INTERVIEW: Maisy Kay

INTERVIEW:

  

Maisy Kay

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YESTERDAY was a big day…

for the extraordinary Maisy Kay. She played London’s OVO Arena Wembley. One of her biggest dates so far, I asked her about this gig and how she was feeling in the lead-up. Having released the new single, Bitter, I was keen to know more about that and her future plans. Born in Shropshire but located in L.A., I ask the tremendous Maisy Kay about her experiences in Los Angeles and whether she has settled in. She suggests some new artists we should check out, what music she was introduced to as a child, what it is like having this adoring fanbase behind her, whether there are any tour dates coming up, and, if she hosted a dinner party and could only invite three musical guests, who they would be. It has been a real pleasure interviewing…

THE wonderful Maisy Kay.

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Hi Maisy. You play Wembley Arena on 6th June. How are you feeling about the gig? What is it like performing such a huge show in the U.K.?

I am absolutely ecstatic!! It’s going to be my first ever arena, and I can’t honestly comprehend what it’s going to be like. It’s extra special it’s in the U.K., and I have thirteen of my friends and family coming to support me. I will probably cry!

I am interested in how your childhood musical discoveries shaped your ambitions. Did bands like Queen and The Beatles, who were played in your household, speak to something in you? What other sounds were you raised on?

Absolutely. I am so grateful my parents raised me on such legendary artists. Freddie Mercury has always been my idol. I even named my cat after him! My mom would play Barbra Streisand, Céline Dion, and ABBA, so I also got to listen to so many wonderful women vocalists. We were also a big musical theatre household, so there was a LOT of Phantom of the Opera!

Of course, there are also modern artists like Lana Del Rey and Gracie Abrams who you surely connect with. Though your music is hugely original. Has it been difficult blending influences whilst retaining a personal and unique voice?

I think it’s definitely challenging to find a unique sound, because there’s so many artists now and so much has been done before. I think what works best for me is when I don’t focus on trying to sound or be like anyone, and I just write from the heart. I think my fans really value that authenticity, so I tend to lead from there, and then the sound of the record will follow.

“I’m honestly so impressed with younger me fully uprooting her life like that though. I think I’d struggle to do it now”

You were born in Shropshire, though you moved to L.A. aged fourteen. What was it about the city that called to you, and was it quite a difficult transition period?

I moved to L.A. because I got a record deal offer over there! I was over the moon, because being a singer has always been my dream, so it was a no-brainer. I think the most difficult part was missing out on those key social skills that come from being around kids your own age, and it could be quite lonely at times. I’m honestly so impressed with younger me fully uprooting her life like that though. I think I’d struggle to do it now.

Since moving to L.A., you have worked with some incredible collaborators and garnered huge following and streaming figures. What have been your standout moments so far?

One of my proudest moments was definitely when Technicolor Honeymoon reached #1 on the iTunes Pop charts. That was my first-ever time charting anywhere, and I couldn’t believe it! I’m also so proud of the song I did with TheFatRat, The Storm, as I sing in Na’vi on it. I learnt Na’vi as a kid, and was very bullied in school for doing so, so to see millions of people loving that song, and even loving it BECAUSE it was in Na’vi, that was incredibly healing for me.

Your music pairs honest and confessional lyrics with something warmer and cinematic. You have said “the production sounds like summer, but if you listen to the lyrics, it’s something entirely different”. What was the thinking behind that juxtaposition? Do you feel it adds new depths and emotional reactions and makes the lyrics more potent and striking?

I think emotionally I’ve always been a somewhat melancholy person, but we don’t always want to listen to sad music. That’s something I learnt in my personal life too: people don’t always have the capacity for heavier stuff. So rather than writing about things that weren’t true to me, and trying to force myself into a version of myself I don’t relate to, I found this really fun way of making happy and fun-sounding songs that people want to listen to - and it’s only when you look into the lyrical content that you realize there’s a certain heaviness to it. I love the ability to dance and have fun to an ultimately sad song.

After some big tour dates, what does the summer ahead hold? Will you be playing shows in the U.S., or are there some U.K. summer dates planned?

I am really hoping for more U.S shows, as I’ve gained so many incredible fans this year from playing the States, and I want to see them again!! For now, my summer will be spent prepping for an exciting announcement in the autumn. Stay tuned!!

I love your new single, Bitter. It has whetted an appetite and curiosity. Might there be an album or E.P. arriving down the line?

I would say definitely. I’ve had a project in mind for almost two years now, and there’s so much I want to say and explore. We’ve really been taking time to sit with the music and figure out how to make it the best we can, but I am so proud of this new music and I’m itching to put it out!

This does seem like a genuinely big moment. One where you are on the verge of being an international sensation! Do you get a sense of that tremor, or do you try not to think of that? If you do, how does it genuinely feel?

I try not to get my hopes up too much, as I never want to disappoint myself. I try to take each moment as it comes and just enjoy the present. That being said, this year specifically I’ve been so lucky to meet and connect with so many incredible new fans, and I feel a level of support I’ve never had before. That is an amazing and honestly very emotional feeling for me. I truly feel so grateful to be where I’m at now, and I can’t wait to see where the future takes me.

Your fans have been a dedicated and loyal core. How is your relationship with them? Do you get messages from people who have heard your music and it has affected or spoken to them in a healing way?

I will never understand artists who say they don’t love their fans. I love mine so much. They’ve changed my life, and it’s because of them I get to be here. I read all my messages and respond as much as I can, and the fact that they connect with my music is what motivates me to keep going and try even harder. I feel this year especially we’ve really built such a wonderful supportive community, and I’m honoured to be a part of it and to get to connect through music with them.

“I love what Taylor does with her world building and how involved she makes her fans feel. I’d love to ask how she comes up with her creative concepts”

You are an artist everyone should know about, but are there any fellow artists you feel we should also seek out?

I have to shout-out my guy, Jamie Miller. I think he’s incredible and deserves all the flowers. In the Night by Fly by Midnight is one of my favorite songs, especially for summer nights. I also love what Bella Kay is doing right now, and I don’t say that because she also has Kay in her name, haha!

Penultimately, if you hosted your own dinner party and could only invite three musicians, who would they be, and what would be your first questions to each?

Taylor Swift, Céline Dion, and Lewis Capaldi.

I love what Taylor does with her world building and how involved she makes her fans feel. I’d love to ask how she comes up with her creative concepts. For Céline, I’d want to ask what gave her the strength to push through her vocal challenges and how she kept her spirits up through an incredibly difficult period of her life. And a similar question for Lewis, who has been vocal about his mental health struggles. How do you juggle that without letting it overtake your life and the career you love.

Finally, and for being a good sport, you can name a song and I will end the interview with it. What shall we go with?

Let’s do Vantablack. It’s a fan favorite, and it’s the song I finish with on tour. I think it puts everyone in a good mood live, so hopefully it’ll do that here too! Thank you so much!

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INTERVIEW: Kris Drever

INTERVIEW:

 

Kris Drever

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IT has been a huge pleasure…

interviewing the terrific Kris Drever. The beloved Scottish artist released his latest album, Doing This for Love, in April. It is a beautiful album that will summon emotions and reactions the first you hear it. You will also come back time and time again as different songs settle themselves into your heard. Between his solo output and work with the Folk trio, Lau, Drever has established himself as one of the most celebrated and acclaimed figures in contemporary Folk music. Among his awards and honours are Folk Singer of the Year at the BBC Radio 2 Folk Awards, and Best Newcomer at the Horizon Awards. Doing This for Love is Kris Drever’s first solo album in six years. Twenty years after the release of the traditional Scottish Folk storytelling on his debut album, Black Water, he continues to release music that stops you in your tracks. Doing This for Love is ten guitar-led meditations on the unglamorous heroism of everyday life - the 4 a.m. alarm clocks, the thankless shifts, the quiet sacrifices made in the name of keeping others whole. I ask Kris Drever about his recent U.K. tour and how that went, when music and Folk came into his life, what the writing process was like for Doing This for Love, and what comes next for him. A wonderful interview with the simply awesome Kris Drever. This is a very special artist who recently released one of the…

BEST albums of this year.

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Hi Kris. You have recently completed a run of U.K. tour dates. What was it like playing in so many interesting places, and did you have a particular favourite venue or crowd?

It was a really lovely tour. There’s not a lot of time to hang out in different towns, but a lot of the drives were truly spectacular. I don’t think I’ve ever driven direct from Aberdeen to Dunvegan before for instance. 10/10 would recommend.

I couldn’t pick out one show for the crowd, but I loved putting a full stop on the whole enterprise with my full band gig in the Queens Hall in Edinburgh. Mega!

How important is getting your music to audiences and performing on stage? Is it the aspect of music you enjoy most, and how has your relationship with live work changed or evolved through the years?

It’s always been a huge part of the job. I’m more a musician than a performer, but I like to share what I’ve made with people. I work hard at making new songs that I can stand behind in terms of their quality and craft, and for me the thrill is seeing how other people connect with them. I started as a sideman for other performers and have always taken my musicianship seriously, and one happy by-product of that is that I am quite fluent as a guitarist, and that is where the element of performance comes into it for me. It’s certainly not my dance moves.

“We like a story, but we also like to see ourselves in art of all kinds”

You are one of the most celebrated and respected Folk artists. Can you tell me when you discovered music and when Folk came into your life? How did growing up on the Orkney Islands infuse and direct the music you were raised on?

I come from a Folk music family and so it had always been there. Although I didn’t start playing until I was thirteen, It seemed like a totally normal part of my life. I don’t remember when I started singing; I just always had that interest.

Orkney is by mainland standards a small community, but it has always had a very visible number of musicians, and there’s a strong social scene around it. It’s a thing that people do, and that I suppose has influenced my drive to play and sing. There’s a quite magical atmosphere around the place, which stirs something reflective in me, and reflection is one of the main aspects of most writing. We like a story, but we also like to see ourselves in art of all kinds.

Even though you are recording music for the fans and it is not all about awards, you are an award-winning artist. Is that quite humbling and wonderful getting accolades from the likes of BBC Radio 2 and the Scottish Traditional Music Awards?

Being recognised by your peers is deeply moving. Writing and practising can be pretty solitary pursuits and it’s a huge part of my life, so to have that work recognised by others in the field is reassuring and encouraging.

Let’s discuss your fifth album, Doing This for Love. Maybe a cliché question, but can you first reveal the meaning behind the title, and did it come before you had written any songs, or something that stuck out when you were writing and recording?

It’s something of an umbrella title. The idea that we’re all doing things daily for the benefit of others, even if it’s mostly subconscious. It’s not just the glamorous or romantic stuff. It’s all the everyday tasks we perform to make things a little more comfortable for the people in our lives.

I noticed quite late in the writing process that this theme kept recurring, and I liked how much it encapsulated.

“I like humour and pathos and detail. I’ve learned a lot through the act of writing itself, really”

What did the writing process for the album look like? Did you have a particular routine and space where you were writing, and were there any particularly challenging moments or emotional ones that affected the process and tracklisting?

My writing process takes place wherever I am, although truthfully I don’t get much done on tour. It often takes me a long time to get something that I’m happy with in even one song, let alone ten or twelve, so there’s always a lot of self-doubt. There was a moment shortly before I started recording where I’d lost all confidence in the project, but thankfully I have good friends who can help me through these times. Notably my co-producer Euan Burton, who persuaded me to book time in to track the album on the back of me admitting my loss of belief in the songs.

Tracklisting for this record was purely a musical decision; there’s no narrative to the collection as a whole.

It would be fair to say that your music has become more personal and introspective, perhaps. Ruminative, beautiful and relatable. Do you have any particular songwriting heroes and inspirations when it comes to how you write?

As I’ve gotten older I’ve spent more time with myself, and so I think it’s natural that I write from that point of view. I don’t have any grand pronouncements about the state of the world to make, but I do have opinions, and the only way I can see to include those in my writing is through my own eyes. Anything else would be soapbox, and that’s not where I’m at my best.

I have heroes of course, Tom Waits, Michael Marra, Elvis Costello, Adrianne Lenker, Joni Mitchell, and on and on. But I try not to go down the route of using music as inspiration for more music. I like humour and pathos and detail. I’ve learned a lot through the act of writing itself, really. When I was a kid, of course I tried to write Radiohead songs or Beatles songs, but that imitation is a way to learn how to do it rather than a way to create complete works that come from your own heart.

I especially love Stil the Boy. What was the story behind that, and do you have a personal favourite cut from Doing This for Love?

Thank you. That was initially an idea I had about the parable of the prodigal son. I think in the end though it’s more about being kind to my younger self; I have kids now, and I sometimes think about how I’d react if someone talked to them like I talk to myself. It started as a more specific idea, but the more I wrote, the more I liked its loose ends and blurry edges. Your interpretation of that lyric is every bit as valid as mine.

Obviously, your guitar work is sublime, and your voice carries the albums, though the musicians you work with provide colour, flesh and life to the songs. How did you choose the collaborators, and are these musicians you have worked with before? How vital are their contributions?

They are the most vital part of this record. I’ve been incredibly fortunate to have worked with lots of my heroes (Euan Burton, Louis Abbott, Rachel Lightbody), and honestly they just get better and better. I have a core of people who I’ve been working with since 2014 or so, and the common language that we’ve created and the time we’ve spent together just make it feel like anything is possible. It’s so important to be able to describe ideas and be understood.

I get to travel a lot and I do some quite diverse work, which means I’m often meeting extraordinary musicians from outside my usual circle. There are several of those on these songs, and what they’ve contributed blows my tiny mind! Michelle Willis, Trent Freeman, Matthew Herd, Cahalen Morrison and Rachel Sermanni are all extraordinary musicians, and truthfully my directions to any of these was minimal/negligible. I think I have a keen sense of who is going to be a good addition to a song, but they’re the experts. I just listen and marvel.

I think that British Country music is growing and gaining more attention, though perhaps Folk is a genre not as embraced and discussed as it should be. Do you feel like it is under-discussed and respected, or have you found that the genre has grown in stature and status through the years?

I think this discussion is pretty circular, as is my relationship with Folk music, be it Sottish, English, Irish, American etc. The good stuff always floats up, and while a good record is visible, it changes people’s idea of a particular genre. I think to an extent genres are mainly useful for the sales arm of the music industry, but It’s also true that Folk music seems more accepted by the music press at the moment. It seems to have shrugged off some of the lazy stereotypes that plagued it when I was growing up.

“I’ve started tentatively writing again, but that just goes with the territory. I won’t start looking towards another album until I have something that feels right”

Scotland especially has a great and fertile Folk scene. Why do you think that this is? Are there any other Folk artists we should keep an ear out for?

It’s musician led to a large extent. There are so many excellent players in the country, and more appear all the time. I think instruments that used to be a bit of a novelty (pipes, fiddles, banjos, accordions etc) have become normal, and more importantly, when people hear them, they hear them being played well. It’s very easy to hate an instrument if you only ever hear it being murdered.

Re: artists to keep a look out for, I’d say, Brìghde Chaimbeul, Miwa Nagato-Apthorp, Michael McGovern, Niamh Corkey, and Charlie Grey and Joseph Peach. There are loads more, though.

What comes next for you? Have you already got seeds for a future album, or are you focusing on touring at the moment and taking a break before the next chapter?

I’ve started tentatively writing again, but that just goes with the territory. I won’t start looking towards another album until I have something that feels right. Having said that, I’d love to get it together quickly, and I feel like I’m in quite a good place to do that.

I am doing some more touring though, and I have some festival performances with the sublime Cahalen Morrison coming up.

Finally, and for being a good sport, you can name a song and I will end the interview with it. What shall we go with?

Do you mean one of mine? If so, let’s do Still the Boy.

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INTERVIEW: Kelly Jade

INTERVIEW:

  

Kelly Jade

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AS much as I love…

speaking with artists and getting an insight into their upbringing, early memories of music and their latest work, I do feel that broadcasters and D.J.s are overlooked somewhat. Look at music websites and magazines, and the vast majority of features and interviews are with artists. However, D.J.s and broadcasters are hugely important. In terms of leading us to great new artists and classic tracks. The bond we have with them. Sometimes longer and more intense than we do with artists. Also, their passion for music is as inspiring and interesting – if not more so – than most artists! A broadcaster who I really love and wanted to know more about is the fabulous Kelly Jade. An incredible human who has interviewed so many artists I discovered through her, and someone who has this fascinating story and path into music/broadcasting, I was especially interested in her role at the incredible Boogaloo Radio. I ask her how she started at the station and when music first came into her life. I was curious to know which rising artists she would recommend, and what the future holds. Great to connect with and learn more about the sensational Kelly Jade. This is a hugely talented and important broadcaster who needs to be…

PHOTO CREDIT: pasmwa

ON your dial!

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Hi Kelly Jade. I am a big fan of your broadcasting. Before talking about radio, when did music come into your life? Were you raised in a very musical household, and which artists/albums do you remember bonding with as a child?

A household that enjoyed dancing, singing, merriment and togetherness, yes. My uncle was either playing drums loudly or on the decks, which vibrated throughout nan’s house completely. My mom always had a pile of C.D.s she’d rotate through, too - a right mix, from George Michael to Fugees, Beastie Boys, Massive Attack, Björk, De La Soul, Portishead… list is endless, really.

I know that radio was a fixture and soundtrack with you and your nan and mother. A generational hand-down. Do you have any standout memories of a time when listening to the radio, or a particular song that provided this special moment?

I used to love standing on my nan’s feet as we waltzed around the kitchen.

Talk to me about Boogaloo Radio. Situated on Archway Rd in a great London pub, how did you first become associated with The Boogaloo Pub and the station?

Jenn Crothers dropped me a message one day and asked if I wanted a show. I was reluctant at first, but then decided to jump in at the deep end. I had never done it before, and the equipment and idea felt overwhelming, but now it’s second nature and brings me so much joy. Very happy I took the plunge.

“…so as a big Gorillaz fan, that was a real full circle moment for me”

Do you have a mission statement for the audience in terms of what you want to convey and make them feel?

It’s a big family of people that want to discover songs old and new from an array of genres and not take themselves too seriously. Music is to be enjoyed and is taste is unique - I’ve no time for gatekeepers or people that judge others for what they like. Give different genres a go. Never know, you could surprise yourself!

There is a real warmth and instant sense of connection from your show! Do you ever bump into Boogaloo listeners when you’re out and about?

A little. I had one chap run up to me not long ago who was very positive about the show, which was really lovely, but also slightly bizarre, as I genuinely forget how many people actually tune in!

It might be impossible to answer, but what are your standout memories from your time so far at Boogaloo?

Gotta be my interview with my friend, Seye Adelekan. Not only is he a fantastic solo musician, but he also plays bass for Gorillaz’s live band, so as a big Gorillaz fan, that was a real full circle moment for me. Louise Bartle, who is the drummer in Bloc Party, was another stand-out one. Very nostalgic, as they were integral to my teen years and a connection to my late friend, Andrew Palmer - he would be over the moon that they had been on my show.

Otherwise, I’d just have to say that every show is always such a laugh with guests, and so interesting to see the similarities and differences between them and their creative processes. I’ve also discovered some really cool music from their song choices as well, so that just keeps the mixing pot of discovery nice and healthy, too - who doesn’t love discovering new stuff?

People will listen to you and want to follow your footsteps into broadcasting. What advice would you give them?

Be bold. Drown out the noise and just focus on why you love it - that joy and enthusiasm is addictive and people will wanna be a part of it.

In a recent interview, you spoke about your love for BBC Radio 6 Music and Nick Grimshaw’s breakfast show. What is it about that station and his show that makes it your go-to?

I like the fact it is eclectic, uplifting and feels like a friend in the room just nattering away.

“I’m a ‘yes’ girl, so who knows what’s around the corner…!”

If you ever had the chance to present on the station or do a regular slot, what song would open your very first show?

I’m gonna have to go with Balancing Act - Scar. Not only is it a phenomenal piece of work, but it has great energy to it; almost impossible not to nod your head along to it.

A lot of what I do is highlighting great rising artists. You too. Which names should we be looking out for you and connecting with right now?

Girl in the Year Above

Seye Adelekan

Balancing Act

Serpentwithfeet

ShitKid

Mychelle

Nancy Folan

LEAP

Roseland En Why Cee

Pink Juice

…it’s really hard to stop, but they are the first that come to mind!

What does the rest of the year look like for you in terms of your radio work and beyond?

More Boogaloo Radio. More Brum Radio. Fun presenting work with YBHQ and Starfreak Mag… I’m a ‘yes’ girl, so who knows what’s around the corner…!

Finally, and for being a great sport, you can end the interview by selecting any song you like. Which one shall we go for?

Björk - There’s More to Life Than This

INTERVIEW: Lusaint

INTERVIEW:

 

Lusaint

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THE wonderful…

Lusaint is an artist that everyone should know about. She released the single, Love Bites Back, last month. She has a timeless voice that fuses Jazz, Soul, and Pop. This Manchester singer-songwriter has amassed over 250 million streams, earned widespread support from BBC Radio 1’s Jess Iszatt and Maia Beth, and received praise from tastemakers including Notion, Wonderland., and CLASH. Lusaint’s E.P., Apothecary (Pt. 2), is out in September. Before getting to my interview with her, I would urge you to follow her on social media and check out her music, as she is one of our absolute best artists. Here is some bio from her website:

“Lusaint explains what drives her passion: “If I'm in the studio, or if I'm on stage, I get this real zen feeling of pure calm, and like that’s where I'm supposed to be in that moment. It feels like I’m in my happy place. Without being able to experience that feeling, I think I'd probably be going through quite a lot of bother. In my everyday life, my brain is quite chaotic, but as soon as I get into that other space, it feels very relaxed and calm.”
Next comes Lusaint’s second EP, the Apothecary (pt.1), released in August 2025. Blending jazz, neo-soul, pop and more, the music feels born from smoky jazz clubs and Lusaint describes the 4 track EP as a collection of songs about "heartbreak, healing, and starting over," a natural progression from her previous work, Self Sabotage. 

Leading the EP is the glorious single ‘Summertime’, a blissful slice of bright pop-soul that feels instantly timeless. It was written during a four-week stint writing aboard a house boat in London’s Maida Vale. “This boat was so hot,” she remembers with a smile. “It was 35 degree heat and I've never been so uncomfortable in all my life, but I decided that I wasn't going to leave this boat until I got the songs that I wanted, because I was feeling so inspired.” Lusaint's dedication to songwriting paid off as the EP saw support from BBC Radio 1's Victoria Jane, Jess Iszatt on Radio 1 Introducing and Radio 1's Future Pop and has generated over 2 million streams globally thus far. There has been continued support for Lusaint's other single 'Lie To Yourself' which saw support from Rolling Stone UK and MTV UK  with great editorial coverage including the cover of Retro Pop on Spotify and the cover of Jazz Club.

Lusaint endured a further wrath of live performances in 2025, including key festival appearances like Montreux Jazz Festival, Jazz A Vienne, Theatre Elisabethain, Les Enfants Du Jazz Festival, The Hundred (BBC Introducing) and Hit The City Festival. As well as adding to her existing stellar list of support artists, Lusaint opened the stage for the likes of Michael Kiwanuka, Kimberose, Robert Plant, JP Cooper and finishing with a twenty four date European & UK support tour for Calum Scott”.

Having completed a run of dates for her Apothecary Tour 2026, Lusaint is looking ahead. Her E.P. is September. Love Bites Back riding high and getting a lot of positive attention. A truly captivating voice and stunning songwriter, it has been incredible learning more about an artist who will endure for years to come. Lusaint is a jewel that we should…

HOLD in the highest regard.

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Hi Lusaint. Give me an idea of how your year has been going. What has 2026 been like so far for you as an artist?

It’s been really great, thank you. Releasing new music; currently on my first European tour and writing new material!

Before moving to your current work, can you talk to me about how music came into your life? Was music always present, and were there artists that you connected with at a young age?

I think I’ve always known music was something I was really inspired by, but I think it’s in recent years I’ve chosen to understand why and develop my skills as a singer and artist. I always auditioned for singing parts in school, but I never really took it seriously and especially didn’t believe it could be a career. Music has always been a huge inspiration for me though and lives in my soul.

“From the beginning of releasing my music, I’m blown away by the love it has received”

Your music has garnered praise and support from CLASH, Notion and broadcasters Jess Iszatt and Maia Beth. How important is that support and recognition to you?

Yeah it’s really cool to have that support always! From the beginning of releasing my music, I’m blown away by the love it has received.

Your voice has such power, passion and depth to it. There are shades of Amy Winehouse, Duffy and some of the Jazz greats, though it is distinctly yours and very much distinct. How do you maintain such an amazing voice? When did you discover that you possessed such an incredible instrument?

That’s so kind. I’ve always loved to sing. It always makes me feel good and listening to the voices you mentioned makes me feel the same way. I think it’s grown to become more powerful over the years of performing and learning my craft and learning confidence. But it’s more the feeling it gives over anything else. I forget about everything when I’m on stage and singing.

Talk to me about your latest single, Love Bites Back. Does that have a personal story or background that compelled you to sit down and write it?

It’s a gentle reminder to myself that the grass isn’t always greener. You let go of someone or something from your life and constantly question it. If you could go back in time, would you have done things differently? Would they still be a part of your life? Was it just bad timing?

“I think the diversity, culture and abundance of talent is unbelievable, and I’m very proud to be a Mancunian”

I have listened to your upcoming E.P., Apothecary (Pt. 2), and each song is magnificent and memorable. I especially love Tib Street. What was it like recording the E.P., and what do you want listeners to take from it?

The Apothecary has been a really rewarding feeling recording these songs. A sense of healing to explore a new avenue of music, but still feeling very much myself. I love that music can do that.

You hail from Manchester. An area that has always produced such great music, a lot of award ceremonies and radio is moving there. It is an area of the country that has real pull and brilliance. What do you think it is about the culture and the people that means a lot of focus is shifting there?

I love Manchester. I think the diversity, culture and abundance of talent is unbelievable, and I’m very proud to be a Mancunian. I love that it’s starting to be recognised and the likes of T.V. and radio are finding it.

Your debut U.K. and E.U. is coming up. You have some great dates coming up, including Manchester at Band on the Wall (14th April) and London’s Oslo (22nd April). How are you feeling about the tour, and how important is live work and connecting with the audience?

I’m currently on my European tour. Final show this evening before my U.K. dates! It has been really incredible to see so many people at these shows. Knowing my music is being heard across Europe is a very surreal feeling. I don’t think I’ll ever get used to.

In 2024, you supported RAYE. Given her recent success and the acclaim of her new album, THIS MUSIC MAY CONTAIN HOPE, what is your reaction to that? Do you think you will support her again soon?

I think she’s fab and deserves every bit of success! I love her performance style and big band. I would love to support her in the future!

What does the remainder of this year hold in terms of music, live work or anything else?

I will be recording new music and lots more live dates coming soon! A very exciting year ahead

Finally, you can choose a song from any artist you like and I will play it here. What shall we go with?

Billie Holiday- Solitude

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INTERVIEW: After Eden

INTERVIEW:

 

ALL PHOTOS: Jason Joyce

After Eden

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ONE of my very favourite artists…

is the superb After Eden. I think I first connected with her music when She’s a Church was released in 2019. 2020’s Outlaw was another remarkable single. In 2024, she put out Hello, and appeared alongside Echoes and Sam Supplier. Now, the incredible Forgive Me is out. With Echoes and Mark Eteson alongside her, this might be one of her best releases. An artist I hope produces more material and we see perform live, as she is a tremendous talent. Go and follow her on Instagram. I have been asking After Eden about Forgive Me and working alongside Eteson and Echoes. I also asked about her upbringing and whether music was a bit part. She also reveals whether more new music will come out this year. I wondered how motherhood has affected and influenced her career and outlook. Forgive Me is a tremendous track that everyone should hear! It has been a huge pleasure chatting with…

THE tremendous After Eden.

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I have known about your music for many years now, and I am so excited that you have a new single out! Do you recall what drew you into music, and how your early material compares to what you are producing now?

I think I’ve always being pulled towards music in some capacity, but I only really believed it was something I was good at in my early twenties. I went travelling and found myself in L.A. writing songs with the godfather of drum samples, Steven Slate. It was so fun writing lyrics for the first time and finding my love of words. Then back in England, I started working with Andy Love, who is an incredible songwriter and he really understood my voice and showed me what I could do with it. He gave me the courage to believe in myself.

My sound has changed over the years, but the bones of it remain the same. It’s still my story being told.

Can you remember when music came into your life? Was it something that spoke to you from an early age?

It lived in the walls, I think. In small things. My dad has a beautiful winding music box, and I always loved the hymns at school.

And then on a Sunday, the radio was up loud. Queen, Enya, Dire Straits shaking the house a little. I was always listening for what sat beneath it all. I think the truth of a lyric has a way of staying with you.

How did you come to work with the label, Anjunabeats? Were you always aware of them and how did that relationship start?

Home Is Here was my first step into that world. And I came to it without much sense of its scale, so only afterwards did I realise what I’d stepped into. It’s felt a bit like finding a hidden current in the sea and just letting it carry you. They’ve been so supportive and are such a great label.

“Some collaborations really need work to build, but this one kind of found itself”

Forgive Me is your new single. What is the story behind that song, and how did it come to life?

Forgive Me is a fable of hope. We are all sinners and all make mistakes; hurt people we love or feel like we have failed somehow. It’s ultimately about the grace we withhold, and the grace we need. Forgive easily and we can all win.

You are collaborating with Echoes and Mark Eteson. What was it like working with them in the studio and how did this hook-up happen? Have you all known each other for a while?

There’s a natural rhythm I have with Echoes that’s easy and unforced, and trust me it’s not always that way in writing sessions, so it’s a really special experience getting in the studio together; they are such talented guys and so fun. Mark came into that space through Dougal (one half of Echoes) and it’s like he’d always been part of it.

Some collaborations really need work to build, but this one kind of found itself.

Forgive Me has the sound of a summer anthem. A true banger! Is this a song that you hope get festival crowds, club-goers and everyone else united and uplifted?

If it finds people and resonates then that’s enough. There’s something sacred in that kind of shared joy in a festival setting, but it can be equally as special at home. I love that I can be connected to someone the other side of the world just by listening to the same song.

“Hold fast to what feels honest to you”

Will there be more new music in 2026? What were your plans for the rest of this year?

Yes. I am working on so many things, so many exciting projects to come.

Summer is coming up. Might we see After Eden perform live and bring Forgive Me to the stage?

I would love to! Performing and connecting to the audience is the best part!

You are a mother and incredible artist too. How do these facets and aspects of your life influence and feed into your music and career?

I love being a mummy! It’s my favourite chapter in life so far and changes the lens entirely. You begin to see the world with a different kind of tenderness and protective force, and those things find their way into the writing, whether you invite it in or not, it always takes hold.

I have been following your work for a while and know how hard you have worked. What would you say to any new artists who are taking their first steps?

Hold fast to what feels honest to you. They’ll be lots of opinions of what you should do and what music you should create, but do what makes you happy. Let yourself love it, even when it’s uncertain.

And keep one eye on the fine print; it’s always worth a lawyer!

Finally, you can choose a song from any artist you like and I will play it here. What shall we go with?

Well I have to say, Forgive Me. My newest release with Mark Eteson and Echoes on Anjunabeats. I want to get it to as many ears as possible and take every opportunity to share it.

INTERVIEW: Ellie Clement

INTERVIEW:

 

Ellie Clement

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WHILST I usually interview…

IN THIS PHOTO: A shot from a Roger Waters gig

artists, it is always nice and important to look at those who are more behind the scenes. That sounds dismissive. What I mean is that we do not spotlight those who are just as important as artists. Here, I have been speaking with Ellie Clement. Here is someone who has this incredible career that I was keen to know more about:

“Ellie Clement is a video director and Disguise Media Server specialist whose career spans television, film, live events and global arena and stadium touring. She has worked on major event and broadcast productions worldwide, combining creative vision with technical expertise in large-scale video systems.

While studying Film Production Technology, Ellie began her career in 2008 working in local theatre and club venues, alongside a placement at BBC Radio Stoke assisting with broadcasts for its live music programming. After relocating to London, she entered into television at Envy Post Production before moving on to large-scale live events with Done and Dusted. Working under Executive Producer Melanie Fletcher, she contributed to major productions including the UAE National Day celebrations and the London 2012 Olympic Opening Ceremony. These projects introduced her to the complexity of globally broadcast events and large multi-camera production environments.

Ellie later joined Creative Director Richard Turner on arena and stadium tours. During this time she designed systems and programmed media servers for artists including One Direction and Roger Waters, gaining extensive international touring experience while developing expertise in live multicamera camera systems, projection mapping, real time tracking and large-format LED video design.

During the pandemic, Ellie founded her own company, XYZ Video Ltd, returning to television and film production with a focus on real time virtual production volumes utilising unreal & notch workflows within the Disguise infrastructure. Since then she has moved into leadership roles that draw on her combined background in broadcast and touring video design working for major artists including Phil Collins, Genesis, AC/DC and Radiohead.

Ellie facilitates artists' most ambitious concepts bringing a practical and technical approach to turn the boldest ideas into compelling world recognisable visual experiences”.

It has been great interviewing Ellie Clement. I do feel that we are in a time when women in technical roles are not spoken about. There are fewer opportunities and still this imbalance. Especially in professional studios. However, incredible people like Clement are paving the way and opening doors. Maybe she will not see it that way, though it is clear that she is definitely inspiring other women to follow it her footsteps. Learning more about Ellie Clement makes it clear that she is…

IN THIS PHOTO: The Music for the Marsden benefit concert at London’s 02 in 2020

A remarkable talent.

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Hi Ellie. As a video director and Disguise Media Server specialist, can you tell me how your career began and what drew you to these mediums?

Since I can remember, music has had a big influence on me and I've always loved photography and creating images. I didn't really know what I wanted to do, but when I saw the broadcast of The Who’s 2010 Super Bowl performance, that was the light bulb moment of, that's what I want to do.

I started out at a small club venue running sound and lighting for local bands and the occasional chart act on promo tours.

I later spent some time working in television with Done and Dusted under then-Executive Producer and now CEO, Melanie Fletcher, contributing to major events including the UAE National Day celebrations and the London Olympic Ceremonies. Around that time I met Richard Turner, who later offered me a role as his assistant on tour. That opportunity allowed me to combine my previous experiences and channel it into directing and programming media servers for concerts, leading me to contribute to major tours such as Roger Waters, One Direction, Genesis and Radiohead.

You work on major event and broadcast productions worldwide, combining creative vision with technical expertise in large-scale video systems. Can you talk to me what that consists of on a typical day, and how do you get to work with the artists you do? How does that partnership begin life?

No two projects are the same; there's so many elements to video, and the technology trends evolve so quickly that to keep up I spend a lot of time learning and experimenting with different techniques and equipment.

After establishing what the creative is for a show and how the video surface will be used, I’ll create the project in 3-D and using Disguise designer. I’ll preview any content and test any complex ideas in advance of any rehearsal time. Designer allows me to pre-program and test all the features in Disguise with minimal equipment, usually just my laptop and a handful of software, meaning I can be pretty mobile and flexible.

Early on in my career, I pursued companies and people I’d admired to get a foot in the door. Since starting XYZ, I’ve been really lucky and grateful that I've had jobs come to me mostly through word of mouth or from people I've already worked with, that thankfully want to work with me again.

“I think, like most women, I've always had to work harder to prove myself both professionally and socially amongst colleagues, which is really tiring when you feel like you're constantly battling”

How important was relocating to London when it came to your career? Even though events like the BRITs and Mercury Prize (music award ceremonies) have moved to the north, do you feel most opportunities and focus is on London?

I grew up just north of London, so it wasn't a big unknown upheaval. I’d been living and working in the Midlands and felt like I needed bigger challenges. It was a couple of years before the BBC had moved to Salford, and the only other hub I knew of at the time that had things going on that I was interested in was Bristol. There's so many clusters throughout the U.K. where technology and creativity collide, but I had very little connection to any of them so London just felt like the right place to return to. It also had the production companies I wanted to work for, so it just seemed the most logical decision to be around that.

Absolutely now, there are so many more opportunities all over the country. More venues are springing up. Places like Production Park in Yorkshire and organisations like Screen Scotland have done such a fantastic job at bringing more opportunities to the north of the U.K.

Although I’m still based in North London, I spend most of my time far from it.

Before talking about the highlights of your work, it does seem that women in technical roles and, in fact, across music in general still are underrepresented and subjected to sexism and a lack of opportunities compared to their male peers. Did you experience challenges and barriers as a woman in the entertainment industry, especially on the technical and production side?

I’ve had some really difficult experiences with sexism. Starting out, I came across it regularly. Now, when it does happen, it tends to be in the form of unconscious bias. If anything it always made me more determined. I think, like most women, I've always had to work harder to prove myself both professionally and socially amongst colleagues, which is really tiring when you feel like you're constantly battling.

Thankfully, as I've progressed in my career, I've encountered it less. I don't know if that’s because I’m older with more confidence, attitudes are gradually changing or I’m just tolerating it less, but I’ve built myself a network of people who are inclusive and value skill and potential rather than gender. There are still big pockets of the industry where we have to compete against the old-fashioned boys’ club mentality. But at the same time, I have some fantastic male colleagues that have recognised my capabilities and been incredibly supportive.

“It’s great to see a woman in the production manager role on tour. It's so important for girls to be able to see that it is possible to hold that top leadership position”

The figures regarding representation of women in technical and production roles is stark. In terms of imbalance and perhaps this sense that the fields are male-dominated. Do you think enough is being done to change this, and who are some of the other amazing women we should be looking at when it comes to changing the conversation?

I think it’s evolving. More women are coming through. For a long time, I’d be the only girl in the room. Now, most productions I’ve been on have at least one other woman in one of the tech departments. It's still unbalanced and very male-dominated; there is definitely a lack of women in leadership roles. That's where we need rapid change. There needs to be more opportunities and a clearer route to progress into those positions.

It’s complicated, because I don't think it's necessarily just a case of get girls interested and open up the opportunities. Elements of this industry are such a lifestyle choice. It makes the typical expectation of the house, family, dog and birthdays together a lot more difficult. You can be away from home for such a big chunk of time that that just doesn't work for everyone. I've seen many talented women hit a point in their life where they leave their roles and the industry because it just doesn't fit with starting a family. There's very little to no support for that as a freelancer across the board. Addressing that would help in retaining talent.

Done and Dusted CEO Melanie Fletcher was my first inspirational woman. She knew exactly what she wanted, had such an eye for detail, and was able to spin so many plates at the same time. She gave me a chance that set me on the path I am now which, although I've worked hard for, I am forever grateful.

Production Manager Nicole Massey - Billie Eilish’s production manager - is obviously another industry force. It’s great to see a woman in the production manager role on tour. It's so important for girls to be able to see that it is possible to hold that top leadership position.

Musician RAYE had some brilliantly simple YouTube videos of her in front of a computer showing how she created mixes of one of her tracks. I loved that it showed the more technical side of her creative process, and in turn hopefully gave young girls inspiration to have a go at that side of things.

In music, you have worked alongside artists like Phil Collins, Radiohead and Roger Waters. You have programmed media servers, developing expertise in live multicamera camera systems, projection mapping, real-time tracking and large-format LED video design. How does it change between artists in terms of requirements or how you work? Do the artists themselves have much input or requirements?

Different artists definitely have different levels of involvement with the video elements. Some are more focused on the music and others enjoy having a huge canvas to play with. Most of the time, I’ll be in contact with the creative director or artist management rather than the artist themselves, and then it's trying to interpret what works with the artist based on their performance and the direction from management to create something that reflects their vibe and identity. This can at times mean I have the freedom to just do something that looks cool. Other times I’ll work with an established creative, and the artist may come and sit and work through elements of the show, tweaking things to their preference. I always watch previous performances to try and anticipate what may be wanted that hasn't been asked for, as well as leaving plenty of overhead in a system to deal with the ‘can you just’s’.

“The recent Radiohead tour is my most recent highlight”

What have been your highlights or favourite artists to work with so far?

I love a spectacle and the technology, so my favourite ones are always the shows where we get to do something technically challenging and different. It's definitely a bonus if I'm into the music, but that's not what drives me. I really dig the visual aspect.

Beyoncé’s Chime for Change charity concert. She held an incredible presence. She was so in tune with the technical elements on what should be happening when and where. Her timing was amazing. Seeing someone that can command such a large stadium the way she did was awesome.

Roger Waters shows are always an immense experience. The content is stunning, and the boundaries of what is technically possible is always pushed to its limits. The Wall was probably hands down one of the best concerts to watch. I never got tired of seeing it. His shows have been some of the biggest crowds I've seen. Mexico City Zócalo square saw 200,000 people. They lined the streets and there was just no end in sight. The energy was phenomenal.

IN THIS PHOTO: Radiohead live in London, November 2025/PHOTO CREDIT: Alex Lake

The recent Radiohead tour is my most recent highlight. It was a technological beast and loads of fun to operate, as it was all manual cues utilising Disguise’s Sockpuppet feature. We got to experiment lots, and as the visuals were real-time-generated, everything was being created and manipulated along with the band’s performance. I've never been a part of something that raw and kinetic before. We were taken on a journey with the audience, juxtaposing massive sound and energy against intimate moments that suck people into the centre of the room. It was so uniquely special.

Tours and big live experiences have become more ambitious and multimedia-focused compared to decades ago. It is almost like a cinematic experience. Whilst the audiences might not think too much about it, how challenging is it behind the scenes regarding realising these bold concepts?

Hopefully it always looks effortless to the audience, but to get there can take months of working on theories, then experimenting and testing, leading into lots of high-pressure long nights of rehearsals, trying to realise what was something in someone's imagination.

It takes an army of highly-skilled engineers, fabricators, riggers and technicians to take that abstract idea and turn it into a reality. I guess that the most complicated part is co-ordinating across departments so we all click together. The video department and media servers are increasingly becoming the central link integrating across all aspects of a production - lighting, sound and automation. It requires being quite adaptable and versatile in your knowledge.

The show I'm currently working on has been over two years in the making so far, and we've just entered the final phase where everything comes together for programming and rehearsals. Ultimately, it’s a balance between ambition and reliability. You’re constantly pushing for something visually exciting and new, while making sure it’s robust enough to run night after night around the world.

“There are lots of free courses, tutorials and communities online, so get hands-on and build your knowledge up enough to be dangerous”

Tell me about XYZ VIDEO LTD. A company of leading video screen specialists across television, film, theatre, concerts and touring, what are you plans and aims for the next few years? What was the reason for setting up XYZ VIDEO LTD?

Like with many people in the industry, the pandemic brought along situations that we all had to adapt to and that led me to the opportunity of setting out and starting my own company.

I'd already established myself in real-time tracking and 3-D environments with projection mapping, so I was lucky enough to transfer that skillset into film and LED volumes by working with Unreal and Disguise’s RenderStream workflow, which allows for the real-time streaming of the Unreal game engine. I’d love to bring elements of Unreal real-time control and navigation into a live events environment. I think the progression into interactive generative content is really exciting.

For those wanting to follow in your footsteps and are interested in what you do, where is the best place to start?

Download the software and just have a go. There are lots of free courses, tutorials and communities online, so get hands-on and build your knowledge up enough to be dangerous. Make yourself visible and available; positioning yourself where the opportunities will be, so when it’s the right time, you’ll be in the right place.

I always ask interviewees to name a song they would like to finish with and I will play it here. What would you like to go with?

The Smile - Bending Hectic. There's no meaning or message behind the choice. It's just got a banging climax. Tough tie with Led Zeppelin’s Ramble On.

INTERVIEW: Misty L. Heggeness (Author of Swiftynomics: How Women Mastermind and Redefine Our Economy)

INTERVIEW:

PHOTO CREDIT: Jeffery Burkhead

  

Misty L. Heggeness (Author of Swiftynomics: How Women Mastermind and Redefine Our Economy)

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FOR my first interview of 2026…

I have been fortunate enough to speak with the superb Misty L. Heggeness. She is co-director of the Kansas Population Center, Associate Professor of Economics and Public Affairs at the University of Kansas, and former Principal Economist and Senior Advisor at the US Census Bureau. She is also creator of The Care Board, a dashboard of economic statistics built by and for caregivers that brings their economic contributions into the fold. She has over a decade of experience leading high-profile research that informed decision-making within the U.S. federal government. Her research focuses on poverty and inequality, gender economics, and the high-skilled workforce, and she has appeared in outlets such as The New York Times, TIME, The Wall Street Journal, NPR, The Economist, and Science. I have speaking with her about her superb book, Swiftynomics: How Women Mastermind and Redefine Our Economy. It is released in the U.S. today (27th January). The book blends fresh data and pop culture to show women are the unsung engines of our economy. Here is some more information about a timely, essential and fascinating debut:

"Taylor Swift and Beyoncé are more than just entertainers. They are economic powerhouses, challenging patriarchal norms and redefining what it means to be a working woman. Anything they touch turns into gold. Their stories—alongside those of famous and influential icons like Rihanna, Dolly Parton, and Reese Witherspoon—underscore a simple yet often overlooked truth: women are not mere background players in our economy; they are its engine.

In Swiftynomics: How Women Mastermind and Redefine Our Economy (University of California Press, January 27, 2026), renowned economist Misty Heggeness builds on this reality by defining the power of harnessing women’s experiences and their voices to advance economic growth, development, and equity. In Heggeness’s own words, the concept of ‘Swiftynomics’ is about “women’s ability to influence consumption and marketing patterns by leveraging their human experiences for economic benefit. It is women investing in one another, and it thrives today, even in these challenging times.”

Blending cultural commentary with rigorous data, Heggeness examines the ever-evolving economic lives of American women. From Hollywood icons, a Harvard-trained lawyer, politicians, caregivers, and women in between, she reveals the unexamined value women create when pursuing their goals. With humor, personal anecdotes, and chapters playfully titled after some Taylor Swift hits—like "Mastermind" and "Miss Americana & The Heartbreak Prince"—she makes big economic ideas both accessible and engaging. Along the way, Heggeness challenges misconceptions by highlighting the real impact of women’s daily lives, the barriers that limit their progress, and the common threads connecting women’s experiences across the globe”.

You can also order the brilliant Swiftynomics: How Women Mastermind and Redefine Our Economy. The book offers advice for women to thrive in an economy that was not built for them. Whilst Taylor Swift is at the core and centre, the book looks at other groundbreakers like her. Even if you are a Taylor Swift fan or not, I cannot recommend Swiftynomics: How Women Mastermind and Redefine Our Economy highly enough! Huge thanks to Misty L. Heggeness for discussing a book…

THAT everyone should read.

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Hey Misty. Congratulations on Swiftynomics: How Women Mastermind and Redefine Our Economy. It is a fascinating and hugely important book. Was there a particular moment or reason that compelled you to write the book? Why publish it now?

I am one of the hundreds (perhaps thousands) of people sitting on their couch in their cozy pjs day-drinking wine who decided it would be a good idea to write a book. The serious answer is that I was data-sleuthing during the pandemic to report on what was happening to women and work. What I found in the data was counterintuitive to the storyline we tell ourselves about women, motherhood, and paid labor. So counterintuitive that it became storybook worthy. At the same time, Taylor was over on her couch churning out high-quality albums like folklore and evermore that were so relatable. How did she continue to be so productive? It just clicked for me – Taylor had to be the muse for my book.

The book opens with a Taylor Swift quote from a 2023 TIME interview, suggesting lucrative benefits from female creativity means more female art gets made. Why was it important to lead with that quote? When did you first discover Taylor Swift and what drew you to her music?

It is one of my favorite Taylor quotes. She’s right, you know. Often women are expected to do things voluntarily, or they are seen as selfish if they make money or want to earn more money. We don’t offer that same shame to men. But, when women earn more money, the research shows they invest it differently than men. They are more likely to invest in other female talent or programs and solutions that help women up the ranks. So, I agree 100% with Taylor, we should all want women’s art and talent to be lucrative because that does mean more female art gets made. This phenomenon is what swiftynomics is all about – women harnessing women’s talent and economic agency.

“Young women do not often hear songs written with lyrics from their earnest perspectives”

A TIME article you wrote in September talked about how Swift’s “emotion-focused approach” is key to her success. The Life of  Showgirl’s orange-themed marketing genius. How, when immigration and women’s rights are low priority, Swift’s emotion-focused approach is resonating with her fans and young Americans. Latching onto a beautiful and bright orange (rather than the toxic and radioactive orange in the White House), what impact has her latest album had on national hope and the lives of her fanbase? Do you think profitability was also key when it came to the multiple versions of TLOAS, or was it to give fans options or that sense of belonging to this important musical moment?

Can’t it be both? The music industry and music production is a business at the end of the day. But Taylor wouldn’t create multiple versions if her fans were not interested in purchasing them. It’s the market doing what markets do. Now, the key question may be how does Taylor get and keep her fans so engaged in her art? The answer there, I think, is emotion, connection, and scarcity. Never underestimate the pull and strength of human emotions that are relatable. Taylor makes us feel connected to her and to the larger Swiftie community in a safe and reliable way, which draws us more to her and what she is selling (which is her music). Taylor does this like few others. She doesn’t sing songs written by men for women. She doesn’t sing songs for young women written by older women or vice versa. She sings songs she wrote about real emotional experiences she has either had or read about. By doing this, she develops lyrics that speak deeply to the lived experiences of a woman going through life in a world built for the ease of men or others with the privilege to dominate. Young women do not often hear songs written with lyrics from their earnest perspectives. The scarcity of this type of lyricism in music is the third component that makes Taylor so successful. She tapped into a burning need that music industry leaders didn’t even know existed.

IN THIS PHOTO: Taylor Swift at the GRAMMY Awards on 3rd February, 2025/PHOTO CREDIT: Matt Winkelmeyer/Getty Images

It is a book that is broader than this one artist. However, before moving on, whilst it is brilliant Swift is such pioneering, groundbreaking and has undoubtedly massively advanced economic growth, equality and consumption, do you think excessive wealth and this monolithic focus can have its downsides and cause as many issues as it does benefits?

High levels of inequality are always bad in any society. Income inequality has been on the rise in the United States for decades. It is making it more difficult for people to live a comfortable middle-class lifestyle. That is a huge problem, and we should as a society address it immediately. Our policymakers should do their job. That is not a problem Taylor can solve for us on her own. Although, I will note that donating millions of dollars along The Eras Tour city stops to local food pantries and providing her tour staff huge bonuses once again shows you what happens when women control the purse string – they are more likely to reinvest in the rest of us.

You blend cultural commentary with rigorous data and examine the economic lives of American women  - from Hollywood icons, lawyers and caregivers. It is clear that women across all sectors massively shape and effect American economy and prosperity. Do you think their roles and value is discussed and appreciated enough, and is it in danger of being marginalised in a patriarchal and sexist presidency – and one where billionaire (and trillionaire) men are given the biggest platform and voice?

I think this current mojo-dojo-casa White House is an example of increased gains in female economic power because it is the backlash from traditionalist, privileged mostly white men getting nervous that traditional power dynamics in society are shifting. It is their reaction to women coming into their full economic power. In that sense, it’s a good thing because it means women are on the move. I don’t consider this Ken-like patriarchy to last for too long. The problem with the Kens, if you watched the Barbie movie, is that they come in all hot but never last long. Their strategies are unsustainable.

“When young girls see these famous women not bogged down by the patriarchy, it fuels their belief in their ability to do the same”

Particularly notable and disturbing in the U.K. is an epidemic of violence against women. In the U.S., it seems women’s rights, body autonomy and financial freedom is being suppressed and there is a return to a darker age of freedom and autonomy. Do you feel that Swiftynomics and what that represents redefine an economy that is being so handled in such a haphazard, impulsive and almost dictatorial manner?

Not much more to say here than my previous answer, except that if we look back in time at any point where women were silenced or stifled, it never ended there. Women are persistent planners who know how to move the patriarchy aside behind the scenes when needed. In my book, I give a few examples of this from a historical perspective.

Taylor Swift’s The Life of a Showgirl has broken records; Beyoncé’s Cowboy Carter Tour was the highest-grossing of this year. Aside from the obvious benefits this brings to venues, towns and the national economic, how do you feel this directly (or indirectly) benefits women outside of music - and does it have this trickle-down effect?

When young girls see these famous women not bogged down by the patriarchy, it fuels their belief in their ability to do the same. Taylor and Beyoncé are the right type of role models if we want young women to continue breaking barriers and masterminding ways around systems that hold them back.

Your book is really, and to quote one reviewer, a “rallying cry”. It is phenomenal read! In terms of female equality, economically and beyond, do you have reason to be hopeful for the future? What are the most noticeable and impactful ways artists like Taylor Swift are sparking change and masterminding this revolution?

As mentioned above, I am extremely, deterministically hopeful for the future. More and more, as women’s authentic voices come out in unexpected or hidden ways – whether it is through Reese Witherspoon’s Hello Sunshine Production company telling lived stories from female points of view, women developing newsrooms built for stories of women written by women like The 19th*, or women funding women’s ideas through the Female Founders Fund, women are advancing with or without the loud men at high-levels of government today. None of their rhetoric can stop us. We’ll just continue doing what we’ve done for centuries, which is to mastermind our way through it…and Taylor will be right at our side the whole time.

PHOTO CREDIT: Jeffery Burkhead

I love how you use Taylor Swift song titles as chapter headings and you bring in personal anecdotes, facts and graphs to make your book both informative, educational, but also thought-provoking, accessible and very re-readable. Was it a challenging book to write, or was it quite a quick process? What do you hope the reader, female or not, takes away from reading Swiftynomics: How Women Mastermind and Redefine Our Economy?

This book stems from the inner, deepest corners of my heart and soul. It’s the book I was always meant to write from the first time I wrote a letter to the editor in high school complaining about unfair policy behavior in my community. I did it all wrong, however, in that I didn’t actually carve out time from my schedule to write the book. I wrote it on weekends and evenings after all the drudgery of my real life was taken care of. In some ways, it was an escape for me and, perhaps because of that, it was not challenging to write. Never having taken on a project so grand, however, meant that the end of the book writing process was daunting and overwhelming for me (which subchapter headings go where???). I only hope that the overwhelmingness of threading the entire book together is good enough for the reader to fully embrace my passion, determination, and joy of writing about a topic near and dear to my heart.

A few more questions before wrapping up. You have children who are teenagers. You end the book by hoping that, when they enter adulthood, the dial shifts in terms of women’s schedules, economic equality and a better work-life balance. Have they given you feedback or impressions of your book, and what is their thoughts on Taylor Swift/Switynomics and the amazing women you have written about?

I am the only Swiftie in my family, but my daughter was generous enough with her time to tag along with me to two Eras Tour concerts. I think my family probably represents most in that we have me, who overly identifies with Taylor’s lyrics along the arc of her life and career, my spouse and son, who cannot figure out why she is so famous, and a daughter who wants to like her but is too naïve still to understand how truly meaningful and relatable Taylor’s lyrics are for women. I’m the only correct one of the group. If you ask them, they will eventually admit that I am always right.

“And, where women’s priorities are answered, inequality, climate change, and other top pressing issues will continue to be addressed”

I know the book will be discussed, and articles will be written about it. To me, it seems like there is life beyond the page; to podcasts or documentaries maybe? Do you think there will be offshoots and sister projects that tie in to Swiftynomics: How Women Mastermind and Redefine Our Economy?

I honestly hope so! My day job is as a professor in a university where I teach and do innovative research on women, work, and the economy. But in some parallel universe, I would love to see these ideas continue with a life all their own through some sort of social media pop-culture spinoff. Women deserve it.

It is hard to predict the future. However, given the massive impact female artists have had this year and how this must have also been mirrored across wider American society – and internationally too -, what are your predictions for next year regarding the visible results of this? Can greater economical balance and mobility for women directly impact policy, politics and wider issues in the world – such as climate change, the high cost of living and immigration right in the U.S.?

I think so. The pendulum will continue to swing in politics. Women will continue to adapt and adjust to make sure our priorities are met either in the short- or long-run. And, where women’s priorities are answered, inequality, climate change, and other top pressing issues will continue to be addressed.

Swiftynomics: How Women Mastermind and Redefine Our Economy has the Pennsylvania-born icon at its heart. So, you can either choose a song or hers or another powerhouse woman in music to end this interview. What track would you like to go with?

mad woman – always and forever may I be.

INTERVIEW: Nadine Shah (Together for Palestine)

INTERVIEW:

 

Nadine Shah (Together for Palestine)

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PERHAPS the most important single…

of this year is out on Friday (12th December). Together for Palestine’s LULLABY has been recorded to raise invaluable and much-needed funds to support Gaza’s children. Displaced and ravaged by genocide, the images we have been seeing from Gaza have been horrific and unforgettable. It is almost biblical in terms of its savagery. Although there has been some activation from the music industry when it comes to raising awareness and calling out Israel’s violence, there has not been as much protest and anger as there should be. Or songs of compassion that raise funds to help those affected by genocide and violence in Gaza. Before removing on, this detail from Peter Gabriel’s official website tells you all that you need to know about a hugely important and vital single that I hope gets to number one for Christmas. It is not an overstatement to say it is the most important single of this year:

“Today, the team behind Together For Palestine – the sold-out Wembley concert that raised over £2 million – announces a charity single “Lullaby” that will be released on 12th December via T4P Records and distributed by Empire XX.

PRE-ORDER HERE

This powerful and emotive reimagining of a traditional Palestinian lullaby sees over 15 UK and Palestinian artists come together to send a message of hope and solidarity to the very place where the Christmas story began. For this release, Together For Palestine have a bold aim: to reach Christmas #1 and raise urgent, life-saving funds for Gaza’s children affected by the ongoing bombardment and genocide in Gaza.

The new single was produced by Benji B, Kieran Brunt and Henri Davies, with arrangements by Kieran Brunt and Nai Barghouti, additional lyrics by Mahmoud Darwish and English lyrics written by Peter Gabriel.

The track includes Amena El Abd, Brian Eno, Celeste, Dan Smith (Bastille), Kieran Brunt, Lana Lubany, Leigh-Anne, London Community Gospel Choir, Mabel, Nadine Shah, Nai Barghouti, Neneh Cherry, Sura Abdo, TYSON, Yasmeen Ayyashi and Ysee. The official single artwork was created by visionary Gazan painter Malak Mattar, and inspired by her piece ‘Shelter’ with additional artwork by Cameron JL West.

Fans are urged to pre-order the single (available on BandCamp, iTunes or Amazon) as every purchase of the single sees direct funds donated to these important organisations as well as driving the song towards Christmas #1. Bandcamp and iTunes also allows users to buy the song as a gift – allowing fans to share the beautiful single far and wide – the perfect present at this time of year. Fans are also able to pre-save the single on their favourite streaming platform and stream from 12th December.

Every penny raised from the release will go to Choose Love’s Together For Palestine Fund supporting three Palestinian-led organisations Taawon, Palestine Children’s Relief Fund and Palestine Medical Relief Service”.

There has been some wider coverage of LULLABY in the music press. NME published a feature about Together for Palestine’s single at the end of November. Now that it is out in the world, I would urge everyone to buy it. I am fascinated by the artists who are coming together for LULLABY. I have covered Lana Lubany before on my site and am a big fan of her. Celeste and Brian Eno join Yasmeen Ayyashi, Neneh Cherry and some music greats. Their combined influence, talent and voices, I hope, will help get LULLABY to number one. One of my favourite artists and human beings is Nadine Shah. I have reviewed her music and featured her numerous times, though this is the first interview with her. I was keen to find out more about her involvement in the single and why it is so important that people support LULLABY and help raise funds for children who are affected by genocide in Gaza. Some of the most horrifying scenes any of us have seen, it is clear that this needs to end! With Nadine Shah and her Together for Palestine compatriots uniting on this incredible and powerful song, right now, do make sure that you…

PRE-ORDER this amazing single.

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You were one of the artists who took part of the Together for Palestine benefit concert at Wembley Arena in September. How did you come to be involved with the concert, and did you get an opportunity speak with Brian Eno (its organiser) about the plight of the Palestinian people? If so, what did he say to you?

I met Brian two years ago at a charity benefit for Gaza at the Union Chapel, where we both performed. We connected that evening and have been friends since. We often speak about Palestine, but always from a position of “what can we do”. He has been so instrumental in bringing people together to actively DO SOMETHING. I have his words ringing around in my mind like a sort of mantra: 'keep working furiously and be patient'.

A huge amount of money was raised, and there were so many powerful performances and speeches delivered that night. What were your highlights or favourite moments from Together for Palestine? And do you know if this event will be repeated?

My highlight of that evening was spending time with Francesca Albanese. I’ve been a great admirer of her from afar for a long time, for obvious reasons. She is brilliant and relentless. But that evening, I saw another side of her. I saw the person, not the work. She shared my vape, we drank and we danced. There were so many of us there that night who, for over two years of this genocide (and many many more years before it), have been fighting and campaigning for the plight of the Palestinian people. It was the coming together of all of those people in one place that was so special, to be amongst your people when too many times you have previously felt alone and intimidated when speaking out. I can’t say much more, other than it was beautiful and that it served something which recharged everyone’s battery’s to continue.

“…the conversation doesn’t stop there…it has to continue until there is peace, until there is accountability”

You are featuring alongside several of the artists who performed for the Together for Palestine concert in addition to others for a very important single. LULLABY is a reimagining of one of Palestine’s most beloved Folk songs. How familiar are you with the song it is based on, and how did the charity single project start its life?

The song was actually meant to be performed on the night; it was intended to be the finale. As the night went on, it was more and more apparent that there would not be time. At one point, I’d even suggested all of us standing outside the venue belting the song out as the audience left Wembley. Luckily that idea was quickly snubbed, and the next day a conversation started about us recording the song instead. All of this came about within the following week; everyone was champing at the bit to make sure this reimagining of the song saw the light of day. For us, it is a continuation of that night, and that’s the whole point: the conversation doesn’t stop there…it has to continue until there is peace, until there is accountability.

Incredible artists like Lana Lubany, Yasmeen Ayyashi and Kieran Brunt are among those that feature on LULLABY, alongside the London Community Gospel Choir. What was the recording like? Did you get much time in the studio with each artist, or were your parts recorded separately across different days?

A bit of both. We had all spent time together previously in rehearsals for the show. In my recording session was Brian Eno, Dan Smith (Bastille), Neneh Cherry, Mabel, Tyson, and Ysee. A good squad.

 “Keeping Palestine at the forefront of public consciousness is important”

We are in a moment when the children of Gaza especially are being targeted and destroyed. Was it an emotional experience recording for the single, and how important is it to get funds to Together for Palestine Fund so that they can aid Palestine-led organisations?

The song’s focus is motherhood. Tyson had her baby girl there in the studio when we recorded; she watched her Mammy sing.

I lost my mother in 2020, but unlike so many in Gaza, I was able to say my goodbyes and tell her I loved her one last time. She died. She wasn’t murdered. 

Predicatbly, perineal Christmas favourites like Wham!’s Last Christmas might grab the top spot this year. Why should people ensure LULLABY gets to number one, and what will people’s money go towards funding and supporting?

ALL profits will go to the Together for Palestine Fund, which is held by Choose Love (charity number: 1177927) to support Palestinian-led organisations Taawon, Palestine Children's Relief Fund and Palestine Medical Relief Service. These are life-saving funds for children and families in Gaza.

We do tend to look for something escapist and commercial at Christmas, whereas LULLABY has a more serious heart and intention. Out on 12th December, the public need to realise how important a song like this is in terms of who it is helping and what a difference that will make. What message would you send to someone a bit wary about downloading and buying the song?

Keeping Palestine at the forefront of public consciousness is important. Christmas has been hijacked by capitalism. Let’s not line the pockets of billionaires anymore, ey? Take a day off and give to those in need.

INTERVIEW: Carly Wilford

INTERVIEW:

 

Carly Wilford

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I am not sure whether…

I can do full justice to the talents of the amazing queen, Carly Wilford. I have interviewed her a couple of times before for my website. However, as she has had such a busy and incredible year, I wanted to check back in. You can follow Carly Wilford on Instagram. Check out her music. One of the very best DJs in the world, she has travelled far and wide, and played some truly huge and prestigious festivals. I have known her for a long time now, and I am always blown away! Such energy and passion in everything she does! Also, go and check out her official website. It is a real pleasure to interview her again. Before I get there, below is some biography about and insight into the spectacular Carly Wilford:

“With her weekly show 4:4 on Tomorrowland One World Radio, Carly Wilford pioneers the first ever dedicated house music show on the station. Bringing the underground to the global stage and championing club culture on one of the world’s biggest dance platforms. After a breakout run of releases that landed across Spotify and Apple Music’s most influential playlists, Carly has secured her space as one of the most promising names in dance music. This summer marked a turning point: opening for Paco Osuna and Armand Van Helden, sharing line-ups with Tini Gessler and Franky Wah and dropping peak-time sets at Tomorrowland, Glastonbury and Boardmasters. With tunes out on Toolroom, Armada and Nervous Records, Carly’s now channelling a darker, more club-driven sound with stripped-back grooves, heavy low-end and raw percussion. It’s a shift that marks her evolution from selector to serious producer; one who’s not just playing the scene but pushing it forward .Her high energy sets bring forward a new wave of house music whilst honouring the very roots of the scene she grew up raving to. After learning to produce in lockdown and hearing the statistic that only 2% of women were Music Producers, Carly decided that there was work to be done. Joining Toolroom Records, Toolroom Academy Course, she set out to learn how to make music.

Going on to release her debut single ‘Generation X’ with Mr V on the label with the track being signed within ten months of her laying down her first beat on the course. Found behind the decks at the UK’s most celebrated clubs and touring festivals across the world, she strongly connects both the US and UK music scenes, her solid roots in the UK have helped to bring through so many of the artists on today’s airwaves. Her confidence to take risks on musicians from a very early stage has seen her build bonds with the likes of Sam Smith, SG Lewis, Rudimental and Skrillex who have all spoken publicly about her unrivalled support. As a Presenter, she fronted travel documentary 'Sampled' on MTV & Paramount Plus starring alongside renegade Marc Rebillet. The episode saw them explore London's rich musical foundations and channel the rebellious energy of the city, from making a Grime beat in Jammer's basement to shutting down Shoreditch with an unannounced street rave. Alongside music, Carly broke new ground launching meditation and wellbeing platform a:live. An essential support network to the unconventional, always on, culture of the music industry. Having worked as a Personal Trainer before jumping into the music business, her knowledge and experience has created an invaluable space bringing together some of the most ambitious minds in health, fitness and performance”.

I wanted to talk to Carly Wilford about her eventful and incredible year as a DJ, artist and producer. I was also keen to learn more about the physical demands of the job and how she manages that. Such a high-energy and sometimes gruelling commitment, I also asked Wilford about ongoing inequality and misogyny that women face as DJs. Whether we are going to see improvements and what needs to be done. I was keen to know more about her phenomenal music and what we can expect going forward. Having played across the U.K. and Europe this year, it is going to be a moment of brief reflection and rest before embarking on what is likely to be a huge, glittering and truly memorable 2026. I previously interviewed DJ Rowena Alice, and here is another queen of the decks who talks about her experiences. Always so wonderful to speak with someone who I…

ADMIRE and respect enormously.

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Hi Carly. How has this year been for you? What have been your highlights and outstanding moments of 2025?

2025 has been one of the biggest and most exciting years of my career so far. It’s crazy, because stepping in to it, I’d just closed the door on a really challenging 2024. I think choosing to let that be the fuel to smash this year was a real turning point. Looking back, there have been so many highlights, but starting my radio show, 4:4 on Tomorrowland One World Radio (this curated playlist is amazing), in January was so pivotal. It’s the first fully dedicated House music show on the station, and I love being able to represent the artists and the sound that I love to a global audience. I have so much respect for the team at Tomorrowland, not only are they incredible to work with, they dream big and make magic happen. Playing the House of Fortune stage at this year’s Tomorrowland was something I’ll never forget. Gigs like that make you really step up as an artist. Other stand-out moments were playing before Paco Osuna in Ibiza at the end of the summer; warming up for Armand Van Helden to a packed-out crowd at Love to Be Festival in Harrogate; playing The Glade Dome at Glastonbury, and standing on stage at Boardmasters and realising I was playing to over 6,000 people. It’s amazing to sit back and think about it, because sometimes you can be so busy that you forget to take it in, so thank you!

You are wrapping up a tour at the moment and have played across the U.K. and Ibiza. Do you have to adapt your set and change things between towns and cities? How important are the venues and the vibe from the crowds when it comes to setlist and how you perform as a DJ?

Every set I play is totally different. I always create a playlist of tunes to select from before gigs, but often it can change as soon as you step on stage. Reading a crowd and knowing what will work in different venues is part of the art. Connecting to an audience and feeling out where you should take a set is so instinctive, and it’s listening to that which builds the energy and vibe between you, the music and the people who have come to see you. The crew that come to my sets are proper ravers and they are always up for it, which means that things get crazy. As a DJ, you never know what you are walking in to, and there are always so many variables. Across the summer, I stepped on stage to shows that were way bigger than I imagined. During that, I’ve had my headphones stop working, the tunes on my USB decide to not play, and under that pressure you still have to make sure that you deliver. I’ve had so many moments this year where I’ve looked out and realised that the things I dreamed of a few years ago were unravelling in real time. I’ll never ever take that for granted and, if anything, it makes you think bigger and decide to push even further.

“My love for Ibiza started back then and grows stronger every time I visit”

Ibiza seems to hold a special place in your heart. What is it like playing on the island and its people, and how was it playing the Tomorrowland Store?

When I first got in to raving, I found myself at Manumission in Ibiza at sunrise and loved the feeling of hedonism, connection and freedom that I felt on the dance floor. We went on from there to Space Carry On, and as we walked in it was daylight on the terrace. We were given feathers in our hair and coloured paint on our faces, and looking around the club, everyone had been made in to Native Americans. They were playing the sexiest Balearic House, and we danced until late in to the afternoon. It was such a golden era for the island - and a time I will never ever forget. My love for Ibiza started back then and grows stronger every time I visit. As a raver, I never knew that I’d go on to have a career as a DJ, so playing there is always so special. The people and the crowds are like nowhere else in the world, and the island sets the pace for so much of Electronic music globally. I’ve been so lucky to spend so much time out in Ibiza this year; from being in the studio making music to playing gigs there and broadcasting 4:4 from the Tomorrowland Store too. We closed out the season with sets from some of the island’s most-loved DJs, from Paco Osuna, Tini Gessler, Franky Wah and Francisco Allendes - which felt like such a strong end to an unforgettable season.

As part of your sets, you must play unsigned acts and lesser-known music that is discovered after they are heard on your setlists. Is that one of the most rewarding elements of your work?

Hunting out unsigned artists and undiscovered music was how I started out in the music industry, and it’s something that has been ever-present in my career. Being able to share tunes that people are yet to know about and give those musicians a platform to be heard is not only hugely rewarding but something that is so important, especially with where the industry is at right now. There are more producers and DJs than ever before, and with so much music being released, it’s very difficult for people’s art to reach audiences like it used to. This is why tastemakers are so important.

Like other areas of the music industry, there is gender inequality and discrimination when it comes to female DJs In terms of opportunities, pay imbalance and underrepresentation on festival line-ups. Do you think that there has been any improvement in these areas, and what does the industry need to do?

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

Maybe an obvious answer, but do you listen to a lot of music away from DJ sets. Or do you prefer switching off? In terms of the music you are drawn to and your favourite albums and artists, what would be on your personal playlist?

It’s interesting, because the music that I listen to generally is very different to what I produce or play. I rarely watch TV, and I always have a playlist playing through the speakers at home, in my car, or whilst I’m training. To switch off, I listen to chill-out Electronic playlists with artists like Four Tet, RÜFÜS DU SOL, Nora En Pure, TSHA, Fred again.., and Bicep. Been loving the Spatial Audio sets on Apple Music from UNVRS and Hï in Ibiza this year. You can hear the crowd and it catapults you to being on the dancefloor, especially if you listen in headphones. I’m forever listening back to sets of the artists that I rate to check out their blends and track selection. Some of my favourite DJs have to be Solomon, Carlita, Illario Alicante, Andrea Oliva, Honey Dijon, Green Velvet, and Hot Since 82.

One thing I notice about DJs is how much energy you need and how physical it is! In terms of that side of things, it must be euphoric and a thrill. But how do you prepare for yourself for the demands of DJs sets, and how do you adjust to the post-gig comedown?

Before I was in music, I was a personal trainer, so the gym and staying healthy is so important to me - and actually has become something that brings discipline and structure. Feeling strong and fit on stage means that you feel sharp and know that you’re going to bring your A-game. The music industry is filled with temptation, but when you’re busy and gigging, a lot of that can knock you off course. I find that feeling healthy and looking after myself makes me think twice about drinking or going to an afters when I’ve finished playing. After some sets I love to go for drinks with mates, but other times I need a second to take in what has happened. On the big shows, it’s a huge energy exchange between you and the crowd, and that can sometimes take time to wind down from. There’s been sets where I have finished on stage, jumped in to a car, and then found myself alone in a hotel room minutes later thinking what on earth has just happened. So now, I like to take things a bit more slowly, take in the atmosphere, go and meet people that have come to see me, and hang out with other artists on the line-up. Then when you go to bed, you’ve given yourself time to unwind, rather than laying there wired on adrenaline and not being able to sleep.

Can you take me back to the start. What drew you to becoming a DJ in the first place? Was music always a passion, or was there something particular about being a DJ that spoke to you?

When I first started to DJ, it was in the days that I was out raving every weekend. At the time, I was working in recruitment and it was super stressful, so I decided to get some decks at home and teach myself to mix when I got back from work as a way to chill out. It felt like meditation in many ways; it’s hard to think of anything else in that moment, and so you become very present. I started by mixing vinyl on Technics 1210s and spending my weekends in record shops hunting out new tunes. Fast forward to starting the breakfast show on Rinse FM, living in London, and needing to find a way to pay sky-high rent, I began to look for gigs. From that day, I’ve been a DJ, and I’ve never looked back.

You get to travel the world and play at so many amazing places! I think you could make a documentary about that. It must have so many highs and amazing moments. Do you have particular favourite venues or countries to play?

Every day, I wake up and feel so grateful for the life I live and the job that I have. I was looking back at my Instagram recently and realising how incredible the last few years have been, and I think that it’s the travel and the variety that makes the hard work become addictive. I played Outernet in London a while ago, and that was such a world-class venue. Club Chinos in Ibiza was one of the best sound systems and lighting set-ups ever. Playing on a yacht track-side for the Grand Prix in Monaco as the cars raced by was wild. Playing Tomorrowland in Belgium this year was really special, especially after everything that happened with the Main Stage. What the team achieved there in 48 hours was actually unbelievable. There was such a feeling of gratitude and unity across the festival, and it goes to show what you can do when you decide to push forward against the odds. I’d love to spend time in America next year. House music is flying over there at the moment, so I would love to tour in the States when the time is right.

I love your own music too, and I know you have been recording tracks recently. Can you reveal whether a Carly Wilford E.P., mixtape or album might be released in the future?

Over the last year, I decided to pause releasing tunes and spend time in the studio refining my sound and the music I was making. It’s been so brilliant to collaborate and work with other artists and producers, and I am currently sat on some of the best music of my career. Over the summer, I have been road-testing the tracks in my sets, so if you have seen me live at all, I am sure you would have heard what’s to come. I’m going to be releasing a run of tunes as we head in to next year, and I couldn’t be more excited.

“I feel like 2025 was all about setting the foundation and 2026 is lift off… it’s time!”

As part of this series, I am asking incredible female DJs which women they look up to. Are there particular DJ queens that you either drawn inspiration from or suggest that we check out?

From an artistry perspective, Miss Monique and Korolova are at the top of their game right now. Sonically, the music I play is different, but I have a lot of love and respect for the level that they have taken their careers to. Other producers that I rate are Azzecca, BIIANCO, Carlita, Chloé Caillet, Chelina Manuhutu, DREYA V, HoneyLuv, Jackie Hollander, Olive F, LINSKA, TSHA, SYREETA, Arielle Free, Sarah Story, Hannah Laing, Tini Gessler, JAGUAR … I hope I haven’t missed anyone, but there are so many. The Electronic music scene is so strong right now, and this list is ridiculously inspiring.

We are coming up for Christmas and the end of the year. Will you get time to relax and spend time for family? What plans are there for 2026, and how is the year shaping up so far?

Christmas is really busy for gigs, so I always get amongst it as well as spending time in the studio to finish music for next year. Looking forward to seeing my family over Christmas and unplugging a little. I’d also love to go away and get some sun and plan a trip where I am not working. 2026 is already shaping up to be incredible. I have some really exciting projects I’m working on that will be announced in the new year, as well and starting to drop new music, which I really can’t wait to share. I feel like 2025 was all about setting the foundation and 2026 is lift off… it’s time!

Finally, I will finish this interview by playing a song of your choice. It can be one you play in your sets or a personal favourite. What shall we go with?

Tangerine Beam by Johannes Albert & Biesmans. I have it on repeat recently. They have sampled an old classic and have completely smashed it.

INTERVIEW: Rowena Alice

INTERVIEW:

 

Rowena Alice

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I would advise and urge…

IN THIS PHOTO: Rowena Alice with Jo Whiley

everyone reading to follow the tremendous Rowena Alice on Instagram and TikTok. I have featured her on my blog before. But I am a huge admirer and fan, so I did want to revisit. In terms of why she is so special: “A prolific open-format DJ across London, the rest of the UK and Ireland, Rowena is known as a go-to DJ for creating and keeping the party going all night long - whatever the genre of music”. That is some bio from Surreal. We can see where Rowena Alice has played recently. There were a couple of specific reasons why I wanted to feature her now. Rowena Alice has been supporting Jo Whiley during her packed and acclaimed 90s Anthems tour. I wanted to ask about working with Whiley and how they came together. Also, I have been thinking about female DJs. As a DJ and broadcaster, I am thinking of women like Rowena Alice and whether they have the same opportunities, platforms, funding, exposure and respect as their male peers. Last year, it was reported that half of women in the music industry face discrimination. There is gender inequality in Dance music too. In an industry that is still misogynistic, I do wonder about female DJs and the realities they face. Their incredible talent and passion perhaps not as rewarded and exposed as that of men. Also, women face barriers like abuse, assault and harassment. For someone as sensational and dedicated as Rowena Alice, I wanted to ask about her life as a DJ and what she thinks about some of these big issues. More than anything, this is a spotlight on a DJ with a broad repertoire and this huge devotion to music. Someone who can get people together by playing incredible across multiple decades, I will definitely catch one of her sets in 2026. I am musing as to which songs she opens her sets with and what her favourite decade is. The records in her collection. Rowena Alice is someone I have limitless respect for. Without further ado, below is my interview with this extraordinary talent. A DJ queen that…

LIVE PHOTOS CREDIT: Jonathan Morgan

YOU need to know about.

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Hi Rowena. You have had a very busy 2025! Looking back at the year so far, is there a particular set or moment that stands out as a personal highlight?

I think it had to be supporting Jo Whiley as part of her 90s Anthems tour. I played an opening and post-show set for her in Hastings, which was incredible.

How did you and Whiley meet?

We met in 2023 when I first supported her in Bexhill (in 2023) when working with Propaganda indie club. She’s iconic and such an influential woman in the music scene, so I immediately jumped at the chance of performing a set alongside her. It was a bucket list moment meeting her, and the fact she’s an absolute delight was a bonus. Being invited back to play with her again this year as the main support was an honour.

Is the ‘90s an important decade for you in terms of your music education?

Oh absolutely! I feel the ‘90s are a large part of why I’m an open-format DJ playing any and all genres. The ‘90s had unprecedented genre diversity and wasn’t defined by one sound. No other decade saw so many genres hitting cultural highs, which is why it remains the greatest and most exciting decade for music in my opinion - with so many songs that still hold up to this day.

“There’s nothing like that instant reaction from a crowd when you drop a track they love. It’s addictive in the best possible way”

Can you take me back to your earliest musical experiences? Was there a moment when you were drawn to becoming a DJ, or were there particular DJs that you looked up to and inspired something in you?

My earliest musical experiences were shaped by a venue called The Square in Harlow. I was there constantly - at gigs, watching local bands, and taking part in their Rock School program, where kids were encouraged to form bands. I joined as a singer, and it became this amazing creative outlet that kickstarted my love for performing and being in front of a crowd.

But funnily enough, I didn’t get into DJing until after university, when I started working in radio. I had a show on Boogaloo Radio called Riot Diet, and our station manager Jenn Crothers teamed up with Camden Market to get presenters doing DJ sets. She asked if I wanted to give it a try, and I just jumped straight in - I’d never touched decks before and basically learned on the job. That’s where everything clicked for me and I got completely hooked. There’s nothing like that instant reaction from a crowd when you drop a track they love. It’s addictive in the best possible way. So honestly, it wasn’t a particular DJ who inspired me at the start - it was that first experience of playing out, feeling the energy bounce back at me, and realising, “Oh wow, I want to do this properly”.

Looking at your Instagram feed and the gigs you play, you definitely get to spin a huge range of music. Is there a particular style of music that you are particularly drawn to?

I’m really lucky to have grown up around such a wide mix of music, and I genuinely love almost everything I get to play. But at my core, I’ll always have a soft spot for the Rock/Indie/Metal/Punk nights - that’s still very much who I am. Those are the genres I listen to the most in my own time, and I still get such a buzz from playing tracks I adore or know every word to.

I also think the crowd can feel that energy. When I’m playing the heavier sets, I’m having the time of my life, and the crowd just throws that energy straight back at me. There’s something about that exchange - especially on those louder, sweatier nights - that I absolutely revel in.

As with any DJs, I am fascinated to know the music they grew up with and the albums in their collections. I know you are a massive Deftones fan. Which albums and artists were important to you as a child, and how influenced and affected are you by modern artists?

As I said earlier, I grew up on a really mixed bag of music, so my early influences were basically chaos in the best way. But Nirvana’s Nevermind was the moment for me. My uncle gave me this dodgy ripped copy when I was a kid, and as soon as ‘Smells Like Teen Spirit’ kicked in, my brain just… rewired. That album sent me down the rabbit hole, and through Nirvana I found Hole, which opened up this whole new world of women in bands. That’s something I’ve been obsessed with championing ever since - through radio, DJ sets, anywhere I can shine a light on it.

Modern artists definitely still influence me, especially as I’m constantly hunting for new ideas and fresh production. When you’re listening to music nonstop, it’s such a rush when something actually breaks through the noise. I love how artists now just smash genres together without overthinking it and keep pushing things forward. Turnstile is a perfect example - they’re fearless, fun, and the band are also diverse, which is still so important for representation on the stage.

So honestly, from then to now, the thread’s the same: I’m drawn to artists who build their own world - music that feels emotional, immersive, and a little bit unexpected.

“I don’t think the industry is doing enough yet, but I do see more people and venues trying and moving things forward. Slowly, but it’s happening”

Even though there have been small steps, for female DJs, they face still lower pay, harassment, and having to collaborate with male producers to get their music heard. Is this something you have experienced… and do you think the industry does enough to tackle this?

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

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

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

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

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

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

It does seem there is this massive inequality and discrimination that affects women. Do you worry about this when you think of other women who are thinking of coming into the industry?

I’d be lying if I said I didn’t worry. I’ve experienced things I would never want anyone else - especially young women just starting out - to go through. So yes, the inequality and discrimination in the industry is a real concern, and it’s something I think about a lot as it has taken a toll on me throughout the years I’ve been a DJ.

But at the same time, I don’t want fear to be the thing that stops women from coming into this world. We need them here. The industry is already better, safer, and more exciting because more women, non-binary people and queer people are stepping up and taking space. And every time someone new walks in, the culture shifts just that little bit more. What I really want is for women coming in to know two things:

1. You absolutely belong here, and your voice is needed.

2. You don’t have to do it alone. There are so many supportive communities, collectives, venues, and other DJs who genuinely want to lift each other up.

So yes, I worry, but I’m also hopeful. And I’ll keep using whatever platform I have to make the scene safer, more inclusive, and more welcoming for the next wave coming through.

As I am running interviews with amazing DJ queens, who are some of the incredible women that you admire and would urge us to check out?

My darling friend Jordyn-Blair (who DJs as part of her drag persona Kardeizure), the super talented DJ and producer Gem Precious, who recently won the Back2Back DJ Battle, the brilliant and multifaceted Tasmin Taylor of the DJ duo Hang the DJs, the super energetic Savannah, and the She They Press Play DJ collective, who champion women and minority genders.

Maybe it is hard to distil, but what is the best part of being a DJ? What makes it your passion and something you love?!

For me, the best part of being a DJ is that feeling when the whole room moves with you. You drop a track, the energy shifts, everyone locks in together, and for a moment, it feels like pure electricity. It’s addictive.

I’ve also got ADHD, so I’ve spent a lot of my life feeling like I didn’t quite click or fit anywhere. DJing was the first thing that made total sense to me. The constant movement, the hyperfocus, the creativity and the chaos is where my brain actually thrives. It’s the one place I feel completely myself.

And then there’s the connection. Sharing songs I love, watching a crowd respond, building a little world for a few hours - nothing else I’ve done has ever felt like that. It’s fun, emotional, and full of adrenaline. It’s the one thing I’ve never gotten tired of.

“I want to keep pushing myself, keep growing, and keep saying “yes” to things that scare me a little”.

You have had an amazing year! What does 2026 hold in store? Are there any dream venues to play or goals to achieve that you have in mind?

For 2026, I just want to keep any momentum going, as I’m finally at a point where I feel confident in what I’m doing and excited about what’s next.

In terms of dream goals, 2025 was a year of big life changes and I had to reduce my commitments, so for 2026, I’m hoping to return to the big stages like Glasto and Download. Festivals have always been big for me. The energy of a festival crowd is just unmatched. There are also a few iconic venues I’d love to tick off my list, and I’m aiming to take what I do to more cities and countries. I want to keep pushing myself, keep growing, and keep saying “yes” to things that scare me a little.

I’m also looking to develop and put on more clubnights, as well as honing my skills and trying to move into more of the production side of things too.

But honestly, my main goal is just to keep doing what I love, keep building my community, and keep creating nights where people can lose themselves for a bit. If I can do that on a bigger scale in 2026, I’ll be very happy.

Finally, I will finish this interview by playing a song of your choice. It can be one you play in your sets or a personal favourite. What shall we go with?

I’ve got to pick one of my partner’s songs - and yes, I’m fully aware this makes me sound biased, but I promise it’s justified. He’s ridiculously talented. His tracks end up on my repeat playlist without me even realising I’ve done it. He’s the Australian musician/producer/songwriter melrose., and he nails that modern, genre-blending sound that feels fresh, emotional and compelling.

So I’m choosing melrose. – Let Me Know When You Get Home. It’s one of those tracks that grabs you instantly… and then refuses to leave your head, in the best way.

INTERVIEW: Ellie Newton (CEO and Owner of The Trouble Club)

INTERVIEW:

PHOTO CREDIT: Ioana Marinca

 

Ellie Newton (CEO and Owner of The Trouble Club)

__________

I am going to start this interview…

 IN THIS PHOTO: Ellie Newton spoke with the brilliant Irish-Nigerian academic, broadcaster, activist and author Emma Dabiri on 24th September, in an event titled Who Got Burned by the Enlightenment/PHOTO CREDIT: Alice Lub

by making it all about me. Not in a selfish or self-indulgent way! However, there is a specific reason as to why I am spotlighting the magnificent Ellie Newton. She is the Owner & CEO of The Trouble Club, a community of 100k+ that gathers to listen and learn from brilliant women. She has interviewed some of the world's greatest individuals, including Margaret Atwood, Gloria Steinem and Nobel Peace Prize winner, Leymah Gbowee. I have written about the club numerous times, and I have been a member for a little over two years. One of the big reasons why I keep writing about them is Newton and what she has achieved – and continues to do so! In her twenties, she has built this incredible business that is more like a community. The Troublemakers (not sure if this is our official collective name, though I will go with it!) that attend the events across London and Manchester are always a wonder to be around. So many different and fascinating people! Not only are there discussions and interviews. There are social events and book clubs. Check them out. This year has been one of the most successful and important for The Trouble Club. I was going to write another general feature about The Trouble Club, though there was an Instagram post that Ellie Newton shared recently that changed those plans. She was talking about the realities of being a young woman and running a business solo. How there are these pressures and loneliness. How it does not pay much and there are so many drawbacks and challenges. At the end of it, there is that pride and joy knowing that she has built something amazing. That is the most abiding and loudest realisation, though there are those harsh lessons and daily limitations/drawbacks that made me stop and think. I did not consider how tough it can be! From the outside, one can look at The Trouble Club and see it as this great thing with amazing events, where we get to hear these incredible women speak - and it is all fun and hugely profitable. Ellie Newton has an amazing team around her. Even though she has some support, she carries so much of the weight and responsibility as CEO and Owner.

IN THIS PHOTO: Author, journalist, podcaster, speaker and presenter Candice Brathwaite was a guest at The Trouble Club on 2nd October at St Marylebone Parish Church, London

Taking it back to me, I am endlessly impressed about everything that Ellie Newton does. She not only interviews and works with The Trouble Club. I saw another post where she was in Sweden for a day or so for non-Trouble Club business. Newton has interviewed women outside of The Trouble Club, though her main passion is for this wonderfully inspiring business that has made such an impact on so many people. It has changed me hugely! This Instagram post from her was about the Candice Brathwaite event on 2nd October. I said to her how this was perhaps the best Trouble Club event ever. A packed St Marylebone Parish Church with so many amazing women (and me) showing their love for Brathwaite! It was down to Newton getting everything in line and leading this incredibly powerful and memorable interview for this amazing crowd! Given what she posted a matter of days before about the realities of being a woman running a business solo, I wonder if this event changed her thoughts. However, it is clear that there are some truths that will never go away. It is quite a lonely existence, and one that does not bring in masses of money. How it can be hard to make friends and have a social life when so much of your being goes into not only making The Trouble Club successful but merely exist! To me, a lot of what Ellie Newton wrote rang true. Our experiences are different, though I run my own website and have done so for almost fourteen years. I have published something on it every day for a decade or so now. I am planning on writing a book, and I also am juggling a demanding full-time job. I make nothing from my writing, and there are so many posts that are published and get no reaction or interaction at all. It can be hugely disheartening writing something, sharing it and then nothing! A major music artist can post anything and they get thousands of likes and shares for complete s*it. For journalists, it can be a frustrating and depressing life. I also find it hard to find time away and find too many positives though, like Ellie Newton, there is that positive at the end of it. That is the main thing and the reason we keep going: it is what we love doing and accept that it is not rose-tinted or exactly as we dreamt it.

Someone who inspires me so much and I have huge admiration for, I guess we occasionally share a similar dispiriting experience and degree of disillusionment. Whereas I run a website and I can earn money from my day job, The Trouble Club is the vast majority of Ellie Newton’s income. It is her baby and, with it, obviously there is that intense emotion and feeling of responsibility and expectation. She has turned it into this simply wonderful space that has welcomed in incredible speakers like Candice Brathwaite, Marina Hyde, and Margaret Atwood (who is a return guest, alongside Elif Shafak, next month). I was eager to interview her off of the back of that Instagram post. One where she laid out the facts of being a business owner, and what that meant in terms of a social life, making money, and how it can be tiring. The fatigue she gets and having to make decisions. An entrepreneur in her twenties, it is a time when many of her similar-aged peers and friends are living a verry different life. Maybe one more based around family or experiencing the world in an itinerant way. For Newton, she does not have the same luxuries, flexibilities and responsibilities (or lack of, for better or worse) as many other people. And it is harder for women. Female entrepreneurs are still in the minority and do not get the same respect and opportunities as men. There is extreme sexism that pervades and infects. I do also think that Newton has a book (I Came Here to Make Trouble as a potential title?!) or TED talk in her! In terms of her story and life, it would be wonderful to hear her on the mic (there are some big podcasts that need to get her on as a guest as soon as!), or read her personal, insightful and wise words, that highlights the ups, downs and realities – a word I have used a few times, but seems like the most relevant an d precise – of being an entrepreneur in her twenties.

It is time to get to my interview with The Trouble Club’s Owner and CEO, Ellie Newton. Someone who has done something to be hugely proud of, there is still that discussion not highlighted enough. Not only the discrimination and sexism female entrepreneurs face to this day. The way business ownership and its demands are different to what men face, definitely in terms of social mobility and family life. And earning potential too. However, that sense of accomplishment and pride at what The Trouble Club does and who it welcomes through its multiple doors should be the main takeaway. And that is mainly down to the passion and commitment of its awesome leader:

“Hi Ellie. 2025 has been one of the biggest and most successful in terms of The Trouble Club’s membership growth and how it has built its stellar reputation and name. You are very much at the centre of it. How does it feel seeing how far it has come?

It feels incredible! It has been a long road though. People see our successes, but often not the years of hard work and rejection. It has always been worth it though, as our community is one-of-a-kind!

In terms of your personal highlights from this year or favourite moments with The Trouble Club, what comes to mind?

Oh, that is so tough! Our event with Grace Beverley was amazing; our audience was slightly different than normal, and I feel like we introduced a whole new group of women to The Trouble Club.

With over two-thousand members and so much to balance and constantly build as Owner and CEO of The Trouble Club, what are the greatest challenges that you face?

So many. Every day has a different challenge, which is probably the greatest challenge overall. As the CEO, you have to spend time doing so many things and you have to make millions of decisions every day, some of which determine the fate of your business. I absolutely get executive fatigue, but in those trickier moments I remember how lucky I am to do what I do.

“It’s hard to not take everything personally when your passion-level is so high”

You recently posted to Instagram how, as a woman in your twenties, working so many hours and earning so little is life-affecting and not ideal. Though The Trouble Club has many positives, is the impact on your personal life and social mobility a drawback for you - and so many other business owners?

Absolutely. Although I would never want to deter a twenty-something woman from becoming a business owner; the pros outweigh the negatives. But yes, it is all-consuming. You can’t really take a break from it, and it takes time to build your identity outside of your business. It’s hard to not take everything personally when your passion-level is so high. But when things are going well, it makes up for everything!

The Trouble Club seems like something very personal to you. Many people, such as me, have this passion and purpose that dominates our lives and yet pays very little…and has its disadvantages. What keeps you resilient and ambitious with all of this on your mind and shoulders?

Our members and remembering the good that the club does. We get the best messages from members who have loved our events and met life-long friends. That is always what keeps me going. I also have crazy dreams for the club, and keeping them front of mind helps overcome any little setbacks.

You also said in your post how it is tough to make big decisions and be 100% sure when you do not have the experience “to know if any of the decisions are correct”. How do you deal with that? Have there been moments when some decisions have backfired or created some backlash? How do you react to that?

Of course! I’ve invested in events that haven’t sold tickets; created marketing campaigns that didn’t bring us any new members. I make mistakes every day. It is the constant above all else. My reaction is always to breathe and remember that this experience is an incredible education and every setback is a learning opportunity. I know so much more now than I did five years ago, but I had to go through five years of mistakes to get here.

“So to any woman wanting to start her own business, just do it and find your tribe”

Loneliness and running a growing business, in a time in your life when many of your contemporaries have a very different and, perhaps, ‘conventional’ life experience, must make you reflect and ask questions. How does this shape your view of the future, and do you find time away from Trouble Club duties to connect more? Or is it quite all-consuming?

It is all-consuming, but building my life outside of Trouble has become more of a focus lately. I love nature, and I’m lucky enough to live near incredible greenery, and that’s where I escape to at the weekends. This keeps me happy, grounded and reminded that the world is so much bigger than me.

Female business owners face limited access to funding, gender bias and stereotypes, difficulties in achieving work-life balance due to societal expectations, a lack of supportive professional networks and mentors, and personal barriers like self-doubt. Do you feel this is an issue that is not being addressed, and what advice would you give to women starting their own business?

I think there are incredible women talking about this (I’ve interviewed a lot of them), but sadly not enough men - you Sam being a wonderful exception. While the barriers are out there, I am in an incredibly fortunate position. I’m surrounded by women every day, and I don’t need to convince men of what Trouble is; the ones that get it just come. So to any woman wanting to start her own business, just do it and find your tribe. If you need a mentor, have the courage to ask. Most women really respond to that.

Before moving back to The Trouble Club, on your Instagram and at Trouble events, music plays an important role. As you must listen to so many audiobooks and be busy with meetings, calls and research, do you get enough time to listen to music and, if so, how important is it?

It’s funny you should say that, because it can be an issue. When I go out for a walk, I often really want to relax and listen to music, but I will also know I have three hours of an audiobook to finish for an event happening the next day, so that has to take priority. After a big event, I’ll take some really long walks and just listen to music. It is really key!

There are some great Trouble events coming up, including the return of Margaret Atwood! When you started with The Trouble Club, could you have imagined you would welcome to the stage and interview so many brilliant and iconic women?!

Never. I’m still so thrilled by the people who say ‘yes’, and it allows me to dream bigger about who might join us in the future.

Reflecting on what you said about the demands of business ownership and how it impacts you, what are plans for The Trouble Club in 2026 regarding your role, the team’s, and any possible expansion and changes?

Our team has changed a lot recently, and the biggest change I anticipate for 2026 is bringing in more people to help us build our community. There is so much potential there, but I often don’t have the time to interact with as many members as I would like. This will absolutely be a priority when we expand the team.

You did end that recent Instagram post by saying how, in spite of all the hard truths, the “freedom” and “joy” you get from running The Trouble Club makes it all worth it. Could you ever see yourself being anywhere or doing anything else?!

It is absolutely my dream job, so it is hard to imagine myself doing anything else. However, I do have other business ideas that I’d like to pursue, but not for a very long time.

It is hard to get journalists and the media to discuss members clubs and wonderful things like The Trouble Club. Do you think that this needs to shift, and what would you say to anyone who has not yet joined and is interested - or only attends occasional events?

Yes, I would love to see more coverage! For anyone who is yet to join, just know our events are getting better every week. Our guests are exceptional but, most of all, our community of members is really really special, and not something you can easily find in a big city.

“Our members and community really make this the best job ever!”

Penultimate question: Having attended so many events myself, and seen the energy and connection in these venues; these wonderful interviews with powerful women, it seems The Trouble Club plays such an important role in so many people’s lives. That must give you heart and strength?

It absolutely does. The comments always leave me on a high. Our members and community really make this the best job ever!

Actually, this is the penultimate question. Before and after events, there are moments when the mic is off (either backstage before the interview or afterwards) where you must have heard these candid, intimate, secret or unguarded moments. Is there one that stands in your mind – or one that will remain a secret?!

Yes, I often get served some amazing tea….but those will always be a secret, sorry!

Finally, as I run a music website, I can drop a song in here. Either a new jam, the song that wakes you up. Maybe one that has personal meaning, or one that motivates you. What shall we go with?

Oooo, great question. I’m really enjoying Taylor Swift’s new album, so let’s go for The Life of a Showgirl!”

INTERVIEW: Lauren Ray

INTERVIEW:

 

Lauren Ray

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FOR my final interview of the year…

I have been speaking with the incredible Lauren Ray. An amazing and multi-talented British singer and songwriter. Following the release of her critically acclaimed second album, Woman in the Arena (released in March 2020), Ray took a pandemic-pause from touring and used that opportunity to build her personal development business, Mind Before Music. Now, we have her wonderful third studio album, Quarter Life Crisis. It is an album I love and feel is her strongest work to date. One of the most engaging and strongest artists in the country, it has been a pleasure speaking with her. Quarter Life Crisis sees Lauren Ray working with producer Kaity Rae on four of the tracks. Ray completed the rest of the album independently whilst splitting her time between Los Angeles, London and Porto this year. By self-producing, this allowed Ray to expand her creative process, bringing in new sounds and choices that really showcases an exciting step forward. If you do not follow Lauren Ray and have not heard Quarter Life Crisis yet, then I would thoroughly recommend that you do! I would also urge people to order a ticket to must-see headline show on 7th February. It has been a real thrill talking with an artist I really admire. Although Quarter Life Crisis suggests an artist looking for direction and focus, it is clear Lauren Ray has…

FOUND purpose and clarity.

__________

Hi Lauren. How are you? How has your week been?

I am good thank you. My week has been great thank you. I am currently over in L.A. and it’s been a great trip.

Before talking about your upcoming album, can you tell me the artists who inspired your love of music? Were there particular albums of acts from your childhood who have made a special impact?

Ooh, I love this question. When I was growing up, streaming wasn’t around yet, so I was very much influenced by what was on mainstream radio and the people around me. I was always drawn to female voices and in particular those who were incredibly gifted in their lyrics. Artists like Lauryn Hill (The Miseducation of Lauryn Hill), Alanis Morrisette’s (Jagged Little Pill) and early Sia (like her 2004 album, Colour the Small One) were constantly on loop. I was often seeking out artists that could provide evidence that you didn’t need to be a “pop star” like Britney Spears to be a successful musician. Certainly my teenage songwriting was heavily influenced by these artists.

Your previous album, Woman In the Arena, was released in March 2020. Was it strange releasing album at such a strange time? How was it putting an album out into the world and knowing it would make a difference to people when we were all separated?

Thank you for this view point on what the album could do and be for people during that time. It was definitely weird and far from ideal because I hadn’t planned on releasing the album during a global pandemic, but in some ways it was a welcome distraction. I had been on a three-month tour supporting Paul Carrack at the time when the world started to shut down, and when that stopped and we were suddenly all confined to our homes, having to figure out how to promote the album from my bedroom was a fun problem to solve. I was pleasantly surprised by the response, and so I hope that it was a welcome distraction for others too.

I am interested in your personal development business, Mind Before Music. What was the impetus behind starting it up? Mind Before Music is about bringing powerful self-development work to the music industry. That is a very worthy and commendable aim…

Mind Before Music was born out of my two passions: music and personal development. The catalyst for its birth was the pandemic. I had always been super-interested in understanding why humans do what they do - I have a degree in Anthropology. Over the years, I would often have artists come to me for advice, but more and more I realised that 90% of the time it wasn’t information they needed but more confidence, more belief in themselves or to simply see the “problem” completely differently. I knew that how people think and feel is the number one thing that will either propel them forward or keep them stuck and self-sabotaging…so during the pandemic, I took the forced downtime from touring to train in this work. I trained in Life & Success Coaching, Hypnosis, EFT, Timeline Therapy, NLP, Positive Psychology and Human Design (yes, I went all in haha). I felt the industry needed more proactive and preventative support for artists and those in the industry, and I’ve loved being able to provide that and be a force for good

“Ultimately, I realised that whether you’re 20, 30 or 40…societal pressures can really create a feeling of personal crisis”

Can you reveal how Quarter Life Crisis started life? Do you sketch out ideas or song titles or was it a bit more spontaneous for this album?

This album has been the most spontaneous and scattered in its making compared to the first two records. some of the songs on the album were written in 2019, others in 2023, and then some were only written three months ago. The final song appeared when I was in Portugal working remotely in September. During this trip, I ended up in multiple conversations with 28-33 year olds who were feeling a lot of stress and pressure around their age. Some felt they weren’t where they should be. Some were newly-single and this happening in their early 30s. Others were acutely aware of biological clocks. It was interesting to listen to. Ultimately, I realised that whether you’re 20, 30 or 40…societal pressures can really create a feeling of personal crisis. This inspired the title track, Quarter Life Crisis, which is a tongue-in-cheek exploration of this feeling. Once this song arrived, it all felt complete and it changed he album title.

Working alongside Kaity Rae on a few of the album’s tracks must have been a great experience. How did you two link up?

I had become aware of Kaity Rae through some other singer-songwriters I knew and was really impressed with her production choices and strong pop melodies. We wrote the song That Kind of Human together and I asked her to produce this track along with Crying Shame, 24 and Losing Sleep. I was so happy with how we worked together. I was really keen to play with the sounds on this album, and although the piano is present in the album, I was feeling explorative and so I was really happy how Kaity interpreted my ideas and what she brought to the table. What she did with Crying Shame in particular is incredible.

“I’ve had a lot of fun challenging myself in this way”

How important was it to self-produce the album, and what was the experience like of dividing your time between and working in Los Angeles, London and Porto?

Choosing to finish the album (the final five tracks) completely solo and produce myself was a decision I did not see coming at all haha. Before May this year, I had never even attempted to take on this role, so this is a very new skillset for me. Although this wasn’t a conscious decision, it feels like this was important for me to expand my creative skillset. The process of producing for myself allowed me to play in a new way, which brought out different songs in me that wouldn’t have come from sitting at the piano. Quarter Life Crisis is very playful and then Medicine has a completely different energy, so I’ve had a lot of fun challenging myself in this way. Dividing my time between L.A., London and Porto this year definitely added to that creativity. Mixing up my environments, meeting new people and growing as a person through the travel all contributed to this album.

Having listened to the album, I like how it is personal and self-reflecting, but there is also a universality with hope, humour and so many important messages for the listener to consider. What do you want people to take away from Quarter Life Crisis?

I am so happy you felt the hope and humour amongst the deep subject matters - that’s fantastic to hear! I want people to feel seen in some of the topics, to perhaps look at their own circumstances through a new lens and to know that through every challenge in life there is growth, expansion and new beginnings. That’s certainly the energy I was in when I wrote most of these songs.

Before moving on, can you tell me a bit about Crying Shame? My favourite track from the album, what personal significance does that song have?

This is one of my favourite songs too! This one came about in 2019 during a songwriting retreat up in Scotland. It is about holding your boundaries and knowing what you will/won’t tolerate in a relationship…I wanted it to be empowering even through a sad moment of finding out someone has been unfaithful. Although I have luckily never had to have this conversation with anyone, I have always been someone that is clear on my boundaries, and so it was interesting exploring how I might approach this conversation from that position. It was actually originally a more country-dance track that we (the writers) were going to pitch to another artist, but I fell in love with it and asked if I could keep it for myself. I was so happy they agreed, and I took it to Kaity Rae for the new vibe I knew I needed it to be.

You will be showcasing tracks from Quarter Life Crisis at St Pancras Old Church, London on 7th February. What are your thoughts about that venue and show? Are there any other gig plans for next year?

I love the St Pancras Old Church venue. I saw the artist  Emilie Nicolas there years ago when I first discovered her, and I’ve been wanting to play at that venue myself ever since. There’s something about church venues that really have their own unique energy that contributes to the performance. I haven’t done a headline show in years, so I am so excited to put the band together and build out the show. It will be the first time performing these songs live in this way too. There are other gigs in the works but nothing to be formally announced as yet (smiles).

We are almost at the end of the year. Reflecting on 2024 and the highlights, how important has the year been for you as an artist? How are you feeling as we head towards 2025?

This year has been incredibly transformative for me as an artist. I’ve grown a lot as a person and then my decision to produce has opened me up creatively in a whole new way. This feels like just the beginning for me which is a weird feeling to have around my third album. I feel really excited about 2025 and what I will create both professionally, creatively and personally. 2025 feels like a blank slate right now, which is exciting.

Finally, and for being a good sport, you can select any song to play here (other than your own) and we will end with that. What shall we go for?

Thank you for all these great questions! I’m seeing MARO perform in London when I am back from L.A. next week, so let’s play one of her songs, because she is incredible and I have no doubt people will fall in love with her with this song.

___________

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INTERVIEW: Leah Kardos (Author of the 33 1/3 Book of Kate Bush’s Hounds of Love)

INTERVIEW:

 

Leah Kardos (Author of the 33 1/3 Book of Kate Bush’s Hounds of Love)

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THROWING ahead to 14th November…

and the release of the 33 1/3 book on Kate Bush’s Hounds of Love. It is going to be so exciting. Bush’s most acclaimed and well-known album is now being brought to the classic series. Short books that are all about terrific albums. I am not sure whether you know about the series but, for years, various albums have been brought to life. Running at 150 pages or so, they are digestible and handy guides that go deep into classics. It has been a pleasure interviewing Leah Karos about her upcoming book on Hounds of Love. The Australian academic, musician and writer resides in London. A clearly massive Kate Bush fan, Kardos “publishes and releases music with Bigo & Twigetti, contributes reviews and criticism to The Wire, and has written a book that critically analyses David Bowie's Last Works, published by Bloomsbury Academic in early 2022”. I was keen to know more about a book that I was engrossed in! Having written about Hounds of Love multiple times through the years, I thought that I knew all there was to know! However, reading through Kardos’s book gave me fresh insights and perspectives. Passionately and beautifully written, it will be a terrific introduction to those new to the album in addition to those who have heard it multiple times. Before coming to the interview, here is some more information about a book every Kate Bush fan needs to pre-order:

“Hounds Of Love invites you to not only listen, but to cross the boundaries of sensory experience into realms of imagination and possibility. Side A spawned four Top 40 hit singles in the UK, 'Running Up That Hill (A Deal with God)', 'Cloudbusting', 'Hounds of Love' and 'The Big Sky', some of the best-loved and most enduring compositions in Bush's catalogue. On side B, a hallucinatory seven-part song cycle called The Ninth Wave broke away from the pop conventions of the era by using strange and vivid production techniques that plunge the listener into the psychological centre of a near-death experience. Poised and accessible, yet still experimental and complex, with Hounds Of Love Bush mastered the art of her studio-based songcraft, finally achieving full control of her creative process. When it came out in 1985, she was only 27 years old.

This book charts the emergence of Kate Bush in the early-to-mid-1980s as a courageous experimentalist, a singularly expressive recording artist and a visionary music producer. Track-by-track commentaries focus on the experience of the album from the listener's point of view, drawing attention to the art and craft of Bush's songwriting, production and sound design. It considers the vast impact and influence that Hounds Of Love has had on music cultures and creative practices through the years, underlining the artist's importance as a barrier-smashing, template-defying, business-smart, record-breaking, never-compromising role model for artists everywhere.

Table of Contents

Track Listing

Acknowledgements

Introduction

1. The first woman

2. Still dreaming

3. I put this moment… here

4. Hounds Of Love

5. The Ninth Wave

6. A ritual in six steps

7. Before The Dawn

8. Blackbirds

9. Wave after wave”.

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Hi Leah. Congratulations on your 33 1/3 book on Hounds of Love! How does it feel that it is completed and out in the world very shortly?

Thanks Sam! I'm really pleased that it will be out soon, despite the usual jitters one feels in these situations. I'm looking forward to there finally being a Kate Bush volume in the 33 1/3 series, and I'm feeling really grateful that I was given the opportunity to contribute this one. The whole experience has been a supreme pleasure, I've got to say.

Before discussing it, tell me when Kate Bush came into your life. What was your introduction to her music?

Like a lot of people in my generation, I had a general awareness because big, early-ish tracks like "Wuthering Heights", "Wow" and "Babooshka" got a lot of airplay in Australia in the 1980s. I definitely recall the videos making a deep impression - I grew up with my eyeballs glued to 'Rage', our down under version of MTV -  I remember feeling kid-affinity for "Peter" in the 'Cloudbusting' video, and attempting the "Wuthering Heights" moves in my bedroom mirror. But the first L.P. that I discovered for myself and loved on my own was Never for Ever. This would have been when I was a student at music college, around the tail end of the '90s.

“I enjoyed the ritualistic and folkloric themes that bubbled and echoed as I went”

Obviously Hounds of Love means a lot to you. How did you tackle writing about the album? What was your writing routine like and how did you approach researching?

Once the commission came through I spent a long time listening to it, thinking about it and collecting notes. The book needed to be 33k words in the end, but I had over 200k notes at one point - lengthy tangents on whaling shanties, oceanic metaphors in literature and myth, the ins and outs of sequencing compositions on the Fairlight CMI and the Linn Drum, Irish diddling, the psychology of stage fright, Arthur's Avalon and loads more besides - and what I had was an incredibly unwieldy pile of ideas, so had to seriously rethink my approach. I needed to strike a balance between the story that I wanted to tell, writing an accessible entry point for new fans, as well as making the book a worthwhile experience for the hardcores that already know everything. The story I really wanted to tell, aside from writing about the music itself, was how Hounds of Love marked her arrival as an artist and music producer of culture-changing influence. Once that was decided, everything else fell into place.

Was there anything new you learned about Hounds of Love or Kate Bush when writing the book?

For me, yes. There were connections between songs, and correspondences and reflections between sides A and B that I hadn't quite seen before. I enjoyed the ritualistic and folkloric themes that bubbled and echoed as I went. Following the story of how it was made, it was clear that Kate's creative process was a very slow and largely solitary one, and not necessarily shared, say, between a bunch of people hanging out in a studio. Like when Del downplayed his involvement in the process in that 1993 interview saying "I don’t really feel that anybody has that much involvement in what she does, it all comes out of her own head." What that meant was I couldn't really get any useful insights from the session musicians or anyone else that was brought in to help here and there, because they didn't have the 'why'. It seems obvious to say it now, but this was an important realisation to have when writing a book about an album and how it was made. It led me to focus less on what Kate might have meant by those choices and more on what the music can do from the listener's point of view.

“For me, the song is empowering; the best articulation of determination and desire ever inscribed in a pop song”

Apart from the genius singles from the first side and the second side, The Ninth Wave, it seems that Mother Stands for Comfort is like an odd one out and never gets talked about. What are your feelings about the song and how do you think it relates to the rest of the album and connects the songs?

I think 'Mother Stands for Comfort' can offer an important perspective that balances and binds the themes of side A and B together: the comfort of family, the primal, unambiguous nature of maternal love, the fierceness of Mother Nature. Beyond the lyric, the music and sound design says so much more; Eberhard Weber's bass is like poetry, right? The emotional juxtaposition between Kate's foreground and background voices, the gentle rocking-chair beat disturbed by violent smashes. High drama minimalism! What an amazing track!

In terms of legacy and reframing Hounds of Love, Running Up That Hill (A Deal with God) springs to mind. It has taken on a new life. What were your reactions when it enjoyed resurgence in 2022 and what does the song mean to you?

I was completely tickled for her, and all of the new, younger listeners who got to discover her and her work because of Stranger Things. The timing of it all was perfect in a way - with everyone feeling so isolated and uncertain about the world coming out of the Covid-19 lockdowns, 'Running Up That Hill' and it's message of radical empathy and connection really felt like a tonic. Nearly 40 years on, the song's power only grows. For me, the song is empowering; the best articulation of determination and desire ever inscribed in a pop song.

I think many people do not discuss Kate Bush as an innovative and incredible producer when they speak of Hounds of Love. Do you feel she is under-appreciated as a producer?

She is absolutely, criminally underrated as a producer. Not only in terms of her technical and aesthetic achievements, and the ground she broke as a mainstream adopter of cutting-edge music technologies, but also in terms of her vast influence in pop music culture. There is a dearth of female producers in pop music, period. Back then and today, the situation hasn't really changed much. As you've seen, I devote quite a chunk of space in my little book to yell about what an elite and historically important producer she is. If I had more space I would have written even MORE about it.

“I hope lots of essays and think pieces get written and people are inspired to find the album again and dig in deep with it”

Hounds of Love turns forty next year. How do you think it should be talked about and marked?

Hmm. The record is already, rightfully considered a masterpiece by critical consensus, and with the Stranger Things synch placement, it feels like it's back at the top of the collective consciousness's record pile. So I don't know how the 40th anniversary should be marked... Being selfish for a second, I wouldn't mind having a deluxe expanded release with all the B-sides, remixes and the Hounds of Love alt-version/demo included, or if I was going to be extra selfish, a Dolby Atmos/surround mix of The Ninth Wave on Blu-ray - imagine how perfect? Aside from my vain wishing, I hope lots of essays and think pieces get written and people are inspired to find the album again and dig in deep with it.

Every Kate Bush fan should go and buy the 33 1/3 Hounds of Love book. What is your biggest takeaway of the album or favourite section of the book?

My favourite sections are the track by track commentaries, when I switch to present tense and focus on purely experiencing the music. Everything up to that point in the book is like elaborate table setting at a banquet, but the commentaries to me feel like the moment when we can eat the music together.

Finally, you can select one song from Hounds of Love and I will include it here. Which shall we go with?

'Jig of Life', so we can put this moment here.

INTERVIEW: Graeme Thomson (Author of Under The Ivy: The Life and Music of Kate Bush)

INTERVIEW:

  

Graeme Thomson (Author of Under The Ivy: The Life and Music of Kate Bush)

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IT has been amazing…

interviewing author and journalist Graeme Thomson about the revised and updated version of his authoritative and magnificent Kate Bush book. The superb Under The Ivy: The Life and Music of Kate Bush is released on 27th June through Omnibus Press. Originally published in 2010, I have learned so much about Kate Bush through his writing and passionate, detailed research. An accessible and beautifully written biography, every Kate Bush fan, whether diehard or casual, needs to order a copy:

“The critically acclaimed definitive biography of Kate Bush, revised and updated for 2024, with a new foreword by Sinéad Gleeson.

Detailing everything from Bush’s upbringing to her early exposition of talent, to her subsequent evolution into a stunningly creative and endlessly fascinating visual and musical artist, Under The Ivy is the story of one woman's life in music. Written with great detail, accuracy and admiration for her work, this is in equal parts an in-depth biography and an immersive analysis of Kate Bush's art.

Focusing on her unique working methods, her studio techniques, her timeless albums and inescapable influence, Under The Ivy is an eminently readable and insightful exploration of one of the world's most unique and gifted artists. The text has been updated to include coverage of Bush’s return to the top of the charts in 2022 following the extraordinary resurgence of ‘Running Up That Hill.’ An eye-opening journey of discovery for anyone unfamiliar with the breadth of Bush’s work, Under The Ivy also rewards the long-term fan with new insights and fresh analysis”.

Given the unexpectedly busy past few years for Kate Bush and her music legacy, it is very apt that Under The Ivy: The Life and Music of Kate Bush has been revised. I have been speaking with Graeme Thomson about why he first decided the write the book, what we might expect from the 2024 edition, when he discovered Kate Bush, how Sinéad Gleeson was selected for the foreword, and which Kate Bush track means the most to him. It has been exciting and informative hearing from Graeme Thomson about a tremendous and endlessly fascinating book that…

EVERY Kate Bush fan should own.

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Hi Graeme. Before talking about Under The Ivy: The Life and Music of Kate Bush, I am interested knowing when Kate Bush came into your life. Do you recall the first time you heard her music and how it made you feel?

I don’t recall a particular lightbulb moment for me regarding Kate Bush. I certainly was aware of Wuthering Heights just being in the cultural DNA for as long as I can remember. I remember Running Up That Hill and Hounds of Love coming out as singles; I would have been 12 when they were released in 1985 and I remember seeing her on TOTP. I was a fan of those songs and, later, The Sensual World. Later still, I bought Hounds of Love on vinyl and The Sensual World and The Whole Story on CD, but otherwise didn’t investigate too deeply. I knew the singles, and odd songs engaged with me through the late '80s and into the '90s. Then, of course, she more or less vanished and I wasn’t really keeping up. My ears were elsewhere – in Athens, Georgia and San Francisco and Minneapolis. I probably laughed along with the Alan Partridge stuff.

I would say that it was Aerial that led me to really delve properly into her back catalogue and to explore the full reach of her work. I was drawn initially, I think, to the otherworldly, occult energy in her music. Now, I oscillate between the harder, more rhythmically driven tracks and the very stark piano-based material. There is a sense of tapping into ancient forces in her music which I still find very attractive. It has always been present. The title track of The Kick Inside has it, and so does Lake Tahoe.

“Ultimately, it’s testament to the fact that Kate Bush’s work is endlessly interesting. There’s so much nourishment to be had from digging into it”

I have more than one copy of the book in the form of previous issues. I am excited for this 2024 edition. Did you think, when Under The Ivy: The Life and Music of Kate Bush initially came out, that we would still be talking about it now? How does it feel knowing it has already reached and connected with so many people?

Well, firstly, thank you! I’m obviously very happy that the book has enjoyed such a long shelf life – literally. All you want as a writer is for your books to reach people and to continue to be available to those who might want to read them. For Under The Ivy to be widely appreciated on top of that is very gratifying, but you can’t really dictate that happening: you just have to write the book you want to write and, afterwards, hope it finds its place and its readers. When I first pitched it back in 2008, I really did feel there was a need for a serious, comprehensive and analytical biography of Kate Bush. I thought that had been lacking – and I understood why it had been lacking: because it’s not an easy thing to do. So I am pleased that my hunch paid off and that the book has been generally well regarded and has proved to have staying power, for which I must thank Omnibus Press for keeping it continually in print. I’ve also been lucky.

In the handful of years after Under The Ivy was first published in 2010, Kate Bush was so incredibly productive: two albums and a live show. That helped. Thank you, Kate! There is also the fact that – and we’ve seen this very much to be the case in recent years – her work is still being discovered anew by different demographics and different audiences in different parts of the world. I think that has helped keep the book ticking over, as well. Ultimately, it’s testament to the fact that Kate Bush’s work is endlessly interesting. There’s so much nourishment to be had from digging into it.

Can you recall why you decided to write Under The Ivy: The Life and Music of Kate Bush to start? How did you approach writing the book, and what was it like interviewing people from her world and diving deep?

When you first entertain the idea of writing a book, it’s a conflation of practical, personal and creative reasons, of timing, and luck, and so many other factors. I said in the last answer that I felt there was a gap in the market, to put it bluntly. That helped solidify the idea, in practical terms. Also, the idea of writing a Kate Bush biography was a challenge, and I like a challenge. I just thought there was so much still to say, so much that would be interesting, so much to get involved in.

My approach initially was, first and foremost, to let her know I was doing it – which I did. I sent a letter explaining what I was up to. Then it was a process of working on a wish list of people I wanted to interview, knowing that it was not always going to be possible for various reasons to speak to them all. You start to contact people and explain what you are doing. Sometimes it’s a straight no; sometimes it’s a maybe; sometimes it’s an enthusiastic yes; sometimes silence. As you might imagine, there are various complications when you’re writing about someone like Kate Bush. I was expecting that. I was expecting more complications, in many ways. I was surprised how many people did talk in the end.

“I’m just delighted that she was able to do it, and she did a great job capturing her very personal relationship with the music of Kate Bush” 

At the same time, I started reading around the subject. I tend not to read everything at the start of a project. I’ll read enough to get a sense of the shape of a life and the important people in it, but you don’t want to be too fixed on your idea of who this person is before you start; you have to allow room for being surprised and for people telling you unexpected information or leading you down different and sometimes contradictory pathways. To not overreach for definitives is an important part of writing biography. In many ways, this part is the most enjoyable part of the process: the process of discovery, of seeing the life open up in front of you and learning new things as you’re listening to the music. I find the music becomes increasingly enriched as I learn more. Ultimately, that’s really what you are trying to pass on to the reader when you end up writing a book like this: you want to enrich their experience of listening to the music.

The wonderful Sinéad Gleeson provides a foreword to this new edition. How did you two meet and what was it about her writing and love of Kate Bush that meant she was the person to write that foreword?

Actually, I only met Sinéad in person very recently, right after she had written and submitted her foreword. We finally caught up briefly at her event in Edinburgh, where I live. We’ve been in contact sporadically for many years. She was a fan of the original edition of Under The Ivy. She wrote some nice things about it, and we’d been in touch about that. We’ve been in contact on social media and via email about various things since then. She lives in Dublin and we had some communication around my Philip Lynott biography, Cowboy Song. I knew she loved Kate Bush. I had read her journalism and I’d read This Woman’s Work, the collection of essays by woman writers that she edited a couple of years ago with Kim Gordon, which obviously takes its name from the Kate Bush song. I knew she had interviewed Kate Bush – lucky her! She had seen Before the Dawn. So I was aware that she really knew her stuff – over and above the fact that she is a fantastic writer who shares with Kate Bush an innate understanding of folklore, of elemental forces and the power of unseen worlds. So she was top of my list. One of the lovely things was that just after she delivered the foreword – during a very, very busy time for her – I was reading Hagstone, her beautiful new novel. That felt like a nice piece of serendipity. I’m just delighted that she was able to do it, and she did a great job capturing her very personal relationship with the music of Kate Bush.

PHOTO CREDIT: Guido Harari

For those who have not already bought Under The Ivy: The Life and Music of Kate Bush, can you give any insight into new additions and what we might expect?

I wouldn’t want to overstate the extent of the revised edition. The Omnibus Remastered series, of which this is a part, is essentially about reissuing books from the publisher’s back-list with new designs and new forewords. That was the impetus behind Under The Ivy coming out again. When Omnibus said they would like Under The Ivy to be one of the first books in the series, I was delighted and flattered, and I asked whether there might be an opportunity to bring it up to date. They said yes, so I did that. But given that Kate Bush hasn’t released any new music, or appeared anywhere in public, or played any shows since I wrote the 2015 edition, I want to manage people’s expectations! The update covers the obvious things: the Stranger Things/Running Up That Hill phenomenon, which has again shifted her place in our culture, the Rock & Roll Hall of Fame, the curation of her back catalogue; there are some new quotes from collaborators. To use a music analogy, it’s essentially a stylish new reissue of a well-thumbed album that has been remastered, polished up and had a couple of bonus tracks added to the tracklisting.

In this case, the ‘bonus tracks’ take the form of a gorgeous new design; a short new preface by me; a beautiful foreword by Sinéad; and then in the final section of the book, the story being brought up to the present. It feels quite satisfying, and gives any new readers or recently engaged Kate Bush fans a pretty complete picture of her career thus far. It is also the first time Under The Ivy has been available in A Format (or mass-market paperback) size, which I’m really delighted about.

PHOTO CREDIT: Brian Aris

There are great quotes in the book from wonderful people like Paddy McAloon and Jude Rogers. How much of a thrill is it knowing that your words have connected with fellow writers and legendary musicians?

It’s hugely flattering. I think it is a testament to Kate Bush as much as anything, people respond to her work in a way that is very generous, and that has perhaps been reflected in how they have responded to my book. With Paddy McAloon, I interviewed him some years ago in a hotel in Durham and he produced two copies of Under The Ivy for me to sign – one to his wife, and one to Wendy Smith – and was very complimentary about it. He’s a lovely man and one of our greatest songwriters, so that meant a lot. So I thought I’d tap him up for a quote! Jude and I both wrote for the much missed Word magazine back in the day. She writes with so much soul; there’s never a false note. Her book, The Sound of Being Human, is original and tremendous, and she’s another writer who really knows her Bushcraft. To receive such lovely words from her, and from Kathryn Williams, Emma Pollock, Rob Young, Laura Barnett and Jim Kerr, all of whom were kind enough to also provide endorsements, is incredibly gratifying.

One of the joys of writing Under The Ivy has been hearing from fellow writers, musicians, artists, whole swathes of people, who have enjoyed it. I was speaking with Chris Bryant, the Labour MP, quite recently, and he told me that his husband loved Kate Bush and that Under The Ivy was a favourite book of his. Little things like that can be very consequential for a writer, whoever it comes from. I get a kick out of any and every person telling me they have enjoyed something I have written.

“East Wickham Farm was a very seductive place to visit in my head – or at least my idea of it was” 

I think you have possibly written more words about Kate Bush than anyone alive now (a guess…but I am pretty sure). Did you learn a lot of new things about Kate Bush when writing the book, and do you have a favourite fact/section of the book that was a particular joy to write?

I’m not sure the first part of that statement is true! It can’t be. I learned innumerable things about Kate Bush while writing the book, because I didn’t start with a deep, fan-level knowledge of her at all. I had pretty limited knowledge at the beginning of the process. The book was really an active journey of discovery. Oftentimes my favourite parts of my books cover the early years, pre-fame: with Under The Ivy, it was about establishing the family dynamic, the family background, the musical, artistic, creative and literary touchstones of her work, and a physical sense of place. That’s always really illuminating, but particularly so for Kate Bush, because I think those elements are very, very instructive in terms of understanding not just elements of her work, but also how she operates, how she lives her life and her values system. I wanted to call these things back regularly throughout the book. I thought if I could establish who she is, and where she comes from, at a fairly early stage, then that would pay off all the way through the book. And I loved living in that world! East Wickham Farm was a very seductive place to visit in my head – or at least my idea of it was. It felt like a very safe and magical and creatively stimulating microworld. I really loved being there and going back there when I was writing.

PHOTO CREDIT: John Carder Bush

Do you have a personal favourite Kate Bush album? Mine is The Kick Inside. Is there one that has a very special meaning to you?

The obvious answer would be Hounds of Love. Sometimes it is just a fact that the most popular album, the bestselling album, the album with the big singles on it, might just be the best album, too. I think it is a monumental and pretty much perfect piece of work encompassing so many aspects of her artistry. I love Aerial. As I said earlier, it kickstarted my deeper interest in Kate Bush and I find that album more and more personally resonant as time goes on. I wrote a piece quite recently for Disco Pogo magazine, and I concluded with the idea that Aerial is a song for a life, not just a song of a day. As we get older we accrue experience and loss, our children grow up, we ache more deeply, and yet we still strive to access joy and find ways to escape our quotidian lives. Aerial seems to me to speak to those struggles and rewards so beautifully. The other album I would mention is The Dreaming. I was putting a playlist together recently and I listened to Suspended in Gaffa for the first time in quite a long time – and I really listened to it; sometimes you just let songs drift by – and I thought, Goodness, what a wonderful song that is. The Dreaming has some amazing work on it. It is such a brave and bold and sometimes silly record, and very significant in her development. I love many things about all her albums, but those three are probably my favourites.

It is a question many Kate Bush fans would ask themselves but, if you were to interview her today, what would be your opening question?

(When) Are you going to release a new album, Kate?

If you found yourself in a Desert Island Discs-style scenario and you could only rescue one of Kate Bush’s tracks - the one that is most special to you -, then which would you save?

Hello Earth. There is something about that song that moves me profoundly. The way it evolves from this very personal, intimate, close-up perspective into a vast macro overview of our world and our tiny place in it and on it. It almost feels as though it contains the whole of Hounds of Love in microcosm: it has got very experimental elements; a choral section which is like the moon being obscured by clouds, so darkly, beautifully atmospheric. But it also has lovely, flowing melody, incredible harmonies, wonderful words. It is the ultimate Kate Bush piece for me. Huge in scale and ambition, and I find it very moving.

Finally, we can end with any Kate Bush song that you like. Which one shall we go with? Thank you, Graeme!

Under the Ivy. What else?! It’s such a beautiful little song and it’s great that it seems to have grown into a real fans’ favourite; a treasured deep cut. People complain that it is not on Spotify or other streaming services, but I kind of love that. You need to dig it out a little bit. It is such a special song, so sad and mysterious, with a touch of the occult in there. I’m very pleased I chose it as my title track…

INTERVIEW: SARA

INTERVIEW:

  

SARA

_________

IT has been a real thrill…

PHOTO CREDIT: Aury Hernandez

getting to know a terrific and awe-inspiring young artist. London-based, German-born SARA is someone that everyone needs to know! I think that she is a modern-day role model and someone who will quickly become one of our most arresting, intriguing and wonderous talents. I have been chatting with SARA about her stunning and instantly memorable debut single, Runaway. It is such an original and fantastic Pop-Rock anthem that will resonate and connect with so many people. It is inspired by her journey from living a German small-town life to pursuing dreams in creative and buzzing hubs. SARA wrote and recorded the track – and upcoming releases – with GRAMMY award-winning Chris Sclafani (Ed Sheeran, Halsey, Selena Gomez). Jerry Barnes, who has performed for and written with artists such as Roberta Flack, Stevie Wonder, and Nile Rodgers, is a music legend who took an immediate liking to SARA’s huge and unmistakable musical talent. Watching her videos on TikTok, SARA is such a warm and beguiling human! You can feel the passion she has for music and how appreciative she is of the support from fans. Take some time to check out this interview with a phenomenal artist with…

A bright and golden future.

__________

Hi SARA. How are you? How has your week been?

Hi Sam! I’m doing great. Super excited for the release! Not gonna lie: my week has been quite stressful. It’s really cool to see all work from the last few months slowly coming together though. How are you?

Can you tell me more about Runaway. What was the inspiration behind the lyrics, and what was your reaction hearing it back for the first time?

The lyrics are inspired by my own journey. I grew up in a small German town where I’ve always felt judged and watched. Everyone knows each other there and word travels fast, so if you don’t comply with the small-town culture’s standards, you’re quickly made fun of or treated as an outcast. I spent my childhood and teenage years supressing so much of myself and holding back what I really wanted to put out in the world because I was surrounded by people who thought they had the right to tell me what I should and shouldn’t be doing. The older I got, the more I felt the need to break free and start a new life somewhere where no one knows me. I ended up doing exactly that and it’s the best decision I’ve ever made. I now see the people that used to be mean to me in school and some of those people seem really unhappy with the life they’re living now just because they’ve built it according to other people’s expectations of them. I think a lot of hate is based on jealousy. My theory is that people who try to discourage you from making your dreams come true secretly have the same dreams but they are too scared to take a risk and follow them themselves. So with Runaway, I’m trying to encourage people to go for what they know will make them happy, no matter what others say.

There wasn’t really a ‘first time’ listening back to Runaway, because we built the song and the production gradually. I wrote the first lyrics draft by myself and presented it to Chris (Sclafani), who then came up with some guitar ideas. I wrote a topline on top of those and then we started working on the production together. Chris did all the work in terms of production but he was kind enough to let me give feedback on every step along the way. So with every time I listened to it, the song came more and more together. When we decided the production was finally finished, I had already listened to it so many times that what I mostly felt was relief that we actually managed to get it done after having worked on it for quite a long time, and excitement because it meant it was finally ready to share it with the world.

You wrote the song with Chris Sclafani (who also produced Runaway). What was it like working with him?

A mutual friend of ours, Jerry Barnes, connected us and I remember I was scared shitless the first time I went to Chris’s studio! You’d think given the fact that he’s worked with so many big artists, his ego would be huge, but I quickly got convinced of the opposite. Chris makes it super easy to feel comfortable in a session with him, which is how he managed to really push me out of my comfort zone in terms of songwriting. Before working with him, I had only written ballads because they’re what came easiest to me. One of the first things he said to me is that most of the demos I had sent him sounded the same and that he wants us to explore a genre I’ve never written in before. So we did that and wrote a song in the span of like two days that now ended up being one of my upcoming singles. At first, I didn’t like the song because the lyrics I wrote to it were quite silly and I didn’t take the writing process as serious as I usually would, but now I recognized that exactly that is the beauty of the song. So Chris really helped me to embrace that more and have a bit more fun in the writing process.

“I guess that ended up leading to me wanting to make music that serves as a soundtrack to other people’s lives now and wanting to make them feel like a true main character when they listen to my songs”

I understand there is more to come this year. Can you give a hint as to what we might expect in the way of songs and themes?

Well the song I just talked about is actually the second single! It’s a fun one that encourages to go crazy, let loose and scream along. It’s leaning into a noughties sound. I’d say it has a little bit of a Punk-Rock feel to it. It’s the song I think will be most fun to perform live!

You have got the respect and ear of some music icons and modern legends. How does it feel knowing that your music has resonated with the likes of Harry Styles?

Oh I wish it was my music that he noticed! It was a cover of one of his songs actually. I posted it on Twitter a few years ago and he ended up giving it a like. He doesn’t like tweets often and is rarely active on social media, so it was a huge honor for me! Getting my own original songs noticed by him would be a dream!

Take me back to your earliest years. Can you remember when music first touched you and the sort of artists and sounds you grew up around?

I wish I could say I grew up with really cool music influences, but my parents are quite clueless when it comes to the music world. I recently had to explain to my dad who Ed Sheeran is and my mom still doesn’t know who Fleetwood Mac are haha! The first time I realized how music can make you feel and how powerful it can be was when I was around 14 and started really getting into movie soundtracks. I used to spend hours researching which songs played during my favorite movie and TV show scenes and listening to these songs on repeat while trying to romanticize my life as a form of escapism, because I felt so comfortable in the environment I spent my teenage years in. I guess that ended up leading to me wanting to make music that serves as a soundtrack to other people’s lives now and wanting to make them feel like a true main character when they listen to my songs.

Having spent a lot of time in cities like London, how influential and important are the people and dynamics when it comes to your music?

Quite important I’d say! I’ve definitely been majorly influenced by living in London because the live music scene is so vibrant here and Brit Rock is such a big part of the culture. Apart from my sound, my lyrics are also quite inspired by London life. I love observing people and I find the Brits and their behavior very interesting. There’s quite a few people and groups I’ve watched from afar or have hung out with in London that have served as amazing songwriting material.

“The goal is definitely to put on headline shows in the future, but I’ll have to wait for the demand to build a bit more I’m afraid”

I can see you working on film scores and writing music for big films. Do you see you feel like you will work in other mediums and take your music to new places?

Oh my gosh, thank you so much! That’s a huge compliment; I’ve always dreamt of having my music being used in a movie soundtrack. I don’t have anything else in mind at the moment, but I’m the kind of person that says ‘yes’ to every opportunity that comes her way, so I’m open for anything!

Do you have any gigs coming up? Might we see you on the road later in the year?

Right now I’m still very much in the figuring out phase. I’m hoping my upcoming releases will attract a few listeners that would be happy to see me perform live. The goal is definitely to put on headline shows in the future, but I’ll have to wait for the demand to build a bit more I’m afraid. Until then, it’d be lovely to do a few support slots, but I don’t have anything planned as of right now.

Finally, and for being a good sport, you can choose any song (other than your own) and we’ll end with it. What do you want to go with?

Mhhh… Since I’ve spoken about music that makes you feel like a main character a lot, I’m gonna go with New Shoes by Paolo Nutini. That song was one of the soundtracks to my teenage years and is one of my favorites to listen to on a warm summer day!

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Follow SARA

INTERVIEW: Sarah Close

INTERVIEW:

PHOTOS: Katie Silvester

 

Sarah Close

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I am a big fan…

of the wonderful Sarah Close. The British artist is currently based out in Los Angeles. I have been speaking with her about her musical path and how her career has progressed since her start. She discusses her stunning new single, Justify. The song is the inaugural release in Close's ambitious double E.P. campaign for this year. Building on the narrative established in her previous singles, Forgive or Forget and Liars Like You, this empowering, unforgettable and gorgeous Pop anthem explores and examines themes of heartbreak and self-liberation. Her lyrics poignantly explore the realisation that certain individuals may never change, prompting a transformative journey towards self-empowerment and liberation from toxic relationships, while tapping into a bad bitch energy; that you’re finally done with empty promises; that next time will be different. Close herself produced the track. It is an exciting and happy time for this artist that everyone should know and listen to. A unique and awesome talent who I predict a long and golden future for, Close discusses upcoming gigs and how much input she had into the video for Justify. She also reveals what is coming next. Such an incredible talent, it is amazing hearing Justify. A talent who is going from strength to strength. If you have not heard Sarah Close’s beautiful and memorable music, then make sure that you…

CONNECT with it now.

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Hi Sarah. How are you? How has your week been?

I am doing really well! It’s 8 a.m. in L.A. right now and I’m almost at the end of a long 2-month trip. I’ve been writing music out here with a lot of new collaborators, and yesterday I wrote a song that I am OBSESSED with. I’m listening on repeat! It’s always such an exciting feeling when you get a song like that. In about 2 hours, my friend Raelee is going to pick me up and we are driving to Malibu (my first time going there) for a beach day because it’s 30C today!!! So all in all, it’s been a great week.

I have been a fan of yours for years. How do you feel your music has evolved since the start? Looking back to your earliest release, how do you feel about how far you have come?

Oh myyy!! I mean my music has shifted and changed so so much. When I released the Caught Up E.P. back in 2017, I was a super-young kid who loved (and still loves!) pop music and dreamt only of being a pop star. I still love those songs, but when I listen now, I can hear that girl who was still figuring herself out. After that release, I had a lot of people in the music industry giving me their opinion on what kind of music I should make, and I didn’t realise at the time, but that really influenced me. I wish I had had the guts to stand up to them, but I was a young girl, a people pleaser, and I thought they knew more than me.

The pandemic really gave me a chance to slow down, and I credit that time with truly helping me find myself as an artist and songwriter, away from anyone else’s opinions! I had a lot of emotions to process during that time, and I think my songwriting matured and became more vulnerable. I had more complex things to say and write about.

I really embrace that I’m an artist who has gone through a few different iterations of myself to get to where I am now. I used to feel a little bit bad that I didn’t come straight out the gate with a sound that I consistently stuck to, and then I realised that way of thinking only hurt myself!

I’ve always been someone who loves going to the studio and playing around with different sounds and pushing myself outside of my comfort zone. I love where I’m at right now, and this feel like a very authentic space for me, but hey… I don’t wanna say too much, but I know I have a few songs in the pipeline that are going to really surprise people…

Looking at a recent video from your social media/YouTube, I know you have been spending a lot of time in the U.S. and discussing your life and figuring things out. How important was it to share that video, and how did the positive and supportive fan feedback make you feel?

It was really important. I am definitely in a confusing stage of my life; trying to figure out where I want to live and what I want my life to look like. But I feel like everyone goes through this, and I just wanted to be honest and share what’s going on. As confusing as it is, it’s also really exciting to not know what’s coming next, and my parents constantly encourage me to embrace uncertainty in my life! When I posted that video, I lovedddd reading the comments. There were a lot of people who are going through or who had gone through exactly the same thing, and I just think it’s so helpful to know that you’re not alone in any feeling really.

Talk to me about your new single, Justify. How did that come together in terms of the lyrics and the initial seeds?

Justify is a moment where you really get to celebrate yourself and the love you have for you!!! A few years ago now, I went through a breakup that taught me so much (also made me write a lot of sad songs), but my biggest lesson was that I don’t have to have anyone in my life who makes me feel small, unlovable and bad about myself. I really wanted a song on this record that captured the moment you realise you don’t have to stay and try to justify your behaviour anymore. That you can leave. That moment feels so powerful to me, and it was the first step towards ending a toxic relationship cycle that hurt me so much. So I knew this song was going to be important, even from the initial feeling.

I already had the chords and most of the chorus written when I had a session with Adam Argyle (who I write so much of my music with). He came over one day and helped me finish it. It was a really quick and easy song to write once we perfected the chorus. I think we both really understood what the song was about from our own personal experiences.

“It’s the first time I’ve produced a song by myself that is this big of a production, and I am so proud of it”

I am a big fan of music videos. Did you have a lot of input into the video for Justify? What was it like shooting it?

Huge input! As an indie artist, I really have to get creative when it comes to making visuals, as I don’t have huge budgets to work with. It was a simple shoot just involving me and a friend and my laptop camera. I got him to ask me questions about the song and about the inspiration behind it, and I love the idea that you get to watch me have a conversation about the song, and how the different emotions play out on my face during it.

You produced Justify. How important is for you to produce, and is it something you enjoy? I don’t think artists who produce their own material get enough attention and credit

I did produce it! It’s the first time I’ve produced a song by myself that is this big of a production, and I am so proud of it. I moved back to the island last summer because I wanted to finish the rest of the new music off alone, and being there really gave me a chance to focus. Producing Justify was hard. I knew I wanted it to be upbeat, but everything I was doing didn’t feel right. Then one day (and I kid you not, this is the truth) I had a dream about what it should sound like. I woke up at about 5.30 a.m. and headed straight downstairs to my set up to start making it. Once I had the initial idea down, it was all about fine tuning and from there I really enjoyed it! It’s super special to me as well, because my little brother is playing bass on it. I love that we got to collaborate in that way, and he’s playing bass on a lot of the new songs to come!

Producing my own music has been the biggest thing that’s helped me discover who I want to be in my music. I think an artist having input into the production is so key to creating music that feels really true to them. I don’t think an artist necessarily needs to produce everything, but I think it’s great to be able to sketch out small ideas for another producer to build upon.

You have a lot of new music and two E.P.s planned for this year. What has it been like putting it all together? What is it about 2024 that compelled you to step things up and launch this new phase?

It’s been SO GREAT AND SO EXCITING. I love the world that we have created with this music, and I can’t wait for people to see the visuals and to really be immersed in the sonic world. I feel like my whole career has been building up to this year, and I feel resolute in who I am and the music I want to give to the world. Last year, I took time to really finish everything off, so that in 2024 I could just hit the ‘go’ button and not stop.

I know there are a lot of people who would like to see you perform live. Do you have any U.K. or U.S. dates coming up?

I do! This summer I’m going to be doing a couple of support shows in the U.K. and some of my own headline shows will come later in the year. I am DYING to play some shows overseas in the U.S., and I’m hoping to get some funding this year to help make that happen!

“I’m the happiest I have been in years, which is so so nice to say”

After Justify, when might we see more music? What would you say to the many adoring fans who are pumped for what is coming this year?

Very very soon!!!!! The release of Justify is the first song of many to come this year, and as I said above… once we hit ‘go’ we are not stopping!! I wanna tell them, get ready!!!!

Not necessarily talking about music, how are you feeling about things right now? It has been a very busy and changeable time for you recently. Are you excited about the future? How important is music and putting it out into the world?

I’m the happiest I have been in years, which is so so nice to say. I feel like in 2023 I got to wave goodbye to an era of my life and shut the door on a time that involved a lot of heartache and sadness. With that goodbye, I’m aware that I’ve welcoming in the next phase of my life. There’s a lot of ‘newness’ happening for me right now: new relationships, new music, new friends, new places and cities I’m exploring. I feel excited for it all. I can’t wait to get this next body of music out, and for what I have planned after that, and to eventually put out the songs I am creating every day on this L.A. trip. I just know there are good times ahead.

Finally, and for being a good sport, you can choose any song (other than your own) and we’ll end with it. What do you want to go with?

She’s On My Mind by Romy. Oh my god. I love this song; it’s so joyous. I dance to it in my kitchen every day. It never fails to make me feel good. It feels nostalgic and modern all in one.

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Follow Sarah Close

INTERVIEW: Charley Stone

INTERVIEW:

 

Charley Stone

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IT has been great speaking with….

a bit of a music legend. With an incredible C.V. boasting her name, Charley Stone is someone whose work you will definitely know. Currently a gigging guitarist with the likes of Sleeper and Desperate Journalist, Stone is set to release her own debut solo album. Here Comes the Actual Band is will be released on 29th May. After dropping the incredible single, Free Food - the first from the album -, back in November 2023, Charley Stone has shared A Scream. I have been speaking with Stone about that single, what we can expect from Here Comes the Actual Band, in addition to what she has brought from her band experience to solo work, the music she grew up listening to, plus what comes next. An incredible artist that everyone needs to check out, it has been a thrill getting to know more…

ABOUT the amazing Charley Stone.

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Hey Charley. You have previously played in bands like Salad. How does life as a solo artist differ?

Being in bands is fun! The camaraderie of it, and even the difficult stuff, e.g. when you disagree on how a song or set should go and have to thrash it out until everyone’s happy. In contrast, I really love the freedom of being a solo artist, but it’s also lonelier. And onstage, when playing a totally solo gig without my Actual Band, it’s a lot harder, because you feel a lot more exposed. But then one of the reasons I decided to start doing this was to push myself out of my comfort zone, because I feel totally comfortable onstage as part of a group, but going up there on my own gave me a whole new bunch of nerves to overcome.

Having played in bands, is there any experience or lessons from that time that you bring to your solo career?

I think there’s something really special about working on music collaboratively. So with my solo work, although I might record a song at home with an entirely self-crafted arrangement, I’ll strip it right back to one guitar and vocal when I bring it to the band and see what direction everyone else takes it in. Ultimately I’m the “musical director” and steer it and make the final decisions. But I don’t wanna dictate what everyone should play, because that’s not particularly interesting to me – and from my own experience, I know that you bring much more energy to a part you’ve created yourself than one where you’re trying to replicate someone else’s style.

Another thing is that by the time you’ve played in your tenth or fifteenth band, you have a really good understanding of how different every group dynamic is, and start to enjoy the puzzle of how to work together with different people, getting the best from everyone and giving everyone space. Also, the importance of fairness and transparency when it comes to the financial side of things.

“It was a time when I was pretty much always feeling intensely-intense, full of anxious knots in my heart, and this was the song which emerged”

What is it like playing in touring bands at the moment in terms of how it impacts your songwriting and sound?

I suppose when you’re learning someone else’s songs, esp. if they wrote the guitar parts, you pick up on little tricks and tips you might not have come across before. And seeing how different bands interact (or not) with the audience has probably helped define my own onstage persona. But I don’t think the other bands I’ve played with have influenced my songwriting or sound any more than any of the bands I’ve just watched or listened to. But then I’ve been around a long time. At this point in my life there’s just been layers and layers of sounds and bands and other cultural influences all sort of composting down in my brain and fermenting into my own unique brew, I think.

Take me back to your earliest years. Who were the artists who inspired and motivated you?

Earliest years of life, or of playing guitar? Because when I was a kid it was basically just The Sound of Music. When I started wanting to write songs, it was Duran Duran at first and then early U2, All About Eve, Throwing Muses, The Cure, David Bowie and David Sylvian.

A Scream is your new single. How did that come together? What is the story behind the track?

A Scream is actually the first song I ever wrote on electric guitar, back in the last century! I had a really cheap difficult-to-play guitar, and when I finally mastered barre chords on it I set myself the task of writing a song using them. It was a time when I was pretty much always feeling intensely-intense, full of anxious knots in my heart, and this was the song which emerged. We used to play it in my first band, but it never really had the power I’d envisaged for it.

But I brought it back for a solo gig a couple of years back, and then when I was doing pre-production rehearsals for the album with the Actual Band, Mar (bassist) suggested we try that one. It absolutely sucked the first time we went through it, but then Lily (drums) hit on this really thrashy way of playing it and finally it really gelled. We recorded it all set up in the same room together, but then when they’d gone I added (and mostly deleted) loads of additional layers of guitar and BVs, and fed the lead vocals into an old analogue delay machine and out into a guitar amp and back into the desk… and when I listened back I shouted out “I love it!”, because it was all there, exactly how I think I felt it should be, back when I was 18 or 19.

You work in an industry still male-dominated. How important is it for you to be working alongside other females and queer folk? And do you think attitudes towards female musicians is changing in terms of recognising their importance?

I think most people gravitate towards their own tribe – that’s not so much “important” to me as what feels natural. In a sense it was actually more important to me to at some point break out of that and occasionally play in a band of mostly cis-het men. Because that brought its own challenges and insights. As to changing attitudes: the landscape is completely different now to how it was when I started out. Back when I formed my first band, the only other non-male bands most people had as a reference point were The Bangles or Fuzzbox, and every single gig we played was with all-male bands or very occasionally a group of men fronted by a female singer. But that was a good 30 years ago now, and the fact that this question still comes up is quite telling, isn’t it.

“I’m not sure it will feel real until I actually have a physical copy in my hand”

Your debut solo album, Here Comes the Actual Band, is out in May. How does it feel knowing it is almost out? What kind of themes and stories are explored throughout?

Most of the songs on this album come from a sort of imaginary world. Many of them started as images in my head, and in writing the songs I made stories of them, and so created a parallel, whimsical dream-world. There are characters and places in the songs which relate loosely to places and events in the “real” world. And sometimes they’re more vivid to me than many of my actual memories. There’s a lot of romantic yearning in them and explorations of procrastination in its various forms

And at the moment tbh I’m still procrastinating on all the practical things I do to ensure this album actually comes out. I’m not sure it will feel real until I actually have a physical copy in my hand. And then I’ll be relieved that I can finally start work on the next one.

You now have a live band behind you. How did you meet them…and can we see you on the road later in the year?

I know both Lily and Mar from their other bands where they sing and play guitar. I had long thought both of them were very cool and wanted to hang out with them more. So when I put out the call on social media for band members, I was utterly thrilled to get a message from Mar reminding me that he also plays bass, and a very drunk text from Lily asking “CAN I BE YOUR DRUMMER CAN I PLEASE”.

The Actual Band is intended to be fluid, though, and for the next couple of shows my friend Melissa will be depping on drums as Lily is away.

If I can get some funding I’d love to take us out on the road. Touring is expensive so currently most of the gigs I play outside of London I do totally solo.

What comes next for you? After the album is out, are there seeds for yet more music?

There are always seeds! It’s growing them that takes the time. I’ve currently got about three different unfinished totally solo albums on my hard drive. What I’ll probably do next is finish one of those and sneak it out online, and then start working some of those songs into sets with the Actual Band, along with some totally new ones, and then at some point we’ll record ten of them for another full band album.

As I allow all my interviewees, you can finish with any song you like and I will play it here. What shall we go for?

My favourite band at the moment is Panic Pocket, and they wrote my favourite queer unrequited love song of all time, so let’s go with that. When I first heard this song I was utterly obsessed with it and played it on a loop for hours at a time. More recently I’ve been covering it at gigs. So, this is OK Cupid:

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Follow Charley Stone

INTERVIEW: Carianne Older

INTERVIEW:

 

Carianne Older

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IT has been a real pleasure…

IN THIS PHOTO: The Last Dinner Party

finding out more about the incredible photographer, Carianne Older. The famed L.A.-based photographer and pop culture creative director has shot for some of our favourite celebrities and companies such as, Charlie Puth, SZA, Olivia Rodrigo, Christina Aguilera, P1 Harmony, Jordyn Woods, Keke Palmer, Maggie Lindemann, Tana Mongeau, Olivia O'Brien, Rina Sawayama, Puma, Footlocker, Playboy, Cadillac, Sony Music, Interscope Records, and Universal Music…to name a few! Older not only focuses on film, but also on the importance of building an inclusive industry as she continues to break down gender barriers through sold-out workshops, nationwide speaking engagements, and her mentorship program based in L.A. - where she helps emerging photographers find growth and success. I have been speaking with Carianne Older about her how she got started in photography, what it is like working in a male-dominated industry, the advice she would give to photographers coming through, and, if she got the chance to photograph Lady Gaga, what would her concept/set be. Follow Carianne Older on Instagram. It was a real joy speaking with this…

IN THIS PHOTO: SZA

INCREDIBLE talent.

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 Hey Carianne. How does it feel to be nominated for Tour Photographer of the Year at the iHeart Music Awards?! What was it like to work with Charlie Puth? What does this nomination mean to you?

It doesn’t feel real!! Being nominated for an award for my photography is something that’s always been a bucket list item. There really aren’t that many things you can be nominated for as a photographer, so when I found out about my nomination I was so excited. Working with Charlie was a dream come true. It was always a major goal of mine to tour specifically with an artist whose music I loved. So when the opportunity to tour with Charlie arose, I jumped at it.

Being nominated as a woman in the photography field means the absolute world to me. It means there are people out there who truly believe in me and my work, and for that, I am eternally grateful.

IN THIS PHOTO: Charlie Puth

Can you tell me how you got started in photography? Was music photography the medium you always wanted to work in, or did it evolve through time?

I was working a corporate job up until 2018 in the entertainment sector, and I was so burnt out working for someone else, so I picked up the hobby of photography and started taking photos of my friends for fun. Photography was a hobby until it wasn’t anymore. My early success gave me the backbone to quit my 9-5 and start my own company. Before I could take a breath, I had moved out of my small town in South Florida to start my career in L.A. I always say working for myself is destiny because my initials are CEO. I am so grateful for all of the people in my life who pushed me into my creative career, because without it, I would still be working the same unfulfilling 9-5 in a cubicle the size of a closet.

I was drawn to music and theatre because those are the two things I love the most in life. I feel very lucky that I get to capture photos of some of my all-time favorite artists - I never take a day in this industry for granted.

“I think it’s important to raise up other women. It feels like for every woman in this industry, there are 5 men”

You work in an industry still male-dominated, yet you have an all-female creative team. How important is that, and do you think attitudes towards female photographers are changing in terms of recognising their importance?

I think it’s important to raise up other women. It feels like for every woman in this industry, there are 5 men. Though it feels like things are changing for the better. For example, last night at the Grammys, a female artist won in every single category in the main telecast. Seeing things like that happen gives me such hope as a woman. 

What advice would you give to female photographers coming through who want to make it in the industry?

Treating people well trumps talent any time. The entertainment industry is a marathon, not a sprint. Don’t burn any bridges – you never know when you’ll need to cross that river. 

Are there any other photography queens in the industry we need to follow and check out?

My personal favorite music photographer, and one of my closest friends, is Ashley Osborn.

She never misses; her work is outrageous and she is the kindest soul out there. I am lucky to call her a friend and an inspiration.

“Los Angeles holds so much history...there are so many stories that you can continue to tell here”

Having photographed incredible artists like Olivia Rodrigo, how does the collaborative process go? How do these artists come to your attention, and is there a lot of feedback/input from artists in terms of the shots?

Most artists hire me because my photography has a specific vibe. I feel I am brought onto projects that artists not only want me to shoot, but also creative direct. For the most part, all of my shoots I creative direct or at least have an input in the direction of the shoot. I like to be in controlled  environments when photographing artists. I run a full production company with my cousin Paulina, we produce and direct the majority of our shoots in house together, family style! My background is in producing, as it’s what I studied in college, so I have a really good grip on the business aspect of photography that ensures all of my productions run super smoothly.

IN THIS PHOTO: Daphne Blunt

How important is L.A. and its unique and diverse landscape in terms of inspiration and landscape?

I moved to L.A. because I love the landscape of L.A. Most houses, restaurants and shops are still in their original state, which means they all make fabulous places for photoshoots. My style heavily relies on the vintage aesthetic, so I am thrilled that L.A. has kept so many spots in their original layouts. I am heavily inspired by “Old Hollywood”. I feel I am always somewhere shooting with a 1960s convertible, or just below the iconic Hollywood Sign. Los Angeles holds so much history...there are so many stories that you can continue to tell here.

You have said how Lady Gaga would be your dream as-yet-unsnapped subject. If you were to commission, what would that shoot look like in terms of set and fashion?

I would love to shoot Gaga in a theatre...somewhere like the opera at Lincoln Center's stage. I’d have her in some crazy gown - something super extravagant.

IN THIS PHOTO: Jocelyn Hudson

In terms of all of the artists you have shot, who stands out as your favourite? Any highlights or favourite photos?

Ohh hard question! Probably Charlie Puth. I spent the greater half of last year with him. I shot two single art covers for him, as well as 2 months worth of content of him while we were out on the road together. I’ve shot my fair share of concerts, but to go on tour for the first time with an artist I adore and respect while taking photographs that will live on forever was very special and important to me.

I think a book of your photos would be amazing. Is that something you have considered? Maybe part-biography, part-photobook? What is next for you?

Yes! Lots of logistics go into making a book full of people you’ve photographed, which is why I’ve held off for so long. When I do finally make a book, it will be of all of my clown shoots. I’ve done just shy of 20 clowns, so maybe when I get to 100 it will be time for a proper table book!

As I allow all my interviewees, you can finish with any song you like and I will play it here. What shall we go for?

I love this! Been blasting Suzie Chapstick off the new Green Day record lately...so let’s go with that!

INTERVIEW: Erik Kase Romero

INTERVIEW:

 

Erik Kase Romero

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IT has been great…

finding out more about New Jersey native, Erik Kase Romero. An exceptional and distinct artist who cemented his reputation as one of the state’s best recording engineers and producers, Romero has also made records with some of the most incredible Indie bands to come through in recent years (including Deal Casino). An in-demand and busy talent whose discography and C.V. is one of the strongest and most varied I have seen in years, Romero has been focusing on his most personal work to date. That is his solo project. So much beauty, soul, heart and atmosphere goes into his stunning music. After releasing an E.P. in 2022 – and some well-received singles last year -, Erik Kase Romero unveils his how to be still & still be here album. His most astonishing work yet, it demonstrates phenomenal songwriting from an artist that so many people need to know about. I have been speaking to Romero about the new album, whether he thinks his native New Jersey music scene gets enough love, and what his next steps will be. I would recommend to everyone go and check out Erik Kase Romero’s…

BRILLANT new album.

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Hey Erik. Looking back at last year, what would you say were the high points and memorable moments?

This year was a pretty wild ride. I became a father, released this album that I’m super proud of, and toured the most I have since 2020… to name a few things. I’m so grateful for all of these experiences. I’d have to say the adventure into parenthood has been the most profound of all of them without a doubt.

Some people might not know your background and start. Tell us about the music scene in New Jersey and some of the artists you grew up listening to.

I sound like a broken record, but I’d have to say that I’m super grateful for my experience growing up in NJ and the opportunities the music community offered here. I started playing in bands and going to shows in the early-2000s, and New Jersey really felt like an epicenter for the Pop Punk (and adjacent genres) scene. There were always shows to go to every week, and there were so many kids starting bands in my town and surrounding area. Looking back, I think it was really easy to take for granted, but it was a huge factor in me ending up where I am today. I was also really lucky and privileged to have parents who were incredibly supportive of me following my passion for making and recording music.

“The canon of artists who’ve come out of the Garden State speaks for itself, and I’m very proud to call it my home”

Many know about other U.S. states’ music scene. Do you think New Jersey gets enough focus in terms of its local talent? What is the current scene there like?

It’s the most densely-populated state in the U.S., and it’s mostly suburban. The proximity to NYC and Philly is without a doubt a huge reason for that. So there’s a tremendous amount of people living very close together, and I think the net result as far as music goes is that there’s always a lot of young people trying to create communities and music - which is essential to a music scene in my opinion. In terms of it getting ENOUGH focus, I’m not really sure haha. In my travels, it seems a lot of Americans think of NJ as a state to drive through on the way to a major city, or that the majority of us are caricatures like Jersey Shore stars or Sopranos characters… but I think those who are really music enthusiasts know the deal. The canon of artists who’ve come out of the Garden State speaks for itself, and I’m very proud to call it my home.

At the moment, there’s a huge amount of exciting bands putting in the work here. We’ve lost a lot of venues and D.I.Y. spots over the years and of course because of the pandemic. However, it always seems that demand creates supply and the last year or, so I’ve been happy to see lots of new avenues and spaces for music popping up.

Tell me about your new album, how to be still & still be here. How does it compare to your previous E.P.s? Do you approach writing and recording an album a lot differently to an E.P.?

Being that this is my first attempt at a full album, it definitely felt different in approach than the previous E.P.s and singles I’ve released. I tried to commit to a strategy pretty early on for these songs in the hopes of getting me out of my habitual headspace of producing and recording other artists, as well as to keep myself inspired and creative. In the past, I’ve really gone deep into demoing my songs as I write them;  honestly to the point of overkill. This time, I decided to only ever arrange them as far as an acoustic guitar and vocals prior to the recording process.

Next, I got together four of my best friends/musicians/collaborators and we spent a period of time in the studio coming up with arrangements by playing live and fleshing out the energy of the songs. This part of the process was by far the most revelatory and exciting. I really felt like it brought a lot of collaboration and creativity to the process that made everything feel connected and reflective of a specific period of time.

After that, I spent about a month alone with the recordings getting into some experimental processing, vocal tracking, and small overdubs with the original live takes always living at the core. Then, me and the musicians got together for a day or two just to button everything up.

Do you have a particular favourite song from the album? Maybe one that was especially quick to write or has deep personal meaning?

Oooh, that’s tough. I think as far as songwriting goes I’m the most satisfied and proud of honest. I think it really communicates an authentic set of feelings that are very real and true about who I am. Listening back to the album I think my favorite to listen to is probably lessons, though. I just really like how it came out and how it evolves.

Maria is also a good one to note as far as personal meaning. It’s the last song I wrote for the record. And the recording on the album is a single take of one of the first times I ever played it, just sitting in my studio. I really like that it feels nascent and raw. It’s a song for my daughter.

“Every song on this record had its own unique journey to being completed”

Talk to me more about honest. I believe that is quite an important one to you…

Yea, as I said earlier, I feel like it is probably the most successful attempt I’ve had to date in representing myself. It means a lot to me. It’s not about anything singular or particular; but more about unpacking the ubiquitous struggle for identity and truth. Sometimes, personally, I find it’s the hardest to be ‘honest’ with myself… but beginning that process is the only real way to begin being honest as a practice.

In terms of your songwriting, how much comes together in the studio compared to at home? Do you have a particular routine when it comes to creating tracks?

Most of the lyrics and chord changes I had written before getting into the recording process. As detailed above, the musicians involved and me really took on the role of developing the arrangements, parts, and aesthetics in the studio. I definitely don’t have any routine when it comes to this. On the contrary, as a producer, songwriter and creative, routines and habits often lead me to the most uninspiring places. I like to switch up patterns as often as I can both to challenge myself and just to stay excited and present! Every song on this record had its own unique journey to being completed.

Also, I’m lucky enough that my home and the recording studio is a very blurry distinction. I have a studio at my house and a larger studio that I operate. And both of them are useful tools that I have access to. Most of the songs were written in my home recording studio, so it was very easy to catalog and develop ideas.

“I have more songs that I didn’t include on the album, and I’m sure I’ll write more in the coming months”

I know many in the U.K. would like to see you play live. Might you visit us at some point?

I would love to! I’ve toured a decent amount in the U.K. with other bands, but I hope that I can have an opportunity to get over there and share my own music with yall ASAP!

Maybe premature to ask, but what comes next in terms of music? When how to be still & still be here was completed, were any other songs written after that may go into a future album or E.P.?

As of right now, I’m mostly focused on touring this record and continuing to record albums for other bands and artists! I have more songs that I didn’t include on the album, and I’m sure I’ll write more in the coming months - but for now I’m just focused on this project.

Finally, can you choose any song by another artist that you admire that I can include in the piece?

Sure! I love so many artists, so it’s hard to pick any single one. The last few days, I’ve spent a lot of time listening to Jackson Browne’s Call It a Loan. It’s not one of his more popular songs, but I really love the lyrics - and it’s just been hard to stop listening to it haha. I grew up listening to his music, and it holds a really special place in my heart.

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INTERVIEW: Anna Howie

INTERVIEW:

 

Anna Howie

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I have been speaking with…

the incredible Anna Howie about her new single, Searching for Christmas. She reveals the background behind it, what it was like recording in Nashville, some of the music and artists who have inspired her, correcting and tackling gender inequality throughout the industry, and what we can expect next. The London-born artist released the terrific album, The Friday Night Club (that title reminds me of Sheryl Crow’s wonderful debut album, Tuesday Night Music Club), and it is one that I would recommend everyone checks out. It is a rich and hugely satisfying and wonderful album that I have been revisiting quite a bit. With a recent single, How to Stop Crying, building on the momentum and brilliance of Friday Night Club, I was excited to hear what Searching for Christmas had to offer. Thanks to the amazing Anna Howie for discussing her latest track with me and revealing more about her musical path and loves. It has been a pleasure speaking with an artist that…

EVERYONE should follow.

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Hi Anna. How are you? How has your week treated you?

Hi, Sam. A good week, thank you. I am currently in a campervan just outside Cardiff.

Before getting into current music, can you take me back to your earliest years. Was there a particular artist that drew you to music, or something in you that you felt needed to come out?

I've always loved stories and writing things down; so before I ever wrote a song, I would write stories about people and places. On the music side, I would have to go first to Dolly Parton as she has been a constant. Many major milestones in my life - first car, first trip away from home, first flat - all feature Dolly as a soundtrack. Allso Whitney Houston, Aretha Franklin, and more recently, I have come to love other really great storytellers: Joni Mitchell, Paul Simon, John Prine.

When did that spark first appear?

At  primary school, I was the only one in my class who would ever sing on their own - so I was always being wheeled out when no one else would do it. But it was when I was at uni that I got to sing backing vocals for a band  for the first time - ad that was it, there was no going back!

Born in London, I can hear a lot of U.S. and Country influences. How did that genre come in your life?

My dad was a Johnny Cash fan. And, for me, it was Dolly. I fell in love with the stories.

“Also, I have so many fantastic women artist friends who should be heard by as much as possible, as often as possible”

Do you think that it is a style of music that is still underrated and underplayed in this country?

Yes! But ever-growing. The festivals popping up all over the U.K. dedicated to Americana and Country music are testimony to that! But we need a new name for it, I think, the U.K. version. Lots of my songs are about London and growing up there, so it always feels strange to call it ‘Americana’.

You have previously recorded in Nashville. What was that experience like?

I really enjoyed it. It’s quick. Very different to here. The structure of the Nashville day is set up around writing and recording sessions, but I was very lucky to work with Bob Britt and a band of fantastic session musicians. It was great.

I believe you have put on all-female showcases/events and are very much about empowering other women. How important is this to you, and what was it that kindled that particular passion and desire?

It’s hard trying to make a career out of music. It’s especially hard if you are a woman. I think the statistic is just 12% of people who play festivals in the U.K. are women. I think it’s really important to try and reset the balance. Also, I have so many fantastic women artist friends who should be heard by as much as possible, as often as possible.

“Just small venues, but it was so great to get out there and meet people and share songs”

You have had big support from various stations and publications. I still think stations struggle to create gender balance and genre balance. Is this an issue you think needs to be a top priority for 2024?

Yes, always. Not just in music - in everything -, I do feel like it is shifting slowly in the right direction. The next generation (I have two daughters) won’t stand for it. Also, I think the role of men plays such an important part in the shift. We all need to work together.

Looking back on this year, what memories stick in the mind? Do you have any particular highlights?

I am really glad that you asked this question because it has made me stop and think about it! And there are lots. I did my first solo tour this year. I was nervous to go to places where people didn't know me. At a time when audiences are down. But I really enjoyed it. Just small venues, but it was so great to get out there and meet people and share songs. Also, The ARC Songwriters Tour, which is myself and Kate Ellis and My Girl the River in a writers round, has been a joy - they are both great artists, and I feel very lucky to get on stage with them, sing on their songs, and have them on mine.  Also, being one of Black Deer Festival’s Emerging Artists was great.

I could go on…but all in all a good year!

Talk to me about your new single, Searching for Christmas. How did that song come together?

I actually wrote it last year, but not in time to release it properly. It’s about a night out in London a few years ago that ended up with me  alone, crying in a well-known church off Trafalgar Square. I recorded it with my fabulous band at Saltwell Studio in Cambridgeshire. And it is produced by my ARC Songwriter Series sister, My Girl the River (a.k.a. Kris Wilkinson Hughes). Yesterday, I filmed the video, in the actual church and all around the streets of London, which was loads of fun to do. I was swigging from a wine bottle at four in the afternoon on the Tube. People kept asking if I was ok. It was only Ribena, but I could tell they weren't convinced when I told them that.

It is almost Christmas now. How will you be spending it this year?

At home and with family and friends and mince pies.

How do you usually unwind at this time of year?

The single comes out on 1st December, so there will be lots of promotion around that over the next few weeks. But when it is time to unwind, dog walks, stupid family games, and time with friends will do it

What does next year hold in store?

I am going to write a new album (there, I've said it out loud as motivation).

Might we see some tour dates or new music in 2024?

Yes. Planning a spring headline tour in March. And we have more ARC dates too.

Finally, and for being a good sport, you can select any song you like (other than your own music) and I will play it here. What shall we go with?

Sheryl Crow has just been announced as a headliner at Black Deer Festival in June, which is great. Can I have Strong Enough, which is one of my favourites of hers?

Thank you, Sam. Big love to you x

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