PHOTO CREDIT: Unsplash

KEPT it pure and human.

FEATURE: Always Forever: An Ageless Icon: Kate Bush at Sixty

FEATURE:

 

 

Always Forever: An Ageless Icon

IN THIS PHOTO: Kate Bush (2014)/PHOTO CREDIT: Trevor Leighton

Kate Bush at Sixty

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THIS coming Monday will be a lot less gloomy…

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Chris Moorhouse/Evening Standard/Hulton Archive/Getty Images

than most other week-starters, that is for sure! Other websites have beaten me to the punch – I shall bring them in soon-ish – but there are few more excited about Kate Bush turning sixty than me! It seems strange Kate Bush is even capable of ageing – her music is timeless and, even today, it is influencing countless artists and making its voice heard! Maybe we will see announcements and new developments post-Monday – it would be good to think Bush is preparing music... – but I know she will celebrate in quite an understated and modest way. The last interview she gave was back in late-2016, I think. I heard her speak with BBC Radio 6 Music’s Matt Everitt regarding the release of the Before the Dawn performances at Hammersmith Apollo (in 2014). That interview is the most recent, I believe, piece of Kate Bush audio we have. If you asked me to name the three gigs I wished I had attended – whether that involves time travel or being better prepared – then Kate Bush’s 2014 bonanza would be right at the very top! The other two, for full exposure, would be The Beatles playing Liverpool’s Cavern Club in the early-'60s. I know Macca has just played a legendary, life-affirming set there but to be at that humble space and seeing The Beatles in their first flushes is something very few people can relate to and recount. The other gig is as modest but completely different.

Jeff Buckley played New York’s Sin-é café back in 1993. This would have been between the time he was a freelance artist and signing with Columbia Records. To be in that coffee shop and hearing the master reinvent and own some brilliant songs (from the likes of Bob Dylan and Edith Piaf to Van Morrison and Led Zeppelin) and showcase new material (that would feature on his sole solo album, Grace)…how can you put that into words?! The reason I lament missing Kate Bush’s where-the-f*ck-did-THAT-announcement-come-from gig(s) at Hammersmith is because, sadly, it might be the last time we see her perform. The fact those gigs were the first time she has performed since the 1970s shows how rare a Kate Bush gig is. I am confident she will bring another album out before ‘retirement’ but a show…is that ever going to happen?! I have the Before the Dawn L.P. – a multi-vinyl set, in fact! – and can attest to its spine-tingling sound and atmosphere. The fact I am still sad at missing it, and people who attended those nights buzzing and remembering it, shows what a never-ending and always-present musical force Kate Bush is. We look at Kate Bush in terms of her albums and videos – the rises and falls – but never really note the facts and records.

IMAGE CREDIT: Getty Images

She was the first woman to score a number-one in this country with a self-penned song. That was in 1978, for Wuthering Heights, and has only been equalled a few times. I think, actually, we forget how few women reach the number-one slot in this country and how few of them write (solely) their songs – Kate Bush, in a way, is a reminder of what music should be about. The Kick Inside is my favourite album of all-time and one I can talk about and defend until the cows come home! (I even have lyrics from Moving, the opening track, tattooed on my left arm; lyrics from the closing track, The Kick Inside, tattooed on my right arm!). Most people argue Hounds of Love (1985) is the king/queen – I shall come onto that record in due course. The reason the album resonates and obsesses me every waking hour is (because of) the moment it arrived in my life. The record was released in 1978 – when Kate Bush was nineteen and living at home – but I was not born until 1983: I discovered the album in, about, 1989 and was starting to hear other albums of hers like Hounds of Love, Lionheart (1978) and The Dreaming (1982) - captivated by the music videos for songs like Sat in Your Lap. Most of my childhood experiences of music were male musicians. The Beatles were, and are, the voices that define what music means to me – the greatest thing in music history and the apex of human creativity and genius.

 IMAGE CREDIT: Getty Images

The Rolling Stones, Led Zeppelin and Bob Dylan were all played on the family turntable; The Kinks and T. Rex were big fixtures. Aside from the odd female artists – like Carole King, The Bangles and Joni Mitchell – most of my early musical exposure was male-made. Michael Jackson was a big early influence but Kate Bush changed…everything. I remember Caitlin Moran talking about Bush on Desert Island Discs and recalling that Wuthering Heights video – the young Bush pirouetting and beguiling in, essentially, a nightgown! The reason The Kick Inside held hostage my young mind, and is my unerring favourite album, is the accomplishment and sense of confidence in a debut album from someone so young! I listened to the album (for the millionth-and-second time!) a few hours ago and was agog at the nuance and sense of endless revelation. Songs I sometimes overlook, like The Saxophone Song and Kite, revealed unseen brass and flight. It is controversial but, to me, The Kick Inside is the only Kate Bush album that contains no weak(ish) track. It does not have something as emphatic as Running Up That Hill (A Deal with God) on it but the sheer audacity, originality and beauty from Bush make every song timeless and perfect! Although the video for Them Heavy People – an underrated song from the album – stands in mind hottest; the genius of Wuthering Heights, and the legacy it has, is indelible.

The song has taken on a life of its own and, for someone so young, it is amazing to hear it unfurl. Kate Bush wrote Wuthering Heights without fully finishing Emily Brontë’s novel but I look at Bush, as a teenager, writing those songs. Some of the tracks were written when she was still at school – The Man with the Child in His Eyes was penned aged thirteen, in fact. There are modern artists who are teenagers and write some pretty good songs – Billie Eilish, a U.S. Pop artist, is one. We NEVER hear of anything as accomplished and phenomenal as The Kick Inside in our time – there has not, in my view, been an album as impressive from someone so young since 1978. Another reason I adore Kate Bush is that of the subjects she covers and her approach to the arts. One of the reasons I am such an avid and dedicated feminist is the effect and brilliance of Kate Bush. She had to fight from the outset of her career – she pitched to get Wuthering Heights released as a single; the record label wanted a more commercial cut like James and the Cold Gun instead – and was determined not be trodden on and treated like a girl. Interviews from 1978/'79 range from awed to plain patronising – some interviewers almost patting Kate Bush like an infant, assuming she is helpless and a weak little sparrow! There are some great videos and documentaries from that period - or shortly after. 

PHOTO CREDIT: Guido Harari

The tenacity, determination and sheer strength Kate Bush has displayed from the start have inspired legions of female performers to take charge and kick the nuts of the musical patriarchy! Everyone from Madonna and Tori Amos to Florence Welch has taken something from Kate Bush’s treasure chest and incorporated it into their aesthetic. I will look at the remainder of Kate Bush’s career – 1978-now – but one forgets the humour and wit of the woman. When explaining her vegetarianism back in 1980; she felt it okay to eat plants because, let’s face it, they like the attention – “I think they’d be really sad if no-one paid attention to them” she said. She also stated they would go well with Marmite. She appeared on a show with Richard Stilgow – I am cribbing from The Guardian’s sixty(number)-based Kate Bush tribute; a little threadbare and hollow feature – and talked about her skincare regime. Whether talking about diet or beauty; music or how she was raised – we forget how witty and sharp Kate Bush was. In fact, when promoting her 2011 albums, Director's Cut and 50 Words for Snow; she charmed interviewers like Lauren Laverne (see later in this feature), Mark Radcliffe and Ken Bruce and provoked much laughter. Before I go back to discography and timeline; it is worth noting an EMI executive visited Bush during her twelve-year gap (between The Red Shoes and Aerial) and was there to see what she had been working on. The rumour she presented him with baked cakes is false...but you can SO imagine that scenario happening!

Back we go to 1978 and, after The Kick Inside, there was public and industry pressure for her to follow the acclaimed and spectacular debut. Lionheart was released that same year – how many modern artists do that?! – but it was a critical flop! Many felt short-changed and felt there were few songs that rivalled the likes of Wuthering Heights. It is, perhaps, her most (least-)mentioned record - and one that few people discuss! Although the songwriting dynamic was different – the debut was mostly written, at her home, before coming into the studio; the sophomore album was mostly written in the studio or rushed – there was plenty of gold on the record. The beauty and kiss of Symphony in Blue and In the Warm Room; the standout hit, Wow; the inventive and semi-weird quirk of the closing duo, Coffee Homeground and Hammer Horror. There are no nerves or any huge errors on the album but, pressured to quick-release a follow-up for The Kick Inside; Kate Bush was not allowed time to germinate, ruminate and create. One can see the period between Lionheart and Hounds of Love as a mission to gain full control and make music on her own terms. I will skip through those albums but look at the material that you hear on Never for Ever (1980), The Dreaming (1982) and Hounds of Love (1985) and you can feel that incline and sense of maturity grow.

Babooshka (Never for Ever) is Bush amping-up the kooky and intense; Get Out of My House (The Dreaming) is, at that time, her most vocally challenging and physically stunning revelation - a fuck*ing-nuts-at-times song that takes the breath! One might argue Kate Bush peaked during 1985’s Hounds of Love but it was an important record for her. Recorded at her own studio where she was holidaying and relaxing with her boyfriend - it was a less pressured and a more liberating process. This was a woman, in her mid-twenties, enjoying life more and putting together music at her own pace. She flitted between studios on The Dreaming so was keen to become rooted and calm during its follow-up release. Even though there is only three years between The Dreaming and Hounds of Love; it was her fifth album in only seven years! You can hear the revived and refreshed Kate Bush taking music in new directions. The first, non-conceptual side of the record contains brilliant gems like Running Up That Hill (A Deal with God) and The Big Sky; the title-track and Cloudbusting.

IN THIS PHOTO: Kate Bush with her dogs, Bonnie and Clyde, in an outtake from the album cover photoshoot for Hounds of Love (1985)/PHOTO CREDIT: John Carder Bush

I mentioned how every post-The Kick Inside L.P. from Bush contained one (or more) less-than-genius songs – Mother Stands for Comfort is the Hounds of Love progeny that seems in need of extra-curricula assistance and patience. I can understand why the majority of Bush’s fans rank Hounds of Love above all else! It is clear she was going through a phenomenal period of growth, creative peak and independence. That would spill into 1989’s The Sensual World. Even Hounds of Love’s conceptual second-side managed to stun and amaze fans – some critics felt it a little out-there and dreary (how dare they!).

It, the concept, is a woman being stranded at sea and in need of rescue. Not only did that suite feature heavily in 2014’s Before the Dawn – it was Kate Bush’s first attempt at a conceptual arc (she would do it again on 2005’s double-album, Aerial). Rolling Stone, in their first-ever Kate Bush review, were not impressed:

“The Mistress of Mysticism has woven another album that both dazzles and bores. Like the Beatles on their later albums, Bush is not concerned about having to perform the music live, and her orchestrations swell to the limits of technology. But unlike the Beatles, Bush often overdecorates her songs with exotica ... There's no arguing that Bush is extraordinarily talented, but as with Jonathan Richman, rock's other eternal kid, her vision will seem silly to those who believe children should be seen and not heard”.

Maybe there were fewer instant hits on The Sensual World but the maturity and incredible songwriter showed Bush was capable of reinventing herself and subverting expectation. Listen to the title cut and This Woman’s Work – the latter is especially important in her history and one of those songs that shows Bush has no equals or songwriting peers. The critical drool gets a little saltier and less warm post-The Sensual World…that does not mean we had seen the last of her brilliance! The Red Shoes – the first Kate Bush album of the 1990s – relied on the modern technology of the day, Maybe a bit machine-processed and compacted; some of the material sounded tinny, metallic; edgy and soulless (Kate Bush revisited a few for her 2011 album, Director’s Cut). Rubberband Girl is a stone-cold banger, mate; Lily and Moments of Pleasure are incredible; Why Should I Love You? is an under-loved and brilliant pearl. It is true the consistency and regularity of Kate Bush got a little less predictable after that record. We were treated to a fantastic return with Aerial – after a twelve-year gap – and have had two albums since then: 2011’s reworkings, Director’s Cut, and the exceptional 50 Words for Snow (featuring vocal input from Sir Elton John and Stephen Fry!). The fact we have only seen two original Kate Bush albums since 1993 makes me believe we might not see another, if at all, for a long time! Many didn’t expect two Kate Bush albums in 2011 so, for all I know, there might be another album ready to go! I have talked in academic terms and looked at the creative transformations of Kate Bush.

IN THIS PHOTO: Kate Bush and Miranda Richardson in a shot from the short film, The Line, the Cross & the Curve (1993)/PHOTO CREDIT: Getty Images/Fish People

Before I wrap things up – and give my personal happy birthday! – a quick look at an article that caught my eye. Salon looked at the immense popularity of her Before the Dawn shows but asked why Kate Bush is not more popular in the U.S. It is an interesting proposition:

 “Many fans ask why Bush isn't bigger in the U.S., simply because her albums deserve to be heard by a wider audience. However, her influence has permeated modern music for decades. In the '90s, Tori Amos was inundated with Bush comparisons; when Joanna Newsom and Amanda Palmer emerged in the '00s, they received the same treatment. These connections tended to be facile and based on surface musical attributes; however, Bush's career blueprint — encompassing the way she steered her own musical ship, for example, or the crisp, ornate details underscoring every song — has inspired countless other iconoclasts.

This fluidity came into focus thanks to the '00s indie scene, which spawned a surprising number of Bush covers, including the Futureheads' yelping take on "Hounds of Love," Ra Ra Riot's delicate "Suspended in Gaffa" and Wild Nothing's moody version of "Cloudbusting." Today, her spiritual descendants are even more popular; Florence and the Machine, Years & Years, and Christine and the Queens all bear Bush's imprint.

Speaking to The Fader in 2016 about developing her style, Bush said, "It's a bit like how you develop a certain style as a pianist: It's just something that gradually evolves. The more you work, the more a certain type of character evolves. It was very much a phase that went with when I was working in dance. I wonder if, as I was exploring a technique of dance, I was also sort of exploring a technique with my vocals as well".

The enigma and sheer down-to-earth nature of Kate Bush strike me. I have thrown in a couple of interviews she conducted a few years back and she is startled when being seen as a recluse. She does not publicise her every move and is not attracted to fame and the public spotlight. Nobody knew Kate Bush had given birth, to her son Bertie, until she did an interview with Peter Gabriel two years after his birth! Bush turned down a chance to tour with Fleetwood Mac on their Rumours circuit in 1978; she kicked a paparazzi up the arse in 1991 – why wouldn’t you?! – and asked The Queen for an autograph in 2005 (Bush admitted she had been a Premier League tit that day!).

IN THIS PHOTO: Kate Bush in an outtake from the Babooshka single session (1980)/PHOTO CREDIT: John Carder Bush

She is a big fan of Prince – who she recorded with – and David Bowie. Pink Floyd (and David Gilmour especially) were a big part of her early career; she used to get through twenty fags a day (certainly during her first couple of albums) and regularly contributed to her fan magazines. Elton John claimed Bush’s duet with Peter Gabriel, on Don’t Give Up, saved his life when he was in the grips of cocaine addiction. Running Up That Hill (A Deal with God) is her most-covered song (twenty-four times) and Wuthering Heights is her most-streamed song on Spotify. I want to end by talking about three different things.

IN THIS PHOTO: Kate Bush during a shoot to promote her 2011 album, 50 Words for Snow/PHOTO CREDIT: Getty Images/Fish People

It is amazing to think Kate Bush has only recorded five cover versions in her career (not counting her takes on Folk songs). Among the covers is Elton John’s Rocket Man and Marvin Gaye’s Sexual Healing. One of the reasons I adore The Kick Inside, and all her albums, is the fact Kate Bush is the sole writer and voice! She has had others produce her material but has not given in to the temptation to hire other writers and get them to help her. So many female artists I talk to say they take control of their music because of her independent take and need for un-distilled identity. The modern music scene has so many Pop artists who hide behind hired-guns and have ranks of producers putting their records together – none of which come close to the likes of Kate Bush’s best. Some of the finest female artists since 1978 have either taken guidance from Kate Bush’s strength and talent or incorporated an element of her aura into their music. Madonna, debatably, leant on the fashion/rebellious – in the sense that she speaks for herself and is a fierce spirit – whilst others have followed Kate Bush’s connection to nature, literature and the spiritual. I ask all my interviews who they are most inspired by and the leading artist, by a mile, is Kate Bush. Men and women are learning from the legend and unable, still, to get a proper grip on her multifaceted creative brilliance.

She is sixty on Monday, so I will end with two brief utterances. I wanted to pay tribute to someone who has made a huge impact on my life. Not only is she the first strong female artist I took to heart but her beauty, musicianship and lyrical style compelled me to investigate music more and turn to poetry. I had heard nobody like her in the 1980s and was amazed at this strange and wondrous creature coming out of the radio. Without Kate Bush, it is debatable whether I would have even got into music journalism at all – the fact I go out of my way to fight for gender equality and raise awareness is because of the music she has put out and proof of what female musicians are capable of. That sounds condescending but Bush had to fight for control and the chance to make music her own way. When allowed greater freedom and independence, she went on to create her most-celebrated and loved album. So many modern female artists are in the same position and we need to use Kate Bush as an example of what happens when artists are dictated to and, in time, decide to break free of labels/strict guidelines. I will end by urging anyone unfamiliar with Kate Bush’s impressive and always-inspiring music to buy her records and watch interviews. She remains unique and one of those artists who was/is in a league of her own. The way she spoke and how she went about things amazes me. Although she is turning sixty; I think there are many more years left in Kate Bush – let’s hope she releases more material and there is another gig! Although many artists follow her example and are inspired by her work; it is clear the music industry does not…

IN THIS PHOTO: A press shot for Kate Bush's 2011 album, Director's Cut/PHOTO CREDIT: John Carder Bush

MAKE them like her anymore!

FEATURE: From the Table to the Lathe: Inside the Empire: Third Man Records and a Glorious Return to the Past

FEATURE:

 

 

From the Table to the Lathe

IN THIS PHOTO: Third Man Records' store in Nashville/PHOTO CREDIT: Third Man Records

Inside the Empire: Third Man Records and a Glorious Return to the Past

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WE are told that the traditional record shop…

is dying and becoming a bit of a novelty. Whilst it is true most high-streets do not boast a decent record shop; there are some pretty good ones if you know where to look. I go down to Brighton, to Resident, to get a good fill of all the latest vinyl and those classics I need in my collection! London has Rough Trade East and there are some good, smaller alternatives in various boroughs. It is hard to find a record shop, even in the city – a shop selling music, full stop, is starting to feel like a bit of a treat! I am fascinated by records and traditional vinyl because you can almost feel that creative transition from the writer scribbling at the kitchen table to the vinyl lathe coming out and all the manufacturing taking place – before it is minted, shrink-wrapped and dispatched to the store! Look at the cosmic universe of Third Man Records and you get something vintage yet forward-thinking. Look at the store to see the roster of artists under their wings. You can look at the official website and get all the latest happenings from the American enterprise. It was founded by Jack White (The White Stripes, The Raconteurs and The Dead Weather) and he balances running its bases and performing. White is promoting his latest album, Boarding House Reach, but can be found at one of Third Man Records’ bases in Nashville and Detroit.

One need only listen to Jack White speak and he is all about keeping things pure and simple – a man who does not care much for modern technology and taking an easy course! Third Man Records interests me as a business and idea. It started life in Nashville, after Jack White moved out of Detroit, but sort of returned home soon after – there is one base in Nashville and another in Detroit. The reason behind this, according to White, is to ensure it would survive. In Nashville, if someone is on a billboard and is successful; there is applause and people are pleased – the opposite is true in Detroit. There is more cynicism and a more blue-collar approach to such celebration: people shoot straight and it is harder to win the collective around. After successful and profit in Nashville; a store/base was opened in Detroit and things are getting bigger and better. White is signing new names to his label and covering a range of genres; vinyl is being produced and sold at the rate of knots and people come from all around to visit the Detroit or Nashville store. This article, published by Vulture last year, explores the success of the Third Man Records label and the artists being signed. First; it took us back to the very start:

“In March of 2009, when Jack White, Ben Swank, and Ben Blackwell opened Third Man Records’ headquarters in Nashville, they didn’t have grand ambitions to invade the city’s already-bustling music scene. Their plan was to absorb Tennessee’s rich music history while they began to press and distribute White’s and his colleagues’ records…

…Third Man had existed on paper since 2001, but for the first eight years they didn’t have a home base, and White had been focusing on his own music. In 2008, though, the White Stripes went on hiatus (they ended up breaking up officially in 2011), and White gained back the rights to his earlier recordings. “Licensing was starting to revert back to him at that time and we kind of thought, Oh well, we can actually do the label and start reissuing some stuff,” Swank says. By the end of that year, White, Swank, and Blackwell had decided to start the label in earnest”.

The article looks at the multi-dimensional aspect of the project and how it offers an all-in-one service for musicians and the buying public:

“…They bought a building in an industrial zone, just south of Nashville’s downtown, and set up an office, a storefront, a recording studio, and a live-performance space. Ben Blackwell, White’s nephew, moved down from Detroit, and Ben Swank, White’s longtime friend, moved from Toledo.

Their first official releases included several singles by White’s other band, the Dead Weather, a single by Kentucky-based garage rocker Mildred and the Mice, and a single by New York singer-songwriter Rachelle Garniez, along with some White Stripes reissues”.

Maybe the Nashville location is gathering more heat and interest – a bigger, better-known music scene and loads of local talent who can come to the studio and record. Looking at documentaries and interviews Jack White has conducted; he talks about the way Nashville is packed with eager musicians – if he needs a fiddle player for a song being laid down in the studio; he can ring them up and they can come down!

IN THIS PHOTO: Third Man Records' Detroit base/PHOTO CREDIT: Third Man Records

Detroit is starting a resurgence but is not the thriving home of Motown and Garage that gave us some of the world’s best music.  There is a definite ethos and personality associated with the Third Man Records name, for sure:

“For the artists, signing to Third Man, which is still most famously associated with Jack White’s projects, provides an opportunity to stand out from the Nashville crowd. While still sticking to their country roots, they can tap into different scenes, and fans, outside the region. “I think if Joshua signed with somebody else, it would be great, and it could be good for his career, but it wouldn’t be as exciting,” says Swank of Hedley’s decision to sign with them”.

After launching the Third Man brand in Nashville in 2009; it has flourished and extended to Detroit, Michigan – one wonders how far it can go. I suspect, because White started life in Detroit and is based in Nashville, he will want to remain at the two sites. Maybe there is an opportunity for a New York base (The Bronx?) but I will come back to the expansion/diversification side of things later. I have a Third Man Records-produced 45 R.P.M. – it’s a Jack White single of Would You Fight for My Love? with a B-side of Parallel (written by Dean Fertita and Brendon Benson; his old Raconteurs band-mates) – and it is a wonderful thing.

It was recorded down in Nashville back in 2014 – when White was promoting and recording his second solo album, Lazaretto. The song was recorded at Third Man Studio and shows all the purity and work that goes into it. You can practically hear all the players in the room in perfect harmony. It is not a digital fest of technology and hugely edited notes – it sounds like a live performance one might expect from a Jack White show! Look at the documentary at the very top of this piece and the excitement one can feel from Adam Savage! When you walk through the door at Third Man – whether Detroit or Nashville – and you get a swathe of yellows and blacks. What impresses me about Jack White’s store-recording studio set-up is the fact one can get a tour around the site and see all the cool Third Man merchandise. There are T-shirts and badges and, most importantly, all the cool vinyl from artists under the label’s banner. It is like the coolest record shops out there but, unlike any other, it has a sense of style, vintage charm and quality most do not! The best part of the whole place is being able to cut a record live!

You can go onto a small stage and, as you are performing, engineers and employees are cutting the vinyl and getting it ready for completion. One can watch an all-in-on-spot process: from the live recording happening to the recording and cutting. Once the performance(s) are complete; the record is processed so it transforms from an honest piece of vinyl to a beautiful piece of art with a label – the record company and song-title etc. – with the hole in the middle; packed and packaged into a nice sleeve. None of that high-priced studio trickery and not having anything physical at the end! You get to see how music used to be recorded; relying on analogue equipment and getting the most natural performance. There is an option to recall in a smaller booth or on a stage; you can see the record going through a factory and ending up boxed and ready to dispatch. Whilst it might take a time to get the final product onto the shelf – or to the artist themselves – the joy of seeing everything come together, physically, is something lacking from modern music! I would love to see Jack White look at the reaction Third Man Records – with its store and loyal following – is getting in the U.S. and think about a London base. There are British artists on the label and, by adding a store/base here; it would be a great way to discover possible label-inclusions and get people talking here.

There is nothing that comes remotely close in London, or the U.K., right now. We have some great record shops but they are either quite small or only do the actual selling side of things. Artists are self-producing and choosing a D.I.Y. route over paying high studio prices. I can only imagine what the usual vibe is like in a modern studio – not a lot of soul and there is always the artist is not usually pressed for time! Instead, if there was a Third Man base here; you can get buy all the cool products/merchandise but get a chance to record something without all the digital interference and the rush of getting it right the first time – pushing the artist to up their game and helping to create a fantastic piece of work. It would help rejuvenate the British record store scene and be a huge boon. For music lovers like me; we can see how music comes together and get a much better idea of the recording process and all its manifestations. I listen to so many digital tracks but, even when I hear a record, I do not think about how it is made, what engineers/producers do and the actual physicality behind the record. All the lathes, machinery and workers; the effort and love that goes into making a single slice of vinyl – this is the sort of brilliance and love missing from modern music.

If we can inject that back into music, just a bit, it would encourage more people to get into music and take a bigger interest regarding music’s roots. We are becoming more obsessed by technology and making life ‘easier’. The interactive and social aspect of music is dwindling and, as I shall explore later in the weekend, we are less involved with live performers. I feel like a Third Man Records store/base in the U.K. would be a great move. In any case; the success and growth of the brand is an amazing story. I have never seen anything where one can buy music and see it go from recording to manufacture in the same space! Maybe it is the vinyl-heads and obsessives who drool over all the cogs, grooves and smells of somewhere like Third Man Records. I feel we need to move away from all the digital soullessness and start connecting with music in a more instant and physical way. Have a look at the documentary at the top of this piece – if you have not already done so – and see what you could expect if you were to head to Nashville/Detroit. The possibility, however remote, of seeing that idea come to life in the U.K. is enough to get the mouth watering. I mentioned a Jack White song, Would You Fight for My Love?, earlier and stated how much I enjoyed hearing its Nashville-recorded sounds. If we twist that question to the desire for a Third Man Records over here in Britain; I could pose it to everyone who loves music and provide a…

 IN THIS PHOTO: Third Man Records' pressing plant/machinery/PHOTO CREDIT: Third Man Records

VERY easy answer for that one!

FEATURE: The July Playlist: Vol. 4: Good Samaritans, the Corporation and Plenty of Zeroes

FEATURE:

 

The July Playlist

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Ania Shrimpton  

Vol. 4: Good Samaritans, the Corporation and Plenty of Zeroes

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THERE are few big names in this week’s playlist…

IN THIS PHOTO: Jack White

but that does not mean there is a surfeit of great tunes! There is a new video from Jack White and fresh songs from IDLES, All Saints and The Internet; some great offerings from Miles Kane and Tinashe - variation and diversity to get your teeth into!

It is an interesting time for music right now. With the Mercury Music Prize shortlist announced; there is a lot of talk regarding who might win the award. I have been looking more to the general and wider music world and seeing what is coming through. It is an interesting and busy week for music that should give you enough to dive into an enjoy.

ALL PHOTOS (unless credited otherwise): Getty Images/Artist

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PHOTO CREDIT: Lindsay Melbourne

IDLES – Samaritans

Jack White – Corporation

PHOTO CREDIT: The Telegraph 

All Saints – After All

The Internet – La Di Da

David Bowie – Zeroes

Miles Kane – Cry on My Guitar

Pale Waves – Noises

Ward Thomas – Lie Like Me

Blood Orange – Jewelry

Fall Out Boy - Bishops Knife Trick

P!nk – Secrets

PHOTO CREDIT: Patrick Gunning

Sea Girls – Too Much Fun

Chainsmokers (ft. Emily Warren) – Side Effects

Charli XCX – Girls Night Out

Tom Morello (ft. Vic Mensa) – We Don’t Need You

PHOTO CREDIT: Jonathan Vivaas Kise

DAGNY – Landslide

Elley Duhé - Way Down Low

HONNE – Shrink

PHOTO CREDIT: Lottie Turner

IDER – You’ve Got Your Whole Life Ahead of You Baby

Karen Harding – Picture

Maggie Rogers – Give a Little

Sneakbo – Mercy

Tinashe – Throw a Fit

ABISHA – Nothing Matters

Tom Odell – Jubilee Road

PHOTO CREDIT: Imogen Forte

Estrons – Cameras

Catherine McGrath – Cinderella

BETA WAVES – Love Love Love

Girl Crush – Past Life

Halestrom – Buzz

PHOTO CREDIT: Bazza Mills

Kyle Falconer – Poor Me

Joel Baker – Harder to Fall

Chloe Lilac – Stolen Liquor

Santigold - Run the Road

Metric – Dressed to Suppress

FEATURE: Ain’t That a Shame? The Mercury Music Prize Nominations 2018: The New, the Omissions and the Artists Defining the Best of Modern British Music

FEATURE:

 

 

Ain’t That a Shame?

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images 

The Mercury Music Prize Nominations 2018: The New, the Omissions and the Artists Defining the Best of Modern British Music

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IT is true you can never please everyone…

and the freshly-announced shortlist (technically, it’s a longlist until the twelve nominees are whittled down…) has been announced. The usual split has occurred: those who are pleased with the diversity, in terms of genre and gender, and those who bemoan the utility and purpose of the Mercury Music Prize. The judges this year – including some big names from the media and music – have thrown in the odd curveball to keep people chatting! There is, of course, those artists some deem as ‘token’ and a bit rank-and-file. The fact Sons of Kemet have been nominated – a Jazz band; making them a bit outsider – is designed to put into the fore a name/album people might not have heard. Your Queen Is a Reptile got a smattering of great reviews when it was released but is not leading the bookies’ charge of favourites. Novelist’s album, Novelist Guy, is a bold and brilliant effort by the skilled M.C. – might be worth punting some money on the record making it all the way! Last year was synonymous with grittier, street-addressing artists. Kate Tempest and Loyle Carner were among those tipped to win last year; in previous years, we have had the likes of Skepta and Stormzy battling it out and putting British Grime/Rap in the limelight. This year is more synonymous with Pop and Alternative sounds.

Many did not see Lily Allen’s No Shame coming: they were not of the opinion it would make the Mercury Music Prize list and I am not surprised. There is a snobbishness regarding Pop artists like Allen and their credentials. She is among the sharpest lyricists in the game and an enduring artist whose career has had its dips – she is back on form and producing amazing material. No Shame is a personal and hit-filled album that possessed few weak moments and is a deserved nomination. King Krule and the genre-hopping album, The OOZ, has divided the public but it is another one of those albums designed to raise a profile and raise awareness. There is that contrast this time of year when you get lesser-heard albums included alongside big names that, instantly, bookies mark as the sure-fire winners. Past years have thrown up surprises but we have not seen too many unexpected/minor acts walk away with the award for a few years. All the newspapers and online music sites are providing their reaction. It is another year where there has been contentment and contention; notable omissions and albums we are getting excited about. The Independent has provided their analysis:

“Where last year’s shortlist felt strong because it heralded the young artists leading the future of British music – from Loyle Carner to Stormzy, Glass Animals, Sampha and J Hus – this year, half the acts have previously appeared on a Mercury Prize shortlist in some shape or form, and many of the choices feel like safe, commercial picks, rather than bold or innovative works.

...Arctic Monkeys appear on the shortlist for a fourth time, for their divisive album Tranquility Base Hotel & Casino, while Florence & The Machine score a third nod for their album High As Hope. Pleasant surprises come in the shape of 21-year-old rapper Novelist, who scored a spot on the shortlist for his fantastic, self-produced debut album Novelist Guy, as did Nadine Shah, who made a powerful statement with her third album Holiday Destination, which was inspired by witnessing the xenophobia of holidaymakers on the Greek island of Kos”.

The problem comes with only having twelve names: maybe twenty is a bit much but I feel it would help please more people and strike that balance between recognising reliable and well-reviewed albums and those that are riskier and a bit alien. Last year’s nominations included Ed Sheeran (for %) and alt-J. IDLES were left out of the running for their album, Brutralism, and it felt like there was a London-centric vibe to the nominations. This year keeps London firmly in the mind – no less with Florence + the Machine, Wolf Alice and Lily Allen among the longlist – but there have been some risks taken. I have mentioned a few albums that are worth a tip but might not get the prize. Lily Allen and Noel Gallagher’s High Flying Birds have proved the most anger-inducing and divisive. Who Built the Moon? Did well in terms of sales and reviews but for Gallagher, a one-time Oasis hero-turned Dad Rock leader; does his nomination signal the Mercury panel taking a wider approach in terms of age and genre?!

There is no denying the album is great and celebrated – I wonder whether it is better than albums that missed out this year (more on that later). One of the troubles is South London taking too much focus. It is a great area of the country but last year saw a heavy focus on that part of the capital – Sampha’s win confirmed eyes and minds were lodged in the capital. This year, there is another big focus on South London and one of the clear favourites, Florence Welch, wears the area on her sleeve. If, music-wise, the award is moving in new directions; that reliance on London and the music coming from here is still too strong. Nominated-before artists like Wolf Alice and Arctic Monkeys (who are now the joint-most-nominated artists ever) have made some question whether their inclusions are worthy. I was worried about the criticism levied at Tranquility Base Hotel + Casino and how it was more Alex Turner and less Arctic Monkeys – fans have got behind the album and I am glad it makes the cut on this year’s prestigious list. Wolf Alice are a solid and incredible band who deserve to be there. In a year where there are few guitar-based acts – in terms of showing teeth and changing the game – it is good to see Wolf Alice riding high and in with a shot. Everything Everything’s A Fever Dream took me by surprise – I hadn’t even considered it but, again, that is the beauty of the Mercury Music Prize.

IN THIS PHOTO: Let's Eat Grandma (many expected them to be among the nominees for their album, I'm All Ears)

Some have queried that making the list of twelve but music is a subjective thing – someone, somewhere will take umbrage at certain albums making the cut! Everything Is Recorded by Everything Is Recorded is one of those records that took the breath (and still does) and, again, is designed to put a work out to the public that might have been missed the first time around. I felt Shame and Let’s Eat Grandma, for sure, would have made the list – they were the two standout favourites before nominations were read – and it seems like they are the biggest losses. The former, for I’m All Ears, created one of the best albums of the year: a kaleidoscope of colours, sounds and noises that deserved to be recognised. Shame are, in essence, this year’s IDLES: a Punk/Post-Punk gem that gets overlooked because…I’m not sure. I do wonder why the Mercury panel omitted an album that defines what the award is about: something that has captured the majority vote and seems to represent where the nation is in 2018. A lot of the gripes, in terms of journalistic opinion, relates to risk: the lack of risk taken regarding new artists and fresh talent. NME gave their opinions:

“‘Songs Of Praise’, Shame’s debut album, captured the imaginations of thousands across the continent on its January release, their acerbic takes on post-Brexit Britain spurring on a once-disillusioned youth. It’s impossible to ignore how the band’s incessant global touring schedule has coincided with a more politically energised pool of British teenagers, who split their time between Shame’s churned-up mosh-pits and hitting the streets, placards in hand. Likewise, that same South London scene spat out Goat Girl’s self-titled debut this year, itself a document of youthful discontent and the fantastical imagination that’s borne out of such suburban boredom. Both are glaring omissions from the Mercury shortlist. Matt Maltese, and ‘Bad Contestant’‘s piano-led witticism, is another confusing South London absentee… Few would deny that the majority of the albums nominated for this year’s Mercury Prize are worthy of attention – older and more established though their creators may be, there’s little denying their worth in the wider musical conversation. But for an award that claims its main objective is “to help introduce new albums from a range of music genres to a wider audience”, it’s inexcusable to overlook Britain’s fresher talents in favour of the Noels and Florences of the world – acts who’ve already earned themselves a place on the CD racks and coffee tables of nearly every household in the country. The Mercury – and the British music industry as a whole – needs to do better at supporting those newcomers”.

It seems there is the conscious tussle to recognise the albums that have earnt big critical praise – and, thus, are the best as defined by vote and feedback – and taking a shot on artists who are on the swing. There are so many artists unsigned and coming through who could be included on the list; bands like Hookworms missing (who many hoped would be nominated). No matter what way you go, you are always going to take a risk and piss off some people. I feel there are a few mistakes regarding omissions and I hope London does not win the award this year – even though I love the music coming from there right now! The best revelation from this year’s nominated dozen is the representation of female music. Past years – most, in fact – have been a bit slack putting female artists in the mix. There are still more male artists on the list (seven-to-five; Wolf Alice are female-fronted) but there is a definite closing of the gap.

IN THIS PHOTO: Lily Allen/PHOTO CREDIT: Katie McCurdy for GQ 

The fact so few bands are on the short/longlist – there are only four, in the traditional sense – makes me wonder whether the solo artist is starting to take over. In any case; the fact many female artists are on the list makes me happy. Lily Allen has, as we are seeing, drawn some raised eyebrows – she is an artist who has been around for a while and many wonder whether her latest album is her very best. It would have been nice to have Goat Girl – who amazed and bowled critics with their eponymous debut – alongside the female nominated. I am pleased Florence + the Machine has been nominated for High As Hope. Many might say, because she has been on the scene a while, other acts should have a chance. Few can deny she has hit creativity and personal maturity on her fourth album. It is amazing to think, nine years ago, she launched onto the scene with her unique and powerful (titanic) voice. High As Hope is a fantastic album and one that deserves its place – it is battling with Noel Gallagher as the favourite thus far.

Wolf Alice’s Visions of a Life is a bold, brilliant and varied album that stakes their claims as one of the nation’s best bands. Whilst there are some familiar names on there; I am glad there is that mix of commercial/popular artists and those coming through. The list is safe, in places, but has plenty of choice and diversity. Jorja Smith’s Lost & Found is an album that, again, represents what the Mercury Music Prize is all about. It is a complete and sumptuous debut from someone who has just turned twenty-one. When I heard her interviewed by Mary Anne Hobbs on BBC Radio 6 Music earlier – Hobbs announced the list at 11 A.M. – she came across as genuinely humble and stunned. A little shy and quiet; you can tell how much it means to the Midlands songwriter. The award has been missing female R&B-cum-Pop mixtures and it is good Smith has been recognised. Her June-released album – one of the freshest cuts of the twelve – marks her as a talent to watch closely. I would not be shocked if Smith went away with the gong on 20th September. This all leads to the album many are tipping to win: Holiday Destination by Nadine Shah.

Although I felt Let’s Eat Grandma should be among the runners; I have been extolling the virtues of Shah for years. She is one of those artists who never get the pomp and ceremony as your Noel Gallaghers and Arctic Monkeys types. She is a songwriter who has not dropped a beat and, on her latest return, talks about subjects such as immigration and entitlement.  She spoke with Mary Anne Hobbs earlier and spoke about the album’s title. Immigrants were winding up on Greek beaches and, rather than come and help and show concern; holidaymakers were moaning that their holiday was being ruined! Holiday Destination, according to Pitchfork, covered a lot of ground:

“Nadine Shah's third album surveys the refugee crisis, Syrian families, gentrification, “a fascist in the White House,” Islamophobia, and politicians’ demonization of the north of England. She does a lot of work in ten songs, but it rarely feels like it. On her first two albums, her theatrical voice oozed blood through fairly traditional guitar-band arrangements. But on Holiday Destination, the setting is brittle, brooding post-punk, her singing lowered to a glowering monotone that makes more subtle use of her vocal power. It sustains an unsettling mood rather than a series of bold-type headlines”.

The Line of Best Fit seemed to nail the album perfectly:

“While Holiday Destination is arguably Shah's most open LP to date, with all of her cards laid bare on the table for listeners to analyse and evaluate, it is by no means vulnerable or naive. This is a well thought-out record and is clearly something that has taken several years to coalesce and construct. Though the political edge can sometimes distract from the beauty of the instrumentation, articulation and overall composition, it never gets boring, with little twists and turns that get better upon every listen”.

Shah is my frontrunner and someone, I feel, wants the award more than anyone. That is not desperation: she has worked hard and sweated blood putting it together! When speaking with Mary Anne Hobbs; she endlessly toiled to make it sound how she wanted – a record that has anger and political themes but is accessible and packed full of memorable moments. I would like to see her win – or another great female artist like Jorja Smith or Florence Welch – but I feel Holiday Destination is the album this country has been crying out for. By that, it is more meaningful, potent and inspiring than anything being said by our Government. It is the apex of a career that has been getting better and better; a northern star who will topple the London hegemony and has crafted something truly timeless.

IN THIS PHOTO: Shame (who many expected to be on the list for this year's Mercury Music Prize for their album, Songs of Praise)/PHOTO CREDIT: Dan Kendall for Loud and Quiet Magazine.

Shah, herself, wished the album was relevant and prescient. The fact Greek homeowners are being blamed for the horrific fires happening there – where there have been multiple deaths and massive destruction – relates to them blocking paths to the sea. That seems, to be, the residents halting migrants getting to their property; blocking them from getting near their residence – the sort of thing Holiday Destination was built on! I am reading al the social media comments – the usual mix of gripes and kudos – and the websites publishing their pieces. There seems to be a consensus: most of the nominations are worthy and great but where is that risk?! I think there are one or two ‘surprise’ inclusions among the predicted stable. If you narrow it down to twelve, you can only do so much – I wonder whether even extending to fifteen would alleviate obvious criticism and allow for more width? I am pleased Arctic Monkeys' divisive album is on the list and there are great female artists; mainstays like Noel Gallagher are on the twelve (nominated). I am glad there is a great northern talent like Shah flying the flag and a move from Hip-Hop/Rap/Soul – it seems a more unpredictable year and it could be a tough one to call! Even though I am in Shah’s camp; you cannot bet against any of the dozen – Welch, Gallagher and Smith are ALL pretty tasty! There will always be grumbles regarding a shortlist and who makes the grade but that is the frustrating thing about the Mercury Music Prize. I am excited to see which way the judges go and, to all those nominated, I wish them…

THE very best of luck!

FEATURE: Dressed to Repress: It’s Okay to Talk: IDLES’ Samaritans and Tackling Masculinity Myths

FEATURE:

 

 

Dressed to Repress: It’s Okay to Talk

ALL PHOTOS (unless credited otherwise): Unsplash

IDLES’ Samaritans and Tackling Masculinity Myths

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WE live in a society where anxiety and depression…

are more common and uncontrollable than ever. We are told one-in-four people in this country will experience some form of mental-health problem in their lifetime. I always find that statistic myopic: there is a crisis that means mental illness is striking more and more of us; nearly all of us will suffer from mental-health problems at some point in life. Look at the testimonies and personal stories from people out there – the problem of controlling the ensuring mental-health crisis is distributing. I looked at this story from Mind (the mental-health charity) and a Lee Cambule – he spoke about his experience  as a man and how men are expected to be sturdy and stoic:

 “Strength, dominating positions of power, the hunter-gatherer, the idea that strong and silent is alluring/attractive, the “show no weakness” bravado of heroes in our media.

In many of these macho images, there is little room for showing poor mental health. The men who are most revered in society (famous, wealthy, successful, powerful) are not always ready to admit their struggles in public and that can leave the “average bloke” feeling uncertain about speaking out.

It is great that the tide is turning for men. When Prince William and Prince Harry began talking openly about their own mental health challenges, it gave the nation an incredible lift. One by one, more of these revered men are coming forward and openly addressing mental health; footballers, politicians, actors, anyone can talk about it. I do not consider that these men are weak or failing by speaking out, in fact, they are the brave ones.

They are the ones who are “manning up”.

That expression is still often used for the wrong reasons, unfortunately. The concept that mental health can be conquered by simply acting more “like a man” is misguided.

Depression, anxiety, personality disorders and schizophrenia are no more or less difficult based on whether you got a Y chromosome in your DNA”.

Problems like substance abuse affect more men than women – about three-to-one in their 'favour' – and traditional male industries – manufacturing, for example – are in decline. The need to remain the breadwinner, at a time when mental-health problems are rising and the role of men in society is changing, means we are seeing more cases of depression, substance and suicide. History has always taught men to be the hunters and to shoulder any crisis without letting it get to them. There is a huge stigma around men about mental-health and talking about feelings. A further report, in Male Psychology Network, by Audaye Elesedy, look at the dogma of male stoicism and how men have to ‘gut things out’ and ‘man-up’. This rather age-old and damaging notion of men being emotionless and ‘stronger’/’less emotive’ than women is causing many to shut down and suffer in silence. We need to get out of this notion men should bottle things up and be seen as ‘strong’ all the time:

“The study of masculinity in psychology began in the 1990s and developed a deficit model, focusing mainly on problems attributed to masculinity. For example, masculinity was said to impose on men a narrow set of values and views, which leads to problems such as misogyny and homophobia. The crisis in masculinity today is said to be about men struggling to find their place in a world that no longer values the traditional male role of the breadwinner and stoical defender of the family. 

In 2013, Diane Abbott, the current shadow home secretary, described how rapid social change has left today’s men in a cultural tornado of traditional values, pornography and male cosmetics. She suggested that the path forward is a combination of a more flexible view of masculinity, strengthening the bond between fathers and children, and improving educational and career outcomes for men, but without making this a required part of masculinity”.

This brings me to IDLES and their new track, Samaritans. It is from their forthcoming album, Joy As an Act of Resistance (out on 31st August), and has got a lot of people talking. Frontman Joe Talbot discussed the meaning behind the song:

"There's been a long line of bullshit that has pushed men into a corner, where simple masking becomes a trope of masculinity and a catalyst for insanity. What we wear, what we eat, what razor we use, high performance chewing gum, go faster shampoo, how we treat women, how we treat ourselves, how we die. I truly believe that masculinity has gone from an evolution of cultural praxis to a disease. I wanted to encourage a conversation about gender roles by writing this song".

The song’s messages and mantras – the non-chorus standout, “This is why you never see your father cry” – are stunning and emotional.

IN THIS PHOTO: IDLES/PHOTO CREDIT: Tom Ham

Elsewhere, Talbot talks of a “mask of masculinity” and how it is wearing him. Talbot, and IDLES, skew and transpose songs like Nirvana’s I Hate Myself and I Want to Die – “I’m a real boy and I’ll cry/I love myself and I want to try” – and Katy Perry’s I Kissed a Girl – the frontman kissed a boy and liked it; delivered in manner that suggests there is no taboo and controversy doing such a thing - and, cleverly, highlight how popular music has, in its way, painted pictures of what masculinity is and how women, in a way, are seen as more expressive, emotional and honest. IDLES amaze and inspire us because they are a band making real statements. Even on Brutalism, their acclaimed debut album of last year, they were talking about the realities of life and bringing in characters and conversations that felt sentient, tangible and on-point. In a music scene still dominated by oblique, indirect and obfuscated glimpses of brutal truth and soul-searching honesty; IDLES are the razor blade in the apple; they are the killer who lurks in the closest – starting to quote Radiohead here…! - and the fish John Cleese pulls out his pocket and send an unsuspecting Michael Palin into the water (Monty Python’…). Aside from narrating social issues and the everyday man and woman in the world – another thing music has never really been good at documenting – they are willing to expose the shambolic insinuation men are designed to be closed-off and ice-cold.

Come back to that line about your father never crying: how many of us, compared to our mothers, have seen our fathers that vulnerable and emotional? I am the same. As someone who suffers from depression badly (and anxiety); I find it incredibly hard communicating, let alone being that open – I have not properly cried since I was in school! As a thirty-five-year-old journalist making plans and trying to make sense of things, it is very hard to get a sense of what I am supposed to be and what defines being a ‘man’. Look at this article that looks at millennials and how they should live and work as men:

“According to Vandello (Joseph Vandello, a professor of psychology at the University of South Florida), manhood has historically been based on rituals and traditions. Today’s young men face a unique challenge as there are fewer rites of passage than in the past. In generations past, military conscription has meant hundreds of thousands of young men have gone to war. That is not the case now”.

All of us have so much to deal with in this day and age that impacts our mental-health and our overall happiness. Men are still, in 2018, expected to be this rather robotic and unfeeling thing that gets on with the day and does not let the tears come – lest they are seen as ‘feminine’ or weaker, somehow!

IDLES are among a smaller number of artists opening up conversations and dispelling these myths. Suicide rates in men are increasing and it seems there is still that ideal of the man as a hunter: never showing their true feelings; made to feel they cannot talk about mental-health and their struggles. There are reasons – quoting the aforementioned article – why this has been programmed into our D.N.A. through time:

“Self-perception of manhood is tied to sexuality through an individual’s sense of control, according to Patrick Noel, an American University student who works with Men of Strength. The group focuses on preventing domestic and sexual violence on college campuses.

Sexuality “intersects with masculinity because men are taught throughout their lives to be in control of all aspects of their lives, from their emotions to their finances to their family lives,” he says. “A perceived failure of any of these things is seen as a failure of their masculinity”.

Not to disparage and doubt the humanity and understanding of psychologies and strangers but we need to force the conversation into the open. We have shows and forums where women can express themselves and talk about things happening in their lives. We are at a time when masculinity and sexism are words that could, if not discussed in the right way, cause offence. The role of masculinity, good or bad, is shifting and getting a real understanding of how men are supposed to interact and behave is being tarnished by high-profile celebrities and disreputable figures.

PHOTO CREDIT: Peter Macdiarmid/Getty Images

Most, good men are becoming more isolated and silent when it comes to their feelings and thoughts. There is a huge stigma, still, regarding manhood, emotional honesty and what we are supposed to be. There are phrases and sayings that wind me up no end. “There are people worse off than you” – like that is relevant and pertinent; an insult to what I am going through – and “It could be worse” – how do you know?! – are ones that boil the blood and show a complete lack of caring, awareness and humanity. Man-related tropes, dogmas and maxims like “Man-up!” and “Show some balls!” have been woven into the fabric of masculinity and manhood as subtly as an army drill-instructor beasting cadets through bloodied barbed wire. It is a toxic ideology that is claiming lives and creating massive confusion. It is refreshing to see a high-profile and important band like IDLES address masculinity, mental-health and emotions in such a meaningful fashion. They are not the only ones to do this – male artists have talked about mental-health and openness – but Samaritans seems like the most vivid and much-needed example of an act breaking from routine and mainstream-friendly themes and talking about something meaningful and serious. Already, after a day, the song has got men and women talking about masculinity, mental illness and gender roles.

Going forward, I would like to see something – maybe it already exists – on radio or T.V. where men can talk about gender and the nature of masculinity. It would help dispel this generations-old model that has done more to damage wellbeing and how men are perceived than anything. The sooner we get rid of the caveman-who-does-no-talk-about-anything to becoming more like, well, women…the better society will be! Reversing centuries of repression and emotional celibacy is a hard task but I am not proposing radical and instantaneous remedy: a productive and consistent series of movements and motivations that drag forth the caved and cowing dictator of masculinity – what it is now – and dethroned it. We need to, at such a tough and bleak time, urge men to talk about their feelings and confide in those close. It is a hard task, as I say: we have been indoctrinated and told to be reserved and self-seeking when it comes to our troubled thoughts. Nobody who gives a damn is asking that of any men – it is the impressions of the media and people who have no meaning in our lives propagating that image. IDLES have helped spark new chat and connection. It is important, as we move forward and think about masculinity and the mental-health crisis affecting men, we keep this ball rolling and ensure we…

 PHOTO CREDIT: Ania Shrimpto

KEEP the conversation going!