FEATURE: Spotlight: Liv Dawson

FEATURE:

 

Spotlight

Liv Dawson

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THERE are a lot of promising artists…

coming through the music industry at the moment. Liv Dawson is an extraordinary talent who is connecting with so many people. Some of her song-titles might put you in mind of other artists – Deep Purple (Hush); Turin Brakes (Painkiller) and Carole King (Tapestry) – but the work is all hers! Hush – released last December – is the latest song from Dawson and a slinky, sexual number.  I am reminded of the 1990s and the great R&B/Pop coming out during that time. The production is liquid-smooth and Dawson’s command and control is clear. I remember when I first encountered Liv Dawson in 2016. I was exposed to songs like Still and Reflection: even then, the talent and promise was clear. Still is smooth and casual; it has a sweetness but, above all, is that sheer ability from Dawson. The song is more Pop-natured than something like Hush: the mutation and development over the past year or so has been incredible. Reflection reminds me of U.S. artists like Christina Aguilera in terms of tone and accent – the mood and vibe reminiscent of the best from Pop music. 2017’s Searching promises those poppy beats and bouncing electronics; the instant hooks and big vocals. Seeing Dawson grow from 2016-2017 is amazing: the songwriter a little bolder and the songs more adventurous. The biggest change has been from the out-and-out Electro-Pop vibe to a young woman exploring Soul and R&B.

It is understandable Dawson came onto the scene with a desire to write Pop and produced energised, fresh songs. That is what many artists do in order to get acclaim and recognition. For her, it was about following her heart and instincts – people reacted and her music was proffered widely. Listening to something more adult and assured like Hush sees Dawson enter a new phase. She sounds sexier and more alluring; able to elicit shivers and intrigue with the simplest of touches. That relatable and familiar core remains: able to strike the listener and write songs they will understand. Each song from Dawson explores the personal and relationships; heartache and anxieties alongside seduction and passion. These are topics we can all understand and find comfort in: Dawson elevates beyond the obvious and brings the listener into her world. That world, I hope, will expand in 2018. She has just come off tour with Khalid and, if the photos and updates are to be believed; it was a blast and treasured time for her. There is a new single out next week: TALK shows the young songwriter is on a role and in love with music. I am not sure what the single is about but I am keen to review her very soon. It has been a while since I last interviewed her (2016) and there have been lots of developments since then.

2018 has already kicked off and, for Liv Dawson, there have been some great times already. I wonder whether there will be E.P. later in the year. It seems, a couple of years into her career, an album might be right. She has some great songs under her belt and the desire for an album would see her mind create new songs – match four or five new ones with the singles she has already released. You listen to Dawson and she mixes mainstream-ready Pop – with more credibility and talent – with sensuous, rich R&B. She bridges the girl-groups and icons of the 1990s with the best of the modern day. I have been following modern-day idols like Dua Lipa and seeing why they are being celebrated. Dua Lipa, to me, is a bit too moody – it seems to be her persona – and the songwriter too samey and mass-produced. She has just scooped a couple of BRIT Awards: a bigger talent like Liv Dawson deserves more acclaim and exposure. One of the reasons Dawson will have to work harder is the fact she is real and human. That might sound like a shot at Pop artists like Dua Lipa – who are all about commercialism and do not reveal much of themselves – but it is a bigger compliment to Dawson. In an age where fake and plastic artists still have too much say: Dawson is a proper woman who connects with her fans and wants to remain grounded.

She is obviously stunning, but her natural looks and appeal are second to her immense talent as a songwriter/performer. Her fans follow her because she lets them in and ensures there are no lies. A lot of stars are shrouded in mystery or controlled by the record label. They have to carefully think about everything they post on social media and are incredibly measured. Dawson is someone who values honesty and wants to come across as a natural and unspoiled musician. This year will be the biggest one for the London-based artist. She has to entertain the fact there will be festival dates and the hot summer will welcome her in – loads of gigs and chances to get the people dancing! London is hospitable when it comes to artists and, because of that, Dawson will have ample chance to get her new music out there. I feel international dates are the next step. She has come off the support slot with Khalid: going solo and having her own international tour is only a matter of time. Not only is Liv Dawson a talented artist who creates a mix of mystery and appreciation: her personality captivates and welcomes you in. One can imagine going for a drink with her and slopping out by the T.V. watching a box-set. She would make a perfect travel companion and one would easily open up and chat about music for hours.

She is very striking but not too intimidating; ever-friendly and warm and, at a time when we need strong artists to lead the way; an empowered and gutsy female artist who will headline a festival before long. There is sexism rife and rampant in the industry right now. The best female artists are being overlooked and treated unequally. Liv Dawson and her peers are fighting back and create incredible music. The door is open for her and, in a short time, she has managed to create a huge fanbase and capture the critics. That will all get better and bigger as we move through the year. I know Pop music is changing its course and nature. The best artists are producing a more rounded and adult sound; the songwriting is deeper and richer – the overall sound is, perhaps, more introverted and personal. Liv Dawson is keen to put her soul onto the page but never wants to drag the listener down. Her goal is to win as many people as possible and get her music as far and wide – inspire other people and compel them to take up music. It is amazing how far Dawson has come since her earliest day. She gets more confident and passionate by the month, it seems. If this trajectory continues then there is every possibility Liv Dawson will be a mainstream success…

BEFORE you know it.

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Follow Liv Dawson

Official:

http://www.livdawson.com/

Facebook:

https://www.facebook.com/LivDawsonMusic/

Twitter:

https://twitter.com/livdawsonmusic

Spotify:

https://open.spotify.com/artist/7i8fq2gFSVgPdWVXOlDEx7

Instagram:

https://www.instagram.com/livdawsonmusic/

YouTube:

https://www.youtube.com/user/LivDawsonVEVO

FEATURE: The Best Original Song Playlist: An Oscars Special

FEATURE:

 

The Best Original Song Playlist

 IMAGE CREDIT: @90AcademyAwards 

An Oscars Special

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TONIGHT is a night when Hollywood’s very best…

PHOTO CREDIT: Unsplash

get out their frocks and tuxedos and take to the red carpet. All eyes will be on the nominations for Best Picture and Lead Actress – which can be discussed on non-music blogs – and which stars defy the odds and scoop the biggest awards. The Best Original Song category is one of the lesser awards that, doubtless, deserve kudos and attention. Over the years, there have been some unwise choices and undeserved winners: Sam Smith’s Writing’s on the Wall (Spectre) and Phil Collins’ You’ll Be in My Heart (Tarzan). In the Original Score/Best Original Score category; there is hot competition indeed! Hans Zimmer’s Dunkirk sits with Jonny Greenwood’s Phantom Thread; John Williams and Carter Burwell are also nominated – for Star Wars: The Last Jedi and Three Billboards Outside Ebbing, Missouri. This year’s Best Original Song finds Mighty River (Mary J. Blige) take on Sufjan Stevens’ Mystery of Love; Remember Me, Stand Up for Something and This Is Me makes up the remain nominees.

Each song is wonderful and adds something incredible to the film. Mary J. Blige’s contribution to Mudbound resonated – the same goes for the other artists listed in the category. Whilst eyes are on all the major categories and hotly-tipped films; spare a thought for those minor categories and the wonderful artists and composers who will not win the same acclaim and attention on the night. In honour of a rather varied and exciting Best Original Song list; I have collated some of the best winners from the glittering and exhilarating…

ACADEMY Awards.

FEATURE: The Musician As a Brand: Should There Be a Limit?

FEATURE:

 

The Musician As a Brand

 PHOTO CREDIT: Unsplash

Should There Be a Limit?

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FROM time to time…

IMAGE CREDIT: Getty Images

I scour the online pages of The Guardian for inspiration - I saw an interesting feature that was published there recently. The horrifying news stared out at me: George Ezra has his own podcast! I won’t bore you with the details – I am sure he will do that on his own – but there are some worrying facts coming out. It is called, in a nod to Shakespeare and Kafka I am sure, George Ezra & Friends; it features contributions from such heavyweights as Ed Sheeran and Rag ‘n’ Bone Man. It is understandable one young songwriter would talk to similar musicians in order to get their perspective on the industry: guidance to those who want to emulate their idols and see what they went through. Shocking revelations from the series include Ed Sheeran busking and dodging showers; Rag ‘n’ Bone Man struggling to get musician friends to return his calls and strangling a Doberman in a Tesco carpark for peeing on his Subaru (the is a lie: it would have added much-needed spice to the podcast). I am sure things will get spicier regards George Ezra & Friends – but I am not holding my breath. I wouldn’t object to the idea of a musician podcast were there anything different and interesting. One might not expect George Ezra to match knuckles with Liam Gallagher or get Lady Gaga a little pissed. It is a rather vanilla and forgettable series that interviews musicians whose stories and anecdotes have already been expressed in millions of ways on countless radio shows.

IMAGE CREDIT: Getty Images

Jessie Ware had a successful podcast in 2017: Will Young’s podcast, Homo Sapiens, is still going. There are those who argue (these podcasts) provide relief and detachment from the pre-planned scripts of the record labels. The artist is not bound by a radio show and a certain way of speaking – they get to be a normal person and add a new dimension to their bow. Podcasts are becoming ever-popular and it seems you are not somebody until you have one. I can only imagine it is a matter of time before Rihanna has her own; maybe a warts-and-all symposium from James Blake? I have mentioned one name, Liam Gallagher, who would actually bring something good to the podcast! You couldn’t broadcast it live – anyone sharp enough to bleep the expletives that fast should have their fingers insured! – but a one-off podcast from Gallagher, where he shares his taste in music and interviews a guest, would be appealing. It is the one-off notion that appeals more to me. If the idea of George Ezra chatting to hirsute and unwashed musicians is enough to peel the skin from your testicles – avoidance, luckily, is easier than commitment! I like Ezra’s music and feel he offers something interesting to the music industry. It is the bland and ready-for-Starbucks nature of music that irks me.

Turning musicians into a ‘star’ is nothing new. Everyone from Britney Spears and J. Lo have launched their own perfumes (and advertised other perfume brands(: Madonna, Kanye West and Rihanna (among others) have their own clothing lines. Throw in the number of artists who have promoted various headphones (Pharrell Williams and will.i.am) – the list goes on and on. There is a difference between commercials and other brands and the artist setting up their own lines. It is a tricky argument to settle. On the one hand; artists can influence people and raise money for causes; get their music out there in different forms and create their own identity. I feel a lot of musicians want that freedom from the label and a chance to be who they really are. I have mentioned will.i.am: he is hugely into technology and has innovated and invented breakthrough products. I guess he sees himself more a businessman and inventor – among other things. The thing I have an issue with is musicians feeling they need to spread themselves thinly and get involved in every avenue possible. Hollywood and the film industry is different but that is different: I expect commercialism and endless product placements there. Music is turning more and more into an advertising channel! How long before the aforementioned Rag ‘n’ Bone Man brings us the unique scent of wet cat?! A special aftershave, Scratch!, is not as far-fetched as you’d think.

IN THIS PHOTO: Rag 'n' Bone Man (the new face of Scratch!, perhaps?)/PHOTO CREDIT: Getty Images

I wonder why artists need to sell products and cheapen themselves. I’m sure the money is good but I find myself annoyed by artists who sell products. If you believe in something then you can say it on social media: why go on T.V. and film and create a nauseating advert?! Podcasts are different but, again; do musicians add anything special and worthwhile? I feel it is a move towards celebrity and creating a ‘brand’. There might be some good podcasts from musicians but I feel, if you are going that way; it is important adding something inspiring and challenging. There is a lot of scope for a musician to create something great and progressive in a podcast: the fact most do not is a wasted opportunity. Maybe combining interviews and live performances with personal insight; some charity angle or discussion about deeper issues – a varied show that would genuinely bring people in. The latest step from George Ezra leaves me wondering what his motives and objectives are. I cannot imagine too many will tune in to hear what Ed Sheeran has to say about his early life and touring – he has done Desert Island Discs and numerous interviews. Whilst podcasts are more successful in the hands of other people: I feel the musician can do a lot of good if they look beyond being famous and creating their own brand.

Selling headphones, technology and aftershave is not going to do a lot of good for anyone – except for the wallets of the artists involved. I get fed up seeing any celebrity advertising anything: having a musician linking their name with anything unconnected with their own music is egregious. It is hard earning money in the business - but I wonder whether cheapening yourself is the best way of solving the issue. Musicians have an important voice and, in these times, that is best served tackling issues and conflicts that are evident. Rather than link with brands and get your face everywhere possible: create a podcast or show that puts issues at the forefront; promote and back a product/service that is worthwhile and important. Streaming and the Internet makes it easier than ever to get your music and words anywhere you want. I hope things change so there is less of a lure regards advertising and needless podcasts. I have never been a fan of musicians establishing their own fashion labels and anything unconnected with music. Some would argue this entrepreneurial spirit is inspiring for youngsters: they will see their favourite star being successful in the business world and that will compel them to do likewise. I see that but raise you this: it means nothing if the music itself is not strong.

PHOTO CREDIT: Unsplash

I am not against musicians being varied and ambitious. My problems arise when their endeavours contribute very little to the world. If the motive is indulgence and money then it sends out a bad message to fans and others. There are so many causes that need voices; nations and communities that could benefit from the voice and image of a musician. Podcasts are an avenue that would benefit from something more fun, intelligent and original. I am sure there is a lot of fun to be had listening to your favourite musician chatting with other artists about their upbringing and rise to success. We are in a year where musicians can genuinely change things and use their status to affect some real improvement. Hearing boring podcasts and watching artists flog tacky brands is not what we need now – or have ever needed. The notion of ‘the musician as a brand’ is one that divides opinion and creates some interesting arguments. Commercialism and musician-endorsed activities have been happening for decades now: it has not necessarily increased with the advent of the Internet. There is a lot of good to be done out there: our best artists have the opportunity to inspire future generations in areas unrelated to…whatever modern artists feel they are doing. It is okay if you have a fashion label or perfume – we do not need to see generations idolise that! Scarp the dull chin-wags between musicians and limit those who lend their faces to all manner of terrible products. Instead; create a fantastic brand that sees musicians, new and established, support change and kickstart innovation – and create podcasts/broadcasts that challenge the mind in addition to entertaining it. The latest nightmare podcast, George Ezra & Friends, is fluffy and disposal – a throwaway contribution that adds nothing of much value. It should be a lesson to artists that they should use their power and position to add something positive to the world…

RATHER than waste a lot of time.

FEATURE: Remixologists: Taking a Great Song and Making It Better

FEATURE:

 

Remixologists

 ALL PHOTOS (unless credited otherwise): Unsplash 

Taking a Great Song and Making It Better

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I have been getting involved with music from the 1980s/1990s…

and bonding with artists I first encountered when I was younger. I was thinking about Arrested Development and the song, People Everyday. The ‘original’ – their cut of it – appeared on their debut album, 3 Years, 5 Months and 2 Days in the Life Of… and was a huge smash. The version on the album is different to the one I remember fondly: the Metamorphosis Mix. That version is slicker, faster and more thrilling! It is catchier and more enduring: completely reinterpreting the one that appears on the 1992 album – the version, I feel, people prefer. One can argue a remix is only good because of the original material: the same way a cover version cannot succeed were it not for the source from which it was inspired. I take that but my argument remains true: a great remix can elevate a song and endure it succeed decades later. That song is one example of a great reimagining. Black Box’s Ride on Time is another classic song from the 1980s. We remember that big, bold version that features the version of Heather Small. That is the ‘U.K. Mix’ - and replaces the Loleatta Holloway vocal. Remixing has been a part of music for a long time and, when done right, can add a new spin to a song. It was more common in the underground in 1980s and 1990s – there were chart songs remixed; not quite as prolific as later years – but it is interesting seeing how the artform has evolved and the best examples out there.

D.J.s and producers like Norman Cook (Fatboy Slim) have taken songs like King of Snake (Underworld) and added his own say on the song. It is Cook’s input on Brimful of Asha that stands in my mind. The Cornershop original is on their album, When I Was Born for the 7th Time, and was a minor success. It was a slower and more ‘traditional – from an Asian band – cut of the song. By the time Norman Cook got to it; it became a huge hit in 1998. Cook’s techniques and expertise gave the song a crozier, energetic quality the original lacked. One can see that remix as one of the best of the lot. It helped bring that song to the masses and, with it, renewed interest in the album. Norman Cook is a prolific remixer – someone who knows how to take a great song and make it world-class. Some epic remixes of 2017 include Chromeo’s take on Green Light (Lorde); Kendrick Lamar's talents on Mask Off (Future); Soulwax’s take on Charlotte Gainsbourg’s Deadly Valentine – the list goes on. Throw in some classics like Armand’s Dark Garage Mix (1996) of Sneaker Pimps’ Spin Spin Sugar; Ben Liebrand Rough ‘N Ready Mix of Ram Jam’s Black Betty (1989); Eric B & Rakim’s Paid in Full (Seven Minutes of Madness – The Coldcut Remix) and the Andrew Weatherall Mix of My Blood Valentine’s Soon. Toss in the Professional Widow remix from Armand’s Star Trunk Funkin’ and The xx’s take on Florence + The Machine’s (cover of) You’ve Got the Love – so many to choose from!

I have not even mentioned Portishead remixing Paul Weller’s Wild Wood; DFA taking in M.I.A.’s Paper Planes; the Dave Angel Nightmare Mix of Eurythmics’ Sweet Dreams; Todd Terry owning Everything But the Girl’s Missing…and so forth. I am seeing a lot of new artists have their songs remixed by a range of producers and D.J.s. Some will release an E.P. of remixes – taking from their catalogue and having others rework their music. It can be fascinating seeing what others do and what direction they take songs in. Not only might one hear a Folk song given Jazz or Latin edges; a Pop song made to sound grittier and more dangerous – it can get the music to a larger audience and a new crowd. Clubs are open to pretty much anything and it is a great chance for D.J.s to spin something to catch club-goers out. I have heard about modern artists make their way to clubs through the medium of the remix. It is not only modern songs being remixed and making their way into new settings. Stone-cold epics like Marvin Gaye’s Sexual Healing (by Kygo) have been remixed; The Doors’ Riders on the Storm (Infected Mushroom Remix) have been redone; Aerosmith’s Dream On has been remixed by GRiz – The Rolling Stones’ Gimme Shelter has been remixed by Zeds Dead.

There is endless scope for talented producers, artists and D.J.s to take something older and make it sound new. Whether that is a song from The Beatles or Toni Braxton’s You’re Makin’ Me High – there is so much to work with! One of the reasons I love a remix is because it is almost like a new song. Most of the ones I encounter are Electronic/Club versions of tracks: something a little more intense or, perhaps, moodier than the original. You forget about the original song, for a minute, and it is a completely new experience. As we have seen with remixes of Brimful of Asha and People Everyday – it takes a well-known song from the basement and turns into a huge hit! Those who dislike music from the 1980s, for instance, might learn to love it if songs were given a remix. That might sound like cheating but adding a modern spin on older sounds can ensure it survives and inspires. Many are reluctant to dip further back into the annals of music: the assumption is it’s a bit crusty and irrelevant. If a hotshot sees a new perspective and potential then, before you know it, they have added shine and new direction to that song. That updating and reimagining gets people interested and looking at the music in a new light. There is no denying you can make a song worse by remixing it. I shall not mention failed attempts but they are there – it is not that easy taking a fantastic song, adding your own voice and ensuring it remains appealing.

PHOTO CREDIT: Getty Images

Getting music to as many people as possible is vital – remixing is a way of doing this. I feel there is a lot happening in the current time: so many artists have their tracks reworked and love the results. To my mind, there is a gap in the market: going back and reworking older songs. Maybe there is not enough currency in that; people feel there is a lack of appeal and need right now – maybe, a wasted venture and commercial gamble. I know there are bands are artists whose music either sounds dated or ignored. If someone were to come along and spend time on that work…perhaps it could gain a new lease and be a big hit. There are ample ventures and possibilities for any song. I listen to classic club songs like Back to Life (Soul II Soul and Caron Wheeler) and can hear a mix of old and new. That song came out in the late-1980s but, in a way, it sounds right up-to-date and fresh. Perhaps we could witness a similarly behemoth song come along now: take a promising song from yesteryear and give it a modern spit. It is exciting to think what could happen if busy and curious minds dipped back into music’s past. I love a remix and know it can take a song somewhere really special. It happens a lot in the current climate but, perhaps, not as often as one would hope! I guess artists are nervous seeing their song put in other people’s hands; maybe they want to keep it pure and straight. I am not sure but my advice would be this: take a gamble and you will be amazed! As we have seen, looking back at music’s past; a wonderful remix can take a good or great song and make it…

SOMETHING beyond the realms of simple imagination.

FEATURE: Reach Out… Bringing Music to a Wider Demographic

FEATURE:

 

Reach Out…

 ALL PHOTOS: Unsplash 

Bringing Music to a Wider Demographic

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THE infamous Storm Emma has brought…

chaos and disruption to the U.K. over the past few days. I live in the South and, although it has been alright where I am; the slightest flicker of snow and we descend into helpless pigeons - the much-mentioned 'Beast from the East' sunk his teeth in! We have never been good at coping with the weather: any time adverse conditions arise; the nation loses the plot and it is incredibly difficult to get around. I guess we are not used to the sort of deep and relentless snow the country saw this week. It has passed now and, whilst parts of the U.K. clean up (others are still stranded), it made me think about music and transportation. Many artists took to social media to explain how they were unable to get to gigs and move around. Whether travelling by train, car or bus; it was a hard task getting anywhere local – let alone gigs further up the country. The worst has passed but the past few days have highlighted some problems that affect the music industry. Bad weather is not an all-year-round issue but it is getting harder for artists to survive and prosper if gigs have to be cancelled. I know there is no way we can control the weather but, given heavy snow will curtail gigs and create problems for artists out there; should we think about alternative ways of bringing music to the people?

I am not sure how many artists managed to get to gigs this week but it seems many were cancelled or rescheduled. They rely on public transport, and so, when that is thwarted by the weather – what are they going to do to get around the problem?! The only way to avoid delays and the sort of inconvenience we have seen is to tackle the weather in more pragmatic ways. We know snow and flooding (or whatever) will slow the country down – so why has the Government not taken measures to get the roads cleared and people on the go?! There has been huge frustration emerging from the fact we have all been less mobile than we are used to. Streaming sites like Spotify are growing and getting larger by the day. I have explored the possibility of making video streaming and gigs more prevalent. Facebook Live makes it possible for artists to broadcast live and reach millions. I have found problems with the platform and wonder if it is as stable and slick as it should be. I have watched videos where the connection cuts and the sound are not great. It can be hard getting a great and fulfilling experience that way. With aspects like weather affected so many people and causing havoc; should we look at other methods for artists to get to their fans? I will mention another element of society (more, in fact) who suffer mobility issues. When we are faced with storms and challenging conditions; it thwarts the best-willing out there and throws a spanner in the works!

I am not sure about the logistics and technology involved but, when looking at the virtual capabilities around; one would imagine creating a slick and all-encompassing service would be possible. When rolling this out, you have to consider how utilitarian it needs to be. I am thinking about those who cannot get to venues or gigs; artists marooned and playing solo to those watching at home – others who cannot make it to gigs for reasons other than the weather. Even in someone’s home; making sure the sound and video quality is top-notch is a major consideration. Combining the services of YouTube and Spotify, perhaps, it could be a free service which would make it possible for anyone unable to get to a gig to see the artist from their home. I know YouTube allows you to broadcast live; Facebook has a service and I am sure, somewhere out there, a similar idea exists. The drawbacks extend beyond sound and video quality: it is the way they are marketed and the flexibility of the concept. There are debates around gigs/costs and how much people should pay to see a top artist – I would like to see an idea that extends to larger concerts and makes it possible for anyone, anywhere to see any artist they like. There would have to be a negotiation and discussion regards cost – you cannot expect someone to watch a Radiohead concert free at home whilst others pay to see it live – but that would be something to negotiate.

There are new artists who rely on gigs and revenue so, with the weather scuppering plans; there needs to be fall-back and recourse. Those bands/artists who have to trudge up the country and spent money reaching people should not have to suffer because of the bad weather. If they were able to convene somewhere safe and broadcast from a space; broadcast over the Internet and provide as clear and cinematic performance as possible – that would open doors and give options when the harsh weather strikes. I said I would mention other factions into this piece. It is not only bad weather that impacts musicians and causes disappointment. I feel we have this image of older people being confined to home and having no interest in music. That jaded and cliché viewpoint of the older human remains: they will tell stories of the past and are more comfortable around the T.V. or listening to BBC Radio 4. I can bet you, if you open their ears to what is out there; they would be more engaged and connected with the outside world. Mobility, cost and convenience affect them more than most people. I know there are artists they want to see and, if you look at it; there are modern acts, they might not be aware of, they’d take a fancy to. The fact their pensions do not stretch to a gig ticket is a disability.

They are less agile and mobile; health issues restrict their movements more - and it can be hard to integrate in spaces usually filled with younger bodies. The social aspect of a streaming service would mean, through text or video; fans of all ages can interact mid-song or after the gig. This service could be connected to a T.V. so you would watch a gig on a larger screen. I would be up for that and, whilst I am able to get around without constriction; my busy working life means I am not able to travel and get out as much as I would like. The elderly are often confined to the home and miss out on music a lot. The radio is a source they can get into all sorts of sounds – it does not give them the sensation of a gig, though. The same is true of the disabled. There are schemes that allow them transportation to gigs and, when there, access and seating. Many are unable to leave home and do not even have the ability to travel. I am sure there are even more people in society who yearn to see live music but are limited for one reason or another. I realised a televised broadcast is not the same as actually being there and experiencing the natural environment. Maybe there are affordable ways of doing this but, for now, I am thinking about musicians and those who want to see gigs.

So, then: what of the solution and making it easier for people and musicians to connect? You might say a fix-all initiative would render venues useless altogether – as you could see any gig from your home. This is not a Netflix for lazy music listeners: this is a way of allowing artists unable to travel a way of broadcasting/earning; those less able and mobile a chance to see music. The fact there are tremendous new artists looking to expand their fanbase means connecting the elderly/disabled with their existing audience is a great thing. Music should not exclude and does not go out of its way to do so – it is hampered by various factors and not as connected as it should be. Britain is never good when it comes to preparing for the worst. The heroics of some people this week – defying the snow and helping others – is humbling. The bad weather seems to bring something great from the people. I did think, when seeing social media stories of artists stranded and frustrated; how we could fix the matter and provide options when all other avenues have been exhausted. It is about making music more accessible and putting less pressure on artists who need to get around.

The way to inspire change is to look at what we have at our disposal and how to best utilise it. I know there are streaming sites and video broadcasting: expanding that and making it affordable to broadcast into people’s homes would be a good way of bringing music to people who, normally, would miss out. Some might say this choice and option would mean fewer people going to see gigs. I would argue the reverse: it would bring new artists to foreign eyes and, when they see what they can do live; there is that temptation to come out and see them. The worst of the weather has passed but, as we look ahead; what do we do the next time the country is ravished by the weather?! It may only be a few days but it can cause a lot of damage and problems. Making sure older people and those with disabilities are not overlooked is vital, too. I do hope there is a common solution because, as this week has shown; we do struggle when things turn bad. Whilst children and office workers have revelled at the chance to take a day or two off: others, who cannot afford to take that time off have felt the pinch. Affecting a safety net and solution would ease the burden – for musicians and fans – and, in the process, open the music world up to people who, normally…

MISS out on such treats!

FEATURE: Regular Einstein: Is It Possible to Reinvent the Musical Wheel?

FEATURE:

 

Regular Einstein

 ALL PHOTOS (unless credited otherwise): Unsplash

Is It Possible to Reinvent the Musical Wheel?

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MANY people look out at the world and want to find…

something extraordinary and unexpected. Those who love music are constantly searching and questioning; looking around for awesome new sounds and untapped treasures. Every week that goes by promises a fantastic new band or artist. I am always interesting when my senses are taken by surprise and my mind is altered. I often listen back to older music to see how certain artists changed the face of the industry and pushed it forward. Back in the 1960s, for instance, it was easier to reinvent and compel. Genres came to light and artists were taking advantage of new possibilities. The more time has gone on, the harder it has become to genuinely create explosion and revolution. In 2018; how many of us can imagine artists coming along that create their own genres?! Maybe there are various movements and sub-genres here and there: it seems impossible music will be shaken to its foundations by a blast of genius. That is not the fault of artists: the busier music gets; the harder it is to be recognised and craft something unique. I think back to Rock ‘n’ Roll pioneers and the birth of Punk; the mutation of Pop and a time when Grime came about. One could argue the last genuine wave and reinvention came during the 1990s – around the Britpop time, perhaps. I have been investigating music and what has come since then.

One can claim there has been nothing on the scale of Punk music but, if we think about it; there are lots of movements and options available out there. Genres like Pop are having other sounds spliced to them. Newcomers are taking a rather popular sound and splicing in something like Punk and Acid-House to make it sound new and alive. Folk is an area of music always being updated and changed: from harmony-laden acts such as Fleet Foxes to simpler artists who prefer to keep things since and rustic. Bright and inventive bands like Superorganism are cutting up sounds and effects and putting it into the music; songwriters like Nicole Atkins reinventing heartache and desire with her incredible instincts; IDLES bringing in some 1970s Punk with plenty of modern spit and swagger. It is encouraging seeing new artists emerge who do not copy everything out there and not add their own voice. In a larger sense, I am thinking about what the breakthroughs did to the music industry as a whole. If you take a cliché like The Beatles – as good as any to back up an argument – and they changed Pop and took it to new heights. Maybe they did not invent their own genre but, in the sense they blended other genres into their own sound and, thus, created something new – they were celebrated and highlighted by stunned critics.

IN THIS PHOTO: Fleet Foxes/PHOTO CREDIT: Getty Images

In the early-1960s, when the band came about; they showed what was possible in music and where it could be taken. The excitement and fever were palpable. Other bands followed in their wake and existing acts like The Rolling Stones and The Beach Boys, in various ways, took guidance from The Beatles. The boys pushed the limits of the studio and, over fifty years after their most-accomplished albums hit the shelves; modern acts are still taking elements from the legendary band. I look forward to Dance and Pop of the 1980s and 1990s. The biggest artists of the day were working in existing genres but brought so much of their own personality into the pot. I think about icons like Madonna and The Smiths in the 1980s; the various British bands of the 1990s who gave music that passion and hope – uniting the people and daring to dream. I have spoken about invention and originality in many other pieces: every passing month makes me wonder whether anything seismic and paradigm-shifting could occur. I, too, often talk of nostalgia and why many of us look back so often. It is not only the connection to memories and times past but the fact something new happened. Grunge sort of started in the 1980s and hit its peak in the 1990s. Grunge helped usher in new American guitar music and that, in turn, fed into Pop music and assisted in a sort of revival and change.

Hop through to the birth of British Hip-Hop and Grime; the geniuses of U.S. Rap and the Pop idols like Beyoncé whose iconography and awesome talent inspired countless artists. It is not only, as I said, the music that changed things: new scenes were born and, when looking at those icons whose aura and personality spoke as loudly as the music – that got into people’s heads and remained in the mind. Music is in great shape now but it is more synonymous with variation and depth as it is groundbreaking sounds and new genres. One could look at music and ask what could come along. What would a new genre consist?! It is exciting to ponder but impossible to imagine. New artists are uniting various genres and sounds, which is great, but it does not really lead to anything new and fresh. I am always excited seeing hungry bands and agile artists lay down their marker and fashion wonderful music. We are at a point in time where there is too much choice and endless options for music listeners! Maybe the sheer volume and size mean it is harder to find space to break ground at all. That seems like a shame because, as I see it; music needs a new wave and excitement it is lacking.

A lot of the best musical inventions came about following social pressure and the need for change. Bands were articulating the desires of the people; artists angered and alienated – music was their way of transforming that confusion and isolation into something productive and incredible. It does not need to be the birth of a new genre at all: maybe a movement like Britpop or something that brings musicians together. I worry the rise in musicians and the openness of the market means there is too much out there to get your head around. This weekend; I will talk about Spotify and the fact it is growing in stature and value. Artists are a big reason for that and have helped turn it into an invaluable fountain for music lovers. The industry is as accessible and wide-ranging as ever which means there is a broader spectrum and narrower margins. I am a big fan of lots of new artists but none of them has helped bring about a revolution. My standards and expectations are high but I wondered whether it is such an impossible possibility?! Most genres have been covered, so the likelihood of artists inventing a completely new sound seems far-fetched. Look out at music and pretty much every genres and sub-genre has been mixed and stirred in every possible form and way. Perhaps the new genre/sound would marry Jazz with Grunge; perhaps a new mutation of Hip-Hop. It seems hard to verbalise and realise what that sound would consist.

There is that need for transformation and an utterly exciting breakthrough. I think guitars will play a part and see a mixture of Television-style songwriting and the drama of Britpop; marry in some 1960s/1970s girl groups and Pop of the 1960s. That might seem like an odd concoction but I hear flickers of ideas and sounds that strike my mind. I feel music needs something to come along that gets people talking and begins its own scene. There is emphasis on originality and promoting artists who stray away from the mainstream. I still think there is too much negativity and problems shrouding all the good out there. A shared desire for unification and unpredictability can be felt. I do appreciate new music but am concerned I look back so often. The joy of remembering new genes form and majestic moments come through the speaker seems like a thing of the past. The industry has changed and there are new demands and tastes. Perhaps there is a greater need for volume and choice as opposed instigating a massive movement. I think it is hard to think of a totally new genre but it is possible to do something different and cause immense excitement. There are a lot of cobwebs and barriers in place at the moment so, if we can address them and overcome them; maybe that will free up the way for artists to make their move. Maybe it will not come at all, though. I feel there is something missing at the moment that needs a proactive response and lot of thought. Music is great how it is but it could be so much bigger, finer and inspiring. Every new genre and movement in musical history has led to change and transformed music in some way. I cannot wait to see who might take up the mantle and run with it. I am not sure the exact form the reinvention will take but when it happens, I am adamant, it will…

MAKE a huge impression that will last for years.

FEATURE: The March Playlist: Vol.1: Black and White Town

FEATURE:

 

The March Playlist

 IN THIS PHOTO: Jack White 

Vol.1: Black and White Town

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THE singles are rolling in from Jack White…

IN THIS PHOTO: Anna von Hausswolff/PHOTO CREDIT: Gianluca Grasselli

and, with every new cut, he seems to get bigger and more intense! I am usually against artists who unveil a series of singles before an album: let’s hope there is more in the intrigue-tank before White’s L.P., Boarding House Reach, arrives in a bit. Alongside Jack White’s new single are songs from Alma and Blossoms; Unknown Mortal Orchestra and Cabbage; Ellie Goulding, Moby and Anna von Hausswolff.

In addition to those big releases; there are tunes from the underground and lesser-heard artists; some cool cuts that will get into the head; the brilliant and innovative from the underground - guaranteed to banish the cold and inconvenience of the relentless snow!

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Jack White – Over and Over and Over

Tom Misch (ft. De La Soul) – It Runs Through Me

Unknown Mortal Orchestra – Not in Love We’re Just High

Alma – Legend

Blossoms – I Can’t Stand It

Cabbage – Preach to the Converted

The Hunna – Y.D.W.I.W.M.

Soccer Mommy – Last Girl

Chris Cornell – You Never Knew My Mind

Tracey Thorn, Shura - Air

Chvrches (ft. Matt Berninger) – My Enemy

Dinosaur Jr. – Hold Unknown

Everything Everything – The Mariana

George Ezra – Pretty Shining People

Moss Kena – You Don’t Know

Little Dragon – Best Friends

Dave – Hangman

PHOTO CREDIT: Pooneh Ghana

Lucy Dacus – Nonbeliever

Meghan Trainor – No Excuses

Findlay Brown – When the Lights Go Out

MNEK – Tongue

The Vaccines – Put It on a T-Shirt

Ellie Goulding – Vincent

Andrew W.K. – The Party Never Dies

Young Fathers – Toy

Aisha Badru – Fossil Fuels

 

PHOTO CREDIT: Daniel Alexander Harris

Fickle Friends – Wake Me Up

Anna Von Hausswolff – The Marble Eye

The Breeders – All Nerve

PHOTO CREDIT: J. Konrad Schmidt

Sam Vance-Law – Wanted To

Gorgon City – Motorola

Flo Rida – Dancer

Gwenno – Hunros

IMAGE CREDIT: John Laux 

Superorganism – The Prawn Song

Blakey, JONES – Prism of Love

Etherwood - Climbing

Little Comets – M62

Samantha Harvey – Never Dance Again

Moby – The Tired and the Hurt

PHOTO CREDIT: Kanya

Amber Mark – Love Me Right

FEATURE: 10,000 Hours and Counting… Work, Passion and Ambition: The Playlist

FEATURE:

 

10,000 Hours and Counting…

Work, Passion and Ambition: The Playlist

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THEY say you need to put 10,000 hours of work/practise into something…

in order to become world-class. Whether that is music or literature; producing, art or anything else – that seems to be the amount of time it will take to achieve ‘perfection’. The 10,000-rule seems arbitrary - but many hold stock in the theory. I have been running my blog since 2011 and I have calculated, since then, I have completed my 10,000 hours. Whether that is writing or researching; working on various ideas and whatever – I have reached that goal. It is debatable whether I am world-class (I feel I have a long way to go) but it is interesting looking back at all the time I have spent on my blog. Because of this; I have collated songs that talk about writing and music; working hard and reaching out; moving forward and achieving dreams – some that look at the pitfalls of music and writing in general. Here is a playlist that, not only spotlights graft and a passion for music but provides a rich variety of songs…

TO end the weekend on a high.

FEATURE: Two Eyes Blind: Why Amanda Platell’s Remarks Regarding Stormzy Are Flawed

FEATURE:

 

Two Eyes Blind

IN THIS PHOTO: Stormzy/PHOTO CREDIT: Getty Images

Why Amanda Platell’s Remarks Regarding Stormzy Are Flawed

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THERE has been a bit of a storm brewing regarding…

IN THIS PHOTO: Amanda Platell/PHOTO CREDIT: Dave Thompson (2013)

Amanda Platell’s article about Stormzy. I was going to mention racism and race-based judgement in the title but felt, for legal reasons, it was best to avoid that terminology. If you have not read the feature already, then you should give it a read. I am not prone to reading Daily Mail’s online opinions – I would sooner have my pubic hairs waxed off! – but this piece got my goat and sparked something. Criticising the website for displaying something factually-flawed and ignorant would be like slagging off a Donald Trump for being an egomaniacal A-Hole: we know what we are in for and are not foolish enough to believe things will change. The site/paper is famed for its sheer stupidity, panic and hate-spreading agendas (maybe this is more libellous than anything else I will write!). I associate the readership of the Daily Mail with Tory-voting middle-classes that want everything the way it is: keep out those nasty foreign people and praise everything P.M. Theresa May says. They are in their own little bubble and, so long as the world is in their image and beneficial to them – everyone else is an enemy and worthless. There are exceptions to the rule but, for the most part, their readership is as slack-jawed and pointless as you’ll get.

The latest much-rake from Amanda Platell is aimed at Stormzy and his comments at this year’s Brit Awards. Despite the fact he was the best thing about the night – aside from some near-the-post saves and dives from host Jack Whitehall – he spoke truth and articulated the feelings of many of us in the U.K. I am not accusing Platell of racism although I am pretty sure, were a white artist like Ed Sheeran to make such remarks – she would not take to her laptop and accuse him of being a tax-dodging, over-privilege hypocrite. The article started by laying out some of the facts – looking at his family and what he achieved at the Brit Awards:

“Mum emigrated from Ghana to Britain in the hope of giving herself and her family a better life. And she succeeded. On Wednesday her son — now known as grime rapper Stormzy — won two top gongs, for best British male solo artist and best album at the Brit Awards for pop music”.

Despite the fact her grammar and punctuation are flawed: she went on to state some ignorant and strange opinions:

“If ever there were proof that whatever your background, this is a country that provides opportunities, Stormzy is it. He is a formidable talent. Accepting his awards he thanked God, his family — and then proceeded to attack the Tory Government”.

It is true Stormzy has overcome the odds and made a great life for himself: that final insinuation he should be thankful for the Tory government and has no real right to attack anyone is laughable. As I said earlier in the article: if this were a white Pop artist making saying the same things as Stormzy did – attacking the government and calling them out regards the Grenfell Tower fire – would they be subjected to the same scrutiny and judgement?! Stormzy’s wealth and success have not been easy and he has not been handed anything in life – working tirelessly to get his music to the people and not stopping there. Platell’s comments and thoughts did not end there…

“What was most shocking about this was its bile and ignorance.

The PM has never called anyone ‘savages’ let alone the victims and survivors of Grenfell. Her government has committed £58 million to helping victims of the Grenfell tragedy and more will follow. And yet Stormzy’s message was that, as some vile form of retribution for Grenfell, Theresa May’s house should be burnt down to see how she likes it”.

Stormzy’s point is that May’s government have reacted too late and handled the entire situation with serious apathy and lacking care. Maybe his wording – calling her a ‘savage’ – could be better articulated and phrased. His points regarding the Government and their mishandling of the tragedy are right-on!

IN THIS PHOTO: Prime Minister Theresa May/PHOTO CREDIT: Getty Images

The fact she has pledged that money comes AFTER the fact and is a result of huge backlash and condemnation. An artist like Stormzy has experienced life on estates and knows the type of existence the survivors has led. He knows the kind of folk who live at Grenfell and is entitled to react violently to the Tories and their ignorance. Platell, as I will show, goes on to look at Stormzy’s wealth and opinion he is hypocritical to stick his nose in the Grenfell case when he lives in luxurious surroundings. Musicians are not on this planet to simply parrot their songs and go home at the end of the day. They are entitled to their opinions and are allowed to say what they want to – so long as it is legal. If we suppressed the free thought of musicians and criticised them every time they attacked the government; we would not have any form of expression and many people would riot. I am sure Amanda Platell has thrown criticism at Labour leader Jeremy Corbyn and taken shots at him! What is the difference between a rich person like her attacking Labour and a musician like Stormzy attacking the Tory party?! Platell mentioned Stormzy’s education – he excelled and did well at school – before he started rolling with drug addicts and falling into bad crowds.

PHOTO CREDIT: Press Association

His tale is an inspiring one for anyone who has been in a bad situation and yearned to make something of their life. Although Platell does highlight the good work Stormzy does – in the smarmiest and least sincere manner possible – but...her piece is filled with anger and falsehoods. Before I get to the crux and conclusion – here is another snippet that enraged the senses:

“For all his life Stormzy has happily benefited from the health care, housing and education opportunities the government, whether Tory or Labour, has provided.

Today, as he relaxes in his £2 million flat, employing accountants who specialise in ‘ultra-high-net-worth individuals’ and ‘overseas companies and non-domiciled individuals’, is it asking too much that he show a scintilla of gratitude to the country that offered his mother and him so much? Instead of trashing it”.

It is laughable to think the fact Stormzy has made a life for himself should preclude him from highlight how the Government handled the Grenfell tragedy. So, in essence; if you benefit from free healthcare and do well; you manage to live somewhere safe and forge a career – you should keep your mouth shut, be thankful and say ‘thanks’ to our leaders?! I am in a semi-okay place in life and I appreciate what I have been provided: I am never going to remain silent and think the Government have done the best for me and this country. The U.K. is wealthy and well-off but being let down by our Prime Minister and the way she orchestrates business.

IN THIS PHOTO: Grenfell Tower/PHOTO CREDIT: Rick Findler/PA Wire

Millions of us were outraged and upset by what we saw at Grenfell. A lot of us voiced our disgust and levelled that at the Government – Amanda Platell and her Daily Mail cronies did not write a piece eviscerating the British public and their opinions. I bet there are a few Daily Mail readers who have even stronger views on the matter than Stormzy himself. Isn’t it ironic Platell should judge Stormzy so harshly and overlook a proportion of her readership?! Her attitude and piece display a general ignorance, mainly in the gutter press, that suggests musicians who have made money should count their lucky stars and be grateful for what they have. Stormzy is not, as she pictures, a lounging star who has millions and lazes around in his mansion all day. His family struggled to get to this country and had to overcome incredible odds. It was unlikely Stormzy would be noticed and make a life for himself in Britain. The fact he has risen to the position he is (is) down to endless graft and raw talent. The music he makes reflects the realities of the nation and highlights issues that need addressing and improving. A lot of what he says is for people like Grenfell’s residents: the befallen and struggling who are trying to make a good life for themselves and do not hurt anyone.

PHOTO CREDIT: Getty Images

The fire that claimed seventy-one in June 2017 cannot be ignored and diminished. I understand there have been some negative reactions that have made the press. Yesterday; it was reported council workers who are monitoring the aftermath of Grenfell are being attacked and (having their meetings) hijacked by protestors – a natural reaction but something that doesn’t help people trying to change things. It is all well and good having the Tories saying they are committed to funding renovation and improvement following the fire. They are implementing changes so that safety measures are in place for all high-rises; better checks conducted and homeless residents rehomed and looked after. The fact there was nothing done BEFORE the fire took hold – knowing Grenfell was unsafe and prone to fire – and the hours afterwards cannot be forgotten. If there has been an instant reaction and a proactive approach right after the tragedy – many would have commended Theresa May and her staff. All of this rhetoric and promise has come after a severe backlash and protest from the public. I was aggrieved at Amanda Platell and her piece because it suggested Stormzy has been handed a lot and has a lot of money in the bank. Maybe he should be more grateful he is wealthy and should recognise the fact the Tories are committed to helping those who have suffered a considerable loss. All of this is crap, of course. It was uneasy reading the words that were aimed at a young black artist who has overcome a lot and entitled to speak for people who do not have a platform like his.

PHOTO CREDIT: Getty Images

I feel Stormzy was right and, although his words were furious and accusatory; Platell’s insinuations and words display huge ignorance against people like Stormzy – voicing anger many of us in this country feel. There is some good news in all of this. If you have missed the latest update - Stormzy’s recent Tweet, calling for people to sign a petition that appointed additional panel members to an independent public enquiry, has surpassed the target 100,000 signatures - it is all detailed here:

“Stormzy has tweeted "job done" after a petition calling on Theresa May to take action to build public trust in the Grenfell Tower Inquiry reached the milestone of 100,000 signatures.

The grime and hip hop star called on his more than one million Twitter followers to sign the petition demanding Mrs May use her powers to appoint additional panel members to the independent public inquiry.

Within a few hours of his tweet, the petition had registered more than 100,000 signatures - the number required for the petition to be considered for debate by MPs.

It was started by Adel Chaoui, Karim Mussilhy and Sandra Ruiz, who were bereaved in the tragedy, and want a more diverse make-up to the inquiry.

In a joint statement, they said: "This week the public have shown they've not forgotten about Grenfell.

"Just as they supported us in the immediate aftermath of the fire, when local and national government response was lacking, they've backed us again - and demanded the voices of the survivors and bereaved are heard".

It is very obvious people have signed this petition because they feel the same way as Stormzy. Many of the people who signed the petition are in the same situation as Stormzy: they might be better off and have a bit of money in the bank. Many would have struggled oppression and faced obstacles building a life for themselves in this country. The fact a proportion of those signees have made a life for themselves and build a sense of comfort means they are prone to the same criticism Amanda Platell levied at Stormzy. Should they be criticised and judged for having angry reactions about the Government and their handling of Grenfell?! Of course not! Stormzy is not the kind of man who will be affected by the article and feel the need to be a bit more passive and calm. The fact he has helped bring change and open discussion is a good thing; he has made a success of his life because of the music he makes: songs aimed at the affected and the lesser-off. The fact he is more productive and universal than our Government – who have no idea about Grime and what the genre stands for – speaks volumes. Amanda Platell’s opinions might have slipped many by but highlight the feelings of some rather foolish and ignorant members of the press. Stormzy has whipped up support and togetherness; he has got people motivated and reflecting the opinions many of us have. He has done more good in the past few weeks than the likes of Amanda Platell have achieved in years. That, when you think about it…

PHOTO CREDIT: Unsplash

IS the greatest irony of all.

FEATURE: The Revolution Will Be Televised (and Staged): Modern Musicals, Music T.V. and Fresh Focus

FEATURE:

 

The Revolution Will Be Televised (and Staged)

ALL PHOTOS (unless credited otherwise): Unsplash

Modern Musicals, Music T.V. and Fresh Focus

_________

BEFORE I end the weekend with something meatier…

and more general – I wanted to look at the areas of the media that require a serious injection of modern music. I will end by talking about music T.V. and why we need to think about creating more options. Before then, I have been recalling my first-ever theatre memory. It must have been the mid-1990s – or slightly before then. Whatever the year; it was a trip to see Grease in London that introduced me to musical theatre and its potential. I am not a fan of musical theatre by any means but, thinking about the way it brings music to demographics and people that would not normally listen to – it got me thinking about modern equivalents and why the stage is as important as the studio. Although I am a bit ho-hum regarding classical musicals; I do like Grease and think it has a pretty kick-ass soundtrack! Greased Lightnin’ and You’re the One That I Want are instant smashes; Summer Nights and Sandy are pretty awesome. Those songs, and that musical, gives me an idea of what life was like for some in the 1950s. The ‘greasers’ movement in the U.S. captivated youths looking for a sense of understanding a new identity. Look at Grease and the two tribes – Danny and Sandy’s groups – coming together and interacting. That building romance is at the heart of the musical/film. Whether you connected with the original 1971 stage show or the 1978 film – everyone will have some exposure to the musical.

There are two reasons why musicals hold a very important place in modern culture. We get an insight into an area of life we do not have exposure to normally: there is a different form of music one would not normally hear on the radio. Musicals like Grease and Chicago, for instance, might seem dated by the very fact they are set in the past. They have been showing for many years now and we are all familiar with the classic songbooks. Whether you are a fan of West Side Story or The Phantom of the Opera – they are great forms of entertainment that deserve greater oxygen. It seems musicals, in the past, have been reserved to a certain type of theatre-goer: those who are a bit, say, reserved about modern music but find some form of connection with theatrical music. That may seem a generalisation but most of the people I know (who attend musicals) are a bit unadventurous with their music tastes. One of the reasons I wanted to start by talking about musical theatre is the way humour, satire and politics feed into musical theatre. Modern examples like Hamilton are thrilling audiences and picking up awards all over the place. That rapped-and-sung-through musical talks about the American Founding Father Alexander Hamilton. It is a tough, real and dazzling show that uses music and song to illustrate a vital and formative part of U.S. history. We have more escapist and fantasy-filled musicals around but, in a time where we need people to react to what is happening around us; the more realistic musical is favoured.

The Book of Mormon, sure, is a comedy but it looks at two Mormon missionaries who travel to Africa to preach the Mormon religion. Maybe the message is not as serious as Hamilton – it does help make musical theatre a broader and more popular realm. A lot of the established musicals put off people like me because they are a bit stuffy and old-fashioned. The fact the multi-Tony-winning Hamilton has broken records mean there will be a lot of similar-minded musicals emerging in years to come. I would like to see other areas of society provided a musical theatre twist. There is a lot of conflict and division in the country right now. There are racial tensions and we have political conflict; separation regarding Brexit and a lot of divides forming. Look back at the Punk movement in the 1970s and the sort of explosion that happened then. Imagine life in the 1960s and a tale of domestic abuse and one girl’s chance to escape through music and popular culture. Those are three quick pitches but have potential to sound modern, appealing and raw. In terms of genre; one could see another U.S.-based musical that went into a racially-divided neighbourhood and has a Hip-Hop soundtrack…bringing in newly-penned songs and classics from the 1980s and 1990s. If it were British; we could have a 1990s-set musical that forged two Britpop clans together in a humorous setting. Ideas swirl around the heads but that is the point: there is demand and thirst for new musicals that broaden the sonic palette and update the classics.

One of the biggest drawbacks of musicals – aside from the fact they are unrealistic by nature – is the type of music we hear. The songs are often soft and melodic; they are big, showy numbers that are not designed to change minds and impart wisdom. Musical theatre has the potential to change minds, bring about change and provide education. We are living in a divided time so I wonder, as mainstream music struggles to respond; musical theatre could fill that gap. The stage is powerful and, why there is less of an audience compared with radio and streaming sites; that human connection and interaction is potent. Given the violence, racism and splits around the world – can we ignore that in favour of something lighter and less abrasive?! Not only does musical theatre have the potential to bring history and social divisions to the people: there are bands and artists who warrant their own musical. We can educate younger people – and those with rigid tastes – about great movements and artists who have come before. If I were to put any forms of music up on the stage, I would like at the aforementioned Britpop movement; Grunge in the 1990s and 1980s Hip-Hop. Whether (the musical) used pre-recorded music and wrote a story around popular songs or had an original score influenced by the time in which it is set – it would bring people like me, who usually avoid musicals, into the theatre!

ILLUSTRATION CREDIT: Katherine Brickman

I am a big fan of bands like Oasis, Blur and Pulp: artists who were huge in the 1990s and talked about life where they lived. We could have – unless it has already been done – a musical that looked at two different neighbourhoods during that time. Changing the storylines and nature of musical theatre to a more modern and relevant template would recruit a lot more people. I find many musicals a bit uninspired and static – too many that do the same thing and aim for a particular audience. There are areas of society, music and life that are not being exposed and documented. I am buoyed by the success of Hamilton but there have been some criticisms regarding its story – too expositional and tired at times – and numbers. I cannot argue as the production picked up eleven Tony Awards and is a worldwide sensation! Every one of us can formulate and imagine which artist/time period we’d like to see on the stage: whether that is the form of a societal narrative or a humorous interpretation of a treasured time. Music T.V. and music shows are another great way of bringing music, old and new, to the people. My entire piece reacts to an electronic diet and the way we consume and discover sounds. I watched the one-off Old Grey Whistle Test earlier in the week and watched, with closed hands around the eyes, the latest Brit Awards.

The latter was an awkward affair with ill-paired presenters and performances either forgettable or marred (Kendrick Lamar’s muted performance for T.V. audiences, as an example). There were some unwanted winners and needless surprises on the night. Aside from Stormzy getting two awards and triumphing; Jack Whitehall doing a great job at presenting – it was a forgettable and boring night that was more about drunkenness and embarrassment than the quality of music. In fact, thinking about it: how many decent and endlessly watchable options are there now?! I argue there should be a BBC Radio 6 Music version. That is not because I am a huge fan of the station: the fact is, they pride quality over commercialism and have seen some wonderful live sets in their studios. We could skim away shows like the Brits and Q’s award show; get rid of NME’s night and have a proper award show through BBC Radio 6 Music. It could have some live performance and focus on the best music around. There would be no commercial chart stuff in there; it would be all about the great acts out there who miss out on all other nights of the year. It is a suggestion but it is clear we need a music award show in some form – this seems like the best option for those who have a genuine passion for great music.

Music T.V. is the last area where a semi-revolution/overhaul can take place. I predicted the return of The Old Grey Whistle Test last week would be a success and popular choice. Many people revelled at the inclusion of archive footage and performances from the likes of Peter Frampton and Kiki Dee. ‘Whispering’ Bob Harris was back in control and presented the three-hour live show. It was a great night and reminded us why we need a show like this back on T.V. I wonder whether BBC will be smart enough to television and commission a new series of the show. It does not need to depart too much from its classical formula. The studio could be the same and the presenter, whether Bob Harris or someone else, would take care of the introductions. We would have archived footage from previous shows but there is an emphasis on presenting the best new and legendary artists in the studio. The emphasis would be on great artists from all genres - concentrating on electricity, excitement and serious chops. It would be good to see established artists performing their hits: underground, unsigned artists nestling alongside the best of music’s past. You could have music news running alongside and other features peppered in – concentrating on a classic album and having interviews – and create a really good show. It could be a one-hour thing that played once a week at around 9 P.M. I would love to see it return to the screen – as would many others out there.

It would showcase music’s past and bring it to new ears; we would have fantastic new bands/acts playing their stuff and (hope to) create the same kind of progression as we saw back in the 1970s. These are all ideas I think would be feasible and achievable. I am not suggesting putting on a music T.V. show and new musical theatre would revolutionise music and change the world as we know it. I worry the music industry is too focused on the digital and not as expressive and wide-ranging as it can be. We have great musical theatre, award shows and music T.V. out there. There is not as much as there should be and that is something that can be changed. I am confident, if we modernise and expand musical theatre; that will bring in new crowds and lead to a bit of a revolt. There are few genuinely alright award shows but we could get rid of the worst ones and create something genuinely decent and watchable. Throw in a fantastic music T.V. show and it is a good way of kickstarting a move towards more traditional and varied scene. There are many other avenues we could explore when it comes to music: interview shows and a music-based T.V. show (a drama or comedy); a website and, well…anything else. It is good to think about music’s power and how it can influence the world. There are fantastic stories and brilliant artists out there; formats that can be exploited and chances to push music to new heights. It might start with a new musical but, if we keep the pressure going; this could lead to…

INCREDIBLE change and progression.  

FEATURE: The Hipsters Shall Have Their Revenge on Shoreditch: Why Being ‘Cool’ Is Not All It's Cracked Up to Be

FEATURE:

 

The Hipsters Shall Have Their Revenge on Shoreditch

 ALL PHOTOS (unless credited otherwise): Unsplash

Why Being ‘Cool’ Is Not All It's Cracked Up to Be

_________

MY final two pieces of the weekend…

PHOTO CREDIT: Getty Images

will, for one, look at music made by black artists – and why they deserve more credit than they actually get. I want to address, oddly, musicals and whether there has been a massive reinvention over time; why more artists deserve their own musical…and the way more people are embracing a side of theatre that was reserved to a certain fan/type of people years ago. Before I get to that; I am being faced with a lot of artists who project, rather overtly, ‘cool’ energy. Whether it is the way they treat electronic sounds or the manner in which they project themselves. You get the impression they are angling for a soundtrack spot on Made in Chelsea. You know the type of artists I am talking about: the men are either clean-shaven and wear the skinniest jeans and jackets possible; the women wear 1950s dresses and drive around in a V.W. Polo. The music, worryingly, is designed for these type of shows and racking up the Spotify figures. You listen to artists who have genuine integrity and make music that is natural to them: too many are crafting songs aimed at fitting in with the East London crowds. I can’t be too hard on the area: it is somewhere I want to work in and have a lot of respect for sounds coming from there. What I mean, is those boutique coffee shop-dwelling types who put almond oil in their beards and would vomit blood were they ever asked to shop at Lidl rather than Waitrose.

Take away the too-hip-for-school clubs and bars where all the tables are bespoke – the drinks fancily-named and the patrons reeking of arrogance – and you are left with a very fractured community. I love music that makes me feel cool – not so keen on those who are more eager to please labels than write something meaningful to them. Electro-Pop is one of the fastest-growing genres in music. It provides artists the chance to play solo or as a duo (or trio); there is variation and room for invention; the music is inoffensive and has plenty of commercial bang. As I said; I am keen, around this time of year, to embrace music that brings in the sunshine and reminds one of summer. Last year; acts like Justice and M83 produced heady, fulsome jams that stayed in my head. Unfortunately, there was a wave of artists who produced skeletal, generic Electro-Pop that would make the most leather-clad beard-stroker drop their extra-hot-with-stiff-foam-vanilla-and-nutmeg-cappuccino with a high-pitched squeal. The themes (these artists released) did not stray too far from the average and plodding: songs about jilted hearts and the reckless nature of their lovers. Some did stray from the pack but, by and large, there was not a great deal of difference. This concern is not only reserved to Electro-Pop – there are other genres, like Pop and Indie, where artists are more concerned with image and style.

In fact; many new Rock/Indie bands are breaking out their old denim and patching the f*ck out of it! I cannot blame streaming services like Spotify but there is some truth: the slick and ultra-new nature of the site promotes those artists who pout the biggest and wear the oh-so-trendy fabrics of popularity. I have written, in the past week, about the nature of coolness and whether music can be seen as a guilty pleasure – I have penned pieces regarding language and the quality of modern songwriting. I am a non-denominational music fan who opens his heart to anyone willing to make a serious go of things. Because of that; my vinyl collection if rammed with classic L.P.s and lesser-heard oddities. As I approach new musicians; there is a bit more trepidation than I’d like. I am guilty of interviewing a few bands/artists who fall into their trap. So many people are looking at the Spotify petrol gauge and concerned, if they do not promote a certain gloss and popularity, they will sink and be overlooked. It can be challenging going against the grain and pursuing something that is deeper and more original. I look at the modern charts and there is a three-way divide. You have the camp who are producing good music and doing things their own way. There are others who either designed their music according to the rules of streaming services and T.V. shows – always keen to pen the latest who-gives-a-donkey’s-rectum song that gets people nodding their heads but does not remain in the mind.

The other side of the coin is those who release music that copies what is seen as popular and radio-friendly. These players are about fitting into cliques and getting their music heard in the trendiest joints in town. Maybe there is more of a North-South divide: London artists, and those down this way, more to blame than those further up the country. I am finding, annoyingly, a lot of artists in northern cities forsaking local ideals and sacrificing their roots. You get artists in working-class areas pulling out the keyboards and performing some of the vaguest and most anodyne sounds you are likely to hear. I can think of no other reason bar the fact (these artists) want to get onto certain playlists and create something commercial. This may sound like another shot at those who value streaming figures and Internet notoriety above musicians who want to craft something genuine. It is difficult to succeed and grow in the modern time and not have one ear listening out to the hum of the streaming machine. That word, ‘cool’, can be a bit misleading. One can say a band like Pink Floyd or The Beatles are cool; Radiohead and Roy Orbison are cool – do any of these artists set out to be that way?!

Their appeal and allure is as a result of the originality of their music and the fact they have created a legacy. 1960s bands like The Beatles, I guess, were the equivalent of a lot of bands we see now. They were designed to appeal to a certain market and look a certain way. The thing is, against the marketing men and the need to appeal to young women – the guys penned music that broke boundaries and shook up the world. I would not object to the pretentiousness and oiled facial hair was it not for a distinct lack of quality. My ethics would be shaken but, if a modern artist – who wanted to be cool and fashionable – were to write something fantastic and mould-busting…that would be okay. From The Fonz through to James Dean: icons, real and fictional, have defined what it is to be ‘cool’. Nowadays; we do not really have idols like that or idols of coolness. The coolest music, in fact, is that which rebels against the predictors and prides quality and impact over anything else. I can throw the best Rap, Hip-Hop and R&B artists into that category. I shall not name-and-shame any artists directly – unless I need to borrow money from them in the future – but there are too many calibrating and configuring their music according to the codification and gospel of the modern cool.

Whether that is a song that can nestle neatly into a Friday Spotify playlist or a perfect cut to soundtrack a reality T.V. show – it is all a little bit icky, pointless and dangerous. I would have though Rock and Indie bands would turn their noses up at any suggestion they were trying to create a fashion brand. Maybe it is not only streaming services that are culpable of such sins. The world is becoming more homogenised and, when you think of an area of the capital like Shoreditch and Hackney – there are a lot of new bars opening that play the sort of music I am putting under the scalpel. Areas are becoming posher and cleaner; people are attuning themselves to a new sort of high-street and more upmarket reality. I have voiced concerns Grime and Rap clubs are being marginalised because they are too gritty and real for the young generation. When I try to visualise the embodiment of the uncool and tragic try-hard; it is usually a white male. There are female and black artists who are, tragically, trying to conform to those who want their music a certain way: the majority of the guilty are white men.

IMAGE CREDIT: Getty Images

Maybe we have come too far to reverse these trends and force rationality to those artists who want to be popular and cool. I know every genre/style has its fans – and everyone should be proud of what they hear – but how substantial and meaningful are artists who direct their music at the hip and exclusive? In a way; they are producing music to generate money for all the wrong reasons. I think artists collaborating with brands and companies can be a good thing – getting music to different people and making it more visible is great. There is a line between those trying to do something good and those aimlessly following the crowd. Many might argue the music I have mentioned is not doing anyone any harm. It is connecting with some people and has its place in music. My objection is not with the desire of the artist, per se, but the lack of quality and guts. If you are going to make music for streaming sites and to win popularity…at least make it decent! It is the saggy-breasted nature of the sounds that make the whole endeavour questionable and flawed. I am a big fan of all music but go out of my way to follow those who do not give a damn about hitting streaming records and producing thread-bare Pop/Electro. From the gleaming, white-toothed female Pop artists to the trying-too-hard-to-be-cool duos cranking out something fizzy, buzzing and bland – where does it all stop?!

In a way; the music industry is a bit like school. We are told, in a way, the best way to become popular is to fit in with the cool kids. Those who hang solemnly around the bike shed or smoke a bit of weed after class has ended are weird loners or things to be judged: those who ride with the cool girls and click with the cliques are the optimal ideal. I am about as cool as a Piers Morgan-branded enema so one can claim there is some bitterness and long-stored hate spewing out at those who court popularity and success. I have grown a lot and my concerns are purely musical. We should not be encouraging artists to make music a certain way and provide the (false) notion hitting streaming highs and getting your music on the screen is the dream. If you want to be that artist, then that is your choice: we should not project that as something good and worthy. There is, mind you, a part of me that wants to reason and yell at artists who give us shallow music without any depth and point – beyond getting a certain crowd fired and excited. Within the gentrified streets and independent cafes; the chrome bars and fusion cuisine – there is music out there that perfectly scores a very bohemian, middle-class and lamentable lifestyle. I yearn for genuine passion and originality; a brand of music that does its own thing because it is the right way to do it. In essence; I want the bullied overweight kid in the playground to stride up to the cackling, always-laid jock and…

KICK the skinny cigarette right out of his smirking mouth.

FEATURE: I.O.Q. Is the ‘Internet Age’ Having a Detrimental Impact on Our Language Skills?

FEATURE:

 

I.O.Q.

 ALL PHOTOS: Unsplash

Is the ‘Internet Age’ Having a Detrimental Impact on Our Language Skills?

_________

TOMORROW will be a very positive and productive day…

where I will champion and celebrate great things/people in the music industry. One thing I wanted to raise, and have noticed, is how attitudes and mentalities are being altered by a reliance on digital outlets. I interview a lot of artists via email and often send out questions on a Word document. I know many of us are not always accurate regards grammar and punctuation – I am not perfect by any long shot – and am finding a lot of errors and problems cropping up. Some artists put a huge effort in and, for the most part, the answers I get back are accurate, require little editing and seem perfectly good. There are a few, however, whose command of their native tongue seems lacking. I will get documents riddled with simple errors and poor English. As I type this; I am second-guessing everything and wonder whether I am getting to the point quickly enough (probably not!). I think the Internet is a fantastic thing and has progressed humanity in so many ways. We can reach the entire world and have a greater access to other people than we did decades ago. It is wonderful being able to reach someone in another country or hearing any song you want within seconds. I have written extensively about the Internet addiction and the consequence on our mental-health – so I shall not tread that ground too much when making this point.

I have received some documents back where I have had to pick through the answers - and spent longer editing than I did writing. Some would argue this is not too much of an issue considering most interviews are verbal and it is a journalist’s job to proof-read what a musician writes. That is fair enough but I wonder, as we become more digital and less physical – are we losing an ability to communicate with others and articulate the same way we did years ago?! The deepest and most meaningful connections I make are when I speak to someone directly and engross in conversation. The Internet and social media are wonderful but I fear my time spent there is chipping away at my language skills and ability to write as sharply and proficiently as I want. Not only are some musician’s written responses lacking – when it comes to basic language and accuracy – but there are more concerning realisations. As a journalist; I look at artists’ pages and how they promote music. Some of the content/responses I see are troubling, to say the least. Many so-called ‘fans’ are posting hurtful and offensive comments at the artists: in fact; the sort of language and interaction I am seeing more frequently leaves me troubled. Many might say this is the way things are going: the fact so many can retain a sense of anonymity and protection – behind their screens – means their inhibitions are eroded.

We know there is bullying and harassment online; people are less afraid to offend others and, connecting that to music; are we losing basic language and interaction skills. I love writing but I feel myself getting a little rigid and lost at times. I lack the fluidity I would like and find my ability to be concise and clear does lack now and then. Maybe offensive comments and Internet trolling are not related to music directly – they do show there is a problem in the way we communicate and conduct our lives. I am a little worried the Internet and social media are damaging me as a writer. It is an invaluable networking tool but, as I spend most of my free time in front of a screen…I am out in the open less and not really communicating with other people. I am more confident, relaxed and open when face-to-face with someone: the insular nature of the Internet means I am losing basic abilities and struggling to ween myself away from the digital community. One of the other worries I have is the nature of songwriting and how language is used in music. There are some fantastic songwriters out there but I feel, as we regress and retreat into the online more – there are fewer standout lyricists; fewer original songwriters who challenge convention and stand aside from their peers. Certain areas of music (in terms of genre) have some brilliant poets and linguistic jousters who keep the English language very much alive and well.

Maybe it’s me, but I feel Pop music is becoming simpler and less articulate by the year. Mainstream artists are struggling to break past clichés and stereotypes; the lyrics one hears are filled with lazy metaphors and samey suggestions. That might be a sign of commercial demands but, tied into my worries around interviews and the standard of the written word – I am concerned the quality and standard of songwriting is declining. The people I have included in my blog – all of them – do not fall under this accusation (that is not me protecting my back: I am looking out at other musicians). There are incredible songwriters around but I am rarely struck by brilliant wordplay and phenomenal couplets. A lot of songwriters, when they are not performing and traveling, are dedicating their lives to the Internet and online demands. The fact they are not spending as much time socialising or reading means their ‘conversation’ and learning comes from the Internet. Social media sites are filled with lazy statuses and people abbreviating wherever possible – pages of poor language and negative expressions. If we expose ourselves to this more and more; that means the way we write and speak is affected. I am noticing something happening in music. Maybe it is not a lack of intelligence and innovation: language is more ‘punchy’ and not as compelling as once was. As I say; tomorrow, I will move onto positive aspects but this has been playing on my mind – does the digital age mean we are not really expected to write as acutely and eloquently as we used to?!

I have read some shocking answers but do not blame any artists – it is a trend that is becoming more common. Mainstream Pop, for the most part, is at its least inspired and I am finding myself more interested in compositions and melodies than language and lyrics. Many will pick this piece apart and come to conclusions: my views are subjective and one-dimensional; my writing is not up there with the greats of literature! You would be right regarding the second point: I feel we do not necessarily place the same value on language and expression as, say, when I was younger. Perhaps we cannot blame the Internet and social media for a deterioration of interaction and language skills. It is clear we are less communicative and connected – ironically! – than ever and, in my view, letting basic abilities rust and fade. I find myself, at times, recalibrating and trying to remember how to have an actual conversation. The remedy for this would be getting out there more and forsaking the grip of the Internet: for people whose stock and trade rely on it; that compromise is a lot trickier to accept than you would think. I am a huge fan of words – in case you hadn’t guessed! – but worry we are less articulate, profound and arresting than decades ago.

Where we have made leaps in terms of technology and the way we can reach the rest of the world; have we, ironically, isolated ourselves and replaced, in many ways, physical interaction with a synthetic version?! I can see the way songwriting has changed and long for armies of songwriters who push past the ordinary and really get into the mind – there are far fewer than I would like, that is for sure! All of this comes back to the way we use the Internet and whether digital outlets provide the same intellectual nourishment and stimulation as, say, books, newspapers and human socialisation. Maybe there is no easy solution but it is evident advances and benefits of technological advancement have compromised other areas of our existence. Language is a beautiful thing and it is always evolving. We are communicating differently – many would say we are more engaged and curious than days before the Internet. From my viewpoint, seeing songwriters emerge and working as a journalist; there are problems emerging – at the very least, there is a ‘laziness’ that is affecting my work. I notice the quality of my work slip and realise it is because I spend so much time away from other people. I do not read as much as I should and isolate myself to a degree. Music amazes me and I think we have come a long way in so many other areas. The industry is huge and open; there are so many sub-genres and fascinating angles; some incredible artists and big breakthroughs. My concerns only apply to a small portion of the industry – and I am hopeful things will change and a revival will occur. Maybe the modern age means language has permanently changed and this is the way things will always be. I acknowledge there are a lot of benefits and positive evolutions; alongside that is a decline in language and the written word that…

CAUSES genuine alarm.

FEATURE: First We Take Berlin… How the German Capital Is Proving an Ideal Spot for Musicians

FEATURE:

 

First We Take Berlin…

 ALL PHOTOS (unless stated otherwise): Unsplash

How the German Capital Is Proving an Ideal Spot for Musicians

_________

THERE are certain cities in the world…

that prove ideal and truly alluring for people. Depending on what you want from your life; there is somewhere on the planet you can go. In terms of music; there is always that conflict between desire and affordability. A lot of us would like to fly off to L.A. and spend a few years there – if only for the great weather and landscape! I would like to spend a bit of time in Melbourne and go to New York; maybe bed-down in London for a bit and then head to Manchester – if I could do that within the spaces of a few years, that would be cool. All of that sounds ideal but the sheer cost of ambitions tend to pull most of us back! I always monitor where musicians go and why they decide to settle in a particular part of the world. Many still go to the more predictable and familiar areas of the world – New York, London and Los Angeles are favoured spots. More and more, I am discovering artists, especially British, are relocating from the U.K. and moving to Berlin. I ask musicians, when interviewing them, why they are drawn to the city. It seems, on paper, a random choice for someone to go to. The answer I get back is always the same: it is less expensive and the way of life there is calmer and easier to deal with. In essence; many feel Berlin offers the same sort of cosmopolitanism and culture as, say London and New York, without the constant crowds and sense of suffocation.

Rents are high over this way: it is far less aggravating and stifling over in Germany. I have never been myself but, from every account I hear; the German capital is a lot more accessible to artists. Rent prices are still forcing a lot of people out of London. Many would argue you could go to Manchester or Brighton would be a more local option – if you are in the U.S.; surely there are other, nearer-by areas you could go to?! Costs are not the only thing ambitious musicians are wary of when choosing a lifestyle. In fact; it is not only fresh artists moving to Berlin: many established and settled artists find the appeal of Berlin too much to resist. I can understand why people would want to go to London and settle there to further their music. The city offers opportunities and endless venues; there are fantastic stations, labels and avenues in London: do artists get the same options over in Berlin? Although there are no stations quite as high-ranking and popular as BBC Radio 1 or 2; there are some great local brands such as radioBERLIN and Star FM; FluxFM and 98.8 KISS FM Berlin that offer artists a platform and a voice. Radio On broadcasts to Amsterdam and London and is an insomniac’s dream: a twenty-four-hour station that started from pirate roots; it has grown to become one of the most in-demand options in Berlin.

Radio Rixdorf leans more towards the alternative and unique – favouring unusual sounds and that which strays away from the mainstream. Reboot.fm is a fantastic station that offers great music, information and news. You can toss RadioBerlin 88.8 Statdtstudio and Pirate Cat Radio into the mix! Savvy and knowledgeable artists can make the most of the radio stations in Berlin and be involved with the best in the U.K. and U.S. The Internet means any artist can interview with any D.J. around the world. Streaming services and music-sharing websites mean music can get into the hands of British and American producers without the artist being located there. In terms of festivals; there is Lollapalooza Berlin (8th and 9th September) and Fusion Festival 2018 (to the North of Berlin). Berlin has a great mix of venues, too: from underground spots like Monarch and SO36; Loophole and 8mm – one can find something more overground and varied in terms of the musical options. The underground clubs provide Electronic and Dance; some Punk and Pop: venues like Quasimodo provides excellent Jazz whilst Piano Bar Van Gough provides a subtle and sophisticated blend of piano music and cocktails. Berlin provides that balance of energy and spirit; quieter, calmer spots where one can relax. I know areas like London and L.A. offer the same split but, when you look at Berlin; everything seems different and more appealing – not that I will ever change my mind regards London!

IMAGE CREDIT: Getty Images

There are a few downsides to Berlin that I can see. It is good there’s an influx of varied artists heading over that way. British bands and solo artists are heading that way; original groups and dynamic producers are living there – artists and talent who have been in the business for years/decades are adding their voice to Berlin. I feel the scene is diversifying but, at the moment, there is still a heavy leaning towards Dance and Electronic. We think about Berlin and hear electronic buzz and sweaty dancing; pummelling beats and something youth-orientated. There is truth to that but, more and more, something new is being added into the scene. I worry there is still an over-dependence, in terms of the venues and stations, on E.D.M. and Trance. Maybe that is a sign of the demographic and tastes of Berlin: a younger crowd who yearn after liberating and propulsive music. There is a building Jazz scene but there are genres that hardly get a voice in – Hip-Hop, Rap and Rock are not as big as they are in other parts of the world. One can argue Hip-Hop/Rap is strongest in the U.S.; Pop and Alternative better here, maybe – Australia is an underrated gem that gives attention to all genres. Berlin is not as broad-minded and busy as London – one of the benefits of a huge population that sources from various nations and races. Berlin does have diversity but, compared to London and New York and it lacks the same punch and scope. That is not the fault of Berlin: it is a smaller city and, as such, needs more foreign recruitment and influence.

The affordable rent and prices are tempting artists to the German capital. A sixty-square-metre place, with living-room and plenty of flexibility, will set you around about 600/800 Euros P.C.M. 600 Euros is around about 528 of our British pounds. That may sound expensive but you match that with the same flat/house in London and the saving is immense! This website gives a clear breakdown of food and rent costs; it throws in all the utilities so that musicians wishing to live there know what they are getting themselves into. Even considering somewhere like Manchester and it seems Berlin is quite a good choice! There are expensive parts of Berlin but districts like Mitte, Friedrichshain-Kreuzberg and Charlottenburg-Wilmersdorf provide fantastic cafes and coffee houses; brilliant history and monuments; technology and a clash of more traditional houses and new-builds. You can do the research yourself - but, if one accuses the Berlin music scene of lacking huge diversity: you cannot claim the topography and geology of the city lack that needed variation! Young and affordable areas of Berlin, like Friedrichshain, can offer quiet and solace for those who want to escape from the energy and options of the locality – the engaging crowds and party atmosphere. London, in my view, is rife with choice and ideas for those who are fussy and not quite sure exactly what they want.

You can go to the South for Grime music and great clubs; choose a spot in the North and find more community and familial vibes – embrace the trendiness of the East and something cooler and more cutting-edge. Berlin has the same broadness but, if anything, provides less stress and struggle in the most built-up and packed areas. Even the centre of Berlin seems less daunting and fearful than an average night down in Piccadilly. For those songwriters looking for inspiration and new direction; Berlin’s museums and art galleries like East Side Gallery and KW Institute for Contemporary Art show the dichotomy of classical and modern – ample fodder and ammunition for hungry artists! This link/website shows the quick pros and cons of living in Berlin:

Pros: 

- Very multicultural city where you're more likely to meet a non-German than a German in some areas. 

- Diverse cuisines that's delicious and affordable. Berlin's the place to try out Michelin-starred restaurants without costing an arm and a leg. 

- Low cost of living means that you can easily and comfortably live in Berlin for less than 1000 Euros a month. 

- Easy to get around with: transportation, bike, car-sharing. 

- A great place to collaborate on creative projects. It's a hub of designers, programmers, developers and artists. A lot of people are freelancers so they're open to new projects and trying things differently.  

- There's something to do to suit every lifestyle. You can go clubbing on a Sunday afternoon or spend an evening doing a screen printing workshop. 

PHOTO CREDIT: Getty Images 

Cons: 

- Red tape and bureaucracy. Although this can be experienced in other cities, the fact that a lot of people who work in government jobs don't speak English means an extra hurdle to get over. 

- Berlin doesn't have much of a corporate or business industry. Which means that finding a job can be a bit tough if you're not fluent in German. Although startups offer a lot of native English jobs. 

- Because the cost of living is low, so are the salaries. When compared to other German cities like Hamburg, Munich and Dusseldorf, Berlin salaries are usually 20-30% lower. When you're living in Berlin, you're here to enjoy the city rather than to save a lot of money.    

- Berliners can be a bit impolite. You won't get a thank you for opening the door for someone else. And you can forget about smiles and small chitchats when it comes to customer service. This doesn't apply everywhere and it is slowly changing for the better. 

- The city isn't appealing in winter as it's cold, windy and very gray.

Many can argue the impolite nature of (some) Berliners is matched by those of London – maybe, the low wages would put some people off. The bad weather and greyness of the city (during winter) means many might want to go somewhere warmer and more colourful when it gets cold. If you think about low wages as the biggest downer of the city: the majority of good points and benefits explains why people are flocking there and changing their lives. The lower rents and inspiring population – despite some ruder elements – outweighs anything negative and offputting.

Musicians can look at sites (like this and this)  to get a more detailed impression of the German capital. Berlin does have its drawbacks and limitations but, when artists compare that to larger cities in the U.S. and U.K. – they find the positives are huge and there is plenty of potential. The furore and ambiguity surrounding Brexit might make it difficult for some to relocate to nations like German, I think the pantomime politics of the U.K. is leaving many in no doubt: things are crumbling and the nation is losing its identity. Germany has its conflicts but, by comparison, it seems more stable and all-inclusive as Britain…and the U.S., for that matter! You can call the people less-than-polite but the government in Germany wants the nation to grow and integrate with the rest of the world. Can we really claim that is the way things are over here?! Berlin is not powerful enough to make every musician abandon their home and go over there. What I AM noticing is more and more musicians seeing all the benefits of Berlin and finding the temptation impossible to refute. I will go and visit the city and see what all the fuss is about: so many musicians prefer the way of life there and what is happening right now. You can scoff and feel Berlin is inferior compared to bigger cities like London but, when you see the number of musicians/artists going over there, there is clearly something…

MAGICAL in the water!

FEATURE: Mad Hatters and Timely Hares: Why March Is a Fantastic Month for New Albums

FEATURE:

 

Mad Hatters and Timely Hares

 IN THIS PHOTO: David Byrne/ALL PHOTOS/IMAGES: Getty Images

Why March Is a Fantastic Month for New Albums

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WE are only a portion of the way through 2018…

IN THIS PHOTO: Kate Nash

but there is much to get excited about. There have already been some corking albums out – including Field Music and Tune-Yards’ year-bossing cuts – and that is no danger of stopping! I am going to write some traditional features later but, right now, I wanted to look at a collection of albums that will make March a wonderful and memorable one. The winter is still here and struggling to take a hint: the need to look forward to something promising is hot and heavy.

I bring together the best albums we can look forward to next month – the epic and fully-stuffed L.P.s that will erase all the misery and cold of winter.

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Gwenno - Le Kov

Release Date: 2nd

Genres: Alternative; Indie

Label: Heavenly

Moby - Everything Was Beautiful, and Nothing Hurt

Release Date: 2nd 

Genres: Dance; Electronic

Label: Mute Records

 

Soccer Mommy – Clean

Release Date: 2nd

Genres: Alterative; Indie

Label: Fat Possum Records

David Byrne - American Utopia

Release Date: 9th

Genres: Alternative; Indie

Label: Nonesuch Records Inc.

Gengahr - Where Wildness Grows

Release Date: 9th

Genres: Alternative; Indie

Label: Liberator Music

 

Mount Eerie - Now Only 

Release Date: 16th

Genre: Alternative

Label: P.W. Elverum & Sun

The Decemberists - I’ll Be Your Girl 

Release Date: 16th

Genre: Indie-Rock

Label: Capitol Records

George Ezra - Staying at Tamara's 

Release Date: 23rd

Genre: Singer-Songwriter

Label: Columbia

Sunflower Bean - Twentytwo in Blue

Release Date: 23rd

Genres: Alternative; Indie

Label: Mom + Pop Music

Jack White - Boarding House Reach

Release Date: 23rd

Genres: Rock; Alternative

Label: Third Man Records

Ashley McBryde - Girl Going Nowhere 

Release Date: 30th

Genre: Country

Label: Atlantic/Warner Music Nashville

En Vogue - Electric Cafe 

Release Date: 30th

Genres: R&B; Pop

Labels: eOne; En Vogue

Kate Nash - Yesterday Was Forever

Release Date: 30th

Genres: Indie-Pop; Indie-Rock

The Vaccines - Combat Sports 

Release Date: 30th

Genres: Alternative; Rock; Indie

Label: Columbia Records

FEATURE: The February Playlist: Vol.4: The Way You Make Me Feel

FEATURE:

 

The February Playlist

 IN THIS PHOTO: Janelle Monáe 

Vol.4: The Way You Make Me Feel

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FEW people expected a new Janelle Monáe track…

IN THIS PHOTO: Father John Misty

to arrive this week. She brings us not one but two new slices: Make Me Feel and Django Jane show she is in mighty fine form! There are new offerings from Father John Misty, Alexandra Burke; Superorganism and The Magic Numbers. Aside from all the big-name songs are lesser-known/minor gems nestling alongside – another varied and special week for music. Cabbage, Pale Waves and Editors are among the other artists that bring us some treats for the ears.

As the weather gets colder and more unsure: a packed and energetic playlist to get the blood and body warmed!

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

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PHOTO CREDIT: Emma Tillman

Father John Misty – Mr. Tillman

Alexandra Burke – Shadow

Billy Lockett – Empty House

Janelle Monáe – Make Me Feel

Mel & Kim – Where Is Love

The Magic Numbers – Sweet Divide

Sigala (ft. Paloma Faith) – Lullaby

RAYE (ft. Mabel and Stefflon Don) – Cigarette

Lo Moon – Wonderful Life

PHOTO CREDIT: Rahi Rezvani

Editors – Hallelujah (So Low)

Frank Turner – Be More Kind

PJ Harvey and Harry Escott - An Acre of Land

Jordan Rakei - Eye to Eye

Vance Joy – Take Your Time

Superorganism – Reflections on the Screen

Pale Waves – Heavenly

Cabbage - Arms of Pleonexia

Let's Eat Grandma - Hot Pink

PHOTO CREDIT: Shervin Laine

Jukebox the Ghost - Everybody's Lonely

Little Dragon - Sway Daisy

Submotion Orchestra – Variations

YUNGBLUD - Polygraph Eyes 

Louis Berry – Stumbling

Elliot Root - Wicked Lies

Poppy Ajudha – Where Did I Go?

The Aces – Lovin’ Is Bible

Twin Shadow (ft. HAIM) – Saturdays

Boniface – Phantom Limbs

The Breeders - Nervous Mary 

PHOTO CREDIT: Martin Barker

The Ninth Wave – New Kind of Ego

Imagine Dragons – Next to Me

Jazz Morley - Me and My Mind

isaac gracie – last words

Confidence Man – Don’t You Know I’m in a Band

Nadine Coyle - Gossip

Ruby Francis – Drip Drop

PHOTO CREDIT: Jake Clifford

Thunderpussy – Gentle Frame

The Vegan Leather – I Take American

FEATURE: A Girl Called Kate: The One Word That Started It All…

FEATURE:

A Girl Called Kate

ALL PHOTOS (unless credited otherwise): Unsplash 

The One Word That Started It All…

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THIS will be a short(ish) one…

but is an article that takes me back to the creation of this blog. I cannot name the ‘Kate’ in question – in case, on the off-chance, she is reading! We fell apart, more or less, a couple of years ago today – or it might have been a few! (It was definitely in February, I know that). Regardless...a few points need to be explained. The first is that, until that point, we were getting on really well - and were often in communication with one another. There was a silly miscommunication that, essentially, destroyed a years-long bond and understanding that was, to me, very important. Another thing to add: we never met in the years we knew one another. At the beginning – which I shall get to – she was working in a Mayfair office and was riding the Tube when I emailed her back in 2011. I was impressed by her blog – I probably shouldn’t name it; lest people snoop – but there was a feature that got me interested and struck my heart…and, in a way, led to me forming a blog. Nowadays; she lives down near the New Forest and runs a business with her boyfriend. She has transitioned from acting – she was auditioning and performing smaller roles – and is now settled in a different part of her life. I am not sure whether she still has that spark and desire for acting: I suspect she is too busy with her business and thinking about settling down.

She is a few years younger than me and, when I contacted her back in 2011; I felt like there was a like-minded soul out there who ‘got me’ – despite the fact she had no idea who I was. Before a series of emails and chats; I contacted Kate to tell her how I loved her blog and why this one piece, that investigated the power of music and how it got her through a breakup, resonated with me. On the back of that one piece of writing; I started my own blog and tried to reason why music came into my life – and what it means to me. I was compelled to email Kate and explain to her why her words struck my mind and I thought, after that, this would be it. She was on the Tube and said she would email me back, fully, later. After that; we exchanged emails and built up an (ersatz) friendship that revolved around music and what it meant to us. It was a great time and, although I never got to see her; I remember that time fondly and connecting with a very special person. The fact things broke down so rapidly still affects me but, I know, there is nothing I can do to salvage things. We have both moved on and she is different from the woman I connected with years ago – although, there is that spirit and core that has inspired everything I have done since.   

PHOTO CREDIT: Getty Images

In the piece I read of hers, there was a word she underlined: focus. Through all her turmoil and breakup, there was that clarity and need to keep going through it all. She was heartbroken and, listening to Noah and the Whale’s Blue Skies (from their album, The First Days of Spring); was simultaneously reminded of her relationship and given me the power to work things out - and take comfort in the music. Such a stirring song provided her guidance and, thinking about it now, I am transported back to those evocative email exchanges and someone being so honest and open with somebody they had never met. In truth, I miss her dearly which should not really be the case seeing as we have not contacted one another for such a long time. I think it was the things we had in common and the way music connected us both that left such an imprint. That one post – and the need to ‘focus’ – made me re-evaluate where I was at the time (where I am not: in a sh*t job where I do not want to be) and looking to make something of life. I think I am much further along than I was back in 2011. In some ways, I am rooted – not that much further in terms of living situation and happiness – but my work has started, developed and hit heights.

That single interaction (that started the friendship) opened my eyes and forged me with somebody I wanted to know more about and discover what made her tick. Before long; I understood why she loved Noah and the Whale and what significance they held. The same goes for The National and Arcade Fire. Not only did Kate’s great taste in music impact me but the ambitions she held and how she managed to overcome hurdles and hurt. It is debatable whether I would have a blog were it not for her but, rather than talk about those emails and my ‘friendship’ with Kate; I thought it best to pass on the lessons I have learned and why writing a blog has brought me so much pleasure. I never met Kate but got to know a lot about her family and ambitions. At times; I was a confidante and someone she would share secrets with. Through all the emails and words we shared; it was that one that stuck in the mind: the need to focus and find clarity in bad situations. My response that to what word was to set a blog up and channel frustrations and curiosities. I had never really thought about focus and why I needed to. That sounds strange but, reading a brave woman show fortitude after being let down made me decipher what was important in life and what I wanted to achieve.

Within weeks; I was planning my blog and writing those first pieces for Music Musings and Such. That was over six years ago now and, since then, I have made great connections and grown more confident as a writer. I guess this is a florid and roundabout way of suggesting why people should write and start a blog. We often feel, in this day and age, sociability is becoming a less tangible and human thing. We spend so much time on computers and do not get out there as often as possible. As much as I abide by the notion we need to spend less time on social media: if I had not made that connection years ago; I would not be writing this and, as a result, would have missed out on all the music, people and moments. Maybe I would have taken a different approach to life and ‘settled’ – that sounds positively awful and boring. I am thankful I took a chance and got in touch with a human I felt close to on the strength of a single post in a blog. The fact she responded and we enjoyed a few years of communication means a lot to me. If I were to go back and do what I did before we lost touch then, yes, I would do it again – I was in the right and felt aggrieved I was shut away.

I have no bitterness and regrets about the time and, actually, feel it was one of the most important and transformative experiences of my adult life. My blog has been going for over six years and I hope to keep it going for a few more years yet. Anyone who is unsure how to foster a love of music or communicate something they cannot say in real life; hopefully they will take heart from my story and how I came to write. If I overlooked this blog and did not contact a stranger to tell her how much her words meant to me then I would not have got the response and, after that, embarked on a friendship with someone I grew quite close to. Her relationship with music – and how it helped get her through hard times – stays with me now and is in the back of my mind when I need guidance and that voice that tells me I am doing the right thing. I look back and how far I have come: I am looking forward and asking myself what I can achieve and where I can go from here. Something big, productive and special stemmed from a tiny, accidental acorn that arrived one day when, in truth, I was looking for a distraction. That happy discovery set me on a course that has changed who I am and made me think bigger and bolder. It can happen for everyone out there – anyone who needs a kick and a new adventure. It is hard to believe it all began with a blog post, a Noah and the Whale song and…

A girl called Kate.

FEATURE: Monday’s Child: The Motivation Playlist

FEATURE:

 

Monday’s Child

 ALL PHOTOS: Unsplash

The Motivation Playlist

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I am unsure whether I will put another piece out today…

but I am keen, soon, to explore the way musicals have changed and whether there should be more music-based musicals – those that look at the story and history of a particular band/artist. I also want to put out another piece that addresses the value of music and whether a lack of money going into the industry will affect it in the long-term. There will be interviews and other assortments but, prior to another depressing week at work; we all need a little boost and pep before throwing ourselves back into things. I have looked around for some pumping, blood-heating songs that will get the soul relaxed - and keep the mood lifted at the very least! Without further ado...a collection of songs that will retain the best of the weekend and hold back suggestions of Monday as much…

AS conceivably possible.

FEATURE: ‘Unlike’: Will the Decline in Facebook’s Popularity Affect Musicians?

FEATURE:

 

‘Unlike’

 ILLUSTRATION CREDIT: Jake Rowland/WIRED

Will the Decline in Facebook’s Popularity Affect Musicians?

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THERE are all kinds of problems brewing…

ALL PHOTOS: Unsplash

at Facebook H.Q. right now. The main image is from a New York City-based artist, Jake Rowland – it appeared on the cover of WIRED and, aside from the fact I am unsure whether I can use the illustration in my piece (always hard to tell...); it reveals a very glaring portrait of Mark Zuckerberg. The website/social media platform has been around since 2004 so one can forgive a decline after a near-fourteen-year regency. Twitter has been accused of losing focus and not evolving since its inception. A BBC article raised eight arguments to state why Facebook is in decline. The amount of users has gone down slightly – dropped to 184 million users – but it seems like a drop in the ocean. Many users, myself included, are fed up with the changes and tweaks that are not enhancing the user experience and creating any development. The news feed ‘prioritises’ important news and pieces – often stupid statuses and banal videos – so people have to switch to see most-recent news. I wonder who actually wants to see the ‘most-important’ news above a conventional timeline. It is irksome having to change and get things chronologically – rather than what Facebook deems to be the best and most-relevant news! That drop in figures – down from 185 million – might seem expected but, for a site that invests so much and holds such power…should it be levelling out at all?!

The more people that come into the world; the more social media users available, no?! Twitter is not really exploding so you have to wonder whether people are coming off social media altogether. Factors such as ‘fake news’ call into question the ethics-driven approach of Facebook. The site prides itself on openness and transparency: not wanting to promote falsehoods and those who seek to spread hate. There have been controversies and accusations leaders in Russia and the U.S. use Facebook to perpetuate their questionable ideals; extremist videos and graphic content has slipped through the net – disturbing content and sexual content has also got through. There are concerns over cyberbullying and privacy; how safe our details are and whether, in fact, we need to spend so much time on sites like Facebook. Not only have executives spoken out against Facebook – and the culture employed – but one wonders, as the Internet population explodes – can sites like Facebook control that influx and adequately safeguard privacy and their users?! You have to ask whether this kind of scenario was conceived back in 2004. I imagine Zuckerberg and his staff and doing the best they can but, right now, it seems like a mansion coming under fire from a crusade of fighter jets. Facebook is influential and one of the most-important websites in history: the fact it has peaked, by the looks, makes one wonder whether there will be a decline coming.

Business owners like Mark Zuckerberg have to look at money and ways of funding their ventures. That means, more and more, advertising takes a bigger role. People’s lives and data are being seen/used and we are bombarded by adverts – part of a marketing machine rather than a social network. Bringing it to music and how it affects artists; the argument comes down to two factors: whether people are spending less time on Facebook and whether the site is equipped to deal with the needs of musicians and the complexities of the industry. I have always argued Twitter is more versatile and useful for the artist/creative. It is easier to connect with well-known figures and hook up with people. You do not need to send requests and wait for permission: you can follow someone right away and tag them into posts.  Retweeting means posts can go out super-quick and it is a far less complex layout (compared to Facebook). I am less harassed by adverts and there are fewer needless functions and areas of the site – like events and apps; marketplace and all the other, needless tinsel. I will look at Twitter soon but I am concerned musicians are struggling to compete and succeed on Facebook. They rely on social media more than any other industry. Whilst many can get the word out and build hype without spending time on social media: most share their music that way and find it easier to get fans and followers their way.

It is great having a site like Facebook where you can share news and information with friends without much of a struggle. Perhaps Facebook is better aimed at normal people rather than musicians. That raises another concern: are artists being ignored and do the top bods at Facebook realise how important social media is to musicians?! The fact the site is not as broad as Twitter – in terms of the people you can connect with and how quickly you get information to more people – is a natural limitation for an artist. I worry whether the rise in fake news and the vulnerability we feel is making them less intrepid and more worried. I wonder how my posts are being viewed and how far they are going. Facebook is limited in regards its scope but it has not really progressed and evolved in terms of functionality and reach. There are fears the Chinese-speaking world could create a rival site or something that reaches more of the world. The data/information-obsessed nature of the world means it is harder to police those who view what we put online. Threats to democracy and personal privacy are putting people off using the platform. Musicians are in the same boat: they have material out there and share their details with fans/friends. A lack of trust and disinformation means many advertisers are retreating and losing faith in Facebook!

For musicians, as opposed average users; they utilise advertising more and often use Facebook to advertise their own music – collaborating with brands and raising finance cohabiting with marketing companies. The BBC article raised an interesting point I had not considered:

“The new superpowers in the world of business are a new kind of media-technology giant who monetise personal data. And with the evolution of the data economy comes the evolution of data regulation. GDPR, the European Union's incoming data protection regulation, is due to come into force on 25 May and will have a massive impact on companies such as Facebook, who could face huge fines for breaches. Facebook COO Sheryl Sandberg has said the company has already adjusted privacy settings in anticipation. At its recent earnings call, Facebook specifically warned that GDPR could be an impediment to future growth”.

There are worries surrounding tighter regulations and fines. Will these fears and protectionist impositions mean Facebook scale-back the site or compromise users in another way? My biggest concern surrounds every point I have already raised: how the cumulative effect will cause detriment and damage to musicians’ prosperity and success. Users are being put off by adverts and the way their data is handled; whether there is any substance in social media – and whether the short-term dopamine burst we get from social media ‘success’ (people liking our work and sharing it) is becoming an unhealthy addiction.

The fewer people subscribing to Facebook and remaining on the site; the fewer people there are to support your work and share it. I feel there is general apathy and fatigue creeping in as well. Maybe we have come to a point where we’re numb and using social media for no good reason – rather than making new connections and broadening our horizons. The main use I have for it (and Twitter) is sharing my posts and trying to build my profile. It is okay for personal interaction but that might be an oxymoron: we are not actually interacting or connecting in a human, real way. The competition from Twitter means musicians and creative sorts and spending more time here. If Facebook made it easier to follow successful bands/artists and those you want to connect with; maybe that would keep people in and provide a more attractive option. Twitter is more user-friendly because there are fewer distractions and it seems a lot wider-reaching. The rise in anxiety and isolation is alarming and evident. Rather than blame Facebook and point fingers at its faults; should we be looking at social media in general and weeing people off? It is hard to say that to musicians: the competitive nature of the business means social media is a very important part of their everyday life. It is impossible to detach from these sites - careers will suffer – but Facebook could offer a bespoke look for artists/creatives – something that could take away the bad points and mean users’ time was spent more effectively. Everyone needs to feel they are safe and their data is not being shared improperly; they want to feel secure and understood; they want to feel the information they are seeing is factual and true.

It might seem an extreme measure creating a separate site for musicians but, as social media becomes an important part of the mechanism – and less important for regular users – adapting the way it operates and looks might be a preventive measure. I am worried musicians are losing trust in Facebook and not really seeing ‘value for money’. There are some great articles that offer suggestions and tips for musicians looking to get the most from Facebook. One interesting point from the author, Leah McHenry, suggested way musicians could better spend their time on Facebook:

“I will schedule 1-2 posts per day (if that), and make sure that each post is more meaningful, entertaining, inquisitive, or somehow conversation-stimulating to my fans.  Beyond that, I will post spontaneous “mini blog-type” posts, personal thoughts, more text, and photos that I think will resonate with the culture I’m creating around my music.

I also pay attention to the pages I’ve liked in my own news feed, and whenever I find something amusing, thought-provoking, or entertaining, I often will spontaneously post that to my page on the spur of the moment.  I believe this will really work well if you’re posting often, at least every day”.

Devices like Facebook Live are good ways of streaming videos to followers and letting them into your world: should the site be moving in this direction and removing some of the flaws and needless pages people do not really want to see?

I’ll end this piece by asking whether social media, as it stands, needs to be scaled-back and integrated – there are many different sites doing the same thing. Everyone uses social media for different reasons: for artists, there is a personal, business and promotional aspect to their experience. Designing something for them – that does not get them addicted and offers constructive progression – would be a sage move forward. I think Facebook as it is not really winning new fans and voices: at the worst, it is driving people away and revealing its cracks. I know there are great points to Facebook – there are many reasons I will remain with it – but, as more people flood in and fears around security rise; is Facebook equipped to deal with all of that?! It is a hard time for them but one that can be salvaged. It is clear constructive talks need to take place and Mark Zuckerberg needs to face his critics. It is a tough time for any social media business leader right now. There are so many factors that are causing people to rethink the time they spend on the sites: this is detrimental to business and means popularity will wane. It is clear things need to change and we all need to be more aware of how we use social media – and how much of our lives are spent there. Artists use social media to get their music out there and, with competitors like Twitter proving more appealing to many; is the hegemony of Facebook a thing of the past? A few newer inventions (Facebook Live) are steps forward but I wonder, fourteen years after its inception, these minor moves are enough to…

KEEP musicians invested.

FEATURE: Welcome to the Beautiful North: Why Classic and Modern Music from the North Stands Aside from the Pack

FEATURE:

 

Welcome to the Beautiful North

PHOTO CREDIT: Unsplash PHOTO CREDIT: Getty Images

Why Classic and Modern Music from the North Stands Aside from the Pack

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FOR some reason or other…

PHOTO CREDIT: Unsplash 

my mind has been up North; investigating music from the past. I have been flicking through my C.D. collection and reminding myself how good The Beautiful South were – some see them as a ‘guilty pleasure’ in music! I debate the term: can we ever call music, no matter where it originates, as something to be embarrassed about?! The Beautiful South disbanded after the album Superbi due to, quite wonderfully, ‘musical similarities’. The fact, one suspects, they got on well and were doing the same thing over and over meant they went their separate ways – rather than squabble over creative direction and new moves. I miss the guys! Through the years, the band employed three different female singers – Briana Corrigan up until 1992; Jacqui Abbot until 2000; Alison ‘Lady’ Wheeler until the end – and were a rare thing: a male-heavy band that had a female lead; a band, in essence, with three lead voices. I will not go through the entire back catalogue of The Beautiful South – there are other acts I want to bring in – but I miss the witty lyrics of Paul Heaton and the blending of Dave Hemmingway, Heaton and Abbot into that ‘classic’ line-up. The variation and options afforded to the material was great. From the Heaton-led, Abbot/Hemmingway-hummed/sung Dumb (from Quench) to Perfect 10 (ditto) – and that cheeky to-and-fro between Heaton and Abbot – it was an incredible time...

PHOTO CREDIT: Getty Images

There was, of course, debate and conflict in the band. Between the heavy drinking of Heaton (and the entire band, one suspects) to the various fall-outs through the years – the Hull band made a huge impact on music. How many of us, realistically, can claim we ‘lost’ our copy of Carry on Up the Charts?! That essential Beautiful South collection is a perfect soundtrack from the band. All the classics are in there! My favourite song from the band is My Book. It is from their sophomore album, Choke, and perfectly blends Heaton’s lyrics and the inventive, always-epic compositions of Dave Rotheray. With some effective “You are!” backing vocals from Corrigan; it is a brilliantly rushing, exceptional track. Not only is it a fantastic composition and piece: the interplay is tight and the lyrics are original and witty (the Soul II Soul-hinting “Back to bed/back to reality” ending…). That entire album is almost as strong as their debut, Welcome to the Beautiful South. The reason I loved/love the band is that they were not the cool, trendy sort who produced big songs without a message or sign of originality. The band wore raincoats, hung around the boozer and one suspects, as a backstage rider, there would be bags of crisps and bicycle chains on the list!

They were a normal, working-class crew who wanted to bring their mix of sardonic, witty lyrics and eclectic music to the masses. I wonder whether that could ever come from a southern band?! One could argue there have been some interesting, humorous bands from this neck of the woods – none that spring to mind! Humour, intentionally or not, was always part of the band’s mix (Dave Hemmingway’s dancing in the video for You Keep It All In reminds me of an octopus have an enema removed after a heavy night on the booze!). From their 1989 debut to the tenth album in 2006 – the band covered so much ground and won legions of fans. Paul Heaton and Jacqui Abbot record together as a duo - but the days of The Beautiful South are long-gone. Their demise makes me yearn for a band who can produce solid-gold hits that address normal life – albeit it, with a cheeky, and often murderous, twist. One can imagine Heaton penning songs in a pub somewhere in Spain; inspired by various lines and modestly getting the songs into the notebook (the thought of the led writing on a laptop is too much to take!). I am not suggesting all new bands lack humour and the same dynamic as The Beautiful South: the point I am making is they were intrinsically northern and, compared to their southern rivals; they had something extra and wonderful. Other northern bands that got under my skin were Oasis, Pulp and The Smiths. I need not go into the history of The Smiths but, like The Beautiful South; so much wit, intelligence and pathos came from the songs – I often see Heaton as a more popular and likeable version of Morrissey.

PHOTO CREDIT: Getty Images

The legendary Manchester band only released four albums (studio) but, in that short time, managed to lay down their marker and transform the industry. They are a band who exult so much influence in the present time. Morrissey and (Johnny) Marr remain one of music’s strongest songwriting duos – Paul Heaton and Dave Rotheray one of the most successful and underrated. The Smiths departed from the average and formulaic ideas of their peers and brought listeners into the real world! I wonder whether the always-evident economic and social gap between North and South means these bands stood the test of times. Stories of pub romance and council estate dreaming held weight because the authors actually LIVED that life. They resided around people hanging washing on the line and chatting over the wall. That may sound a bit 1960s-Coronation Street but among the gossip and idle chats were roots and honesty. Songwriters living in those communities were affected by the personalities and modest climates. Southern artists, in the 1980s or whenever, had the same struggles and lifestyles but, the wider the gap became; that reflected in the music industry. When the 1990s brought us legends like Pulp and Oasis: the disparity between the Northern realism and Southern escapism cemented. Southern belles like Blur could articulate a way of life one might expect to see in the North: the London/Essex equivalent was not nearly as vibrant, witty and accessible as, say, Oasis’ attempts.

PHOTO CREDIT: Getty Images

The Gallagher brothers shook music up and were, in my view, the last big band to unite the masses and create a genuine fever! The boys are recording solo material but, in the same way, I hanker after The Beautiful South: millions want another chance to see Oasis record and perform. Liam seems keen to get that going: Noel is more reserved and realistic (the arguments and rifts that broke the band up will come back). Pulp, on albums like His ‘n’ Hers (1994), Different Class (1995) and This Is Hardcore (1998) brought their version of intellectualism and social observation to the untrained bodies. It is no coincidence songs like Disco 2000 and Common People are decades-enduring masterpieces: the lyrics speak to people and, with fantastic compositions and choruses, go a lot further than most of the Pop tat being tossed around during that period – many would argue the songs are stronger than most music produced today. Again, like Oasis, The Smiths and The Beautiful South; the honest cocker Jarvis was a master at one-liners and those ripe, perceptive views. I am not sure whether Jarvis Cocker is recording solo material soon but, once more: Pulp are a band we need to see back in music! It might be tied to their Yorkshire backgrounds – although Cocker spent some time in London and the band did not solely stay in the North – but (Pulp’s) music spoke to those who needed direction and understanding; it was vastly different to southern-made music and the mainstream ‘best’. Listen to Different Class and every track sounds urgent, anthemic and essential.

PHOTO CREDIT: Getty Images

One can throw in The Stone Roses and Happy Mondays into the mix. Both bands were packed with type-A personalities and those whose egos stood out-front. The Ian Brown-led Stone Roses crafted two brilliant albums and, like The Smiths, affected millions in a short spirit. The experimentation and colours of Happy Mondays compelled a generation and makes me wonder: where are the modern equivalents?! Many claim music has changed in such a way we can never reclaim that glory and produce bands that have the same aesthetic. Others say there is wit and originality in modern music – it is integrated more finely and responding to market tastes and trends. Adverts push technology and making life as ‘easy’ – simple for idiots and lazy buggers – as possible. Music, in a sense, is adapting to that and using more technology; becoming easier to understand and more impactful. Having a modern-day Pulp or Stone Roses might be impossible! Even now, as music moves on and grows, I am still seeing divides between North and South. Perhaps the wealth and housing gap has started to close but you cannot argue against the fact the wealth and opportunists remain in the South. Great northern newcomers like The Orielles (Yorkshire) and False Advertising (Manchester) show there is the same sort of invention, originality and spirit burning in the North.

IN THIS PHOTO: False Advertising

Bands like Shame and IDLES are talking about the same themes as The Beautiful South and The Smiths – only, they are based in the South and living in a very different world. I love the artists we have now but there are few bands who rival the cheek, honest and humour of those great northern legends. I still think the best innovation and originality comes from the North – Yorkshire and Manchester still leading the charge – but there is that demand for a certain something: ingredients and aspects missing from the modern industry. I listen to a gem from Oasis or Pulp and wonder whether we will see their like again. Arctic Monkeys might be one of the last ‘older’ bands still in operations that mix the wit and humorous side of life with spot-on observations of life and vivid, wonderful characters. I still gravitate, when I require something special and unexpected, towards the North and the artists coming from there. I am not sure whether it is that way of life and the manner in which they approach life – it has that extra kick and burst of life. Some of the best Indie artists of this time are performing in the North - and more eyes and ears should be directed that way.

PHOTO CREDIT: Getty Images

I have every faith we shall see some breakthroughs and returns to the past (when it comes to witty bands who can balance emotions and ideas) but music has shifted a long way from the past. It is not a coincidence, as things get harder and more stressful; I gravitate towards the northern bands that made such an impression on me. There is still that ignorance of the North and the music coming from there. Many overlook Scotland and the brilliant artists who have come from there. We overlook Yorkshire and the brilliance brewing; the strong bands of Greater Manchester and what’s happening around Cheshire and other parts of Northern England. I will leave it there but wanted to throw a message out to the music world and ask whether we can revitalise a brand of music I associate with the North. Throw in more humour and those Paul Heaton-like songs; the anthems of Pulp and The Smiths with the baggy charm of Happy Mondays – the acid of The Stone Roses and some classic-day Arctic Monkeys. There are more people than me who desire that kind of sound: I struggle to find this kind of brilliance and relief in the modern scene. There are brilliant northern artists around but, still, they are being overshadowed in favour of their southern rivals. History has shown what wonders have come from the North: getting out of the London-focused quagmire could open eyes and minds to the fabulous artists, past and present, from…

PHOTO CREDIT: Unsplash 

THE beautiful North.

FEATURE: 'World Music': Do Artists Take from Other Nations’ Musical Culture Enough?

FEATURE:

 

'World Music'

 ALL PHOTOS (unless credited otherwise): Unsplash

Do Artists Take from Other Nations’ Musical Culture Enough?

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IT was quite hard coming up with a title…

that assessed and underlined what I was trying to say. I have covered a lot of musical ground over the course of the day – so will not burden and keep people too much, now. Some of the best sounds of the year, so far, have incorporated different cultures and textures. I have been awed by music from Tune-Yards and The Go! Team – both their current efforts splice in music from other continents and countries. It is hard to pinpoint exact parts of the world: there are African, Asian and North American touches here and there. I have been thinking of the albums that travel the world, as it were, and blend traditional Western elements with something lesser-heard and new. Many people consider music to be on a downward curve and slightly devalued – not quite as rambunctious, inventive and striking as previous years. There is validity to that argument but I wonder one thing: are musicians pushing boundaries enough and making music that strays beyond the walls and smoking area of the mainstream? We all hear acts who splice genres and do something that is very un-commercial and bold. I am all for that but, largely, that experimentation revolves around traditional instruments and predictable confines. That is not to say the sounds that arrive are ordinary and soft: artists like Tune-Yards are among the most arresting and sensational around right now!

I will mention a couple of ‘classic’ albums soon but, in new music, there are a few artists that take from various continents and communities. Before I mention one of my favourite new musicians; it is worth addressing that dreaded term: ‘World Music’. I put it in upper-case because we often see the genre as an outsider and unique – maybe not in a good way. Many feel music that comes from outside Europe and North America is ‘World Music’ – or it is the various sounds and squawks from nations we do not usually go to regarding good and fascinating ideas. We feel anything unconventional and away-from-the-traditional is unusual and warrants exclusion. I grant there are types of music, that fall into that genre, that are quite hard to get behind. I love African beats and flavours; I am keen on the strings and eccentric elements of Asian music – little bits of Australian music and what happens in indigenous areas. It is tricky embracing all other nations because the quality does vary. What I wonder is whether artists feel everything from other parts of the world hold little value because it is not featured on the radio and in the charts – that would be a faulty assumption.

IN THIS PHOTO: Vanessa Forero

An artist I am very fond of – and have not heard from in a while – is Brighton-based Vanessa Forero. She has Colombian background/D.N.A. and has used instruments from South America in her music. One need only listen to her 2016-E.P., From the Uproar, and there are incredible touches that one does not normally get from other artists. You need only look at the E.P.’s cover to see the sort of colour and exotic she brings to the music! There are beguiling pipes and percussion; incredible strings and international, vivacious swirls. You can see my technical grasp/terminology is not exactly profound – Forero would be best-placed to answer that – but I saw pre-release videos from her home where she guided the viewer into her world. She had/has instruments everywhere and balances conventional instruments with those from South America. One hears From the Uproar and there is a mystical, spiritual elevation that I have not heard anywhere else! Forero is part of a minority who are willing to expand their minds and challenge the predictable. I am not saying all other artists lack that spirit and quality: it is difficult to integrate music from other nations and make it fit inside familiar moulds. I am finding, with a lot of the bigger, bolder albums coming from artists; they are putting unusual sounds and international flavours into the pot. Fifi Rong is another artist who manages to bring other nations into her music. She blends East with West: the delightful and engaging tones of Asia with harder, more-crowd-friendly tones of the West. The result is some of the most appealing and inspirational music I have heard in a long time. Artists like Forero and Rong not only add something unexpected and fresh into the music - they introduce the listener to other sides of music (and nations we might think of when it comes to music).

I have mentioned Vanessa Forero and her Colombian ties: others I know source from Japan and China; parts of Africa and Central/South America. Most of the accessible and quality music we hear does not stray too far from the U.K. and U.S. I wonder whether artists are doing enough to broaden the scene and inspire the new generation. We are at a time when artists are being scrutinised and judged with every move they make. I am impressed there is so much invention in music but, if we want to go beyond the expected and known – do we need to take from other parts of the world? One of the most effective ways of doing this is to travel to other nations: is this feasible and possible for any artists; let alone newer acts who struggle to afford gigs in parts of their own country?! I wanted to mention two albums that took from African rhythms and ecosystems: Paul Simon’s Graceland and Blur’s Think Tank. The former saw Paul Simon break barriers and pair with the Ladysmith Black Mambazo choir – at a time when there was apartheid and racial discrimination in South Africa. The role of Ladysmith on Graceland cannot be ignored. I have not addressed vocal possibilities when it comes to other continents. The stunning, harmonious blends make songs like Diamonds on the Soles of Her Shoes and Homeless define the album and make it sound like nothing you have ever heard!

IMAGE CREDIT: Getty Images

It is not only the African vocals that go into Graceland. Los Lobos appear on All Around the World or The Myth of Fingerprints. Aside from legal battles between Los Lobos and Paul Simon; it is the voices and strings of Los Lobos that take a song from the ordinary to the sublime. Elsewhere on Graceland; the African influences and elements make the album such a varied, interesting and intense experience – and give listeners a window into other parts of the world; music they would not ordinarily hear. Damon Albarn and Blur sojourned in Africa during the Think Tank period and would write and record in humble and simple conditions. Albarn, especially, has always been curious regards other parts of the globe. For Think Tank; you can hear Africa in titles - Moroccan Peoples Revolutionary Bowls Club – and the swoon-and-bliss of Caravan. Blur travelled to Marrakesh and Morocco and were inspired by the people there. Songs like Crazy Beat and Gene by Genre came together in Marrakesh. The vocals were sung outside – the band felt it was a breath of fresh air being out of the studio and in such splendid conditions. They would record vocals on rooftops and underneath trees; it would be a real eye-opener for the band. Not only did that experience compel Albarn to look deeper into Africa (and Asia, in later work) but it adds a real niche to Think Tank.

IMAGE CREDIT: Getty Images

The record blends Western loops and electronics with those exotic and beautiful sensations of Africa – deftly able to weave the best from the West and East without losing its solidity and purpose. The two albums I have mentioned are among the most popular and notable than feature elements of other continents. To be fair, if you did your research, there are a fair few that go beyond the confines of home and pick from other parts of the world. In my view; there are not enough modern artists taking a leap and going to other countries. You do not, actually, need to leave your home to get a sense of international music and areas parts of the globe. I think, for a band or solo artists, a recording jaunt abroad can not only revitalise and rejuvenate music – it can infuse and infect an album and bring new dynamics into the ranks! If I were a musician, I would set money aside for some time in Africa - getting involved with local communities and sounds coming from there. It does not even need to be confined to Africa and Asia. Being bold enough to go to lesser-represented part of the U.S., for instance, could introduce new sounds and people to the mind. Consider Australia and how vast the land is; the scope and wonder of South America and all the inherent choices there. The world really is open and available to eager musicians – is it being exploited as much as possible? I agree it is tough assimilating foreign sounds into a market that still relies on Western ideas and a mix of genres (rather than nations). I feel, with a little curiosity and ambition; artists who are willing to splice something international into the scene will reap the rewards and inspire other musicians…

TO do likewise.