FEATURE: Destroy the Silence: Ensuring That the Music Industry Protects the Safety of Women

FEATURE:

 

 

Destroy the Silence

PHOTO CREDIT: Alycia Fung/Pexels

Ensuring That the Music Industry Protects the Safety of Women

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DESPITE the fact…

 PHOTO CREDIT: Mikael Blomkvist/Pexels

the news story was reported a little while ago, I have still been thinking about it. It concerns arrests and prison spaces dedicated to those accused of sexual harassment and stalking. Even if jails are overcrowded, it is rather troubling that some very dangerous people (mostly men) are going to be back on the streets. The Independent reported the news:

“Thousands of abusive men could walk free from court under the government’s plans to scrap some shorter sentences as it scrambles to tackle the overcrowding crisis gripping prisons – putting women’s safety at risk.

Some 11,040 men were jailed for around 12 months or less for harassment, stalking and revenge porn last year – all sentences that could now be served in the community to free up space in jails.

Justice secretary Alex Chalk’s proposals, announced earlier this month, would see prison terms of under 12 months axed for most offenders. Critics say the move will affect criminals who target women and girls who typically get low sentences – despite Rishi Sunak repeatedly pledging to do more to protect these victims.

Politicians, campaigners and the government’s own domestic violence watchdog have raised concerns over the measures amid fears domestic abusers and stalkers could “slip through the net”, with Labour saying the plans had been “rushed out with no consideration for victims”.

IN THIS PHOTO: Georgia Harrison/PHOTO CREDIT: Dave Benett via Glamour 

TV star Georgia Harrison, who was a victim of revenge porn at the hands of her former partner, fellow reality TV star Stephen Bear, told The Independent she had concerns over what impact scrapping short sentences could have on victims of crime. Bear was jailed for 21 months in March after he posted a video of the pair having sex in his garden in Loughton, Essex, in August 2020, to his OnlyFans account.

Ms Harrison, who has appeared on The Only Way Is Essex and Love Island, said: “For a lot of these men, especially in a misogynist culture, they feel like they are untouchable and they feel like they can get away with anything.

“And if Bear had walked away from my court case without prison time, I really don’t think he would have learned a single thing from the entire experience. If anything, I think he would have come back worse.”

The latest available figures from the Ministry of Justice for 2022 show:

• 8,996 men were sentenced on average to less than five months for harassment

• 1,809 men were sentenced on average to around 12 months behind bars for stalking offences

• 235 men were sentenced for an average of just over seven months in prison for revenge porn offences”.

Maybe it is not as prevalent as it was in Hollywood regarding high-profile figures, though we are reading about many male figures in the music industry being accused of sexual assault and abuse. It is almost impossible to calculate how many are stalking, abusing and offending women online through social media. Ever since a 2019 report highlighted the epidemic of sexual assault and harassment through the industry, there has been vocalisation for change. Current figures are still quite stark. With L.A. Reid recently accused of sexual assault, we are seeing some pretty big names blackened and disgraced. Sean ‘Diddy’ Combs has also been accused of rape by a former partner of his. How much say and agency to women have when it comes to calling out abusers and those who harass them?! This recent article from The Telegraph reported how Zelda Perkins was speaking at a Parliamentary inquiry into sexual abuse and harassment set to look into use of the secretive deals. She called for the music industry to stop silencing victims of sexual predators. I started by quoting news of certain offender being released early from prison because it will also impact the industry. At a moment when women (and non-binary people) are either fearful or coming forward or are being silence/intimidated, one only can guess how many cases of sexual harassment and assault have taken place and not reported. It is important to note that, as part of its inquiry into misogyny in the music industry, the Women and Equalities Committee is seeking to understand the extent to which non-disclosure agreements (NDAs) are used specifically to silence victims. 

I did wrote about this recently following the Dispatches investigation into Russell Brand. He has been accused of multiple counts of rape and assault. There are many men through the music industry who are culpable and should be brought to light. I think that one major goal in 2024 is ensuring the safety of women. It is not only sexual assault and harassment that needs to be tackled in music. Mistreatment, misrepresentation and coercion. Coming to that article from The Telegraph, it is clear that more needs to be done to protect women in music. Ensure that they are also free to speak out and are not being gagged:

“Pop stars, their agents and music industry executives will face close scrutiny by a powerful committee of MPs, amid growing unease about the use of NDAs.

An inquiry by the Women and Equalities Select Committee into misogyny in the music business is now looking specifically into how and why NDAs are used, as those who have signed are urged to come forward and give evidence, without fear of legal reprisal.

The call for evidence was hailed a “watershed moment” to expose abuse by powerful people whose wealth and influence invariably outstrip those who sign NDAs with them.

Zelda Perkins, who heads the UK’s Can’t Buy My Silence campaign to ban the misuse of NDAs said: “This is long overdue and a watershed moment for an industry which we know has an extraordinary prevalence of NDAs.”

Miss Perkins, who broke her NDA with the disgraced movie mogul Harvey Weinstein, to reveal his sexual and financial abuse of numerous women, added: “The issue of NDAs being abused is endemic throughout all sectors of industry.

“Legal agreements designed to protect intellectual copyright have been weaponised. We need the Government to act to change that.”

The committee is expected to hear evidence from musicians who have been abused by record label managers, and also allegations of exploitation by pop stars and their agents, all of which has been hushed up by NDAs for commercial gain.

Many famous faces in the music industry now trade on their celebrity to cross over into other media, including publishing, radio, television and streaming services, to further their earning potential.

IN THIS PHOTO: Rebecca Ferguson/PHOTO CREDIT: Getty Images

Women who have experienced gender-brd discrimination, harassment or abuse related to the music industry and have signed NDAs are being invited to give written evidence before Nov 20, under Parliamentary privilege. Any attempt to silence them could be treated as contempt of Parliament.

The actress Rose McGowan said that Weinstein offered her $1 million to sign a non-disclosure agreement on the eve of an expose of his activities by The New York Times in 2017.

In one case which is already in the public domain, singer and former TV reality show contestant Rebecca Ferguson, who appeared on ITV’s X Factor in 2010, broke her NDA to make allegations of mistreatment, coercion and financial abuse being swept under the carpet when she was just starting out in the industry.

The X Factor, produced by ITV and music mogul Simon Cowell’s Syco company, ran for 17 years before it was cancelled in 2021.

ITV has apologised to Miss Ferguson but insisted it followed a “Duty of Care” charter to protect contestants.

Syco has previously said that Mr Cowell was not personally involved in any incidents or behaviour alleged.

One woman who has signed an NDA in the music industry told The Sunday Telegraph: “NDAs are the tool of choice for pop stars and their management, for making all the things they’d rather the adoring public did not know about just disappear”.

Organisations like We Are Music are working hard to prevent bullying and harassment in the music industry. Cactus City also do important and remarkable work. With every report, statistics and testimony that highlights harassment, abuse or mistreatment of a woman in music, it seems we are getting further away from ensuring that they feel safe and heard. I also recently mentioned how Annie Macmanus spoke to a House of Commons committee talking about this tidal wave of abuse through music. How there are going to be so many new cases coming to light. Quite a few figures have been accused this year. We will see this happen in 2024. I know there are people trying to change things. Raising funds to get organisations expanded and activated. Ensuring that campaigns can be run and resources are available that are both education and protective. More than anything, there needs to be more involvement from men in the industry. Conversations need to happen and we must ensure many are brought into the conversation and pledge to do more.

IN THIS PHOTO: Annie Macmanus

The Government should pledge more money to making sure women are protected and safe. That they are taken seriously and given the freedom and support to speak out. With it likely there will be more lenient sentences for those accused of assault, harassment and abuse, it is an even more scary and frustrating time for women in the music industry. Next year should be one where we are united in that common cause! With women leaving music because they feel unsafe and cannot carry on, it has got to a critical and distressing point. A news report about a TikTok artist Anthony Q Lion asking fans for money and not mentioning that he is a rapist means that more needs to be done so that this does not become a more regular thing. So many cases coming to light shows that this cannot go on. It is a so so essential that one of the main agenda for 2024 is ensuring that women in music (or those who are assaulted and abused by men in the music industry) are not threatened and abused. Even if it has not fully materialised like it did in Hollywood, there were signs of a #MeToo movement years ago. It is something that needs to be reactivated and…

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FEATURE: Strange Days: The Doors of Perception: Jim Morrison at Eighty: A ‘Complicated’ Legacy

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Strange Days: The Doors of Perception

Jim Morrison at Eighty: A ‘Complicated’ Legacy

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EVEN if I cannot count myself…

IN THIS PHOTO: Jim Morrison in the late-1960s/PHOTO CREDIT: © Estate of Edmund Teske/Michael Ochs Archives/Getty Images

as a huge fan of The Doors, I recognise their importance and what they gave to music. Their debut album, The Doors, arrived in 1967. Released in a classic year for music, we got this sensational and historic album from the U.S. band. Containing the tracks Break On Through (To the Other Side), Alabama Song (Whisky Bar), Light My Fire and The End, many argue that The Doors did not reach these heights again. Their sixth studio album, 1971’s L.A. Woman, is quite close in terms of quality - as it has Love Her Madly, L.A. Woman and Rider on the Storm on it. That was the band’s final album before their lead Jim Morrison died at the age of twenty-seven. 8th December would have been his eightieth birthday. I am going to, rather than discuss the band’s music and legacy, talk about their frontperson. I know others will write features about Morrison closer to his eightieth, as he is often considered one of the best Rock singers and most iconic leads ever. Charismatic, controversial and primal, he was part-poet, part-artist. An almost mythical figure whose distinct voice and music has endured generations and sounds like nothing else, there is still no clear reason as to how he died in Paris in 1971. Even if some celebrate Jim Morrison’s sexuality and music, there is a more ‘complicated’ side. I had putting that word in inverted commas or quotation marks. This is the word most people use, although it does sounds quite vague and unserious. When it comes to Jim Morrison, there is a lot to celebrate – yet he definitely had a darker side and controversial nature that makes him a hard figure to completely embrace or excuse.

 PHOTO CREDIT: Michael Montfort

It is clear that he had a trouble past. In terms of his later years, there was definitely some questionable and controversial moments. During a gig on 1st March, 1969 in Miami, Morrison attempted to spark a riot in the audience by screaming, "You wanna see my cock?!". On 20th September, 1970, Morrison was convicted of indecent exposure and profanity. He remained free on a $50,000 bond. The band’s drummer John Densmore (whose book, The Doors Unhinged: Jim Morrison's Legacy Goes on Trial, is a must-own) spoke with The Guardian. Fuelled maybe by ego, drink, drugs and this perception of what a poet and Rock god should be, Densmoire spoke about the late Jim Morrison and the destructive, abusive side of The Doors’ lead:

“It took the Doors’ drummer, John Densmore, three years to visit the grave of his bandmate Jim Morrison after he was found dead in a Paris bathtub in 1971. He didn’t even go to the funeral. “Did I hate Jim?” Densmore pauses, although he is not obviously alarmed by the question. “No. I hated his self-destruction … He was a kamikaze who went out at 27 – what can I say?”

Quite a lot, it transpires. Morrison was a man who was spectacularly good at being a rock star – a lithe figure in leather trousers, prophesying about death, sex and magic on some of the biggest hits of the 1960s – Light My Fire, Break on Through and Hello, I Love You. But he was catastrophically bad at the rest of life. Like many alcoholics, he could be reckless, selfish and mercurial. “The Dionysian madman,” Densmore has called him – a “psychopath”, a “lunatic” and “the voice that struck terror in me”. He had lobbied to get Morrison off the road before his death, and even quit the band at one point. “Some people wanted to keep shovelling coal in the engine and I was like: ‘Wait a minute. So what if we have one less album? Maybe he’ll live?’” Why did he carry on? “Because I wasn’t mature enough to say that at the time. I wasn’t trying to enable him. It was another era. I used to answer the question: ‘If Jim was around today, would he be clean and sober?’ with a ‘no’. Kamikaze drunk. Now I’ve changed my mind. Of course he would be sober. Why wouldn’t he be? He was smart.”

Densmore, 75, is a defiant survivor of the music scene he helped build. This, perhaps, is why, in the decades since Morrison’s death, he has become not only one of the great chroniclers of the Doors, but the fiercest protector of Morrison’s legacy. To anyone who has read Densmore’s 1990 memoir – a book he says was “written in blood” – this may come as a surprise; later the book would form the basis for Oliver Stone’s (dreadful) Doors biopic. “It took me years to forgive Jim,” Densmore says. “And now I miss him so much for his artistry.”

Next month, a documentary about another of his bandmates, the keyboardist Ray Manzarek, who died in 2013, will be released. Manzarek’s relationship with Densmore was not smooth either. From the early 2000s, they were embroiled in a vicious six-year legal battle in which Densmore tried to stop Manzarek and the band’s guitarist, Robby Krieger, from touring under the Doors name as well as selling the band’s music for use on a Cadillac commercial. “I know. I sued my bandmates – am I CRAZY?!” he yells. People certainly thought he was. It is not usual to spend years in court trying to stop yourself from earning millions of dollars to prove a point about the value of artistic integrity over the pursuit of money. “What can I say? Jim’s ghost is behind me all the time,” Densmore says. “My knees were shaking pretty strong when they upped the offer of $5m (£3.8m) to $15m. But my head was saying: Break on Through for a gas-guzzling SUV? No!”.

Densmore’s writing about Morrison often reads as if it were done by someone who has survived an abusive relationship, such was the terror he felt around Morrison towards the end. “On the outside, Jim seemed normal,” he wrote. “But he had an aggressiveness toward life and women.” One such incident was early in their friendship when he went to pick Morrison up from a woman’s house and found him brandishing a knife at her while holding her hand behind her back. At the time, Densmore did nothing because he was worried that if anyone found out about Morrison, the band – and his own career – would be over. What does he make of this now? “I was really young,” he says. “I couldn’t figure out whether they were lovers, friends or enemies. I just felt like I needed to get out of there.” Would he have acted differently if it happened today? “Yeah, I would say: ‘What the fuck are you guys doing? Please take it down a few notches here”.

There are definitely multiple sides to Jim Morrison. There was this wild and rebellious nature that meant he was heralded and highlighted by the media. That romantic notion of someone who was a free spirit and poet. Maybe fitting into the idea of what  Rock artist should be in the 1960s and 1970s, there was a toxicity that could not be tolerated today. One of the good things about modern Rock is that we have largely got rid of the darker and seedier side of that culture. Even if Jim Morrison is considered by many as a genius and one of the most important artists of his generation, how is he seen now? CLASH wrote a feature in 2021 that assessed his legacy and complicated image:

“Morrison is talked about as a Jekyll and Hyde figure, with drugs and alcohol blamed for turning him into a monster. Yet time has morphed this description into something cool, using mythologised tales of his dual-souls and bad trips to blur over the stories of the underage relationships, violence towards girlfriends and fans, and even attempted murders.

If Jim Morrison was alive today, modern cancel culture would have a field day. The Blinders’ bassist Charlie articulated this perfectly, talking of his own difficulty confronting the realities of his idols; “if we knew of the abusive behaviour first then we wouldn’t perhaps give them the time that we do. We have a duty to therefore tackle our perceptions of somebody when we acquire knowledge of their behaviour but this can be very difficult to do.” This especially seems to be the case when it comes to looking back; we’re reluctant to get into a conversation about what the realities of our favourite 60s icons’ dark sides really looks like, because it simply looks a lot like abuse.

It’s such a slippery slope. When we start talking about Morrison, we have to start talking about other rock icons and their haram of baby groupies, some allegedly as young as 13. We have to start talking about Lennon’s domestic violence, Elvis Presley and Priscilla’s age gap, and the long list of other problematic details in the lives of our heroes. It’s hard to talk about one without feeling as though we’re risking an entire era of artists as the voice of cancel culture demands we wipe our Spotify library and burn our vinyl.

But we know we could never cancel the classics. Being the figureheads of an era full of events and stories that have been passed down like folklore, icons like Morrison, Bowie, and Lennon are far too engrained into culture to ever be untangled. Yet, although the argument that we should separate the art from the artist might be problematic when we talk about living performers, allowing people to escape accountability and repercussions for their actions, it may be a necessary thing for historic figures.

While their art remains relevant, the separation is necessary if only to remind us that these people existed in a very different time. It’s a fact, not an excuse, to say that the free love era of the 60s didn’t consider these things in the way we do now; assault – very sadly – was barely a word to be recognised in the lexicon. While it’s important to recognise abuse both historical and modern, resisting the insistence to judge the actions of 50 years ago by today’s standards may be the only way we can hold onto our favourite albums.

The argument of blissful ignorance feels like a necessary evil for Bowie and The Beatles. But when it comes to Jim Morrison, it feels like a different story. While other icons have become villains through a modern lens, Morrison was always an abusive figure constantly being let off because of his bad boy act.

The Doors’ drummer John Densmore has spoken a lot about Morrison’s aggression towards women, famously not visiting Morrison’s grave for three years after his death and calling him a “psychopath” who Densmore was terrified of after he walked in on Morrison holding a knife to a groupie. Even at the time, Jim Morrison was known as violent, abusive towards women, and generally destructive, but we erase these stories, along with all others against our favourite 60s icons, to keep our romanticised image of what a rock star should be in-tact.

So what do they need to be to qualify? How quickly does our image of the perfect star as wild and exciting slip into a green card for drug-fuelled chaos and violence? In an industry that’s still so male-dominated, and when men like Morrison are still largely idolised, discussing their abuses and removing the veneer of romance that surrounds them is essential for preventing their toxic behaviours creeping into 2021 under the façade of rock ‘n’ roll.

When we hold up the romanticised image of people like Morrison as perfect icons that represent what music should be, we run the risk of leaving abuse and violence as part of the parcel of stardom, like an accepted symptom of being ground-breaking.

It almost feels like we’re seeing the dangers of this play out in real time currently as more allegations come out against Marilyn Manson. In light of this, Manson’s love for The Doors and obsession with Jim Morrison (and even more violent 60s figures like Charles Manson) starts to raise an eyebrow or two. Similar to Morrison, tales of Marilyn Manson’s dark antics have always been brushed off as wild, allowed to become part of his appeal of fans – except now seeing the violent realities of this, and how the public ego-boost may have enabled his abuse, means that a lot of his behaviours start to look like red flags that were consistently ignored and shrugged off as some form of expected rock ‘n’ roll chaos”.

I am going to end with positives and ‘the other side’ of Jim Morrison. In 2020, Grace Marie Burton wrote for The Burr Magazine. She dissected the conflicted legacy of Jim Morrison. In 2023, he still remains someone who is mythologised and romanticised. Not that his dark and abusive side should be ignored, though it is clear that there Morrison was troubled throughout his short life:

“In the rock canon, there aren’t many bands like The Doors. Simultaneously underground and mainstream at the same time, they’ve certainly left their mark in the rock genre and numerous sub-genres, like punk and gothic rock for example. However, I’m still conflicted about my opinions on them as I love parts of them yet l0athe other aspects surrounding the legacy of The Doors.

The Doors started in 1965 after singer Jim Morrison ran into his former college buddy, Ray Manzarek on the beach in Venice, CA. Even before they ever released any singles or albums, they were pegged as the rebellious poets of the L.A. scene. They were fascinating yet magical and oh so mysterious. Most of this was tied to Morrison, as he was seen as prettier, sexier, dangerous and more clever than any other rockstar before and during his time. The band was also extremely eclectic with their influences and references. The whole of the band was obsessed with poetry and philosophy, particularly Aldous Huxley, William Blake, Arthur Rimbaud and many others. Morrison would also pick up performance elements from the experimental Living Theater novel by Julian Beck.

Their musical influences were also diverse and all over the place. Drummer John Densmore had a flair for Bossa Nova, which influenced songs like “Break on through (to the other side).” Guitarist Robby Krieger has classical guitar training, which can be found in the flamenco solo and backing on “Spanish Caravan.” Manzarek, whose organ made up for the band’s lack of a bass player, is probably the signature of The Doors sound. At times darkly hypnotic, like a midnight carnival ride and at other times funky yet warm, like something from a Ray Charles b-side or soft and brooding, like a Motown torch single.

Critics at the time lauded this experimentation and darkly brooding subject matter Morrison surrounded himself in. They also often wrote about Doors albums like they were collections of poetry. Take this review of the first doors album from Crawdaddy! in 1967 by Paul Williams:

The Doors’ legacy is where the divisions, including my own, bubble to the surface. The true span of the legacy of The Doors doesn’t truly show up until the ‘80s and ‘90s when teenagers brought back both the ‘50s and ‘60s and made them cool and interesting again. Writer and boozehound Lester Bangs reflected on the legacy of both the group and Morrison in 1980, a decade after he torched their album “Morrison Hotel” for Rolling Stone.

PHOTO CREDIT: Joel Brodsky

This isn’t exclusive to The Doors and the youth of the ‘80s and ‘90s either; we can see this occurring today with our modern youth and their obsession with the culture of the ‘90s. However, The Doors and Morrison, mostly due to his death obsession and early demise, had been launched into this idea of what the movements of the ‘60s and ’70s were supposed to mean. The ‘60s were supposed to be this giant decade where everything changed and the youth revolted, questioned authority and revolutionized the American idea of just about everything. However, what got lost in the shuffle when the youth of the ‘80s and ‘90s rediscovered the ‘60s was that most of those revolutionary figures either died due to their own excess, assassination, or had become cogs in the money-making machine once the counterculture had been adopted as a way to make money.

Morrison was an example of that, however, due to his rebellious actions and mystic aura and tendencies, he’s become a symbol rather than a person. The myth of Morrison is summed up with the title of the Rolling Stone article from 1981, following the release of a popular Morrison biography “No One Here Gets out Alive”: “He’s Hot, He’s Sexy and He’s Dead.” Even alive, those were the appeals of Morrison’s persona, the classic gothic mixture of attraction, sexual rawness and how that allures to death.

The issue that I see is while that is true of Jim Morrison, that was mostly his press or performing image; behind the scenes, he was a drunk bad poet who was a serial cheater and drug addict. He’s not the only one who’s like this, even from the ‘60s, but he’s been deified and for that I point the blame to director Oliver Stone and his 1991 film about the band, “The Doors”.

There is no doubt that Jim Morrison was a distinct and incredible writer. A poet and songwriter whose work was explored in this feature, he has also inspired so many artists who followed. Everyone from Iggy Pop, Patti Smith and Ian McCullough of Echo and The Bunnymen are inspired by Jim Morrison. Whether it is his spirit and recklessness, the poetry and words or his particular vocal delivery and style, it is important to recognise the positives and impactful nature of Morrison. He turns eighty on 8th December. There will be new perspectives and interpretations about his work and legacy. I want to bring in some of Richard Jonathan’s words about Jim Morrison as a poet. It is a fascinating take and spotlight of a fascinating-if-controversial figure:

“Jim’s poetry has a strong cinematic dimension. Andrzej Zulawski (a Polish filmmaker whose first film, The Third Part of the Night, was released in the year of Jim’s death), was a filmmaker whose films, especially Chamanka (She-Shaman) and Possession, are perfect expressions of Jim’s ethics and aesthetics (for the true artist, the two are always intimately entwined). Zulawski’s films enact the trance Jim sought as a means to transcendence, they embody Jim’s conception of cinema: ‘Film is the closest approximation in art that we have to the actual flow of consciousness, in both dream life and the actual perception of the world’ (interview). The most consistent cinematic equivalents of Jim’s poetry, then, are the films of Zulawski. Indeed, ‘The End’ and ‘When the Music’s Over’ can be seen as aesthetic precursors of Chamanka and Possession.

In Jim’s poetry a mythical dimension often attaches to words, giving them—like phosphorus exposed to oxygen—a particular glow. The butterfly in ‘the scream of the butterfly’ suffices unto itself, but attached to the insect—for listeners with attuned antennae—is its mythical dimension as ‘the soul freed from its covering of flesh’. In ‘The End’ the snake is clearly mythical: great god of darkness; symbol of both soul and libido; storehouse of potential underlying the palpable world. Night, as we have already seen, is an emblem of ‘the other side’; the word recurs in many songs. In ‘Moonlight Drive’, the moon is awash in mythical associations, giving access to the ‘strait gate’ which opens upon release and light, a short cut to the luminous centre of being and oneness. And what about in ‘Wild Child’? Who is that ‘ancient lunatic [who] reigns in the trees of the night’? A witch, a black moon, a decrepit madman?

IN THIS PHOTO: Jim Morrison between Whisky and the Word in the NYC Subway/PHOTO CREDIT: Paul Ferrara

What gives ‘The End’ its ‘haunting authority’? What—besides the brilliance of the music—makes it so powerful? It is, I would argue, the fact that it reaches deep down into a mythical, primitive psychology and then evokes cinematically what the poet found there. In a 1968 interview with the Los Angeles Free Press, Jim said: ‘I used to have this magic formula to break into the subconscious. I would lay there and say over and over “Fuck the mother, kill the father. Fuck the mother, kill the father”. You can really get into your head just repeating that slogan over and over. Just saying it can be the thing’. Now, ‘the connection with the psychologically primitive characterizes the prophetic writer’, says Frye (p. 54). Jim would agree, and would be quick to make it clear that, to the extent that he is working in a mythological dimension, the ‘prophetic’ is not about foretelling the future, but rather about highlighting the fact that history is a series of repetitions. Thus, just as in film where every image on the screen is in the present tense, not matter where it is situated in the narrative sequence, so in ‘The End’ the ‘stranger’s hand in a desperate land’, the ‘Roman wilderness of pain’, the ‘snake’ and the ‘blue bus’, the killer who ‘walked on down the hall’, are all immediately present to us, even as they resonate through past and future centuries. This is a particular quality of Jim’s poetic genius, and this is what I characterize as the prophetic dimension in his poetry”.

In 2021, The Collected Works of Jim Morrison: Poetry, Journals, Transcripts, and Lyrics, was published. The varied and prophetic writings of The Doors’ lead  was celebrated in the new anthology. The Financial Times ran a feature in anticipation of the release. Whereas some saw Morrison as this drugged, drunk and hellraising idol, others celebrated his poetic and sensitive side. A reason I wanted to write this feature is to get inside a Rock figure we do not really see today. Almost a classic poet in terms of their personality, work and legacy. How do we view Jim Morrison today in terms of his importance and music? It is a question that many have been asking for years now:

Jim Morrison’s reputation as a hell-raising, leather-clad Lizard King means he is primarily celebrated in pop folklore as a beer-swilling frontman, an “erotic politician” who filled rock stadiums with indecent howls and dark wit. Yet the late Doors singer, who was found dead at 27 in a Paris bathtub nearly 50 years ago, was first and foremost a poet, according to Robby Krieger, the band’s jazz-channelling guitarist.

The still-awestruck 75-year-old describes Morrison as “a genius. He was the only guy I met at that age who was so preoccupied with death and philosophy. No one else was even close to thinking like he was thinking.

“Jim was always a poet. When I wrote ‘Light My Fire’, Jim added the line ‘try to set the night on fire’. We found out recently he had actually written that line in a poetry notebook from way back, when he was just a child.”

Created in collaboration with Morrison’s estate, a new, nearly 600-page anthology, The Collected Works of Jim Morrison, honours Morrison’s own plans to publish a book containing all his writings, including poems, screenplays and lyrics — from “The Pony Express”, a poem Morrison wrote when he was in the fifth grade, to sombre reflections from his final days in Paris. There he seems to have made peace with the concept of mortality, prophetically writing: “Naked we come and bruised we go / nude pastry for the slow soft worms below.”

The singer’s sister, Anne Morrison Chewning, says it was quickly apparent that her brother was different from other kids while they were growing up in a military family that moved house almost every six months. “While his friends were playing with toys, Jim was reading Rimbaud, Camus and Genet,” she recalls. “When he graduated, he asked my parents for the complete works of Nietzsche as his gift. He liked to go into Washington DC and wander the streets alone, purely so he could observe people.”

Anne was living in London in 1966 when their mother, Clara, sent over a copy of The Doors’ debut album. Anne was pleasantly surprised to find out about the new career of her older brother, who by that point had disconnected himself from his family. “I always thought Jim would end up as a penniless beatnik poet,” she says. “It felt like the music really was an accidental thing. He wasn’t reaching out to be a musician or singer. It just sort of happened by serendipity.”

This is echoed by his close friend Frank Lisciandro, a fellow film student at UCLA and an editor of the new anthology. He sorted through dozens of notepads and scraps of poetry that Morrison left behind. On December 8 1970, Lisciandro was invited by a heavily bearded Morrison to a studio on his final birthday to watch him record some of his favourite poems (the audiobook of the anthology features these recordings). “Jim was friends with [the Beat generation poet] Michael McClure and loved the way the Beat poets approached language. He wanted to publicise his poetry through the rock stage and turn it into theatre,” Lisciandro says. “It was important we printed his song lyrics alongside his poetry as Jim didn’t really see a distinction.

“He was a very discreet and quiet person. Not at all a braggart. I remember one day he came into The Doors’ office and quietly handed me a book of poems he had just self-published. I thought I was a smart person, but after I read those poems I realised I didn’t know anything about the world.”

“The idea of the world becoming more computerised definitely troubled Jim because he was such a free spirit. He just went wherever the energy pushed him. He would leave a Doors session, walk up to the highway, stick his finger out and hitch a ride. Jim was a hitchhiker in his mind, too, catching rides to the next thought or experience.”

Whatever the future holds in Morrison’s afterlife, Lisciandro is convinced Morrison the poet will keep growing in stature. “I just want people to study his writing, because it has a lot to say about our world. Jim the poet will live on, that is my only hope”.

On 8th December, the world marks Jim Morrison’s eightieth birthday. Undoubtably a hugely important figure in Rock history, there is this constant and ongoing exploration of his legacy and image. A terrific writer and performer, there is also the abusive, dangerous and darker side of The Doors’ leader. With books, volumes and documentaries out there that concern Jim Morrison, one can come to their own conclusions regarding his legacy and truth. It is clear there are different and dark sides to one of the most compelling figures…

IN music history.

FEATURE: Saluting the Queens: Carla Marie Williams

FEATURE:

 

 

Saluting the Queens

Carla Marie Williams

_________

A definite queen and leader…

 IN THIS PHOTO: Carla Marie Williams alongside some unsung music industry professionals at the #girlsirate #mentorme dinner at #londonkindred last month/PHOTO CREDIT: Carla Marie Williams

of the music scene, I wanted to spotlight the remarkable and super talented Carla Marie Williams. She is someone everyone should follow.  A hugely beloved and influential songwriter and champion of women’s voices, she founded the essential Girls I Rate. You can see what they are about here. As it says on the website: “Experiencing first hand the imbalance and inequality within a very male dominated music industry, Carla was compelled to create a movement that provides females with a voice and platform. Her mission is to unite females though GIR and create opportunities for females within the music & creative industries”. This Harrow-born queen is someone who is representing women (and highlighting phenomenal women of colour too) and trying to strike against the imbalance and ingrained sexism that afflicts the music industry – at a time when women are ruling and creating the best and most compelling music around (and there are some wonderful female producers not being nodded to).

I am going to come to some interviews and features Carla Marie Williams was involved with a few years or so back. As a songwriter, she has written or co-written include Beyoncé's Freedom, and Britney Spears's Private Show. In 2016, Williams was nominated for two Grammy Awards for her work on Beyoncé's Lemonade album. She is the vital and hugely adored founder of Girls I Rate. As I am thinking about the recent Women in Music Awards 2023, I was also thinking of Williams. Someone who garners an enormous amount of respect right throughout the industry, the Future Hitmakers Masterclass that took place at London’s Southbank Centre earlier this month joined together Carla Marie Williams with sisters and influential/multitalented contemporaries Jin Jin and Kamille. Her curated Created by Women playlist (see below) shows that she champions and salutes vital and extraordinary women through music!

Before moving onto a couple of points and observations., I want to properly ‘introduce’ the hugely inspiring Carla Marie Williams. Her journey and path to here and now is extraordinary. Here is someone, as Founder of Girls I Rate, who is affecting change through the music industry – in addition to holding conversations with important women and also asking for recognition and more progress. We are still a long way from there being equality and parity in music though, with people like Williams getting their voices heard, that will come soon enough:

“It was incredible. One minute I was doing talent shows in Harlesden, the next I was taking boat trips on the Hudson River, visiting Madison Square Gardens and performing at the Apollo. It ignited a fierce desire to make music my life.”

Carla Marie Williams is an inspiring figure of achievement: Starting her music career at the age of 14 years old where she sang in local talent shows in North West London, whilst writing poetry well beyond her years she strived and fine-tuned her talents, becoming a songwriter to a roll-call of stars including Beyoncé, Britney Spears, Craig David, Girls Aloud and Kylie Minougue.

Why we are @GirlsIRate feel it’s important to invest and educate #FutureHitmakers ESPECIALLY WOMEN! @PPLUK @PRSforMusic @PPLUK @PRSFoundation @WeAreTheMU BIG UP @ZezeMillz @AmazonMusicUK @dellessa for giving @raye a platform to talk our truths! #paysongwriters pic.twitter.com/gj5ktG7MXR

— Carla Marie Williams (@CarlaMarieUK) March 21, 2023

Her career began in girl band Schino managed by Elliot Davis (Ex-Manager of Wet, Wet, Wet) and co writing edgy rock soul songs alongside a guitar at the age of 17.

In Carla’s early career she worked as a youth worker for the Peabody Trust and was later singing backing vocals for artists including Ms Dynamite, Estelle, Corrine Baily Rae, Westlife, Bryan Ferry and Spiritualised.

Carla later went on to join the UK hit factory Xenomania where she worked as an integral part of the team co writing a plethora of top ten hits for artists such as Girls Aloud, The Saturday’s, Alesha Dixon and many more. In less than 2 years Carla had achieved 6 UK tops 10’s an Ivor Novello nomination and BRIT Award for her contribution to the single ‘The Promise’.

In more recent times Carla is best known for writing Naughty Boy featuring Beyoncé’s BRIT smash hit “Runnin”, “Freedom” featuring Kendrick Lemar on Beyoncé’s critically acclaimed billboard album ‘Lemonade’ and Private Show & What You Need on Britney Spears album Glory.

In 2014 Carla was inspired to form own entertainment company NewCrowd where she now houses and develops raw talent.

Carla and NewCrowd have collaborated with a host of artists and producers including Rudimental, MNEK, Beyoncé, DJ Mustard, Pia Mia, Wilkinson, Naughty Boy and Paloma Faith. Becky G, Shae Taylor, Warryn Campbell, Artful Dodger, Reggie & Bollie, Kyla, Rodney Jerkins, DR Luke & Circuit, Preditah, ill Blu, Sticky, DJ Q, Donaeo and many more.

“First and foremost my passion is music and writing great songs that resonate with the masses. But I also want to make a difference for women in the creative industries and help create new platforms for creatives and the future generation of women”.

As I am a (proud) member of The Trouble Club, it seems like Carla Marie Williams is a future speaker. Someone who would be a perfect role model and source of inspiration for those who go to hear her speak. Maybe once better (or exclusively) known as a songwriter to the stars, Williams is now using her experience and platform to look at the wider industry and talk about things that need to change. Also saluting queens like herself who are doing wonderful and important things in music. I cannot see any recent interviews with her – though I am keen to interview her myself! -, so I will include a few from a few years ago. In 2021, Carla Marie Williams was interviewed by Music Week. This was the year Williams was named as Campaigner award recipient at the Music Week Awards:

“The Music Week Women In Music Awards returned for the first in-person event in two years to honour 12 incredible executives and artists, alongside the Roll Of Honour inductees.

Staged in partnership with AIM and UK Music, with YouTube Music as headline sponsor, the ceremony took place at the London Hilton, Park Lane on Friday, October 22.

One of the standout moments of the ceremony came from the recipient of this year's Campaigner honour, the award-winning songwriter and Girls I Rate founder Carla Marie Williams.

"The people at the top of organisations don't look like me," she said onstage. "You need to support organisations that look like me. We're the real girls who represent real people."

Williams has told Music Week about the inspiration behind the speech.

"Since Blackout Tuesday so many corporate organisations have set up subsidiary companies and charities aimed at supporting women and black people which means it has become increasingly harder for black owned independent organisation like GIR to gain funding & support," Williams said. "We're often told, we are already doing something similar', or 'no budget left', or, 'We can’t facilitate those types of activities'. So again, this further pushes the systemic issues as the money and power stays within the system, decreasing the level of support that can be given to small black owned companies and organisations. Being of Jamaican heritage and with Jamaica and the UK historically having strong ties in music, food, sports, and culture, not to mention the Windrush contributions, I’ve been keen to branch out to Jamaica and the Carribean to push for cultural exchanges. However, since doing so I’m realising how increasingly difficult it is as the Carribean is somehow being overlooked."

 Williams went on to details her experiences of trying to get funding.

"I landed an email a few weeks ago about an organisation announcing £3.5 [million in funds] for international projects, and I was so excited," Williams continued. "However, when I looked deeper I found there was nothing in Jamaica – despite being the most long-standing influential island in music, food and sports in the world – or the entire Carribean at all. I pushed for a reason and again was told, 'We do not have the capacity to facilitate projects in this territory'. I could do what’s easy, but I want to do what’s real to me and women like me, so I'm hoping soon they will recognise this and open up these opportunities. We have the young people but we simply don’t have the resources or funds. So we decided to launch #GIRACADEMYFUND GoFundMe in hope of raising some money to support and sustain our projects. Donations will go towards the first safe space studio for women in Jamaica, Mentor Me online Masterclasses, GIR Radio [a platform dedicated to promoting women's music] and core running costs. Please support the #GIRACADEMYFUND."

Here, Music Week Women In Music Awards 2021 Campaigner Carla Marie Williams, founder of Girls I Rate, reflects on her win, her career so far and her hopes for the future...

You’ve just been named Music Week’s Women in Music Award’s Campaigner for 2021, how did you feel when you heard the news?

“I was so ecstatic. I was in Jamaica the week before I heard and I just didn't feel like I had been recognised, especially by some of the establishment involved in the award. I felt like, you know, there would have been other women in particular, white women, that would have got the award. So, I was ecstatic that the work that myself and the girls at Girls I Rate had been doing has been recognised in this way.”

What was the motivation behind Girls I Rate (GIR)?

“Girls I Rate started in 2016, the year before my mum passed away and it came about when I started going to America and being in different rooms. I had already experienced certain challenges in the music industry in the UK, and I quickly realised America was even a bigger place of a lot of red tape and compromise. So basically, I was working with some managers from the States, and I found myself always at loggerheads with them over the things that I wanted to do. I think the last thing that really resonated with me was when one said: ‘Why don't you just shut up and write songs?’ And that's what motivated me to start Girls I Rate and do it with purpose and do it relentlessly.”

What are some of your big wins in terms of GIR so far?

“Our songwriting weekenders were amazing. The first one was at Metropolis, and it was sponsored by MOBOs. And I then ended up doing a UK tour a couple of years later. We went to Liverpool, Dublin, Manchester and Birmingham, where hundreds of girls came out just to hear me talk and work with me.”

Who are some of the organisations you have partnered with?

“A partnership I've had since 2017 includes working with PRS for Music on an initiative called #GetHeard. This is basically where we get A&Rs to come and listen to the girl’s music and give feedback. We also launched the Future Hitmaker competition with the PRS Foundation where we offer our girls bursaries to enter the competition. In addition, we’ve just been awarded financial support from the Spotify Equal Board. And, I also love the partnership we have with Music Week where we highlight amazing women in the industry, black women in particular.”

What is the biggest concern you hear from women when it comes to the music industry?

“A lot of women don't feel like they're taken seriously, that they are undermined, and sometimes it's not just men who are guilty of that - women are also guilty of that in different environments, because we have defence mechanisms to get to the top. I feel like a lot of things we learn as people we need to get rid of, such as the crabs in the barrel mentality. I also know that the Me Too movement is starting to dissect the music industry and we too are getting involved by trying to ensure women feel safe in studios. We are partnering with organisations such as The Cube and Pirate Studios to provide these safe spaces for women”.

 PHOTO CREDIT: via The Arts Desk

I am going to go back even further. I am interested in this Stylist interview from six years ago. Intrigued and excited by the fact that Carla Marie Williams was trying to get more women into the music industry, it is clear we have seen progress since then. It is because of women like her that we have seen these conversations open up:

“Woman of the Week is Stylist’s weekly celebration of women making a difference to society. Grammy-nominated songwriter Carla Marie Williams has written for everyone from Girls Aloud to Beyoncé. Now, she wants to get more women into songwriting.

Adele. Beyoncé. Rihanna. Taylor Swift. Nicki Minaj. Some of the world’s biggest pop stars are women, but don’t be fooled into thinking that the music industry isn’t dominated by men. In the US, less than a quarter of the 600 most popular songs of the last five years were performed by women, according to recent research by the University of Southern California, and just 12% were penned by female songwriters. The same study found that men make up more than 90% – 90%! – of all Grammy nominees since 2012.

Things aren’t much better in the UK, where more than three-quarters of mainstream music festivals taking place in 2018 don’t have a single female-fronted act on their line-up. The average gender pay gap at the country’s major labels is over 30%, while women make up just 6% of members of the Music Producers Guild (MPG). And according to PRS for Music – the UK body that looks after copyright for songwriters, composers and music publishers – just 17% of professional songwriters are women.

It’s against this rather disheartening backdrop that Carla Marie Williams is striving to get more women into the music industry – specifically, to nurture the talents and boost the profiles of female songwriters. The London-born, Grammy-nominated lyricist and composer recently helped launch the #GetHeard campaign, an initiative with PRS for Music to address the gender gap in songwriting. In late June, over 200 aspiring women songwriters gathered at a #GetHeard event in London to share their music with some of the music industry’s most influential figures, and to hear Williams and other prominent women share their insights into the business.

Williams describes #GetHeard as “a way to bring the industry to the girls and to the movement” – the movement, of course, being the rising sense that gender inequality in the music industry needs to be addressed. It’s important to Williams that the campaign doesn’t just pay lip service to the idea of female empowerment, but actually serves a practical purpose, connecting songwriters with people they need to know.

“We want to create producers or writers or artists,” she says. Now the campaign has been launched, she hopes to “gain more support from industry people and sponsors; people that actually believe this can be done and who want to support women. And I mean genuinely support women – not just do ad campaigns that look great.”

When it comes to the music industry, Williams knows what she’s talking about. She spent the first chapter of her career at Xenomania, the music production and songwriting team once described by the BBC as “Britain’s top hit factory”. Partly as a result of her time there, her catalogue of songwriting credits reads like the track list for a 21st century pop compilation album: she’s written for everyone from Britney Spears and Kylie Minogue to The Saturdays and Craig David, and is responsible for some of Girls Aloud’s biggest bangers. (If you ever got drunk and sang Can’t Speak French at a karaoke bar in the late Noughties, you’ve got Williams to thank.)

Although she’d been writing poetry since she was at school, and spent some time in a short-lived girl band in her teens, it was getting her foot in the door at Xenomania that Williams classes as her big break. During her time there, she achieved 6 UK top 10s, an Ivor Novello nomination, and a Brit Award nod for her contribution to the Girls Aloud track The Promise. But in 2014, she decided to strike out on her own.

“I didn’t know what I was going to do,” she admits. “I didn’t have a team, I didn’t have management; I was just by myself. I had to sit down and really think about what I was going to do next”.

Apologies for screwing with the chronology! After Girls I Rate was launched in 2016, Carla Marie Williams has worked tirelessly affecting change and creating dialogues. As someone who has experienced racism, misogyny and sexism throughout her career, Williams knows all too well the challenges and discrimination that so many women face. In 2021, PRS for Music spoke with the iconic Williams. She talked about the Girls I Rate platform. She was also spotlighting the Girls I Rate team hunting for talented songwriters and producers as part of their 2021 #GETHEARD Future Hitmaker competition. That was launched in partnership with PRS for Music and PRS Foundation:

“Grammy-award-winning songwriter Carla Marie Williams is accustomed to shaking up the music industry.

Williams has collaborated with some of the world's biggest artists, including Britney Spears, Sean Paul and Beyoncé, and is one of a handful of Black British female writers to reach superstar status.

But the road to the top was far from smooth. Carla Marie has spoken openly about the racism and sexism she has endured throughout her 20-year music career.

When a certain management company warned her that it was a man’s world, and would always be so, Carla Marie decided to take matters into her own hands.

In 2016, she launched Girls I Rate, a movement designed to help nurture, inspire and champion young women creatives. GIR today provides educational, mentoring and networking opportunities to over 5,000 members looking to build their dream careers in the creative sector.

IN THIS PHOTO: Carla Marie Williams on stage in 2023 with Manny Norté, Kamille and Jin Jin

 The GIR team are currently on the hunt for talented songwriters and producers as part of their 2021 #GETHEARD Future Hitmaker competition.

Launched in partnership with PRS for Music and PRS Foundation, the competition gives young women creatives the chance to have their songs played on the radio and in front of industry experts. Three winners will also receive funding for upcoming music projects alongside other prizes.

We had a chat with Carla Marie via Zoom to find out why she launched the competition, what she looks for in a Future Hitmaker and her 2021 plans for Girls I Rate.

The competition sounds exciting, Carla Marie – what made you launch it?

GIR members have always benefited from getting their music heard by A&R through our #GETHEARD A&R Weekender – but nothing really came out of it. All they got was feedback, which was great because we get some amazing people for our panels, but I knew we could do more.

The competition gives them tangible stuff including a cash bursary of up to £3,000, high-spec equipment, a spot on a six-week production course. This package is based on what our girls told us they needed, so it’s more beneficial for them.

We know gender diversity is a major challenge for UK music – women make up only 18 percent of PRS for Music’s membership. Why do you think the industry still struggles to attract and retain talent women?

I think it’s down to misconceptions about where women fit in the studio. We all need to change our mindsets – that includes me. There’s also a lack of safe spaces for women to learn production and songwriting so they don’t feel self-conscious or give up. These learning experiences sometimes don’t lead to proper employment opportunities – this needs to change too.

What has the industry response been like?

It’s been really good. What I love is there are a lot of men who want to participate and get involved. That to me, in 2021, is one of the most exciting things. I’m all about uplifting and recognising women in the industry but I’ve learnt that it’s also vital that men understand and support what we’re doing. Over the years I’ve tried to involve men where I can and educate them on the importance of supporting women.

We’ve also got some great people and companies like Spotify and Mixcloud on board to support us. A big music artist has offered to co-host the judging panel event with me. I can’t name them now but I’m very excited”.

Someone who is influential to me. Someone I respect gigantically; I hope I have done Carla Marie Williams justice in this feature! With her incredible and passionate work affecting so many women in music and spreading far and wide, I am so fascinated how her career started and how it has changed. Alongside peers such as Kamille, this is a phenomenal queen who I always keep an eye and ear out for. If you have the resources and time, contribute to the GIR Academy Fund, as they are a non-profit organisation who has this #GIRArmy: a strong community of over five-thousand wonderful female creatives. I wanted to properly salute and show my huge affection and admiration for someone who will continue to make change and support women in music through 2024. A queen, leader, campaigner and pioneer, the brilliant and sublime Carla Marie Williams is someone that I wanted to highlight. If you are not familiar with her work and illustrious songwriting background, then check out this…

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SENSATIONAL human being.

FEATURE: Groovelines: Mariah Carey – All I Want for Christmas Is You

FEATURE:

 

 

Groovelines

Mariah Carey – All I Want for Christmas Is You

_________

PERHAPS the best and most celebrated…

 PHOTO CREDIT: Dennis Leupold via USA Today

Christmas song ever, Mariah Carey’s All I Want for Christmas Is You often tops lists of the all-time classic festive gems. TimeOut deemed the song the very best last year; Good Housekeeping concurred this year; Cosmopolitan ranked it top this year too. A song that was released on 29th October, 1994, All I Want for Christmas Is You was selected by the Library of Congress for inclusion in the National Recording Registry this year. I am going to come to its legacy and the reaction to it. For Groovelines, it is a chance to go deep with a song. I am going to get into a new lawsuit that has come about. A Christmas classic called into question regarding its originality. Before that, The Guardian discussed how Mariah Carey’s All I Want for Christmas Is You is being played extra-early this year. People finding comfort in a classic that provides joy and warmth:

“People who argue that Christmas seems to come earlier every year now have an important piece of evidence: the earliest ever appearance of Christmas songs in the UK Top 40.

We’re not halfway through November, but already the widely agreed-upon pair of greatest modern Christmas classics – Wham!’s Last Christmas and Mariah Carey’s All I Want for Christmas Is You – have entered the chart at No 37 and No 40 respectively. Last year, it took until the third week of November for a Christmas song to appear, namely All I Want for Christmas Is You. Each song will now almost certainly remain in the chart for the rest of the year, and possibly early 2024.

The songs’ popularity has grown all the more via the network effect of the download and then streaming eras, with Last Christmas – originally a No 2 hit in 1984 – reappearing in the chart every year since 2008, eventually earning its first No 1 position in January 2021.

Released in 1994, All I Want for Christmas Is You also returned in 2008, and earned its first No 1 spot slightly before Wham!, in December 2020.

Further demonstrating the songs’ classic status is the fact there are no other Christmas hits even in the Top 100 this week, though by Christmas itself the charts will be dominated by them.

Twenty-nine entries in the UK Top 40 over Christmas 2022 were festive, with longstanding favourites such as Brenda Lee’s Rockin’ Around the Christmas Tree and the Pogues’ Fairytale of New York joined by a more recent established canon of favourites by Michael Bublé, Ariana Grande, Kelly Clarkson and Justin Bieber.

Neither Last Christmas nor All I Want for Christmas Is You has held the actual Christmas No 1 spot, which in recent years has been dominated by YouTube star LadBaby and his series of singles to benefit food bank charity the Trussell Trust. His fifth chart-topper, 2022’s Food Aid, broke the Beatles’ record for the most Christmas No 1s. He has not announced whether he’ll attempt a sixth No 1 in a row this year.

The festive glow of All I Want for Christmas Is You has been slightly dulled this year as Mariah Carey has been served with a lawsuit alleging copyright infringement over the song”.

There is some controversy that has blighted the magnificent and all-conquering classic. Again, going to The Guardian, we learn that this legendary song has been challenged. A lot of big artists find themselves on the end of lawsuits. Cynically, you tend to find them occurring when a song becomes massive and makes a lot of money. I am not sure what the result will be of All I Want for Christmas Is You’s challenge:

“Mariah Carey has been sued over alleged copyright infringement with her perennial festive hit All I Want For Christmas Is You.

As reported in Billboard, it is the second lawsuit she has faced from songwriter Andy Stone – who performed under the name Vince Vance – who filed then withdrew a similar claim in 2022.

Stone released a similarly lovelorn song of the same name in 1989 with his group Vince Vance & the Valiants, reaching No 52 in the US country singles chart in 1994 after receiving extensive radio play during Christmas 1993. Carey’s song was recorded and released in 1994.

Stone’s lawsuit claims: “The phrase ‘all I want for Christmas is you’ may seem like a common parlance today, in 1988 it was, in context, distinctive […] Moreover, the combination of the specific chord progression in the melody paired with the verbatim hook was a greater than 50% clone of [Stone’s] original work, in both lyric choice and chord expressions.”

Stone is being represented by Gerard P Fox, a lawyer who represented two songwriters in a similar copyright infringement case against Taylor Swift and her song Shake It Off, which resulted in an undisclosed settlement in 2022.

Carey has not responded to the lawsuit. The Guardian has contacted her management company for comment.

Carey co-wrote the song with Walter Afanasieff, though each of them has described the circumstances differently.

In 2021, Carey said: “When I first wrote that song I was very, very early on in my career and I was still thinking about childhood stuff when I did wish for snow every year … I started writing that on a little DX7 or Casio keyboard that was in this little room in the house that I lived in at the time in upstate New York lifetimes ago. Just writing down everything that I thought about. All the things that reminded me of Christmas that made me feel festive that I wanted other people to feel”.

I am going to come to some articles about, arguably, the queen of Christmas songs. I am going to drop in some reception for All I Want for Christmas Is You. Even though I tend to go for Slade’s Merry Xmas Everybody as the champion Christmas  classic, Mariah Carey’s 1994 wonder is in the top three for sure! It has been embraced and celebrated through the years:

"All I Want for Christmas Is You" received universal acclaim. Roch Parisien from AllMusic called the song "a year-long banger", complimenting its instrumentation and melody. Steve Morse, editor of The Boston Globe, wrote that Carey sang with a lot of soul. In his review for Carey's Merry Christmas II You, Thomas Connor from the Chicago Sun-Times called the song "a simple, well-crafted chestnut and one of the last great additions to the Christmas pop canon". Shona Craven of Scotland's The Herald, said, "[it's] a song of optimism and joy that maybe, just maybe, hints at the real meaning of Christmas." Additionally, she felt the main reason it was so successful is the subject "you" in the lyrics, explaining, "Perhaps what makes the song such a huge hit is the fact that it's for absolutely everyone." Craven opened her review with a bold statement: "Bing Crosby may well be turning in his grave, but no child of the 1980s will be surprised to see Mariah Carey's sublime All I Want For Christmas Is You bounding up the charts after being named the nation's top festive song." While reviewing the 2009 remix version, Becky Bain from Idolator called the song a "timeless classic" and wrote, "We love the original song to pieces—we blast it while decorating our Christmas tree and lighting our Menorah."

Kyle Anderson from MTV labeled the track "a majestic anthem full of chimes, sleigh bells, doo-wop flourishes, sweeping strings and one of the most dynamic and clean vocal performances of Carey's career". Music & Media commented, "Phil Spector's Christmas album has been the main inspiration for this carol in a "Darlene Love against the wall of sound" tradition." Music Week wrote, "Mariah meets Phil Spector, some chimes and the inevitable sleigh-bells; this is everything you would expect from a Mariah Carey record." In a 2006 retrospective look at Carey's career, Sasha Frere-Jones of The New Yorker said, the "charming" song was one of Carey's biggest accomplishments, calling it "one of the few worthy modern additions to the holiday canon". Dan Hancox, editor of The National, quoted and agreed with Jones's statement, calling the song "perfection". According to Barry Schwartz from Stylus Magazine, "to say this song is an instant classic somehow doesn't capture its amazingicity; it's a modern standard: joyous, exhilarating, loud, with even a hint of longing." Schwartz praised the song's lyrics as well, describing them as "beautifully phrased," and calling Carey's voice "gorgeous" and "sincere”.

I will delve into the history of All I Want for Christmas Is You prior to coming to its legacy and importance. The song is credited to Walter Afanasieff and Mariah Carey (songwriting and production). A song with an interesting chart ride and release history, there is this fascinating background and history of All I Want for Christmas Is You. One of the biggest questions is to the song’s origin and creation. Who the song belongs to and how it came about:

“Mariah Carey’s “All I Want for Christmas Is You” has been one of music’s most recognizable singles—holiday or otherwise—going on three decades now.

Carey’s 1994 hit is considered the defining modern Christmas classic, with Billboard ranking it No. 1 on its list of the Greatest of All Time Holiday 100 Songs—ahead of legendary vocalists like Bing Crosby, Brenda Lee, and Nat King Cole. Thanks to streaming services and the song’s ubiquitous presence in pop culture, it has received billions of plays in its lifetime.

But while “All I Want for Christmas Is You” has become an essential part of the winter season—and earned the 53-year-old Carey the unofficial title of “Queen of Christmas”—its history is more complicated than you might think.

Carey loved Christmas, but her family would “ruin it”

“All I Want for Christmas Is You” is a cheery and boisterous ode to Christmas, not to mention a yuletide crush. It’s also a sharp contrast to Carey’s melancholic experiences around the holidays while growing up.

Mariah was raised on New York’s Long Island and was part of a complicated family dynamic. Her parents—Alfred Roy Carey, a Venezuelan aeronautical engineer, and Patricia Carey, a voice coach and opera singer—divorced when young Mariah was 3 years old. She grew up primarily with her mother. Mariah has detailed their complicated relationship, suggesting in her 2020 memoir that Patricia resented her because of her musical ability. The singer also no longer speaks to her brother, Morgan, nor her sister, Alison.

Although Carey looked forward to Christmas every year, she said in 2019 that her “dysfunctional family” and financial struggles in childhood often overshadowed her excitement. “I always wanted to have a really good time at Christmas, and they would ruin it, so I vowed in my own life I would make sure every Christmas was great,” she told Cosmopolitan UK.

One silver lining was that Carey began writing poems and songs to process her feelings—a practice that helped her quickly become a music megastar.

The singer didn’t want to do a Christmas album

By 1994, Carey was a bona fide hitmaker with eight No. 1 singles to her credit. That included the songs “Vision of Love,” “Emotions,” and “Dreamlover.” So when her record label suggested she compose a holiday album, 24-year-old Carey was hesitant because she felt Christmas music was reserved for artists later in their careers—after their relevance had tailed off.

“I was like, ‘Hmm, I don’t know.’ It seemed a little premature, like I was jumping the gun,” she told the Los Angeles Times in 2020. “The success of [the Merry Christmas album] was definitely a surprise. I mean, ‘All I Want for Christmas Is You’ was the first Christmas song I ever wrote.”

The pop star first told Billboard in 2017 that she wrote the song “basically as a kid on my little Casio keyboard.” In the 2019 Amazon documentary Mariah Carey Is Christmas: The Story of “All I Want for Christmas Is You,” the singer gave a similar account. “Actually, I put on It’s a Wonderful Life downstairs, you could hear it throughout the house, and I went into this small room, and there was a little keyboard in there, and I started playing,” she explained.

The song quickly became popular but not an immediate chart-topper when it was released as a single in October 1994. In fact, Merry Christmas was the second-best-selling new holiday album of 1994. The top was Miracles—The Holiday Album by famed saxophonist Kenny G. But Carey’s multiplatinum album more than made up for it over time, selling the equivalent of 8 million copies by December 2020. “All I Want For Christmas Is You” is now a diamond-certified single, reaching 12 million downloads and streaming equivalents in December 2022.

The song’s origin is disputed

Walter Afanasieff is credited as a co-writer of “All I Want for Christmas Is You” and has rebuffed Mariah Carey’s story of the song’s origin.

Carey is credited as a co-writer and co-producer of “All I Want for Christmas Is You” with Walter Afanasieff. However, their explanations behind the song’s creation are wildly different.

Afanasieff calls Carey’s story “kind of a tall tale.” According to the longtime songwriter, he and Carey—who had previously collaborated for her albums Emotions (1991) and Music Box (1993)—constructed the song together in the summer of 1994 at a home she was renting with then-husband Tommy Mottola. “I started playing a boogie-woogie, kind of a rock. Mariah chimed in and started singing ‘I don’t want a lot for Christmas,’” he said. “So on and on, and it was like a game of ping-pong. I’d hit the ball for her, she hits it back to me.” Ultimately, Afanasieff credits Carey with the lyrics and melodies and says he managed “all of the music and the chords.”

Afanasieff’s insistence has drawn the ire of some of Carey’s most devoted fans. The composer told Variety in 2019 he and his wife, comedian Katie Cazorla, have even received death threats for speaking out about his perceived snub from the singer. Although Afanasieff says he would work with Carey again in a heartbeat, he maintains that her comments have damaged his reputation. “Mariah has been very wonderful, positive, and a force of nature. She’s the one that made the song a hit, and she’s awesome,” he said. “But she definitely does not share credit where credit is due”.

On 28th October, 1994, Mariah Carey released her first holiday album, Merry Christmas. It features mainly standards that she interprets. They sit alongside original material. Like most Christmas albums, it got mixed reception. It was released between 1993’s Music Box and 1995’s Daydream. This was an imperial and purple patch for Carey. Although Music Box did not get great reception when it was released, it has since been reassessed and seen as very important. Daydream is one of her most acclaimed albums. What might have otherwise been a stopgap and change of pace between conventional albums was given a distinct lease of life by All I Want for Christmas Is You. In 2020, Ringer explored Mariah Carey’s classic. A song a lot sadder than you think, it came at a time when the U.S. legend was facing difficulty and problems of her own:

“It’s time. It’s time meaning it’s December. December belongs to Mariah Carey. What are the essential new Christmas songs released in Mariah Carey’s lifetime? “Last Christmas” by Wham. “Wonderful Christmastime” by Paul McCartney. (It’s a great song. I’m not arguing with you about this.) “Christmas in Hollis” by Run-DMC. “Christmas Wrapping” by the Waitresses. (You know it.) And “All I Want for Christmas Is You” by Mariah Carey. That’s the list. “All I Want for Christmas Is You” came out in 1994 and sounds several eons older than that, in the best way. On impact—the very first time you heard Mariah belt out that very first chorus—it sounded classic, it sounded timeless, it sounded like it was playing in the manger when Jesus Christ was born.

And it’s an incredibly sad song. I’m not trying to ruin “All I Want for Christmas Is You” for you. Quite the contrary. I’m trying to heighten it. I’m trying to deepen it. The question before us today is who was the you in “All I Want for Christmas Is You.” I fear that the answer, as Mariah Carey tells her story now, is that there was no you. There was nobody. She had nobody, really. This song is a fantasy. This song is aspirational. This song is a reminder that pop music—and maybe especially Christmas-themed pop music—can be as transportive for the singer (and the songwriter) as it is for the listener. I’m trying to give you a sense, for mid-’90s Mariah Carey anyway, of what the fates allowed, and what they did not allow”.

I am going to end with a TIME feature about the song from 2019. Celebrating twenty-five years of this genius and unstoppable work of brilliance, they talked about All I Want for Christmas Is You as the holiday gift that keeps on giving:

“The melody of ‘All I Want For Christmas’ is astoundingly complicated considering how simple it seems,” songwriter and And the Writer Is… podcast host Ross Golan tells TIME. “The brain latches on songs after the listener invests significant time to learn them. That song in particular is now neurologically built into the zeitgeist.”

This, of course, attests to Carey’s skills as a songwriter, a factor that’s often overshadowed by her outstanding talent and larger-than-life persona. Lest listeners forget while listening to her hit the whistle register, Carey wrote 17 of her 18 #1 hits, a feat that astounds on multiple levels.

“This song is a testament to something that Mariah Carey is still undervalued for: Her songwriting,” beauty writer and self-professed lifelong Lamb (for the uninitiated, Lambs or the “Lambily” are the devoted fans of Carey) Tynan Sinks tells TIME. “Mariah Carey wrote this song, dude. Isn’t that crazy? It’s such a classic that people think it’s a cover of something else, but it’s a Mariah Carey original, baby. She just sat down one day and literally invented Christmas.”

In 2015, Slate reported that the song’s seemingly magic ability to put you in a festive holiday mood is actually because of its dulcet harmony, which contains at least 13 distinct chords, including a specific minor subdominant chord, which they dub “the most Christmassy chord of all” and is found in songs like Irving Berlin’s classic “White Christmas.”

In a deep dive into the song’s structure at Quartz, musicologist and Switched on Pop podcast host Nate Sloan also revealed that since Carey was inspired by old school holiday music, she used an AABA song structure that was popular in the 1940s and 1950s and that was used for songs like “Frosty the Snowman” and “Rudolph the Red-Nosed Reindeer,” which can do plenty for holiday nostalgia for the good ‘ol days.

Unlike “Rudolph” and “Frosty,” however, Carey’s track provides a more adult take on a Christmas song, which also proved to be a boon. By eschewing children-centric holiday iconography like Santa and Rudolph for Carey’s trademark musical subject, love and romance, she reached a whole new — and very large — demographic with a theme that everyone could identify with.

“It’s not a religious song,” Andrew Mall, assistant professor of music at Northeastern Univeristy tells TIME. “She talks about Christmas, but no religious beliefs. It’s actually a love song. Anyone can inhabit those lyrics; the lover is not named, the lover is not gendered, so anyone can put themselves in that position as needing someone to love at the holidays. It’s a secular love song and not a religious Christmas carol.” Mall also attributes the song’s popularity to nostalgia of another kind: for the ’90s as a whole, especially the music of the time.

“The song came out in 1994, her first Christmas album; I think when people talk about nostalgia for this album, they talk about nostalgia for the holidays. I think that’s part of that, but I also think it’s part of a larger nostalgia for music from the ‘90s,” he said, noting that ’90s music, stuff he had been listening to in high school, has been showing up of late in his Spotify playlists and are part of a larger trend of things like ’90s dance parties and DJ sets. “This is an ongoing thing not only for people at the end of Gen X, but for millennials too. It’s not only nostalgia for the holidays, which can be fraught for a lot of people, but for the ‘90s, which you can wipe clean and put whatever kind of identity on that.”

The ‘Love, Actually’ Fact

“All I Want for Christmas” can also attribute some of its dominance during the holiday season to its inclusion in the film, Love, Actually. In the film, Sam, a young boy who plays the drums for a school performance of the song harbors a crush on his classmate, Joanna, who is singing lead; the song plays a significant role to this plotline, which helps open and close the film. Jocelyn Neal, a professor of music at UNC Chapel Hill, points to how both the song and movie have solidified their places in the holiday canon.

“It’s important to consider the use of it in the Christmas movie Love, Actually, which came out less than 10 years after the song was released,” Neal tells TIME. “Love, Actually has become for many middle-class Americans, a sort of holiday ritual to watch that movie, it’s in continuous holiday replay and so you have this song that was by this enormously successful pop star in the ‘90s, it has enough rhythm and blues in it to have that edgy sound for a 1990s to mid-’90s hit, and then a little less than a decade later, it’s going to get this boost by being in this now-classic Christmas movie as a key plot point, so it gets new life through that. There also just aren’t other recordings [is “of” accurate here?] original Christmas songs that sound modern but trigger that nostalgic elements. There aren’t a lot of other competitors when you line up those factors.”

PHOTO CREDIT: Getty Images

Part of the legacy of “All I Want for Christmas Is You” also lies within how it’s also posited Carey as the undisputed Queen of Christmas, something she has unabashedly and wholly embraced — although that wasn’t the case when the album was being made. In an interview with Billboard, Afanasieff said that making a Christmas album was hardly a boon to a contemporary artist like Carey at the time.

“20 years ago, Christmas music and Christmas albums by artists weren’t the big deal that they are today,” he said. “Back then, you didn’t have a lot of artists with Christmas albums; It wasn’t a known science at all back then, and there was nobody who did new, big Christmas songs.

And if there’s any doubt that Carey and “All I Want for Christmas Is You” are losing clout this holiday season, consider this: Spotify streams of the song have already seen a 99% increase since October 1st of this year, with the company projecting that the streams will “ramp up substantially” in November (last year, Spotify saw an increase in streams of “All I Want for Christmas Is You” of 2,077% between October and December). It seems that the holiday season — and Mariah season — has arrived”.

Even if the song is facing legal issues now – maybe someone being opportunistic or genuine -, there is no doubt that All I Want for Christmas Is You is Mariah Carey’s. Not only is it one of the best Christmas songs ever. It is one of the finest tracks of her career. We are starting to hear it at the moment in shops. It is going to be a chart success this year; reaching new people and setting records. Despite a slight black cloud hanging over it at the moment, All I Want for Christmas Is You is abound with light and joy – in spite of the fact it has quite a sad message. Both simple and complex at the same time, there is no doubt it is a classic for a reason! I doubt any new Christmas song can ever match Mariah Carey’s classic – one that turns thirty next year. I think we will be enjoying and talk about this track…

FOR decades more.

FEATURE: Christmas Present: The Best Seasonal Songs from the 2020s

FEATURE:

 

 

Christmas Present

IN THIS PHOTO: Samara Joy 

The Best Seasonal Songs from the 2020s

_________

WE are the time of year…

 PHOTO CREDIT: George Dolgikh/Pexels

when we are hearing Christmas songs played on the radio and in stores. Whilst we hear the classics and those timeless ones we all know and love (or not), there are also new Christmas songs coming out. It is hard to challenge the established Christmas songs that have been played for years. Whilst most modern Christmas songs released now cannot rival the very best, there are some pretty good ones that are worth mixing into your Christmas playlist. I am writing this in the middle of November - so there will be quite a few new ones released between now and the middle of December. Already, Christmas classics have entered the charts. People are more in the mood for the festive and escapist this year compared to previous ones. Looking at the news and one can hardly blame them! I will do a playlist or feature about the Christmas standards. For this one, I am going to end with a playlist with modern seasonal cuts. Some of the very best Christmas songs from the 2020s. There is a blend of covers and originals in the playlist With artists still keen to add their stamps and have their say regarding a vision of Christmas/the holidays, below are some crackers from the past few years that should…

BE on all of your mixes.

FEATURE: The Digital Mixtape: Songs from the Best K-Pop Albums and E.P.s of 2023

FEATURE:

 

 

The Digital Mixtape

Songs from the Best K-Pop Albums and E.P.s of 2023

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A genre of music…

that is producing some of the most exciting, colourful and interesting music, K-Pop is a genre that is a phenomenon that generates so much money and attention for South Korea’s music industry. There is also a similar phenomenon coming from J-Pop (Japan). Years ago, not many people would have looked towards Asia when it came to Pop music. At a time when mainstream Pop in the U.S. and U.K. is perhaps not as dynamic and joyful as it could be – or there is some homogenisation -, K-Pop is definitely filling a void. I am going to end this feature with a playlist of songs from the best K-Pop albums and E.P.s of this year so far. Before getting there, this article from, last year explored and explained the legacy and importance of K-Pop:

“The impact of South Korean popular music, also known as K-pop, has risen in popularity across the globe. From young teens to older adults, concert venues are packed with fans lining up to see famous K-pop groups such as BTS and Blackpink.

The recent popularity of K-pop shows evidence that our world is evolving to a more inclusive space for different cultures, which is something seen here on the University of Arizona campus as well.

UnderSkore UA, the University of Arizona’s K-pop dance team, saw first-hand that the rise of K-pop was a gateway to their success. The group has been posting K-pop dance videos online since 2017 and has amassed over 2.1 million views on their YouTube channel.

Kobe Saldana is a recent UA physiology graduate and a dancer on UnderSkore UA.

“K-pop brings not only the Asian community but the K-pop community together. That’s what makes our team so special, through our diversity and being able to come together and share our passion for dancing,” Saldana said.

According to a Vox article, K-pop has been around since the mid-1990s and the genre was created with influence from American pop music at the time. This helped spawn a new genre and musical style for South Korean artists to express their own creativity.

This rise of South Korean music studios popping up in the late 1990s began a new era for South Korean entertainment. Over time the term “K-pop idol” began to circulate online when studios such as SM Entertainment, YG Entertainment and JYP Entertainment began training young teenagers to become the next K-pop stars, according to Vox.

In the U.S., K-pop got its initial claim to fame with the hit song “Gangnam Style” by PSY. It was, for many Americans, the first introduction to K-pop and a new music genre and language.

Rosamia Fonseca, a UA biology major, is the executive director of UnderSkore UA and noted the comradery that the dance team and K-pop as a whole brings about.

“It’s a community that I am safe in; people respect me and I respect others. It feels like home when it’s so hard living far away from your family. So, this is a great opportunity to meet people, grow close with them, form lifelong friendships and is really fun,” Fonseca said.

Through social media, K-pop fans often promote their favorite groups and help organize local meetups, creating social media pages dedicated to helping bring groups to U.S. cities. BTS x Arizona is one of those social media pages, whose mission is to get BTS, a popular K-pop group, to perform in Arizona.

BTS often refers to their fan group as “Army.” This relates to the term Hallyu, the Korean culture wave, something BTS x Arizona has adopted as well.

Selma Hernandez is the co-host of BTS x Arizona and shared the page’s current aspirations.

“Our goal is to ultimately campaign for BTS to come to Arizona. A lot of the Arizona Army have to travel out of state to see BTS and we just want to be able to host BTS in our state. Now our goal has become to bring Arizona Army together so when the day comes that BTS visits, we are able to celebrate together,” Hernandez said via email.

Now more people than ever know about K-pop, with digital exposure to South Korean media like music and Korean dramas shows. The Olympics being hosted in South Korea four years ago also helped elevate South Korean entertainment’s popularity to a new level, according to a CNN article.

“I think K-pop had a pretty big impact on the western world. It’s becoming more established in the American music awards, like the Grammy’s, AMA and Billboard. They’ve opened up the awards specifically for Korean music. I feel like everyone’s becoming more open about international music in general,” Fonseca said.

Sarah Weaver, co-host of the BTS x Arizona page, noted the positive impact BTS has had on her life. For the supporters of K-pop bands, the music is more than a fandom, it is a community, according to Weaver.

“I got into K-pop during a time of my life where I really needed some joy and positivity. I’m so thankful that I was able to discover BTS at the time that I did. I love the positivity and self-love that they promote. After becoming a fan of BTS, I, and the people around me, definitely notice a positive change of attitude in me. I’m so happy and thankful for BTS, I don’t know how I could live without them in my life now,” Weaver said via email”.

With so many incredible groups coming from the K-Pop scene, I think we will see the genre expand and take over the world. There is still a division between Pop of the West and K and J-Pop. Not too much crossover at the moment. I hope that there is more cross-pollination, as quite a few TikTok/rising Pop artists in the U.S. and U.K. are influenced by that sound. There is also a narrowing of the gender gap too. A culture and scene where female groups are growing in popularity and commercial success. To show the sort of K-Pop albums and E.P.s that have been gaining positive reviews this year, below is a selection from each. It goes to show that, when you want music that has that colour, energy, originality and punch, then you turn…

TO K-Pop.

FEATURE: Queens on Top: Following the GRAMMY Awards Nominations, It Is Clear Women in Music Are Ruling

FEATURE:

 

 

Queens on Top

IN THIS PHOTO: SZA was nominated for nine GRAMMY Awards on 9th November/PHOTO CREDIT: Gianni Gallant for Rolling Stone 

Following the GRAMMY Awards Nominations, It Is Clear Women in Music Are Ruling

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I will end with a playlist…

 IN THIS PHOTO: Phoebe Bridgers received seven GRAMMY nominations/PHOTO CREDIT: JJ Geiger for TIME

of songs from artists who have been nominated for next year’s GRAMMY Awards. The ceremony takes place on 4th February. It is the most prestigious ceremony in the music calendar. When the category nominees were announced yesterday (10th November), there was a lot of reaction to the names included. With nearly all the major and most-nominated names being women, it is encouraging that their talent and value is properly being acknowledged. In past years, the GRAMMY voting committee have been accused or including fewer women and artists of colour than they should be. Things have changed quite dramatically in recent years. 2024 is a fully stocked celebration of music queens! I shall continue more on this thought. Even if the most nominated women are mainstream and larger artists, there is still some more upcoming talent who have been given a nod. The Guardian  reported the fact the categories are dominated by women:

“Female artists are set to dominate next year’s Grammy awards with SZA, Phoebe Bridgers, Victoria Monét and Taylor Swift leading the way.

SZA has scored the most nominations with nine overall for her album SOS and the songs from it, covering pop, rap and R&B fields. The singer has so far won one Grammy from her 14 previous nominations. She competes in the record of the year category with Billie Eilish, boygenius, Jon Batiste, Miley Cyrus, Olivia Rodrigo, Taylor Swift and Victoria Monét.

Victoria Monét, Phoebe Bridgers and the mixing engineer Serban Ghenea all follow with seven nominations apiece. Monét is also nominated in the category of best new artist alongside others including Ice Spice and Jelly Roll.

Both song and record of the year categories are almost entirely female with just Batiste as the male nominee in both. Batiste won five key Grammy awards in 2022.

Swift, with six nominations, could potentially make Grammys history if she wins album of the year, which would make her the first artist ever to win in that category four times. Rodrigo, who has previously won three Grammy awards, has scored six nominations for her album GUTS and the song Vampire.

The Barbie album has also made a strong showing with 12 nominations and songs from Eilish, Nicki Minaj and Dua Lipa featuring prominently. Songs from the soundtrack make up four out of the five nominees for best song from visual media.

Nominees beyond the world of music include Meryl Streep, Michelle Obama, Bernie Sanders and Dave Chappelle, for audiobook, storytelling or comedy awards.

This year sees three new categories: best African music performance, best alternative jazz album and best pop dance recording. Kylie Minogue and Troye Sivan are among the nominees for the latter category.

Notable snubs include country singer Morgan Wallen, who scored just one nomination for Last Night for best country song. The song has spent 16 weeks at No 1 in the US this year”.

I am going to include a playlist with the main categories represented. I am thrilled that incredible artists like SZA and Dua Lipa have nominations. It is no surprise to see Taylor Swift got nominations. Lana Del Rey is long overdue GRAMMY recognition. There are also quite a few nominations for songs/artists featured on the Barbie soundtrack. Dua Lipa and Billie Eilish are among those represented there. It is sign that, even if festivals are not fast to balance their line-ups, women are producing the most captivating and impressive music. The recognition from award ceremonies like the GRAMMYs does show that the talent is very much out there! From modern legends to some incredible rising acts, few festivals have any excuse to ignore what is right in front of them! I am putting together a few playlists at the moment, as award ceremonies and festivals are announcing their shortlists/acts. It is a nice way to end the year. Getting some tantalising details and teasers before next year’s award shows and festivals! There has been a lot of reaction around the GRAMMY Awards and those who have been included – and some pointing out there are notable omissions (many ask why PinkPantheress was not nominated, in spite of the fact she is a terrific breakthrough artist). From Victoria Monét to Coco Jones, there is a bounty of queens rubbing shoulders with one another. Not to take away from other genders. It is especially great to see so many great women getting included and highlighted! Come February when 2024’s GRAMMY Awards takes place, we hope that as many queens as possible…

WALK away with prizes.

FEATURE: Flat Pop: Is the Incredible Genre Dominated By Big Names and Lacking Fizz?

FEATURE:

 

 

Flat Pop

PHOTO CREDIT: olia danilevich/Pexels

Is the Incredible Genre Dominated By Big Names and Lacking Fizz?

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ONE of the dangers of having…

 IN THIS PHOTO: Taylor Swift

nostalgia shows and themed radio shows/playlists that celebrate the best Pop of the 1990s and 1980s is realising that the landscape has changed. I don’t think that is a bad thing. It is much broader than it has been in years past. K-Pop, Pop sounds from Latin America and nations away from the U.K. and U.S. are fusing together with a bulk of different and diverse artists from major territories. It is not only uplifting or chorus-heavy songs. The nature of Pop music has changed in terms of its lyrics and sonics. Whilst there may be fewer artists producing the same sort of instantly memorable, hook-y songs that lodged in our head back then now, there is more depth and the personal coming to the fore. I mention this, as there is a recent article that argues Pop is in a bad state and has lost its fizz. That a few mainstream artists dominate. Apart from that, there is a lack of future legends coming through. Maybe a lack of current legends making music right now (there are some anticipated albums and possibilities, though nothing solid as yet). I shall come to that. From The Rolling Stones’ Keith Richards saying Pop has always been awful to this 2023 feature showing how tastes in Pop have changed with the culture, it is a tough debate. I prefer the Pop music of the 1990s and early-2000s, though I think there are so many strong artists around today. Maybe there is some homogenisation and a wave of artists who are roughly on the same wavelength.

Stereogum are sure to present their thoughts regarding the state of Pop in 2023 very soon. They made some interesting observations last year when looking at 2022’s Pop. If some say that Pop has evolved and diversified in very good ways, others might say it is stuck in a rut and reliant on nostalgia and massive artists:

“Just as 2021 cemented a new nostalgia cycle for millennial and Gen Z pop artists, the proliferation of streaming and global access has also unleashed the crossover success of Afrobeats. About five years ago, Nigerian artists like Wizkid, Burna Boy, and Davido were household names in their home country, with US and Canadian performers like Drake and Chris Brown mining their influence to write their own tropical pop anthems like “One Dance.” Today, however, Burna Boy has won a Grammy for his 2020 album Twice As Tall (in the Global Music category, alas), and WizKid and Tems’ “Essence” is the first Nigerian song in history to crack the top 10 of the Billboard Hot 100. Again, Nigerian pop is nothing new, but as far as crossover recognition goes, it’ll be fascinating to see if those artists can replicate that level of success as 2022 plays out.

Indeed, the continued mainstream success of Latin pop and K-pop could serve as a prime example of how global music trends are not so much industry flings as they are long-term relationships. In 2021, though Latin pop appeared less prevalent on the Hot 100, save for the ever-present Bad Bunny, this past year demonstrated a major wave in rising Colombian and Colombian-American pop stars, like Camilo, Morat, Manuel Medrano, Las Villa, Henao, and Morelli. Meanwhile, pairing American- or Canadian-born pop stars with Spanish-language singers used to be more of a novelty (say, *NSYNC singing “Music Of My Heart” with Gloria Estefan); now it’s standard practice, as English-speaking pop stars regularly collaborate with Spanish-speaking singers from a vast array of backgrounds. As CNN has noted, we are (still) living in the reverse-crossover era. Latin pop in general may not have had as big of a boom year as it did across the last five years, but you won’t find anyone accusing it of irrelevance as they were so quick to do after the ’00s Latin pop explosion.

Then there’s the enormity of K-pop kings turned chart powerhouse BTS. Just a few years ago, the seven-piece might have looked like a gimmick to historically xenophobic US majors, but BTS have had the last laugh many, MANY times over. Today, songs like “Dynamite” soundtrack car commercials and get covered on Emily In Paris. Their stans have the ability to send a song to #1 at will. Artists like Coldplay barnacle themselves to BTS for cheap chart wins (“My Universe”) — a clear reach for relevancy, not terribly unlike Paul McCartney teaming with Kanye and Rihanna seven years back.

Speaking of collabs, the ubiquitous Abel Tesfaye ended 2021 with a bumper crop of those, with everyone from Swedish House Mafia to Rosalía to FKA Twigs joining forces with the “Blinding Lights” singer. Even Grimes has teased a collaboration with the Weeknd, who didn’t even release an album in 2021 but dominated the conversation nonetheless: calling out the Recording Academy for corruption when his chart-conquering 2020 album After Hours got snubbed at the Grammys; pulling off an elaborate, pop-noir Super Bowl halftime show, pandemic be damned; and watching “Blinding Lights” become the biggest Hot 100 hit of all time. With his currently-in-production HBO drama The Idol set to debut in the coming year and new album Dawn FM dropping this week, the Weeknd’s pop hegemony is surely not going anywhere.

The only pop star who arguably had a bigger year than the Weeknd was Adele, with her utterly absorbing fourth album 30. In a sense that I can only describe as Dolly Parton-esque, Adele has a way of unifying generations; older fans snatch up physical records and send album sales soaring while enjoying Adele’s lived-in take on midcentury jazz and soul, and younger fans no doubt connect to her blood-and-guts confessional lyrics. As a figure in the pop music industry, Adele stands alone, unbound by genre trends and equally welcome on CBS as she would be on, oh, I don’t know, Twitch.

Comparatively gargantuan is Taylor Swift: In re-recording her older albums, Swift took an (mostly) unprecedented career gamble. Re-recording older work is not new, exactly — the Everly Brothers, Frank Sinatra, Def Leppard, King Crimson, and Kraftwerk have all done it for various reasons. But Swift opted to re-record multiple eras of her career, each of which have their own look, feel, and coming-of-age story. Swift — in a wildly meta fashion — actually tapped into her own nostalgia cycle in asking fans to relive her Fearless and Red eras this past year. In addition to making their own TikTok memes around Swift and Phoebe Bridgers’ “Nothing New,” fans got busy retelling decade-old Swiftian stories from the year Red came first out (2012), even at one point causing “Jake Gyllenhaal” to trend. If that’s not owning the narrative, I have no idea what is.

And now we come to my favorite part of the pop music discussion: discovery. This shouldn’t come as a surprise to anyone, but TikTok remains a towering influence on the industry at large, to the extent that older artists have slowly but surely made their way onto the platform for a chance at having one of their hits be rediscovered, or, better yet, go viral.

There’s no question that the platform’s stronghold on pop music has only tightened: As TikTok itself has pointed out, “Over 175 songs that trended on TikTok in 2021 charted on the Billboard Hot 100, twice as many as last year.” The (new) songs that saw viral success on TikTok do eventually trickle down to Spotify and radio, so much so that this past summer, SiriusXM launched TikTok Radio.

This past year should also prove that a TikTok hit can launch a performer to bona fide pop star status (PinkPantheress, Doja Cat, Loren Grey), but I would argue that it’s up to the star themselves to keep the interest alive. Nowhere is this clearer than in the case of Lil Nas X, one of the earliest examples of TikTok virality translating to chart success with 2019’s “Old Town Road.” You’d be forgiven for assuming “Old Town Road” would mark the beginning and the end of Lil Nas X’s journey, but instead the rapper has enjoyed one of the most successful and groundbreaking careers in pop. The openly gay rapper makes every song, video, and performance a celebration of Black, gay love and, in his extremely online way, trolls the trolls by pretending to “give birth” to his debut album, Montero. He does not do this to be a martyr or a progressive symbol; he is only living his truth”.

I think that 2023 has been a year dominated by artists like Taylor Swift. I shall not talk about her too much in this feature, though her Eras Tour and record-breaking success has taken headlines. I guess we have to decide what we define as ‘Pop’. Is it simply a style of music and particular sound or is it what we define as anything that is ‘popular music’?! Some may say Taylor Swift straddles multiple genres. However, when it comes to 2023’s Pop, her name is very much at the top. She has dominated. Other artists like Billie Eilish have had a big say and share. DAZED shared a feature recently that looked at a monopoly from artists like Billie Eilish, Taylor Swift and Dua Lipa. Things have changed again since 2022, leading me to believe that any flatness will go and we will see Pop change once more in 2024 – and it may be more balanced in terms of mainstream artists and newcomers on an equal level. It does seem that 2023’s Pop is imbalanced and owned by the very biggest artists:

“Swift’s dominance is unparalleled. She is currently the most listened-to artist on the planet, breaking not only box office records following the release of her concert film, Taylor Swift: The Eras Tour, but chart records, too. Following the release of her latest album, 1989 (Taylor’s Version), Swift became the first artist in history to secure six number one albums that have sold over one million copies in their first week. At the time of writing, she holds eight of the 10 spots on the Billboard Hot 100 (she actually replaced herself at number one after her song “Cruel Summer”, originally released in 2019, topped the charts), marking only the second time that no male artist has appeared in the top 10 (the only prior time it happened was following the release of Swift’s album Midnights in 2022). As Bloomberg Businessweek prophesied all the way back in 2014: “Taylor Swift is the music industry.”

Undoubtedly, much of her current ubiquity stems from her re-recording project. After Swift was allegedly denied the chance to buy the masters for her first six albums (they were sold by her former label, Big Machine Records, to Scooter Braun for $330 Million; Braun later sold them to investment firm Shamrock Holdings for $405 million), Swift announced her intention to re-record her old albums in order to create new masters that she owns fully (she already held the publishing rights). So began a long (and lucrative) endeavour. Each new iteration of Swift’s past recordings would be tagged “(Taylor’s Version)”. Not only that, they would include songs “from the vault”: unreleased tracks that were discarded during the original recording process. They would be released with fanfare, multiple vinyl variants, and merch. There would be ‘The Eras Tour’, a three-hour spectacle that would celebrate Swift’s catalogue. As it stands, only 2017’s Reputation and Swift’s 2006 self-titled debut are left to receive the “Taylor’s Version” treatment.

Throughout all this, Swift has continued to share new music, too. In 2020, just before the first re-recording was released, she dropped two albums, the Grammy-winning Folklore and its sister album Evermore. In 2022, she released Midnights; it sold 1.05 million copies in the US in its first week. We might all have the same 24 hours in the day as Beyoncé, but Taylor Swift must have the ability to bend time as she sees fit.

As a Swift fan myself, I admit I have welcomed the success of one of my faves and luxuriated in the deluge of new material; as Swift herself would say, “I’m the problem; it’s me.” Still, before I am a Swiftie, I am a pop music devotee. As such, it’s difficult not to see Swift’s omnipresence, at least in part, as a symptom of a stagnating pop music ecosystem.

It was not so long ago when pop was filled with healthy competition. A decade ago, Katy Perry, Lady Gaga, Rihanna, Miley Cyrus, Lorde, Britney Spears, Beyoncé and Taylor Swift were all operating concurrently. It was an era of titans, many of whom were willing to take bold creative swings in order to secure their space in the pantheon of pop: Gaga threw everything at the wall with Artpop, vomiting paint during promotional performances, while Beyoncé changed the game with that digital drop, reinventing visual storytelling in music and ripping up the rule book of release schedules.

It's not outlandish to suggest that such innovation (and absurdity) flourished because pop was healthy with competition. Not every aspect landed (see: the short-lived ARTPOP app and Miley Cyrus twerking with Robin Thicke), but there was an element of risk-taking that felt genuinely thrilling. It was a great time to be a pop fan.

But it can feel, at times, that these artists are waiting on the bleachers. However, the major players aren’t on the pitch, either. Rihanna remains MIA. Lady Gaga prevented the pandemic from becoming a total borefest with Chromatica, but returning to pop appeared to be more of a chore compared to selling cosmetics and starring in the sequel to Joker. Ariana Grande is busy filming Wicked. Nicki Minaj has a cousin in Trinidad whose friend’s testicles allegedly became swollen after having the COVID-19 vaccine. And Miley Cyrus gave us “Flowers” but failed to truly follow through. Only Beyoncé has shown up for us (albeit with no visuals).

Instead, only a select few tread pop’s playing field, which has become overgrown with weeds. And as they continue to dominate, the ground becomes littered with the detritus of viral TikTok sounds, tired collaborations reliant on interpolations of hooks from better songs, and Ed Sheeran. Every so often artists like SZA, Olivia Rodrigo or Lil Nas X might bulldoze through, sowing disruption in their wake, but they are the outliers now, their ascension to pop’s Mt. Olympus a rarity”.

If you look at some of the best Pop albums of this year, there is a mixture of major artists and smaller ones creating wonderful music. I do agree with some of what DAZED say. There is a bit of a transition where we have a lot of same-sounding artists together with dominance from mainstream greats. A lot of the major artists can tour far and wide, whereas many Pop artists cannot have that same exposure and opportunity. There was the pandemic and the aftermath of that. I feel we are catching up in a lot of ways. Artists who were recording during that time unable to strike and release the kind of music that offers realistic and authentic excitement and colour. Now we are starting to come out of this and move on, I do wonder whether that will lead to a wave of new artists adding new dynamics and brightness to the landscape. More and more newer artists are being personal and open. More and more try to connect with their listeners by being vulnerable and deep. Also, consider the news and state of the world. It is a grim place indeed. It is getting harder and harder for artists to find optimism. Even if most aren’t addressing the state of the world and being as proactive in that sense, there is also a natural stagnation of the biggest and boldest Pop anthems from new artists. The likes of Dua Lipa and Olivia Rodrigo are exceptions - yet I also think the Pop landscape is so vast that it is impossible to define a particular trend or sound.

Things will change and move as Pop always does. This is a time of flux against massive international conflict and darkness. I think other genres are favoured this year. Tastes are slightly changing. I do feel there are a lot of TikTok artists who actually are injecting a lot of life into Pop. The issue is streaming sites are still putting chart acts and popular Pop artists in playlists and not including enough newer acts. The charts are defined and guided by streaming figures, so we get this one-dimensional view. I don’t think that enough oxygen is given to the full spectrum of the genre. It is a slightly odd moment where we have seen such hegemony from a few names. Let’s hope that next year – when huge tours from Taylor Swift and the like end – opens up a more equal and balanced field. I have not given up on Pop at all. More playlists and articles need to be dedicated to newer acts that are coming through and making truly terrific music. I do agree that we are lacking a degree of bangers and classic choruses. Maybe Pop has become a little more downbeat or homogenised. Against the blackness around us, Pop artists might be finding it hard to come up with the goods – or they may find it hard or inappropriate to produce escapism. There is still a lot of nostalgia in modern Pop. Artists nodding to the 1990s and 1980s for inspiration. In spite of this, sites like DAZED are discussing a crisis, however temporary, throughout Pop music. I feel things will improve in 2024. There are undoubtably scores of amazing artists – many of whom I have spotlighted this year – that are coming through, building on early promise and, like all artists, adapting after lockdown and pandemic years. I am confident that 2024’s Pop will arrive…

WITH more fizz and flavour.

FEATURE: The Digital Mixtape: TGE 2024’s FIRST FIFTY Live Launch Playlist

FEATURE:

 

 

The Digital Mixtape

TGE 2024’s FIRST FIFTY Live Launch Playlist

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BETWEEN 15th and 18th May…

IN THIS PHOTO: Eaves Wilder

The Great Escape takes place in Brighton. The full line-up will be announced soon enough. Happily, the first fifty acts will be announced next week (on Wednesday 15th). It is a chance to follow some of the brilliant rising acts who will play a hugely important festival next year:

“The 2024 festival season starts here!! The Great Escape’s FIRST FIFTY live launch is back to showcase some of the most exciting new artists around. The acts announced will give a first glimpse of the ground breaking talent lined up to play TGE 2024 next May.

This year’s First Fifty live launch will consist of an evening of live showcases in and around East London on Wednesday November 15th, celebrating the announcement of the first acts playing at next year’s festival”.

One of the great things – among many others – about playing at The Great Escape (or TGE) is that these are artists predominantly who are coming through and will be playing big stages very soon. You get to see an array of hugely promising musicians on the cusp of breaking to the next level. A rich and varied bill means that you have this balance and diversity – which many other festivals lack. To celebrate the forthcoming announcement of their First Fifty and the upcoming showcase, where tickets are still available, I am finishing with a playlist featuring the acts who are performing live on Wednesday. I will do another TGE feature when the full line-up has been announced. I just wanted to direct people’s attention to the upcoming first taste of the fifty who will be announced – and I may well do a playlist of those fifty too. These are the artists who are playing in and around East London on Wednesday in anticipation of those who will rock The Great Escape…

IN May.

FEATURE: Spotlight: ratbag

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Frances Carter

ratbag

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I tend not to feature artists…

 PHOTO CREDIT: Frances Carter

who are not available on Twitter/X but, in the case of ratbag, I am going to make another exception! Even if that moniker is shared by other artists – making it even more confusing and hard to navigate when it comes to finding them! -, luckily the music makes up for that. Even if I am not a fan of the name, I do really love and appreciate the music. Definitely an artist who is going to go far. To be fair, that artist name does have significance for Aucklander Sophie Brown. The New Zealand artist can identify with that term, as it is given to someone who is a bit of a troublemaker. Whether spelled with a capital R or not – I have seen it both ways which, again, adds a bit to the frustration -, you are won over and compelled by he aesthetic, music and ambitions. I am going to work my way up to a new NME interview – ratbag’s most immersive and detailed interview so far. I will also drop in music videos where we get to see and hear the amazing artist in her element. First, earlier this year, DIY introduced us to an incredible talent:

“Hello and welcome to DIY’s introducing feature, Get To Know… which aims to get you a little bit closer to the buzziest acts that have been catching our eye as of late, and working out what makes them tick.

Today, we’re delving into the immersive world of ratbag, whose first two singles ‘rats in my walls’ and ‘exit girl’ have established her as a singular artist that merges shoegaze and art-pop-influenced sonics with Gorilllaz-esque, grotesque cartoon visuals. We caught up with ratbag to discover more about her music and monstrous bandmates….

Describe your music to us in the form of a Tinder bio.

What is tinder?

What's the story behind your first instrument?

I got my first guitar for Christmas when I was 7 years old, called it ‘thorn’ and felt super badass. I also put a mushroom sticker on one of the tuning pegs and named it - I can’t remember the name, but it was probably super badass too.

Your work encompasses much more than music, spanning sculpture, videography, claymation and drawings too. How do different mediums help construct the visual world you're creating?

My world has always been lingering around, sitting on a couch at the back of my head. I want you to join me in my world, to be able to see it, feel it, hear it, and that requires me to be unfettered by mediums. Using a mixture of mediums allows me to express the chaotic nature as accurately as possible.

Your debut single 'rats in my walls' was accompanied by a Where The Wild Things Are-esque visualiser. Where else do you draw inspiration from?

I tend to find comfort in horror. Jack Stauber, Don’t Hug Me I’m Scared, Adventure Time, and any A24 horror film always give me a dose of inspiration and I re-watch them often. I also have a dream journal that I use to keep track of my nightmares, which I often revisit.

The video for your latest track 'exit girl' features your bandmates. Can you introduce us, and talk us through the concept behind them?

There are 4 band members, deemo (bassist), fritz (keyboardist), slug (guitarist) and eugene (drummer). I pulled them out of my world and brought them here, because I needed a band.

deemo is reserved and enjoys his alone time. fritz is frantic, he’s always trying to get somewhere. slug is just disgusting. and eugene seems scary and is scary. They’re all scary actually, and hungry all the time. I’m trying my best to wean them off human meat but it’s proving to be a very difficult situation, so i’m keeping them locked inside my house in the meantime. I would rather not be responsible for any murders at this point in my life.

Tell us the best advice you've ever been given as a musician...

To listen”.

There are not many recent interviews online with ratbag. That is going to change as her music gets shared and known more widely. I think that she is someone who is going to be in huge demand next year. The Line of Best Fit spent some time in September focusing on her amazing song, exit girl:

“Surrealism bleeds out of otherworldly places, and it is one of the most compelling concepts for fans of mind-boggling stories of fiction to seek out and admire. Whether it be something of music, sculpture, animation, or story, it’s rare for an artist to fully immerse themselves in each of these encompassing realms at once, but then again, ratbag is not one for the ordinary. Following the release of her latest single and music video for "exit girl", that idea is especially apparent.

Simmering in the worlds of punk and shoegaze, ratbag’s latest release comes only recently after her introduction as a musician. Her debut single "rats in my walls" came out in July, and already the artist is displaying a confidence that is especially apparent through the world of horror shown in the music video that accompanies her new release.

The music video for "exit girl" is the world’s first taste of ratbag’s unique visual style and is also the first look into the lore behind the artist. For starters, the music video introduces ratbag’s team of fictional bandmates, each representing a different aspect of her personality. The band are made up of animated monsters going by the names Deemo, Eugene, Slug and Fritz, reminiscent of other ambitious groups like Gorillaz or even Dethklok.

Matching the horror-inspired elements of this music video is, of course, the song. Carefully calculated in its many independent rhythms, beats pulse in time throughout "exit girl". The song is something of a scrappy little robot that blisters with life as it thrashes between the verses and choruses. Buzzing with personality and a lively fortitude, the track will lure in lovers of alternative and punk sounds especially. Beyond sound, it’s an addictive narrative, too. ratbag explains, “This claustrophobic circus of clowns is getting old. Sometimes, we just want out.” Featuring scratchy electric guitar and catchy piano chords, it’s a song that’s easy to love in its complexity.

Taking inspiration from bands like Pixies to Broken Social Scene, to other modern acts like Billie Eilish, ratbag’s identity as an artist is very much in flux. Looking beyond her latest two releases, ratbag promises there’s much more to come from here. The lore of ratbag will slowly be unravelled with each new release, but for now, the only other thing we really know about her is that she isn’t from here, but she thinks you might like her chaos.

Outside of music, ratbag boasts a large following on TikTok where she shares her voracious love of all things of the creative world: sculptures, photography, and fashion abound. Now, she’s slowly introducing the world to her music as well. With over six million likes on the platform for her previous single, the shift is clearly already paying off for the visionary”.

@worldofratbag Replying to @☆ ratbag ☆ ♬ Elevator Music - Lesfm

I am going to finish with NME’s interview. The most in-depth and visually arresting one of ratbag’s career to date, we get to learn more about an artist who is becoming well known beyond her native New Zealand. This is someone who is going to grow from strength to strength next year:

“If you’re a troublemaker and you live in the Southern Hemisphere, you may have been called a “ratbag”. Aucklander Sophie Brown, who now releases music as ‘Ratbag’, certainly had no shortage of the endearing insult. “In New Zealand, it’s a mischievous kid who doesn’t follow the rules, who doesn’t behave,” she explains. “I used to draw on walls, I was that kid unfortunately. I know how to get on people’s nerves.”

Brown has graduated from drawing on walls to drawing on paper, where she’s spent the last two years creating a multimedia fictional band that’s like Gorillaz-meets-Neil Gaiman. There’s Deemo, the towering, lanky red devil who sports a bucket hat, Fritz, a puke-green crocodile-clown hybrid, Slug, who wears a bird mask with a spiky mohawk, and Eugene, a portly beast with a purple octopus for a head. As Ratbag, Brown acts as the frontwoman, singing songs about her everyday life and feelings with the help (and occasional hindrance) of her band.

How did you come up with the idea for the world of Ratbag?

“Two years ago, I would live in bed at night and get bored thinking about my own life when I fell asleep. So I decided to create a world, and I’ve been adding to it almost every night. I’d lie there thinking about new characters, places. I’m writing in my journal or my phone and then going to sleep. The visual side has always been there. All my artwork as a kid was character designs and world building. Everything fell into place when I started making music and it became one world. ”

@worldofratbag

cooper said u should stream my song.

♬ dead end kids - ratbag

How does the band fit into your life beyond music?

“If I were to take myself and split myself into a pie graph, each slice would be one band member. If you gave me an emotion, I’d be able to go – that’s that band member. When I’m feeling overwhelmed, I’ll ask myself, ‘Who’s present now?’

“If I’m tired, Deemo’s gonna be there. If I’m feeling on edge, it’s Fritz. Sometimes they’re all there, sometimes one or two. If I wanna distract myself from something going on around me, I’ll ask myself, ‘What are they doing? Is Deemo lying down, playing bass?’ It’s helpful because it’s recognising how I’m feeling and letting my imagination have a moment. That’s what I love to do.”

So what does each band member represent?

“Deemo [the bassist] represents the wanting-to-be-alone, sad part of me. Fritz is the keyboardist, he represents when I’m feeling frantic. He also represents happiness – he’s present when I’m not sober, let’s just say that. Eugene is the drummer. He represents my anger and frustration, with myself or what’s going on around me. And Slug [the guitarist] represents disgust. When I feel gross, like I haven’t showered, or mental disgust, he’ll be there.”

What’s your ultimate dream with Ratbag in the future?

“My dream is to have a real life Ratbag village that you can walk through. The food is from the world of Ratbag, all the people like behind stalls are in full monster costumes. You can meet the band, you can meet the you can meet me, there’s like a big concert at the end of the day where I play all the songs. Everything is just Ratbag, you’re essentially stepping into my world – you’re not on planet Earth anymore. That would be insane to me”.

If you have not followed ratbag and you are new to her music, then do make sure that you get involved and rectify that. There will be a lot more releases from this sensational artist next year. If her ratbag moniker suggests an insult or something belittling, the music showcases this very strong, original and confident artist who is primed…

FOR big things.

___________

Follow ratbag

 PHOTO CREDIT: Frances Carter

Instagram:

https://www.instagram.com/worldofratbag/

TikTok:

https://www.tiktok.com/@worldofratbag

YouTube:

https://www.youtube.com/@worldofratbag

Spotify:

https://open.spotify.com/artist/6v6OE9MQreCmwuAqF0NfzQ?si=buHIKnmwSO-1BBzT0D5VAA

FEATURE: The Digital Mixtape: The 2023 Rolling Stone UK Awards: The Playlist

FEATURE:

 

 

The Digital Mixtape

IMAGE CREDITS: Rolling Stone UK

The 2023 Rolling Stone UK Awards: The Playlist

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EVEN though we are…

 PHOTO CREDIT: Vlada Karpovich/Pexels

almost at the end of this year, there is plenty going on when it comes to festivals and award ceremonies. As I am writing this (10th November), the GRAMMY nominees have not yet been announced. That is about to happen. I will do a playlist featuring many of the artists nominated. Some festivals are announcing their line-ups for 2024. I am interested in a new award ceremony that caught my eye. Rolling Stone UK are hosting their first-ever award ceremony this year. It is happening on 23rd November. Ahead of it, I wanted to compile a playlist featuring many of the artists already announced as award-nominated. Here are more details about an exciting event.

“Two years after the launch of the UK edition of Rolling Stone, we’re delighted to announce the first ever Rolling Stone UK Awards, in collaboration with Rémy Martin, live at London’s Camden Roundhouse on Thursday 23rd November 2023.

The night will include live music performances (including a headliner) and the induction of 13 very special award winners into the Rolling Stone UK Hall of Fame, all overseen by a host befitting of the occasion.

Several hundred guests will see music’s top talent pick up their awards, but rest assured that Rolling Stone UK’s presence in print and digital forms and across social will mean that those not in the room aren’t at risk of missing out either.

Darren Styles OBE, publisher of Rolling Stone UK, said: “It’s time. In fact, it’s well past time. The UK waited more than 50 years to become part of the Rolling Stone global family, to be one of 18 countries around the world to have a dedicated edition promoting the output of one of the world’s greatest creative hubs. UK music, film and television is world class and indeed world- leading and – now – has a platform from which to celebrate the artists and the art we make here and share with the world.”

 He added: “I’m delighted, too, in launching the Rolling Stone UK Awards, to be able to team up with Rémy Martin, part of the Rémy Cointreau house of brands. We have so many shared values – a commitment to authenticity, heritage and quality among them – that it’s hard to imagine a better way to toast our award winners than with the world’s finest cognac.”

Rémy Cointreau UK Managing Director Augustin Depardon said: “Teaming up for excellence is part of our DNA, so it’s incredibly exciting for Rémy Martin to be partnering with Rolling Stone magazine’s inaugural awards in the UK this year. The two iconic brands will unite in their shared passion for music at the centre of celebrations, to honour their heritage, pass on savoir-faire and bring people together to create a night like no other.”

Nominations for the awards will begin to emerge the week commencing 25th September, with the winners unveiled on the evening of 23rd November, celebrated in a special Awards edition of Rolling Stone UK magazine published the following morning”.

To celebrate the 2023 Rolling Stone UK Awards, below is a playlist featuring many of the magnificent artists who have been listed and named. It is a welcomed name on the award circuit. It will be exciting to see who walks away with the prizes! If you need a guide to the who’s who nominees, then the playlist below combines…

THEIR magnificent work.

FEATURE: Ceasefire: The Difficult Situation of Artists Taking a Stance Against the Genocide in Palestine

FEATURE:

 

 

Ceasefire

IN THIS PHOTO: Sleater-Kinney/PHOTO CREDIT: Chris Hornbecker

The Difficult Situation of Artists Taking a Stance Against the Genocide in Palestine

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IT is easy…

 PHOTO CREDIT: Muaaz/Pexels

for most of to take a stance on social media when it comes to the atrocities happening in Gaza. The Palestinian people being displaced and erased. Even though Israel has pledged a daily four-hour pause in the fighting, it is not enough. The casualties and scale of the destruction is catastrophic! We can all have our say. Even though some say that Israel is protecting itself and is in the right, most (reasonable) people defend Palestine and their hearts are with the people there - and the innocent Israeli civilians who are also affected. It is good that we can mobilise our voices and call for ceasefire. Weather that happens soon, I am not sure. I do think that there needs to be more commitment from our Government when it comes to calling for that. At the moment, there is nothing coming from them. Not wanting to take a political stance or risk offending Israel, it is a cowardly and cruel position to take. Whilst there is this decimation and genocide happening, we are seen to be passive and uncaring! The same cannot be said for those online. Many celebrities and high-profile people have spoken out. Supporting Palestine and highlighted the evil that is being perpetrated. For artists, it is not quite as easy as speaking out and having a say. I think that most artists are with Palestine and want a ceasefire – though there are going to be those who are on the wrong side and will stir controversy. I recently saw a post by The Anchoress about what is unfolding.

 PHOTO CREDIT: Andrea Piacquadio/Pexels

Feeling sick to her stomach, she wondered what to do. That fear and disgust. It is difficult if you have a following online and make comments. I think there is a lot to lose for artists. I guess, when you are passionate, you weigh up what you can afford to lose. In terms of the music community, there are those who are speaking up. An open letter has just been signed by artists who are calling for a ceasefire. That is inspiring! I can understand, for many, it is hard to articulate what they feel and what needs to be done. Feeling powerless and bereft, it is a hard situation where they are appalled by what is happening and yet there is that fear that they may divide people or be attacked. It takes me to Sleater-Kinney. When they recently played in London, as NME reported, they called out what is happening. Took a position and got angry:

“Sleater-Kinney’s Carrie Brownstein has called for “Palestinian liberation” during a live show in London.

The moment came as the American rock band performed during a live show at The Dome in London last night (November 8) – in what was their smallest UK show in over two decades.

As well as bringing out renditions of fan favourites such as ‘Modern Girl’ and ‘Dig Me Out’, the band also used the show in the capital to share their desire for a ceasefire in the Israel/Gaza conflict.

Speaking directly to the audience mid-way through the show, Carrie Brownstein highlighted the ongoing developments across the Middle East, stating (via Clash): “We want a ceasefire and we want Palestinian liberation and we want peace.”

She continued, urging those in the room to make an active push for “what is right”, stating: “There’s not much we can say right now except that there’s a lot going on, and this is the only chance we have… we’re so fucking lucky to be here, to be alive, so please fight with all your heart for what is right”.

IN THIS PHOTO: Madonna on stage during her current Celebration Tour

If there is this daily pause in the violence, that does not mean things are heading towards a ceasefire. There is still a monumental amount of destruction being wrought on a daily basis! I have seen a load of artists attack Israel and call for peace. It is a difficult situation when it comes to larger artists. The very biggest who have that commercial success and a lot to lose. Some have criticised artists like Taylor Swift for not speaking up. She is not a political artist though, with such a following, is she going to split people and face a backlash. She will support the Palestinian people and decry what is happening…though she has millions of fans and might feel she cannot take a stance. Madonna voiced her opinions about the Israel-Palestine conflict when she played in London recently. Using her voice and platform to send a clear message out, there are many who are speaking up and out. Dua Lipa also recently had made a statement:

“English-Albanian popstar of Muslim descent, Dua Lipa turned to her Instagram handle, to express solidarity with the people of Gaza amid the ongoing war and extend her condolences towards the affectees, calling for a ceasefire in the region.

Sharing a PCRF (Palestine Children’s Relief Fund) fundraiser for the ‘Urgent relief for Gaza’s children’, the ‘Levitating’ singer wrote, “With each passing day, my heart aches for the people of Israel and Palestine. Grief for the lives lost in the horrifying attacks in Israel. Grief as I witness the unprecedented suffering in Gaza, where 2.2 million souls, half of them children, endure unimaginable hardships.”

She continued, “For now, I desperately hope for a ceasefire in Gaza and urge governments to halt the unfolding crisis. Our hope lies in finding the empathy to recognize this dire humanitarian situation.”

Lipa concluded the message with, “Sending love to Palestinian and Jewish communities worldwide, who bear this burden more heavily than most”.

 IN THIS PHOTO: Dua Lipa

There does seem to be a split between artists who have addressed what is happening to Palestinians, and those who feel they have to be neutral or not make a stand. That does not suggest a lack of empathy. Many cannot put into words how they feel. Others wonder what the repercussions are of saying anything about a situation that divides people. We want a ceasefire, yet there are people out there who support Israel and feel that they are in the right. I do wonder, going forward, how artists en masse will react. Maybe a charity movement or something where they combine and send this powerful message. I am not suggesting something like Live Aid - though there is enough passion and anger out there so that artists can come together and do something. There are those who have remained quiet or do not want to voice their opinions. I don’t think it is on the shoulders of them to do something. They are entitled to handle and process events as they see fit. As I say, whereas many have said something and attacked what is happening to both Palestinian and Israeli civilians, I do think that there are some major artists who have not voiced their concerns. We will see the conflict coming into music more. I have written about whether artists are activated enough when it comes to addressing war, climate change and other big themes in music. There definitely needs to be music made where ceasefire is called for. Where those in the wrong are highlighted and condemned. It is hard for the biggest artist to potentially risk quite a lot speaking. Even so, given we are talking about humanity and destruction of innocent people, this less political. It is about discussing the genocide that is claiming thousands. If an artist has a stance and opinion, it is important that they voice that – even if it means losing some fans or the label penalising them or trying to ‘defend’ their position. At such a scary and harrowing time, music can change things and heal. At the moment, as many artists as possible need to get involved and stand with Palestine. Let’s hope that this happens more and more…

 PHOTO CREDIT: Getty Images

AS the atrocities continue.

FEATURE: Wham!, Bam?!, No Thank You, Ma’am! Wave Trough: Are Radio Stations’ Playlists Still Too Tribal, Homogenised and Limited?

FEATURE:

 

 

Wham!, Bam?!, No Thank You, Ma’am!

PHOTO CREDIT: Sound On/Pexels

Wave Trough: Are Radio Stations’ Playlists Still Too Tribal, Homogenised and Limited?

_________

IT was funny…

 PHOTO CREDIT: Brett Sayles/Pexels

tuning into BBC Radio 6 Music recently. I do most days, though there was a song played that garnered a lot of reaction. Chris Hawkins played Wham!’s 1984 song, Everything She Wants. From their Make It Big album of the same year, it is an extraordinary song! You hear this across various radio stations - though it was interesting the reaction that song garnered from the BBC Radio 6 Music audience. A few were sniffy. That same sort of reaction came: “We saved 6 Music for this?!”. For context, BBC Radio 6 Music was threatened with closure years ago. It was saved. One of its distinct characteristics if that it is very broad when it comes to music. In term of time period and genre, it is one of the most diverse and flexile in the country. That said, when a song comes on that might be seen as ‘a bit BBC Radio 2’, that does rub people up the strong way. It seems commercial Pop and stuff that seems a little uncool and for the middle-aged/older listeners is given short shrift. Even though BBC Radio 6 Music is leading the way with its inclusiveness, that reaction to Wham! was interesting. Most listeners loved hearing the song – for a station that does not play that song much. It got me thinking whether radio stations are too restrictive and tribal. Too focused hitting a demographic as opposed given the listener a broad church.

Even BBC Radio 6 Music seems not to play a range of artists who would seem very much them. The likes of Charli XCX, Dua Lipa and Rina Sawayama, perhaps more favoured by BBC Radio 1, are not really included on the playlist of BBC Radio 6 Music – and yet, these artists very much would captivate and appeal to the 6 audience. It is the same with all stations. I can appreciate any genre/period-specific stations would have a tight remit and rigid playlist. BBC Radio 2 caters for a more middle-aged demographic, as does Greatest Hits Radio. BBC Radio 1 has always been for a younger audience (teens and those in their twenties). Even though they have been accused of ageism in the past regarding featuring younger artists, they are starting to address this. Most of the Pop stations like Kiss and Capital seem, again, for a younger audience. None is exclusive for a particular demographic, yet the playlist and vibe does seem to unconsciously suggest that. It is occasions when BBC Radio 6 Music play an ‘unexpected’ song that raises questions around radio stations’ targets and sounds. Why would anyone of any age balk against a great song?! Who care who wrote it and what genre it is?! I have always thought Dua Lipa might broaden to BBC Radio 6 Music – though she is very rarely played. There are acts that are played on BBC Radio 1 that could be on 2; those on 2 that could be on 6; some on 6 that should be on all. I am focusing mainly on the BBC stations, yet it is an issue with every station.

Of course, it would be unwieldly and impossible for any station to include all types of music. They need to forge their own identity and sound. This does usually come at the cost of risk or surprise. Most major radio stations struggle to affect gender balance in terms of their playlists. I also think there is too much predictability across most. This implied snobby attitude from some listeners. That certain artists and genres are inappropriate for that station. Every station is entitled to have their limits and boundaries. BBC Radio 6 Music is not going to start playing a load of Ed Sheeran or Rita Ora. BBC Radio 2 is probably not going to spin IDLES or Sleaford Mods much. There are definite occasions when certain artists are better suited to particular stations. Even so, there is still enough space for all stations to be a bit more adventurous with what they play! That seeming shock when Wham! shows up on BBC Radio 6 Music, for example! It is nice that there is a lot of love for the song/artist you were not expecting to hear. That alone raises the question regarding tribalism and a relative lack of diversity. I guess it can be a hard balance. No matter what you play or omit, there are going to be people who complain. I think, rather than playing it to perceptions of what an age group or audience would like to listen to, it is about having that at the core but throwing in more surprises and left turns. More and more, people will become used to it. I feel audiences are still quite stubborn, resistant and tribal when it comes to their tastes and preferences. So many people are missing out on great artists and songs that really should be on the playlist of their favourite station!

There are opportunities for listeners on most stations to get involved. Whether it is a listener-led mix or requests, that is a moment when you can get a more eclectic mix on stations. Many have their own dynamics when it comes to playlists. It is quite complex. So how does a more youth-orientated station choose who goes on the playlist? This recent BBC article featured someone who very much has an explanation and that knowledge:

“One person who knows is Al Smith.

He's a music programmer who's helped to choose the tunes for some of the UK's biggest youth radio stations over the last 10 years.

It's a big responsibility. What you choose - and sometimes, what you don't - will shape the sound of a station.

So how do you decide?

Al tells BBC Newsbeat the most important factor by far is "understanding what the target audience would enjoy".

For Al, that's anything that appeals to young people.

So how do you get into the shoes of an ideal listener?

It used to be the case that major music labels had a lot of power, having direct contact with decision-makers at radio stations and putting forward their artists.

But Al's noticed a shift.

"Music programmers are pretty open-minded as to where a song has come from," he says.

"Stations will promote unsigned artists if there are other factors that are causing that song to do well".

Step in TikTok. Remember Mae Stephens' banger of a heartbreak song If We Ever Broke Up?

Mae was unsigned and putting songs out on the platform when the track went viral. Within a short time, her song was fast-tracked onto the playlists of pop music stations.

As well as being useful tools for artists, TikTok and other social media mean fans have more power than ever.

It's what Al calls the "democratisation of music."

He explains there are now many places where fans can consume music, including music streaming platforms and YouTube.

This means stations are under more pressure to reflect what fans want in their playlists.

But you can't please everyone.

That's something UK radio stations, including BBC Radio 1, have been finding out recently.

You might have noticed a lot of tweets criticising them for leaving Kylie's Padam Padam off their playlists - even though the song almost broke into the UK top 10.

In a statement Radio 1 told Newsbeat it considers tracks for its playlist "based on its musical merit and whether it is right for our target audience".

It said it makes decisions on "a case-by-case basis".

Al agrees that it's all about pleasing your target audience.

"Some stations aim younger and it may be the view that Kylie isn't the right artist for that," he says.

"Unfortunately, you're always going to make somebody unhappy with the decisions you make.

"There's only so many hours in a day to play songs."

'Debating the playlist'

It's not just station listeners that feel passionately about the songs they want to hear.

In fact, Al says debates among playlisters are common too.

"You get a lot of fiery opinion because one person's potential bias is normally outweighed by somebody else's counter-view”.

PHOTO CREDIT: KoolShooters/Pexels

I have no doubt that radio playlists are more complicated than I think. You do need to have a certain cutoff and degree of concision. I still think that there is a lot of crossover that could happen but is not. Some artists I think should be on my favourite stations that get overlooked. Those who get sniffy and critical when certain artists are played. Every station needs to se their boundaries…but are these too tight and uncompromising? At a time when music is at its broadest and diverse, you still have radio stations who play what they play without considering why it would be good to be a little more bold. Our palettes only expand when we step out of that comfort zone. I am not suggesting radio stations need a complete overhaul and include every kind of genre. Instead, as we saw with that Wham! Example on BBC Radio 6 Music recently, most listeners actually react really positively to a song that would not have otherwise been played. Why should a rare treat not be more of a staple?! There are some incredible ‘youth-focused’ artists who would be welcomed by older audiences. I still feel there are age barriers on some stations. That seems outdated and unnecessary in this day and age. Maybe I am missing something. I think that I am losing out as a listener when stations miss out an opportunities to widen their remit. That battle between what listeners want and keeping that station identity distinct and solid might mean things won’t change. It is obvious nearly every station need to include far more women and non-binary artists. This perception and feeling among a lot of listeners that there are ‘guilty pleasures’ and certain artists that do not belong on their station. That prejudice and narrow-mindedness needs to go! Stations should promote good music, no matter who it comes from. Quality, engaging and diverse music is…

ALL that we want.

FEATURE: Saluting the Queens: Mary Anne Hobbs

FEATURE:

 

 

Saluting the Queens

PHOTO CREDIT: Marcus Hessenburg

Mary Anne Hobbs

_________

EVEN though I have featured…

 IN THIS PHOTO: Mary Anne Hobbs during her All Points East ALL QUEENS set in August 2023/PHOTO CREDIT: Mary Anne Hobbs

the magnificent Mary Anne Hobbs before, this point of this series if to salute queens in the music scene. From broadcasters, D.J.s, journalists, label bosses, artists and anyone else making a difference, I am focusing on a very special music journalist in the next part. I may also include some radio colleagues of Hobbs too. I wanted to focus on Mary Anne Hobbs as, though the years, she has been so influential and impactful in broadcasting and the music industry. A tireless champion of new music, she is also a staple of BBC Radio 6 Music. I hope that there are more interviews and spotlights the way of Mary Ann Hobbs next year - as she is a queen and champion of the industry. Without doubt one of the finest broadcasters of her generation, there are so many who look up to her. She recently helped launch the new London College of Fashion building - looking fabulous in the process! – and, through her radio career, she has brought to light so much magnificent music. Turning sixty next year (sorry!), there are still going to be many years to come from this inspiring broadcaster – and I think she will not rest or retire because of her sheer love and dedication to music. I will come to a recent interview with Mary Anne Hobbs.

 IN THIS PHOTO: Mary Anne Hobbs helped to launch the new London School of Fashion building on 1st November, 2023/PHOTO CREDIT: Mary Anne Hobbs

I am going to start off with a slightly older one. It is from 2018, in fact. That year, when BBC Radio 6 Music announced line-up shifts that saw Hobbs move to mid-mornings (weekdays), she was part of a Music Week interview. Very much a dream job for her, Hobbs definitely relished the change:

“BBC Radio 6 Music’s Mary Anne Hobbs has told Music Week that taking over the mid-morning slot from Lauren Laverne is her “dream job”.

The move is part of a raft of changes due to come into force in 2019 at 6 Music. Laverne will take over the breakfast show, with current host Shaun Keaveny moving to lunchtimes, while Mark Radcliffe and Stuart Maconie move to the weekend breakfast show.

Hobbs, who currently presents the weekend breakfast slot and a 6 Music Recommends slot, was speaking in the new issue of Music Week, out now.

“They’re really exciting times. Moving forward into 2019, everybody’s got an opportunity to play to their strengths and shine in the new slots,” said Hobbs.

“I’m thrilled to bits to have the opportunity to bring the rich diversity and palette of music I really love and that I’ve championed for a lifetime into the heart of the schedule. It’s a dream job, really.”

Hobbs said the show will be “principally music-driven”.

IN THIS PHOTO: Mary Anne Hobbs captured in 2021/PHOTO CREDIT: Marcus Hessenburg

“What 6 have done is looked at a presenter who’s been very productive in the more shady areas of the schedule,” she said. “A great number of the artists I’ve championed over the years, people like James Blake, Kendrick Lamar, Nils Frahm, Kamasi Washington and Julia Holter, have resonated in the lives of our listeners. This is a chance to broaden the musical palette of the network in the daytime.”

The former XFM and Radio 1 DJ said she believes 6 Music bosses “would like to take many of the elements of the DNA of the programmes I’ve created for 6 Music at the weekends and evenings into daytime.”

Hobbs also promised that, “A great deal of the feature content we do at ?the moment around arts and culture we’ll transpose into daytime, as well as the interviews.” Listeners can also look forward to more live sessions, such as one Hobbs recently helmed for Thom Yorke”.

A huge and loyal champion of women in music (from artists to D.J.s), one of the main reasons I wanted to include Mary Anne Hobbs now is because of her ALL QUEENS initiative. She hosted that event at Field Day this year. It is a stage exclusively for female, non-binary and trans talent. At a time when festivals are still struggling to balanced and not booking enough women, non-binary and trans artists, Hobbs’s salute and inclusive stage is a huge breath of fresh air. Someone always pioneering and embracing queens, she spoke with CLASH ahead of ALL QUEENS going to All Points East in August:

“Summer (pah!) may be winding down, but there are still some huge festivals still to come, not least All Points East, which takes place over two weekends from August 18th to 28th.

Over the last few years, the event has featured some stellar performers, with Gorillaz, Kraftwerk and Nick Cave and The Bad Seeds in 2022 alone. This year’s iteration is no different, as the likes of Stormzy, Aphex Twin and the Strokes will rattling the foundations of the buildings surrounding East London’s historic Victoria Park.

The official broadcast partner of the event (for the third successive year), BBC 6 Music will be playing out sets across both weekends, with shows presented by Gilles Peterson, Jamz Supernova and an Indie Forever show fronted by Steve Lamacq. Yet the centre point of their coverage is the third ALL QUEENS takeover curated by Mary Anne Hobbs. In an exclusive interview with Clash, the radio legend talks us through the recent history of the initiative and why it is so important.

“We hosted the first ALL QUEENS stage as London was just emerging from Lockdown, and it was deeply emotional. I hadn’t played out a festival for 18 months. I was shook with nerves. Mercifully, I had my friend Jamz Supernova on-side, and just to feel her presence with me shoulder-to-shoulder and her absolute belief in the project, was so powerful.”

“Last year, TYGAPAW had visa issues and and wasn’t able get into the UK at the last moment. Rebekah stepped in on the turn of a heel. She agreed to play for us on her one day off in months. Obviously, Rebekah wasn’t advertised, but word of mouth swept the site like a wildfire as she stepped up, and she ripped the field apart.”

“ALL QUEENS is setting a new precedent. It’s a unique platform created to lift-up the world’s extraordinary female artists, producers, DJs, and creatives. It’s no accident that the anarchy symbol ‘A’ is our logo.”

“Everybody knows the gender imbalance is real. It’s a war out there. The discourse is valuable, but my aim is to proactively change the culture. Samantha Moy, Head of BBC 6 Music, trusted me implicitly with ALL QUEENS. The project began as Monday Playlist on my daytime radio show. We added a live stage at All Points East. Then a takeover at fabric in London on International Women’s Day in collaboration with Judy Griffith; all-female DJs, door staff, bar staff, sound engineers and creatives. And now, an ALL QUEENS radio Residency in its second year on BBC 6 Music.”

In addition to the sets by artists (including Effy, Deena Abdelwahed and Ella Knight) other performers such as Corinne Bailey Rae, Elkka, Jessy Lanza and Avalon Emerson are hosting their own 6 Music takeover, as Hobbs explains: “The ALL QUEENS Residency takes place across August on BBC 6 Music. Thursday night into Friday morning 1-2am, plus 30 days at the BBC Sounds App. The shows are new music focused, but my residents have complete freedom to interpret that brief and deploy the airtime in any way they wish.”

As for the sets themselves, Hobbs struggles to contain her excitement: “The artists booked this year cover a vast spectrum of electronic sound, so if you are dancing with us all day, the sound will transform every hour at the stage. For me, it’s a joy to welcome Chloe Robinson as our headliner in 2023. She opened our first ever ALL QUEENS stage as we were coming out of lockdown. I’ve supported Chloe and her label Pretty Weird passionately and watched in awe as her star ascends, so for me it feels like a beautiful full circle moment.”

Looking to the future, the presenter has plans, both next year’s festival and even spreading it’s important message further afield: “I have an A-list of several hundred Artists. I supported Bjork at Bluedot in 2022. She’s a great example of the kind of Artist I dream of booking in future, juxtaposed with one of the most exciting young scratch DJs on earth, Baby B.”

“I’m always looking for opportunities to develop ALL QUEENS, and it would be exciting to propagate internationally. I’d love to take us to Berlin. Hi Tresor. Hi Berghain.”

All in good time. For now, festivalgoers and radio listeners alike can look forward to what is likely to be the highlight of an unmissable weekend”.

I have been a fan of Mary Anne Hobbs for a long time now. Someone always pushing for change and inclusion in the industry, there is no doubt that she is one of our moist important and influential broadcasters. A hugely talented D.J., radio queen and all-round fashion and art icon, there is so much cool, style and passion when it comes to MAH! Long may she reign in the industry! Someone who has been responsible for lifting rising artists to new levels, I can see her staying at BBC Radio 6 Music for many years to come - as it seems she has found her home and calling there. Undoubtedly one of the most distinct and respected voices on radio, I know 2024 will be a busy one where she conquers festivals and brings her D.J. genius to the masses. With ALL QUEENS as this established and essential inclusion to the circuit, I hope more journalists and podcasters share the voice, words and wisdom of the one and only Mary Anne Hobbs. She is one of the jewels of the BBC radio crown! If you have not tuned into her weekday show, then make sure that you do. You will get this blend of all genres. A drive and clear love of the artists she features, it is clear that there is…

SO much love for her out there.

FEATURE: Peaks and Hills: Kate Bush in 2023: A Rare Legacy Artist Always Engaging with Her Fans

FEATURE:

 

 

Peaks and Hills

PHOTO CREDIT: Kate Bush/Fish People

Kate Bush in 2023: A Rare Legacy Artist Always Engaging with Her Fans

_________

PERHAPS I have been reframing this wrong…

 PHOTO CREDIT: Kate Bush/Fish People

when it comes to Kate Bush. She has recently announced that her studio albums are getting reissued. Bush has worked on the design of the vinyl. Each with their own colour and pattern, that has also been bolstered with a special attention to Hounds of Love. That has been reformatted into two separate records. The first is called The Baskerville Edition. This features artwork and illustrations by the Glasgow-based design studio, Timorous Beasties. The album also has a solar-powered flashing LED light. The second new format consists of two boxes called The Boxes of Lost at Sea. Each contains one side of the album and will have their own UV-printed illustration on white vinyl and a battery-powered LED light. I have reworded that from NME’s reporting of the news. It is an early Christmas present for fans. I was pleased when that news was announced, as it is good for artists to keep engaged with their work and fans. Bush knows that there are a lot of new fans coming through that are discovering her work. Whilst she has reissued her albums before (in 2018), there has been nothing like this. Bush really involved with the feel and look of the albums. Collector’s items mainly, this is a good chance for new fans and older ones to purchase these rare and beautiful releases! Even if the Hounds of Love boxes cost quite a pocket and they are going to be reserved to those who have a bit more to splash out, they are still lovely things to see…

I think, at first, I was a bit down on the fact that we were getting pre-exciting work with no news of anything new. Some fans felt the reissues were cash-grabs or there was this cynical move to exploit fans in a way. I don’t think that. Kate Bush would not do that, yet many of us hoped that there would be some news of future revelation. Some glimpses of material that we have not heard before. Kate Bush has not posted a Christmas message to her site yet though, nearer the time, we can all wonder. I guess she will wish for peace in the world and react to the genocide happening in Palestine. More than anything, she will thank fans for their support. She will look back on a very busy 2023! The past two years have been exceptionally successful and busy. Running Up That Hill (A Deal with God) stormed the charts and ignited this huge new affection for Bush and her music. This year continued strong. Finally inducted into the Rock & Roll Hall of Fame (after previously being shortlisted three times), it now seems that the U.S. – slightly indifferent to her work before – have embraced Kate Bush. It has been a couple of years of looking back. Revisionism, nostalgia and celebrating the fact that Bush’s music, however old, was resonating. St. Vincent covered Running Up That Hill (A Deal with God) at the Rock & Roll Hall of Fame ceremony. Even though she was nervous and some were not sold, it was a loyal rendition from a passionate and life-long fan of Kate Bush. I have been a bit cynical regarding the lack of news of new material – and whether that will ever come. Instead, I feel that it is nice that we get to hear from Kate Bush.

Not only have their been messages (on her website) from Bush. She has been actively creative. Many legacy/legendary artists might not take effort to revisit and revise their back catalogue. They may release older albums but then leave it at that. Bush has gone to lengths to redesign the vinyl of her studio albums so that fans get something fresh. Taking that time to design and think about the personality of each album. I know we all have a wish list when it comes to as-yet-unreleased Kate Bush stuff. A DVD of the Before the Dawn residency may not happen because of technical stuff – the fact there were not cameras on the stage means you get a limited and almost one-dimensional view of the performance -, though many would welcome the album being available via Spotify (it is on Apple at the moment). Maybe some more merchandise could be announced…even though Bush has brought out some new stuff. I also personally hope that one day we get to see some of the earliest material officially released. Those demos and home recordings from pre-The Kick Inside would be embraced by fans. If , that is, Bush signed off. They are truly fascinating. I hope that we get some ‘new’ things in 2024. Whether that is a reissue that we have not been expecting or there is some olde material coming through that has not been heard before, this would welcomed for sure!

It is amazing that Kate Bush keeps active regarding her previous material. That creative spark is still there. Not that this inevitably will lead to new material, although it would be strange if she kept busy with her archive material and wanted people to hear that but was closed off to new stuff. Bush is someone who writes quickly but records more slowly. Whether 2024 reveals Kate Bush’s eleventh studio album or not, we all should be grateful that 2023 has been a very busy one. Lots of success and adulation for her. That Rock & Roll Hall of Fame induction. The continued growth of her fanbase. More and more people turning onto her work. My hope is that, now Bush has got this new level and layer of fans, radio stations and the media expands their horizons. That she is not associated alone with Running Up That Hill (A Deal with God) or Stranger Things. That Netflix show did not ‘make’ her or define her: she was a hugely important and successful artist decades before that. We all need to explore her catalogue more. That is part of the point of these vinyl reissues. Instead of being narrow or sticking with Hounds of Love, take more time to look inside her other nine studio albums. Congratulations to Kate Bush on a remarkable 2023! We are all excited to think of that the next year holds in store. After such a brutal and scary one in the wider world, knowing that Kate Bush is out there being creative and still interested in her own music is a huge source of comfort. Having previously said she never listens to her own work; this has very much changed recently. For all Bush has given us this year, we should very much…

ALL be thankful.

FEATURE: Her Own Kind of Carols: Kate Bush’s 1979 Christmas Special

FEATURE:

 

 

Her Own Kind of Carols

Kate Bush’s 1979 Christmas Special

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LOOKING ahead to…

 PHOTO CREDIT: TV Times

the festive season, and there will be a couple of other Kate Bush-related things I am covering. I wanted to spend some time with her amazing BBC 1979 Christmas special (broadcast on 28th December). Called Kate, it is fascinating for a number of reasons. Prime among them is that the songs are not really Christmas-related. In fact, only one song, December Will Be Magic Again, is Christmas-themed. It was released as a single in 1980. Before coming to some features that have their say on a distinctly un-Christmas-like special that has all the oddity, beauty and standout moments one would expect from a Kate Bush T.V. special, the Kate Bush Encyclopaedia provide some details:

“'Kate' is the official name of a Christmas special that was broadcast on BBC television (UK) on 28 December 1979. It was recorded in October 1979 at the BBC's Pebble Mill Studios in Birmingham, England with choreography by Anthony Van Laast. Part of the show - the sequence for The Wedding List - had been recorded at South London's Nunhead cemetery, a 19th-century Gothic cemetery with lots of imposing monuments to eminent citizens of that time. The special was a mixture of pre-filmed sequences, dramatic in-studio setpieces and a handful of straight performances behind the piano.

Track listing

The special consists of the following songs:

1. Violin

2. Gymnopédie No. 1

3. Symphony In Blue

4. Them Heavy People

5. The Angel Gabriel

6. Here Comes The Flood (Peter Gabriel)

7. Ran Tan Waltz

8. December Will Be Magic Again

9. The Wedding List

10. Another Day (with Peter Gabriel)

11. Egypt

12. The Man With The Child In His Eyes

13. Don't Push Your Foot On The Heartbrake”.

You can read this feature that lists all the songs Kate Bush performed for that Christmas special. Eclectic and colourful, we get a mix of emotions and styles through the show. Tracks were pre-recorded live so and perform to an empty audience I believe (the applause and cheers were added). It must have been quite an odd experience recording a Christmas set with few baubles, decorations, signs of the season etc. Regardless, I think of Kate as an essential Christmas broadcast. A wonderful and unique set that sees her sing with Peter Gabriel and premiere songs that would appear on Never for Ever (1980). For those who did not get a chance to see her during 1979’s The Tour of Life, it was a scaled-down and more modest version of that sort of set and experience. This 2020 article gives us some background and backdrop to the 1979 Christmas special:

“It’s been hard out there for Kate Bush fans. Since the genius “Queen of British Pop” retired from touring in 1979, public appearances have been few and far-between. She found the machinery of pop-stardom a hindrance to her process, and she’s been busy with other things, she says. “Every time I finish an album, I go into visual projects…. So I started to veer away from the thing of being a live performing artist, to one of being a recording artist with attached visuals.”

Fans are not entitled to her presence, but Kate Bush was sorely missed in the 35 years between her first tour and her 2014 “Before the Dawn” residency at London’s Hammersmith Apollo. Before returning to the stage, she kept herself in the public eye with elaborately costumed music videos, a format perfectly suited to her theatrical and cinematic ambitions. (Asked by an interviewer in 1980 what she wanted to do next, she answered, “Everything.”)

But then there’s the Kate Bush Christmas Special, “titled simply Kate on-screen,” writes Christine Pallon. The program, which “aired on the BBC on December 28th, 1979,” followed on the heels of the Tour of Life, the whirlwind debut concert series that promised, but did not deliver, so many more. “The Christmas special’s choreography borrows heavily from that tour. But where she sang live on the Tour of Life, she lip-syncs to pre-recorded tracks here and incorporates pre-recorded video segments. As a result, the Christmas special plays out more like a crazy, longform music video than a traditional stage show.”

Does Kate Bush sing Christmas songs? Does she sit on Santa’s lap? Does she mime, arms akimbo, before the yule log?

Does she lounge on a piano next to a Golden Age crooner?

C’mon…

Okay, she sings one Christmas song, “December Will Be Magic Again,” an original released as a UK single that year. The song pays earnest homage to traditional Christmas figures like Bing Crosby, Saint Nick, and Oscar Wilde before Kate turns into some kind of strange Santa-like being who drops down on “the white city” in a parachute to “cover the lovers.”

Otherwise, the Christmas Special draws on Bush’s first three albums. In addition to her entourage of dancers and backup lip-syncers, she also invites a special guest—Peter Gabriel, of course (who might just as well be called the male Kate Bush)—to sing his “Here Comes the Flood” and duet with her on the extremely downbeat “Another Day.”

Christmas spirit? Who needs it? This is Kate, answering the age-old question, Pallon writes, “what would happen if the BBC gave a Christmas special to an incredibly ambitious 21-year-old art rocker who also smokes a ton of weed?” See the full tracklist, with timestamps, just below. Enjoy, and Happy Kate Bush Christmas Special Day!”.

Like The Line, the Cross and the Curve of 1993, Kate is a minor entry in the Kate Bush cannon that divides people. It would have been interesting hearing her tackle some Christmas carols/songs in a more wintery setting. I feel the point was less about embracing Christmas; perhaps more about ensuring that she was featured on the Christmas schedule. So that her own music would be the priority. I will come now to a 2021 article from Far Out Magazine. They provided their own take on a fantastical and quite unusual live experience from Kate Bush in 1979:

“Featuring just one recognisably Christmassy song, it is a mind-bending theatrical odyssey that sees Bush perform a range of tracks from her first three albums, with a rendition of Erik Satie’s ‘Gymnopodie No. 3’ thrown in for good measure.

By the time Kate Bush sat down to write ‘December Will Be Magic Again,’ she was in the middle of recording her third album Never For Ever, a record which would land Bush such hit singles as ‘Babooshka’, ‘Breathing’, and ‘Army Dreamers’. Despite the tepid reception of her sophomore album Lionheart, she’d managed to win back her fans with her spectacular Tour Of Life concert tour, which was praised for its originality and spectacular visual appeal. Having been forced to turn down a slot supporting Fleetwood Mac on their Tusk tour, it was clear that Bush was in the midst of one of the busiest and most creatively rewarding periods of her life, and she wanted more.

So, when she was invited to host her own TV Christmas special in 1979, she jumped at the chance. Directed by Roy Norton, the 45-minute performance saw Bush bring the theatricality of her stage show to the small screen, offering her suburban-bound teenage fans the chance to see her in action. From the moment she jumps into the frame, dressed like some chiffon-clad bat, it’s clear Bush has no intention of offering us any of the wholesomeness of the Morecambe and Wise Christmas specials – rather her intention is to thrill us into submission.

Surreal and heartwarming in equal measure, Kate: Kate Bush Christmas Special 1979 is a wonder to behold. As well as containing some hilariously overblown choreography, (including the moment in ‘Them Heavy People’ when one of Bush’s dancers breaks a glass bottle over her head) it also features a couple of amazing cameos, including one by Peter Gabriel”.

I wonder if Kate will ever get a DVD release of an HD remaster. I still don’t think we get the sort of love aimed at the T.V. special as it deserved. It is a rare occasion where we get this complete live set from Kate Bush on film! Apart from this, one has to search YouTube and other sites to witness her very much in her element. There are a lot of highlights from the 1979 special. Alongside her performance of December Will Be Magic Again, Bush performing with Peter Gabriel on Another Day is another spine-tingling highlight. The Cut discussed a magnificent entry in the Kate Bush annals. Something I would urge people check out if they have not watched it:

“It all starts innocently. A heavenly pitch fills the room as green cartoon hands and red text animate the screen. Is this the voice of an angel? As the titles fade out and the stage lights come on, we see Kate dangling from the ceiling — not as the Christmas cherub we first envisioned, but as a gothic bat rising from the abyss, clad in black sequins and plush feathers. As the opening salvo of “Violin” comes to a close I begin to wonder if this was actually meant to be a Halloween show. (After all, parts of the taped performance were filmed in a South London cemetery).

The next 40 minutes of Kate’s festive fever dream veer from the chaotic to the surreal to the just downright horny. In one scene, Kate, only 21 at the time, looks everything like the Victorian ideal of the virtuous woman as she plays an emotional andante called “Symphony in Blue” at the piano. Her figure shimmers in a sparkling silver cardigan and emerald-green skirt. But just as we settle into the moment, Kate peers at the camera, a twinkle in her charcoal-lined eyes, and seductively chirps, “The more I think about sex, the better it gets.” Not exactly the family-friendly content you’d expect from a holiday show!

I’ve watched this special dozens of times since I discovered it on YouTube years ago. I had always been a Kate Bush fan. Many of the artists I grew up listening to — like Tori Amos, Fiona Apple, and Big Boi — had cited her as a musical influence. But I didn’t fully start to appreciate her dazzling panache until I entered my 30s. Like many women, I found myself exhausted from trying to “have it all” and stretching myself to meet everyone else’s expectations. And here was Kate, a total unapologetic weirdo, being celebrated and revered for letting her freak flag fly. She’s written songs about menstruation and embarking on a steamy love affair with a snowman (so hot, in fact, that he melts). Her maniacal style of pouring tea, as captured in a 1989 BBC interview, has been made into a meme, as has footage of her rather unappetizing vegetarian cooking. And every year fans across the globe gather in parks dressed in flowing red gowns to recreate dance moves from her iconic “Wuthering Heights” music video. Her authenticity is the reason she’s cultivated such a devoted fan base and why her music still resonates after all these years.

The 1979 Christmas special is also significant because in many ways, it’s Kate’s departing gift to fans — a bow atop a year that would mark the end of her concert career for the next three decades. Like anything with the notoriously private singer, the more information I try to find on this special, the more questions I ultimately end up having. Why, for instance, did Kate think it was appropriate to perform a murder-suicide ballad for a holiday show? Who at the BBC approved this to go on air? How does she pop out of a garbage can so effortlessly in skin-tight leather pants? And does she even know what a Christmas special is? Do we?

But this is why I keep coming back to the Kate Bush Christmas special, year after year. The desire to conform to the cookie-cutter — and completely unattainable — Christmas ideal unleashes my inner control freak, but I never stop to ask myself why I want this version of the holidays in the first place.

Even her one Christmas song is a wink to this idea. In “December Will Be Magic Again,” she sings with childlike yearning for the idyllic Christmas. “The white city, she is so beautiful, upon the black-soot-icicled roofs,” Kate coos. It’s a beautiful image, the dusting of pure white snow, falling like the haze of nostalgia to cover the tarnished memories we’d rather forget. But Kate knows it’s a pipe dream. And she gives us permission to let it all go.

Her Christmas special feels especially relevant this year, as normal has never felt more out of reach. It would be easy to give into a collective sense of despair as we enter an uncertain winter. But when I watch Kate roll around on the floor, fake blood dripping from her lips as she gleefully shoots a hole into the chest of her lover’s murderer, I am embraced by the warm comfort that things will be okay. Even if this holiday isn’t what we envisioned, it doesn’t make it any less special — all we need is to give ourselves the space to get a little weird”.

The majestic and, at other times, unusual Kate is something that is essential viewing. Think of it more than a normal T.V. special than a Christmas one and it makes more sense. Fusing studio albums songs, some Peter Gabriel performances, alongside a couple of rarer tracks – Ran Tan Waltz and the as-yet-unreleased December Will Be Magic Again – and you have this wonderfully interesting performance. I do hope there is an HD/4K version of Kate at some point. I think that it is a live special that…

EVERYONE needs to watch.

FEATURE: The Digital Mixtape: Girls Aloud: Big Hits and Awesome Deep Cuts

FEATURE:

 

 

The Digital Mixtape

Girls Aloud: Big Hits and Awesome Deep Cuts

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WITH a new…

IN THIS PHOTO: The awesome Girls Aloud (Kimberley Walsh, Nadine Coyle, Nicola Roberts and Cheryl Tweedy)/PHOTO CREDIT: Getty Images

BBC podcast, Where It’s At: A Short History of Girlbands, out into the world, it is very timely considering one of the greatest British girlbands is reforming - whether it will lead to a lot of work or is just a brief thing. Girls Aloud were created through the ITV talent show, Popstars: The Rivals, in 2002. Consisting of Cheryl Tweedy, Nadine Coyle, Sarah Harding, Nicola Roberts and Kimberley Walsh, the group was named the United Kingdom's biggest selling girl group of the 21st century so far in 2012 (4.3 million singles sales and 4 million albums sold in the U.K. alone). The group achieved four number one singles. The group disbanded in March 2013 following the conclusion of the Ten: The Hits Tour. Sarah Harding died of breast cancer on 5th September, 2021. I wanted to mark some very good news for Girls Aloud fans by putting together a playlist with their hits and deep cuts. I will come to that. First, this article discusses a welcomed comeback of one of the greatest girlbands ever:

“Girls Aloud are said to be getting back together after more than a decade apart, and have already shot a music video for a new song.

Cheryl Tweedy, Nadine Coyle, Kimberley Walsh and Nicola Roberts have got back together in secret, and have dedicated the new number to Sarah Harding, their former bandmate who died of cancer in 2021 aged 39.

Girls Aloud, who scored twenty consecutive top ten singles in the UK, including four number ones, are one of the country's most successful pop groups of the 21st century.

The group, who have sold 4.3 million singles and 4 million albums in the UK, were formed in 2002 after featuring on talent show Popstars: The Rivals.

They enjoyed seven years of huge success, before going on hiatus for three years in 2009, as members pursued solo projects.

The group came back together to release new music and go on tour in 2012, before splitting in March 2013, amid rumours of feuds.

Revealing the group were getting back together, a music industry source told the Sun: "This has been one of the best-kept secrets in pop, but it’s actually happening now.

"The girls really came back together as friends to rally around when Sarah died, and it repaired some of the old rifts and put things into perspective.

"Suddenly the reunion which had seemed totally impossible for so long just felt a totally natural thing to do — in Sarah’s honour."

The new music video, filmed in north London, is said to see the band members dressed as Wonder Woman.

The source added: "They’ve got a single and a video in the can, plans for a full record of new music, and for the fans the most exciting thing will be a massive reunion tour in 2024.

“It’s going to be huge — and they’re all very excited to be back working together, even if there is a bittersweet element to it.

"Of course, whatever they do, there will always be nods to Sarah’s contribution to the group, too”.

To celebrate the amazing Girls Aloud making new plans and music, I was compelled to assemble songs that showcase the brilliance of this wonderful girlband. They are legends that have inspired a whole new generation of girlbands. It is wonderful that we may see a new tour and video from Cheryl Tweedy, Nadine Coyle, Nicola Roberts and Kimberley Walsh. A return from Girls Aloud. The girlband queens who, once again, will be…

CALLING the shots!

FEATURE: How I’m Feeling Now: Taking Care of Artists’ Mental Health

FEATURE:

 

 

How I’m Feeling Now

PHOTO CREDIT: Engin Akyurt/Pexels

Taking Care of Artists’ Mental Health

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A recent study…

 IN THIS PHOTO: Lewis Capaldi recently announced a break from touring to focus on his mental health

got me thinking about all the challenges and difficulties artists face today. Back on 3rd November, Music Week published an interview with Rough Trade's Lawrence Montgomery on  International Stress Awareness Week. He addressed artists' wellbeing. I think a combination of things contributes to mental health struggles. There is that financial side of things. Artists not being able to make enough to live in many cases. Struggling to even break even a lot of times. There is also the pressure to be on social media and get the music to as many people as possible. This, coupled with the fact that the music industry is so competitive and it can be hard to keep optimistic and visible, it is no wonder some new findings are quite stark:

“Preserving mental health can prove challenging in the music industry, with artists up to three times more likely to suffer from depression and other mental struggles, particularly indie performers.

A study found that 73% of independent musicians have experienced mental illness. But why is this the case? And what can artists and the industry alike do to change this?

Here, Lawrence Montgomery, MD at Rough Trade, shares insights on protecting the mental health of musicians including five steps to make improvements…

Why is mental health a problem in the music industry?

The music sector comes with its own set of unique pressures that can become a source of poor mental health in smaller artists.

Financial strain is one of the most significant stressors that can contribute to poor mental health, and it’s hardly surprising, with a recent report revealing that nearly half of the UK’s working musicians earn less than £14,000 per year from a full-time music career and 17% of artists reportedly in debt.

PHOTO CREDIT: Sebastian Ervi/Pexels

This requires many to find additional sources of income, often in the form of a second job, which results in long working days that can ultimately lead to physical and emotional exhaustion.

Pressure is also added to by the unpredictable nature of the industry, as a lack of job stability can weigh heavily on the minds of independent musicians looking for long-term success in music.

A lack of job stability can weigh heavily on the minds of independent musicians looking for long-term success in music

Lawrence Montgomery

Additionally, constant performing and touring can take its toll on emotional wellbeing, as inconsistent sleep, poor diet, and extensive time away from home can collectively damage mental health.

Collectively, these problems can result in declining mental health among artists and is likely a pivotal reason why as many as 64% of musicians consider quitting the industry.

What can the industry do to change this?

Globally, more needs to be done to solve these problems and reduce poor mental health rates in the music sector.

Labels, executives, managers, and agents should proactively work with health organisations to better understand the factors influencing musician’s mental health and the best ways to support them.

For example, Rough Trade is working with CALM to promote awareness of mental health struggles and break the stigma surrounding them.

Access to mental health services and platforms that provide counselling services can help artists feel supported.

Artists should also be provided with more autonomy over their contracts and finance negotiations, as independent musicians – who make up 40% of the music industry – often have little say, which can leave them without adequate income.

How can artists prioritise and protect their mental health?

Although more must be done in the industry to protect the mental wellbeing of artists, musicians must also take steps to prepare for and overcome unavoidable stresses.

Here are some ways that artists can protect their emotional wellbeing…

1 Establish a support system

Musicians should lean on friends and family who understand the industry’s challenges and lean on them for emotional support.

Connect with fellow music industry professionals by joining local or online communities where they can share experiences with like-minded individuals.

2 Set realistic goals and manage expectations

Set clear and realistic short and long-term goals to reduce feelings of failure from aiming for unrealistic targets.

It’s also important to celebrate small wins to boost positivity and mental health and recognise that success can take time in the music industry.

3 Take time to rest

Establishing a routine is key. Structuring time to include dedicated work and rest hours is a great way to minimise stress and create a work-life balance.

Enough sleep, a balanced diet, regular exercise, and setting strict boundaries will help maintain a healthy mindset and prevent burnout.

 PHOTO CREDIT: RF._.studio/Pexels

4 Don’t compare yourself to others

In a digital age, it’s easy to compare yourself to others on social media. But remember, not everything online is true or realistic, and excessive comparison can be hugely detrimental to mental health.

Limit time on social media and focus on yourself and your own goals.

5 Be kind to yourself

Music is one of the toughest careers to pursue and it can be easy to forget your successes in the face of failure.

Remember that success takes time to build and requires a huge amount of time, effort, and sacrifice to achieve. Setbacks and rejections are part of the process”.

It is positive that there are ways to try to manage mental health. Whilst live music itself eases mental health for so many, it is often the artists providing catharsis and relief that suffer badly from mental health struggles. The Music Minds Matter charity offers support and advice for those in the music industry. At such a very stressful, strange and brutal time in the world, now more than ever, the mental wellbeing of artists is paramount. Those who are responsible for producing music that connects and lifts us should be supported. I think a lot of the bleakness you see with those statistics above comes down to the economy. The fact that artists cannot make enough money. With the cost of living being so high, many are also not making enough to ensure that they can pay rent and afford to eat and live healthy. Many incur debt. This only adds to the stress and struggle. If major artists like Lewis Capaldi have recently taken time out to prioritise their mental health and find some space and rest, smaller artists might not have that option. In recent years, a range of artists have opened up about their mental health. Helping to destigmatise the subject, Billboard collected together quotes from artists who have spoken about their experiences:

“Ariana Grande

“I know those families and my fans, and everyone there experienced a tremendous amount of it as well. Time is the biggest thing. I feel like I shouldn’t even be talking about my own experience — like I shouldn’t even say anything. I don’t think I’ll ever know how to talk about it and not cry,” the pop star told British Vogue about suffering from PTSD after more than 20 people were killed in a bombing during one of her 2017 shows. “I’ve always had anxiety. I’ve never really spoken about it because I thought everyone had it, but when I got home from tour it was the most severe I think it’s ever been.”

Grande also spoke out May 2, 2021, in the hopes of ending the stigma surrounding mental health. “Here’s to ending the stigma around mental health and normalizing asking for help,” Grande captioned a mini gallery of text slides, which included numerous resources. “Healing isn’t linear, fun, quick or at all easy but we are here and we’ve got to commit to making this time as healthy, peaceful and beautiful as possible. the work is so hard but we are capable and worth it. sending so much love and strength.”

Billie Eilish

The young superstar might be on top of the world professionally, but her newfound fame led to depression and suicidal thoughts, she told Gayle King ahead of the 2020 Grammy Awards. “I was so unhappy last year … I was so unhappy and I was so, like, joyless. I didn’t ever think I would be happy again, ever,” she said. “I don’t want to be too dark, but I genuinely didn’t think I would, like, make it to, like, 17.”

Charli XCX

While promoting her self-titled third album in 2019, the singer-songwriter opened up about her mental health. “[I go into] my thoughts and feelings about my mental state and what life is supposed to be as an artist, my depression, and my insecurities,” she told SPIN about using her music to candidly explore her mental health, and how that has impacted her record. “I’m being more honest than ever before. It’s been very therapeutic.”

Halsey

The artist shared in Billboard’s March 2016 cover story that she was diagnosed with bipolar disorder while in high school, and spent weeks in a psychiatric hospital her senior year. “I had tried to kill myself,” said Halsey, who is also a mental health advocate. “I was an adolescent; I didn’t know what I was doing. Because I was 17, I was still in a children’s ward, which was terrifying.”

In May 2020, the “I Am Not a Woman, I’m a God” singer participated in YouTube’s Artist Spotlight Stories, during which she did a deep dive with Dr. Snehi Kapur for Mental Health Awareness Month. During the discussion, the Grammy nominee also shared her mantra: “Achieving mental health doesn’t happen. Mental health isn’t a destination. You never arrive at mental healthy and go, ‘OK, I’m glad I got here.'”

She has also been outspoken for people to be more understanding of those who struggle with mental health issues. In July 2020, she tweeted: “I have dedicated my career to offering education and insight about bipolar disorder and I’m so disturbed by what I’m seeing. Personal opinions about someone aside, a manic episode isn’t a joke. If you can’t offer understanding or sympathy, offer your silence.”

James Blake

“It’s especially easy to poke fun at the idea that a white man could be depressed. I have done it myself, as a straight white man who was depressed. In fact, I still carry the shame of having been a straight white man who’s depressed and has experienced suicidal thoughts,” the artist wrote in an essay in It’s Not OK to Feel Blue (and Other Lies). “I also believe everybody is entitled to pain, no matter how perceptibly or relatively small that pain is. I don’t want the shame around depression and anxiety in privileged people to become worse any more than I want it for the marginalized”.

I think that we all owe artists so much. They have been so important to all of us. It is a tough industry to survive in, let alone flourish! With it being incredibly difficult for so many artists to make money and sustain a career, we are seeing a wave of mental health issues. A crisis that is impacting the industry, the fact that awareness is being raised is a good thing. With money and its stresses causing a lot of damage, there does need to be some sort of intervention and assistance from wider afield. So many venues are closing down. Streaming sites not paying artists enough. The cost of living maybe mean fewer people can go to gigs or buy merchandise. There are so many artists coming through, often there is so much competition for spaces – and, with venues closing, more people are vying for fewer spaces. It is a really bad time if you want to succeed as an artist. That sounds bleak, though there are shoots of light and promise. In the second mention in as many weeks, Touring and Mental Health: The Music Industry Manual provides invaluable guidance and advice. Not only does mental health struggle need to be normalised and fully accepted. I feel there does need to be more financial and therapeutic aid for those in the music industry. Such a tough field to survive in, it is devastating when we have to loss artists. That talent leaving the industry is really notable and heartbreaking! There are, as we saw from that article/interview at the start of this feature, ways the industry and artists can help. It will not solve all the issues like finances and earnings, though there are steps that can be taken to ensure that there is adequate support and awareness. It is only fair that so much is given to the artists and those in the music industry who…

GIVE so much to us.

FEATURE: Streaming Bifurcation: Could Major Artists Earning Millions from Spotify Get Behind An Initiative That Redistribute Wealth to Smaller Artists?

FEATURE:

 

 

Streaming Bifurcation

PHOTO CREDIT: cottonbro studio/Pexels

Could Major Artists Earning Millions from Spotify Get Behind An Initiative That Redistribute Wealth to Smaller Artists?

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THERE is this vast gulf…

 IN THIS PHOTO: Taylor Swift performing during her Eras Tour/PHOTO CREDIT: Jutharat Pinyodoonyachet for The New York Times

between huge artists who can command enormous money from a single album or viral hit. Some of the biggest artists in the world like Ed Sheeran and Taylor Swift get millions of streams for singles on Spotify. Their albums can get giant numbers. Whilst they do not earn megabucks and can retire after a single album, there is no doubt they have made millions alone from the site because of their success. One can look at someone like Taylor Swift and the millions of streams her songs will get. I have enormous respect for her and she is deserving of all the success she gets. As she is a billionaire and someone whose wealth will continue to rise, I wondered whether any central pot or vault could be put onto a site like Spotify where a percentage of her streaming earnings go in. That she can donate to. Think about artists who stream hundred or thousands for their songs. They put so much hard work in but, when the year is out, what does that amount to?! For many, we are talking a few dollars or pounds. It is a very meagre sum for quality music that has reached as far as it can go. Hugely successful and established artists will always have this instantly receptive audience that will stream her stuff. She donates to charity and is worthy of her money. That said, at a desperate time when so few artists can earn a living from touring and rely to an extent on any pittance from streaming sites like (but not exclusively) Spotify, there must be a solution that can work where the earnings gap is reduced.

 PHOTO CREDIT: Keira Burton/Pexels

Of course, it is not incumbent on artists who earn a lot through streaming sites to solve an issue that is caused by the sites themselves! Rather than it being an obligation, it is a redistribution and nice thing to do so that there is some – if not massive and hugely significant – reapportionment of wealth. As it stands, we can see the gigantic earnings gulf between the very biggest artists and pretty much everyone else! Naturally, when we say that, it is clear that platforms like Spotify need to do a lot more. This has been an issue for years now. I think they could raiser their subscription rate too. I pay £10 for full access. It seems like very little to have access to a whole library of albums, songs and podcasts. I, alongside many others, would happily double that pledge and monthly fee if it meant that more artists got more money! This urgency to ensure that all artists are paid – and paid more – comes after some devastating plans from Spotify that heaps misery on artists whose songs do not do big numbers:

“Last month Music Business Worldwide broke the news that major changes were coming to Spotify‘s royalty model in Q1 2024. The most controversial of those changes? A new minimum annual threshold for streams before any track starts generating royalties on the service.

At the time of our report, we couldn’t confirm a precise number for this minimum threshold. Now we can: It’s 1,000 plays.

The news was first nodded to by a guest post from the President of the distribution platform Stem, Kristin Graziani, published on Thursday (November 2).

PHOTO CREDIT: cottonbro studio/Pexels

MBW has subsequently confirmed with sources close to conversations between Spotify and music rightsholders that 1,000 streams will indeed be the minimum yearly play-count volume that each track on the service has to hit in order to start generating royalties from Q1 2024.

We’ve also re-confirmed Spotify’s behind-the-scenes line on this to record labels and distributors right now: That the move is “designed to [demonetize] a population of tracks that today, on average, earn less than five cents per month”.

Five cents in recorded music royalties on Spotify in the US today can be generated by around 200 plays.

As we reported last month, Spotify believes that this move will de-monetize a portion of tracks that previously absorbed 0.5% of the service’s ‘Streamshare’ (i.e. ‘pro-rata’-based) royalty pool.

Spotify has told industry players that it expects the new 1,000-play minimum annual threshold will reallocate tens of millions of dollars per year from that 0.5% to the other 99.5% of the royalty pool.

In 2024, Spotify expects this will move $40 million that would have previously been paid to tracks with fewer than 1,000 streams to those with more than 1,000 streams.

PHOTO CREDIT: Andrea Piacquadio/Pexels

One source close to the conversations between Spotify and music rightsholders told us: “This targets those royalty payouts whose value is being destroyed by being turned into fractional payments – pennies or nickels.

“Often, these micro-payments aren’t even reaching human beings; aggregators frequently require a minimum level of [paid-out streaming royalties] before they allow indie artists to withdraw the money.

“We’re talking about tracks [whose royalties] aren’t hitting those minimum levels, leaving their Spotify royalty payouts sitting idle in bank accounts.”

MBW itself nodded to Spotufy’s new 1,000-play threshold in a commentary posted on Thursday entitled: Talking “garbage”: How can Spotify and co. sort the dregs of the music business from the hidden treasures?

In that MBW Reacts article, we referenced comments made by Denis Ladegaillerie, CEO of Believe – parent of TuneCore – made on a recent podcast interview with Music Business Worldwide.

Ladegaillerie specifically expressed disagreement with the idea of a 1,000-stream monetization lower limit on music streaming services.

He said: “Why would you not pay such an artist [for getting less than 1,000 streams]? It doesn’t make any sense”.

 PHOTO CREDIT: cottonbro studio/Pexels

As it stands, we have only a select few artists who can make a lot of money from streaming platforms. Even if many other artists do make some money, the reality is that it is very little. There is this unfair competition where the biggest artists are going to keep learning and expanding their wealth, whereas so many smaller acts are going to struggle. Many coming through need platforms like Spotify for visibility and get their music heard. They also need to earn money and continue to make music. I think it is only fair that there are options explored so that all artists earn more than they do. As I suggested, many a Robin Hood-style redistribution from the richest to everyone else would create some short-term relief. It is almost like a literal flood in some way. The digital stream breaking and engulfing struggling artists. Maybe the tidal wave of success that mainstream artists gets compared to the drought that other artists experience. I shall drop the water imagery…though my point is that there could be this bifurcation where incredible capital earned by the most commercially successful artists put something into a central location or Spotify ‘vault’. There is then a redistribution where most other artists can share that. It does sound ambitious and idealistic, yet we have come to a time when there are calls for something to happen! With Spotify seemingly more determined to make it an elite platform where the richest and most bankable can succeed and profit and everyone else seemingly should be grateful that their music is on the site! It would not be a notable financial loss to any of the biggest artists if they were to agree to a small percentage of their streaming revenue gallantly and altruistically, than that can be shared among other artists. When so many artists are finding touring tough and not earning much from it, streaming profits are very low for them – which means that their sources of revenue shrinks. Streaming sites that make huge profits each year need to do more to ensure that people who upload tracks there are compensated and get much more than they do at the moment. I think that we all can agree that it is…

PHOTO CREDIT: Jovan Vasiljević/Pexels

THE least that they deserve.

FEATURE: Spotlight: Towa Bird

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Interscope Records

Towa Bird

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FOUR incredible singles have come…

from Towa Bird this year. The most recent, Drain Me!, was released in October. The Hong Kong-born singer-songwriter is an amazing name that should be fimrly on everyone’s tongue! I think that she is someone who will have a phenomenal 2024. I am going to come to some interviews with Bird. Here is someone who is writing extraordinary queer love stories for the ages. Towa Bird has already won some hugely popular fans in the form of Olivia Rodrigo and Billie Eilish. I will come to interviews so that we can learn more about her. Earlier this year, Udiscovermusc.com highlighted a wonderful artist who shared an incredible debut single. One that made an instant impression:

“Rising singer-songwriter Towa Bird has shared her explosive debut single “Wild Heart” – an attention-grabbing first taste of a wider record to come.

“I could smoke you out/For fun in my leather vest,” the Hong Kong-born artist sings in the juggernaut chorus. “I love you till the death/You’re a bullet in my chest.”

The single was produced by Thomas Powers from the New Zealand indie-pop band The Naked And Famous, with Powers serving as Bird’s main collaborator on her upcoming album.

“It’s energetic and bold, but also incredibly vulnerable and soul-baring — more of that to come,” Bird said in a press release. “The song is about personal growth within my romantic relationships and addresses my past self and actions I’ve taken. I’m personified as a reckless cowboy who meets a girl, gets caught in her grip, and — to his surprise — becomes completely devoted to her. It illustrates the person that I once was and the person I’ve grown into not nearly perfect, but definitely not as much of an asshole.”

Although born in Hong Kong, Bird – who is half-Filipino, half-English – spent much of her childhood in Thailand and London. She began playing guitar at the age of 12, honing her skills and technique by strumming along to bands she discovered through her father’s record collection, like The Kinks and The Who. She formed her first band at 14 and cut her teeth playing dive bars and street festivals in Hong Kong before attending Goldsmiths, University of London.

After two years at the university, she dropped out and focused on music instead, getting her start producing and co-writing for other artists. At the same time, Bird was sharing videos of herself soloing over hip-hop, pop, and R&B songs – something which garnered the attention and admiration of the likes of Willow Smith and Tyler, The Creator.

Bird’s debut album – whose title is yet to be announced – is due for release later this year and will find the exciting young artist offering up an intimate exploration of queerness, identity, and the complexities of love”.

I am picking various sections out of particular interviews. Hopefully it helps paint a picture and broader impression of Towa Bird. The best proof and hit comes from listening to her music. I have put some links at the end regarding where you can find and support her. I am looking forward to seeing whether 2024 sees a Towa Bird E.P. or album - it does seem more than likely. NME have featured Bird a couple of times this year. The first, back in May, reacted to the growing love for an immense and supremely talented musician:

“NME: It was a Jimi Hendrix documentary that partly inspired you to start making music. What was it about that film that struck a chord with you?

“I think seeing how Hendrix expressed himself on stage was the main thing. Live shows drew me to music in the first place, and being able to be a personality on stage and show parts of yourself that people don’t get to see when you’re just having a conversation with them. I think that I present as a generally calm person – or at least that’s what people have said about me – but when I’m on stage I’m like the complete opposite. So it’s nice to be able to have that side of who I am and get a moment to express myself. Watching Hendrix do that – set his guitar on fire and just do crazy stage stunts while also keeping a beat and having the audience engaged – was really inspiring, and just filled me with so much energy.”

Did you need an outlet for that energetic side of your personality when you first started playing live?

“Yeah, I think I’ve repressed that side for a really long time. I wanted to be seen as quite cool, collected and put together – but I don’t think anyone is really cool. We all have sides of ourselves that are completely unravelled and very intimate, and I think performance, songwriting and music in general is a way for me to access that and break down the wall that I’ve built so perfectly.”

You’ve previously worked on other people’s projects as a producer, songwriter and guitarist. What have you learned from working with other musicians that you’re now bringing into your own music?

“There’s a lot of stuff. I think playing with Cassyette, for example, and just watching her on stage – she’s such a lovely person, so charismatic and so in touch with herself, and that really comes across in her performance. It’s so natural, and I really enjoyed playing with her for that reason because it just felt so authentic and she sings like a motherfucker. Being able to watch that every single night and it be consistently great was really inspirational for who I want to become on stage”.

You also have a full album on the way. What can you tell us about the rest of the record?

“There’s so much excitement there and so much energy. We’re kicking the door down with ‘Wild Heart’, which is ridiculously fast – 196 beats per minute, which is stupid. So there’s a lot of energy, fun and playfulness, but then it slows down and there’s space, intimacy and vulnerability as well. There’s real pain and real happiness, too. It’s more just showcasing sides of my personality, which I’m really excited to start sharing with people – more dimensions of me”.

I will wrap up fairly soon. In September, For the Punks spotlighted the fact that Towa Bird was embarking on a new chapter in her musical story. Such an arresting and fascinating artist who is growing stronger with every song that she puts out:

“Towa Bird has become synonymous with her guitar. The musician found her love for the instrument through the classic rock music that her father showcased. That ultimately led her to pick up the dusty guitar that sat in her living room when she was just a child. Since then she has had a love/hate bond with it, noting that she even stopped playing for four years. “It is just that, it is like a relationship. You have to put in the hours and you have to put in the time or else it is not going to serve either of you. It is a lifelong relationship.” Her recent songs use the guitar not only to highlight her music influences, but also as an extension of herself. Vocally the tracks are soft and tender so the instrument brings in a rugged layer to fully embody Towa’s defining character traits.

The latest single “This Isn’t Me” was written based on the singer’s experience at Paris Fashion Week. Examining her place in the entertainment world, the song touches on the feeling of loneliness as a result of being surrounded by people who don’t have the purest intentions. She told us that although she was grateful for the opportunity to have gone to the event, she did feel incredibly isolated during it. In some ways it was a blessing in disguise because when she got back to the recording studio from Paris, she was able to pour her unfiltered emotions onto a page which became this song. Now it’s Towa’s favorite track, especially to play at shows. She said that “Being able to do the arrangement live for it and put it on the stage was the reason why I wanted to put it out so bad.”

Another song that was released earlier this year is “Wild Heart,” which has quickly become a fan favorite due to its upbeat tempo and lively guitar solo. She explained to the press that “‘Wild Heart” was about the way I used to navigate romantic relationships. I used to not respect my partners as much as I do now. And it’s kind of about emotional growth and learning how to respect myself and how to respect other people.” Authenticity is the ingredient that makes Towa Bird’s music so likable. She is not afraid to speak her truth even if it doesn’t always shine the brightest light on her actions. Her goal is to touch on the human experience; the good, bad, and everything in between. Staying true to herself, Towa Bird also openly bares her queer identity in her craft which is especially evident in the music video for “Wild Heart.” When asked about what role her sexuality and identity play in her songwriting Towa said:

“I think it is such a beautiful form of expression to be able to songwrite. To create and draw from real life stories and life experiences and then to make that into a piece of art. I think that is a high form of privilege for me to be able to have. It really solidifies feelings when I.. because when I experience something, to be able to write it into a song really helps to create my mindset around that experience and sort of helps for me to put a lens over what actually happened and be able to introspect and reflect upon it. So like through songwriting it is a wonderful way to learn about yourself and learn how you respond and learn how you feel.”

Something that adds to the visuals of these projects is Towa Bird’s distinctive sense of fashion. In the “Boomerang” video she wears a turquoise sequined suit that features flared bottoms. “Wild Heart” goes a step further by having Towa in an Elvis style glam jumpsuit (another homage to her roots). You shouldn’t judge a book by its cover, but the androgynous style that the singer has acquired pairs perfectly with the rock n roll aesthetic of her songs. That was intentional on Towa Bird’s part because she views music and fashion in a similar manner:

“I think it’s another medium of expression. Like just as important as music and guitar and lyricism. I think fashion and the way I decorate myself whether that be like through tattoos or like through jewelry or through outfits is just another way for me to be the truest form of myself. It also makes me feel so confident and cool and that’s such a wonderful thing to tap into”.

I am going to come back to NME for the final bit of information. So accomplished and so young, there is so many years ahead for the remarkable Towa Bird! I am pretty new to her work, though I am already compelled to follow her and see what steps come next. She is one of the brightest and most talented artists coming through:

“Meet Towa Bird: 23, four singles out, living the life of a rock star. She’s got effortless glam-rock curls that bob to the beat of her music, and a deep voice that drips over the phone. Every night, she clambers on stage to the cheers of rabid fans, where she’s currently touring the US with breakout pop sensation Reneé Rapp. There, her painted nails dance along the fretboard of the guitar that she plays like butter.

Bird has made good on her sacrifice so far, having released four singles in the run-up to her debut, which she called ‘American Hero’. The title is injected with a healthy dose of irony and self-awareness: “When I think of those two words together, I think of a 6’4 white guy, Captain America – blonde, blue-eyed,” she jokes. “That’s nothing that I represent as an androgynous queer person. I am the anti-American hero, but because I’m an immigrant, that almost makes me an American. I’m sharing parts of my life I’ve never told anyone before; because I’m being vulnerable, I’m almost a hero.”

PHOTO CREDIT: Alanna Taylor for NME

So far, Towa Bird has released four snippets of the album. There’s a slew of lovesick anthems ranging from the fabulously carefree (‘Boomerang’) to the rambunctious and sexy (‘Drain Me’). There’s also Bird’s first single, April 2023’s ‘Wild Heart’, which is so catchy it sounds like it’s straight off a noughties British teen romcom soundtrack. But there’s also space for the more anxiety-riddled ‘This Isn’t Me’, inspired by Bird being thrust into her entirely new world, bursting into a dreamy Phantogram-esque chorus. There’s even some impressive guitar tapping thrown in right at the beginning, just in case you doubted Bird’s abilities.

Along with her relationship with Liv and her new, unfamiliar environment, Bird’s north stars for the album were “being a personality on the stage” and “the guitar”, her eternal love. “I wanted to make an album that would feel good to play live and that the crowd will love,” she says. “I have written a lot of my choruses with a crowd in mind.”

PHOTO CREDIT: Alanna Taylor for NME

To do so, Bird enlisted the help of Thom Powers and Alisa Xayalith from Kiwi indie legends The Naked and Famous, who she calls “mentors”. Bird stayed with Powers and wrote nine out of 10 songs with him, spending almost a year in his studio in LA. She also cites Xayalith being an early inspiration: “I remember being young, looking at Alisa: she’s an Asian woman, she’s in rock, she’s got this big voice and she’s powerful. Having the opportunity to write with her was so cool.”

The album’s been kept tightly under wraps, but Bird tells NME to expect “big riffs”, “big beats”, and “a lot of vulnerability and heart”. It’s the first time Bird will be writing about a romantic relationship, something which she says is “surreal”. Bird’s latest single ‘Drain Me’ is a nod to steamy lesbian sex: “Tip of my tongue/Sweet and sour/Back of my car/In the shower”.

“To me, I was just writing love songs,” she says. “You don’t hear that many songs about queer sex like that. It’s my sense of normal, but I suppose to the outside world, it represents much, much more. So in a way, I’m happy I can be that representation, that I can put out a rock song about lesbian sex.” However, Bird also teases that there’s some “mid-tempo, slow jams” on the record: “I’ve saved the more vulnerable songs for last so people can hear the whole project.” Bird wants to use her experience growing up in disparate cultures to create a queer love story for the ages – and ultimately, for her to connect with people who might not know her yet. “I want people to dance to it, I want them to cry to it. I hope it evokes the same amount of emotion that I have, but I also hope people can feel my heart in it”.

An artist I can emphatically recommend people check out, the astonishing Towa Bird has coming near the end of a successful and amazing year. With such strong and distinct music out there, it is clear she is primed for great things. 2024 offers and promises special rewards for a songwriter that should be on your radars. Make sure you follow her. As many publications prepare their lists of ones to watch in 2024, it is obvious that Towa Bird should be…

ON all of them!

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Follow Towa Bird

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