INTERVIEW: Couling Brothers

INTERVIEW:

PHOTO CREDIT: Gordon Couling  

Couling Brothers

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AS I jettison and embargo certain types of interviews…

it is great to receive a rare one to the inbox – not accepting interviews where an artist has very few photos, I mean. Couling Brothers, in a sense, are one of the last acts who I take in whose online portfolio is not as stocked and illustrative as many – there is a slight aversion and distance from social media. I talk to Toby and Ollie about their musical bond and their upbringing; what stories and explorations go into their songs.

They split their time – and bodies, a lot of time – between the U.K. and Australia so I was eager to learn whether there will be any tour dates; insight into their fantastic album, // REDDA //,  and the musicians/albums that have inspired them to write their own material – and the other musicians that help give // REDDA // its candour, personality and wealth.

ALL PHOTOS (EXCEPT WHERE LISTED): Ollie Couling

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­­Hi, guys. How are you? How has your week been?

What’s up, Sam.

Very good, thanks, mate.

For those new to your work, can you introduce yourself, please?

Ollie: Hi. We are Ollie and Toby - Couling Brothers.

Toby: Sons of the same mum and dad; brothers and best mates: currently living in London, England and Melbourne, Australia.

How did the decision come together to form Couling Brothers? Was there a moment when a song sparked something or was it a more gradual process?

O: As brothers; our partnership formed thirty-two years ago - when we first met.

We have always been extremely close and into the same things - so this project was (just) a good excuse to join forces.

T: It probably started after a recording session at The Fold Studios - where we used to work and live. I used to have my drums set pretty much full-time, so, after recording sessions for other bands, using the studio, we used to just hit record and jam.

On one of these nights; we came up with the piece of music for Sad Night - we both went completely mad until very late that night/morning trying to work out these crazy timings – but, what appears on the album, is basically unchanged from that jam.

I guess it was, at that point, I knew we would have to have that on a record - along with some other ideas that had been brewing for a while.

O: The reason for (actually) getting in the studio and doing it was a slightly more practical one. I had a long-running injury to my wrist and needed surgery, so, before my operation, we decided to book a week at a studio. We really wanted to work with Owain Jenkins at StudiOwz; so we just went for it with very little agenda and a few pretty sketchy ideas.

That week produced 90% of the tracks on the album – plus, a few more that didn’t make the cut. However, it took over a year before we went back to record the vocals. The break did work out nicely, though, as the final track - Dear My Home - was written in that period and has turned out to be a special song - that really completes the album and puts a massive full-stop at the end.

Can you remember those early days and the kind of music you were playing?

Yes; very much.

We come from a very musical family. Our mum is an incredible pianist and we both learnt a lot about music from just listening to her play - and absorbing her sound and use of harmony. Later on, in our late-teens-to-early-twenties; we both played in a band together called 8Fold - for a bunch of amazing years. It was a great time of discovery in which we all lived and breathed music.

Toby and I used to jam together in our basement almost every day - and I think a lot of the core ideas that appear on the album was a result of this time experimenting. We used to love just locking in on a groove together and could do that for hours.

// REDDA // is your new album. Can you talk to me about the title and the kind of themes you address within?

We went to Iceland in June last year and saw the word ‘// REDDA //’ printed in a magazine. We didn’t know the meaning of the word at the time but I think Toby just liked the look of it.

T: I looked up the meaning and it translates to something like ‘to fix’ or ‘to work through a problem’. It fit the concept of the album, so it kind of stuck.

O: The theme of the album is about the transition from your late-twenties into your thirties.

It has a lot to do with the claustrophobia of living in London and wanting to get out, basically - but always getting sucked back in.

Listening to the music; you observe real life and mix the spectacular with mundane. How much of your day-to-day experiences go into the songs?

Absolutely everything.

This was literally the soundtrack in my head.

T: I think as perceptive, creative-thinking and empathetic people; we can’t help but pick up and absorb life, in both its mad and mundane ways.

Ollie and I know each other on such a deep level, too - and the music is a parallel symmetry of both of our minds.

Talk to me about the track, Stripes on the Table. It is a song that intrigues me. Is there a story behind that?

O: Yes. There is story behind all of the songs.

Stripes' is based on how a quite a long and complicated event unfolded. I was in business with a very good friend for about five years, but, when I decided I needed to move on; working things out got very complicated between us - and our friendship was massively tested, as a result. The song is about how difficult I found it afterward: trying to start out again on my own when up to that point I had only done music. I didn’t have any academic qualifications to my name and felt really unemployable - so it’s about freaking out about that.

I think that it must be something that a lot of people who make a commitment to art or music go through at some stage. Having gone through it - and come out the other end - it made me realise that the skills you learn as a ‘creative person’ are so valuable - and far more practical that what you learn at university (I went to uni. afterwards).

I wish this kind of stuff is better recognised in society.

Toby and Ollie. You wrote the songs but there are one or two musicians who appear on the album. Was it quite a smooth recording process and how did you come to meet the other musicians that feature on // REDDA //?

T: We were always sure of who we wanted to play on the record and what instruments they would work with.

Rob Lamont played most bass parts as he just understands our brotherly rhythmic flow - and just makes things feel great. He also played some great keys parts – especially on Life Without a Hat. Matt Park is such a talented musician who oozes emotion and compliments our music perfectly with his pedal steel-playing. We knew his sound and performance would feature heavily on quite a few tracks – one, in particular, being Dear My Home.

Our mum is a huge inspiration for us both; so we were extremely happy when she came to come visit us in Wales to record on the last studio session. Will Rixon has been on the scene in London even before I moved here so we were super-chuffed to have him shred some trumpet on Sad Night. Thom Sinnet was chilling at the studio in Wales when we needed bass on Life Without a Hat - so he stepped up and completely nailed what we had in mind for the bass part.

Owain Fleetwood recording the songs. What was it like working with him?

He is an absolute badass!

He is a good friend, a very skilled engineer and knows all his equipment, instruments and studio like the back of his hand. He understood what we were looking for and always helped us get something sounding how we imagined or better.

O: We must also mention Matt Wiggins - who mixed the entire record. He did such a great job taking the music and lifting the mixes to a higher place. 

Is there going to be a video or single-release soon? What are your plans for the album and its promotion?

There are no plans to make a video or to release a single: it was never like that. We would love to do some live shows at some point with all the guys who played on the record - but that’s going to have to wait until I get back from Australia.

Hopefully, we can work something out for spring/summer 2018!

T: We both (just) wanted to make an album for us, really.

It was a perfect way to spend time together with a focus. Looking back now, it almost feels like it was some sort of audio-therapy.

O: As far as promotion goes: we would love to try and get a bit of radio-play in the U.K. and Australia.

There is an awesome radio station out in Melbourne called PBS - that is really good at supporting new music and giving unsigned artists, airplay. It’s a community-funded station with volunteer D.J.s, so they have an amazing range of genres. There are a few D.J.s who have shown some interest in playing some of the tracks off // REDDA // so, hopefully, we might be able to get a little buzz going in Melbourne. Maybe, we could even convince all the guys who played on the record to fly out to play some shows over there…that would be insane!

You can listen to PBS online at www.pbsfm.org.au. I, literally, can’t rate it highly enough!

There is no Facebook or Twitter account for the Couling Brothers. What was the reasoning behind that decision and do you worry it threatens a sense of anonymity?

For now, we have decided to stay off social media… leave Facebook alone for cat-lovers and Twitter for Donald Trump.

Haha!

T: I think we are both happy that it is on BandCamp – which, we believe, has a better sound-quality than most other online music platforms. Like you mentioned in a previous question, we “observe real life” - so that’s what we’ll keep doing with this project for now.

Toby. You are a drummer and producer. Kevin Spacey has praised your playing. What is it like getting praise from him? How did you first come to bond with the drums?

Haha!

That was a surreal and funny experience. I was playing at Ronnie Scott’s with Tony Allen, Speech Debelle and Roots Manuava one evening. After the show, I was packing my drum kit down, when I noticed a pair of shoes turn up in my peripheral vision. I looked up and it was Kevin Spacey!

I was quite overwhelmed to see a face I knew so well in front of me. He introduced himself and then said some nice comments about my playing style. I led him to meet the other guys backstage and we all had a nice post-show hang.

I think, rather than drums specifically, I think rhythm has always been important to me. I have always felt rhythm in all things and when I had the opportunity to learn the drums (age eight), I jumped at the chance. It gave me a new voice and understanding in life. I have spent a lot of my drumming career in recording studios, so, have picked up lots of things and learnt and observed a lot about the techniques - emotion, social structure and nature of a studio situation.

I am involved with many projects as a drummer/producer and feel that all that experience gave me a great platform and understanding of how to approach the album. Ollie is gifted with a large knowledge of production and engineering too – so, we feel as a team we have a good balance and knowledge base to create new music.

What is coming up for Couling Brothers? Any tour dates approaching?

O: Toby is coming over in January 2018 and we are going to do some walking in New Zealand. That’s the next thing in the calendar for Couling Brothers.

T When the time is right to play live; we’ll play our hearts out. It will happen!

Who are new acts you recommend we check out?

O: At the moment, I’m really into a Melbourne-based artist called D.D Dumbo.

I’ve listened to his album every day for about two weeks straight, now. Check out his album, Utopia Defeated.

T: (I also absolutely dig D.D Dumbo).

A band called Tweed & Hyenas released an album called Yates quite recently - which is wicked!

(Also, the recent Bon Iver album, 22, A Million).

If you each had to select the album that means the most to you; which would it be and why?

That is a hard question…

I think the band that gave us both the inspiration to pursue music when we were young was probably a band called Reef. Their first album, Replenish, is amazing - and will always be amazing!

 What advice would you give to artists coming through right now?

O: Just be yourselves…

T: Yea…be yourselves, bold and trust your instincts.

Collaborate with people and practice hard at the beginning, middle and the end. 

Finally, and for being good sports, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

O: Pleasure – Universal  

T: Tweed & Hyenas – Norðasta Horn

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Follow Couling Brothers

BandCamp:

https://coulingbrothers.bandcamp.com/releases

YouTube:

https://www.youtube.com/watch?v=Rta1aHcuIqQ&t=1s

E.P. REVIEW: Signal - Progression EP

E.P. REVIEW:

 

Signal

PHOTO CREDIT: Steph Brown Photography   

 Progression EP

9.5/10

 Progression EP is available at:

https://open.spotify.com/album/6ioLiXqaPlLUZeghGz8xaq

GENRES:

Rap; Hip-Hop

ORIGIN:

Basingstoke, U.K.

RELEASE DATE:

11th August, 2017

TRACKLISTING:

Progression

What Goes Around

Down

Something to Say

Basic

Down, Part 2

DOWNLOAD:

Down; Basic; Down, Part 2

STANDOUT TRACK:

Progression

EXECUTIVE PRODUCER:

Jay Picasso

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THE reason I come back to certain artists...

is the fact they have progressed and are doing something great – since I last headed their way. Avowedly dedicated to promoting the best and most progressive music; it is back to Signal and an artist who has made big strides over the past few years. I will come to him specifically in a bit but, right now, wanted to address the Urban explosion and how vital those genres/styles are. I will take a nod to originality and the development of Hip-Hop; collaboration and economy – when not too crowded but essential to the flow – and freshness music needs to remain relevant. I will take a gander at British artists rivaling American sounds and acts putting their first E.P. out – finishing by taking some time to examine London and artists who have a proximity to the capital. It is interesting the way music has transformed the last year-or-so. I have been watching closely but am seeing a shift in more mainstream tastes and those artists on the periphery. If one considers a time, not long ago, when Pop used to rule the roost. Now, could you not argue, it is those of Hip-Hop/Rap that is starting to make the bigger impression. I can extend that to Grime and see a clash between British and American styles.

PHOTO CREDIT: Steph Brown Photography 

Of course, other acts like Sampha are not really in the Hip-Hop mould but, through his beautiful and personal songs, speaks the truth. Truth is an element essential when it comes to making genuine and long-lasting music. I find it is Urban artists articulating this in a fascinating way. One album that has sparked my mind this year is Dizzee Rascal’s Raskit. It is a return-to-form for the Bow master – someone accused of lacking edge and potency his past couple of albums. His sixth is stripped-down and returns to the kind of sound that made him a star – back when Boy in da Corner arrived in the world. Raskit is such a stunning album because it documents the struggle and divisions in the country but has that central voice that gets into the heart. Dizzee’s lyrics are as sharp as ever and always amaze me with their confidence and intelligence. He is a writer that is capable of mixing humour and savage attack and keeps his messages on-point. I cannot urge people strongly enough to get hold of the album and see what I am talking about. In any case; it is artists like him that are defining this year. Grime is a genre that has always been underground and, hearing acts like Signal rise, there is hope it will get wider appeal very soon. Naturally, Dam Amps’ alter-ego is more Rap/Hip-Hop but there is that grittiness and street-level mandate one hears in Dizzee Rascal’s work. Any artists who speak from the concrete and highlight that is happening around them, in some way, can be seen to be Grime. One of the things that amazes me about Signal’s music is the self-confidence and ambition in the music. The songs look more at sexual amore and artistic ambition; nostalgic nods and the voice of a man making his way in the world – maybe he will look at political issues and societal breakdown in future releases. I will come back to this later but, right now, a quick look back at Hip-Hop.

PHOTO CREDIT: Alex Sunshinesoul Douglas

I have mentioned Dizzee Rascal but, in guidance and example, I can bring in others like Loyle Carner. He, like Signal and Dizzee, are part of a spectrum of British artists that is taking control and showing the mainstream the possibilities of truly original and meaningful music. What impresses me about Carner’s (Mercury Prize-nominated) album, Yesterday’s Gone, is the way the young maestro talks about where he comes from – and where he is going – but fuses it with extraordinary scores and some incredible stories. It is such a confident and developed work for a young man on his debut record. One gets swathes of Jazz horns and some breakbeats; tales of working-class struggle and music not evolving sufficiently – tales of fakes and posers; modest and charming allusions to the importance of his mum. It is a mixed and busy album that, in my mind, should win the Mercury. I mention this because; in the way Dizzee is carving back territory and reclaiming his Grime crown: Carner is a leading light in the British Hip-Hop scene. There is no denying these two are part of a large scene that is taking dominance away from the mainstream artists – those manufactured and over-calculated. The naturalness and confidence one hears in Signal sits alongside contemporaries like Loyle Carner. What makes Signal intriguing is the fact he sits alongside other Hip-Hop artists but seems to straddle American and British sensibilities; has that confidence and ability to get people involved. BBC Radio 6 Music has recently put a feature out on Hip-Hop and the fact it turned forty-four. It is interesting watching the evolution and albums that have made the genre so important. I am a big fan of Hip-Hop and wonder whether, given the state of the world right now, we will see a lot more artists come to prominence. We require artists that can talk about what is happening in the world but, in a sense, produce some form of escapism. I find so much of what is happening in music bland and uninspiring right now. It is not good enough producing songs that seem to be good and have a quality to them – there are so many artists providing wishy-washy sounds that fade into obscurity. With many artists being accessed of lacking originality: I am pleased Signal has produced an E.P. exciting, consistent and fresh.

I have not mentioned collaborators in the credits of the Progression EP. One can go to Spotify and find out – and I shall mention them when reviewing – but it is interesting seeing the names Signal brings into the work. Producer and friend Jay Picasso features on most of the tracks. Blizzard arrives on the final track; EClipse makes an appearance and Chelsea Jade has a stunning turn. Like Dizzee and other artists of that ilk; Signal manages to recruit other voices but does not make the work too crowded. One of the reasons Dizzee’s music was getting flack – especially The Fifth – is the fact too many players were in the mix; the music was being watered-down and Pop-like. Now, on his follow-up, he keeps his voice true and singular but manages to introduce a few others into the mix – an album that is very much Dizzee’s voice but has some welcomed (outside) additions. I have been following Signal since the start and know how keen he is to ensure his words and voice is the ones that stick in the imagination. He does not want to be one of these artists that recruit legions of singers to help make his music pop. Progression EP benefits from having a few other vocal sounds but does not suffer from being too crowded and bloated. I am writing a piece this weekend that strikes against artists that have so many cohorts in their songs. I am finding, especially with Rap/Hip-Hop/Urban sounds, one discovers songs that have endless names on them. I see no point having four or five people on a single track. It means the central artist gets overlooked and those collaborators are not adding anything worthy or necessary. I agree we need to have duets and combine artists but there is an insanity cramming as many people into a song as you can. Signal, on his E.P., brings in the perfect number of bodies and those who naturally fit into the sound. He has bonded with these people and knows they will bring, as they do, quality and relevance to his work. It is not a lazy sense of tossing other people into the music – a carefully considered approach that ensures the songs get that extra bit of quality and potency. That is something other artists should learn from and it would have been so easy for Signal to have endless collaborators in every song. Luckily, it is the man himself who stands out and makes that huge impact. I will address this more in the conclusion but want to talk about Dan Amps’ attitude to work and promotion.

PHOTO CREDIT: Steph Brown Photography

I see his social media feed and get the impression of a young man for whom success and longevity mean everything. He does not want to be in music for a few years: there is the desire to remain and inspire for a lot longer. I know this will happen because he keeps promoting and pushing his music out there. He does not let a team do all the promotion and sit back: constantly engaging with the public and ensuring his songs get an airing. I have seen photos of him at charity events and playing clubs; niche events and strange nights that ensure, in some way, his music gets to new crowds. On social media, there are lots of updates and photos of the man. One of the biggest gripes I have about musicians is the fact so many ignore the relevance and importance of photos/images and updates. They think remaining anonymous and modest will get them into the public forum. This is counter-logical argument and one that really annoys me. There is no such problem when reviewing Signal. His music is fresh and explosive; his social media is well-stocked and he is someone that provokes plenty of thought. I am pleased he has this energy and is not lacking any drive. Few artists have that same level of determination. Let’s hope this all pays massively as, I think, there is a lot more from the man. He started at local-level and playing around Basingstoke. Gaining attention from the local press – every article complete with cringe-worthy ‘signal’ puns – that backing has given him the impetus to push and provoke. The ambition and determination from Dan Amps mean he does not want to remain a local hero. He is still based in the same area but it is only a matter of time before he makes a permanent move to the capital. That is something I will talk about but, looking at Signal from start to finish; it seems the prodigious work-rate will reap rewards. I have mentioned how the artist plays different clubs and gets his music to a range of people. Campaigning around the South; I wonder whether Signal has the promise and appeal to get his music heard further up the country. I know there is a big demand for Rap/Hip-Hop and those acts that strike hard. I am interested seeing where Signal heads in the coming months but he is gaining kudos and respect in London.

I feel those who live away from the big cities will struggle for any true and worthwhile attention. One needs to supplement that sense of detachment with a healthy and consistent attitude to work – getting the music in as many hands as possible. Signal is spreading the word and making sure Progression EP is played and spun by a range of stations. I know the songwriter is keen to get international exposure and can only imagine this will be around the corner. He is taking such an impressive and impassioned approach to promotion that that attention is fully deserved. There are too many resting on their laurels and assuming the music will take care of business. Music is such a competitive and busy market; nobody can afford to relax and assume they will get success. It is beyond naïve to assume you are the best out there and do not need to keep getting the work out there. Signal knows this and, every week, is out to the people and delivering his messages to the masses. I have discovered few that rival his physical and determined ethos – someone who never relents and consistently engages with the people. That marketing and promotional attitude is not reserved for performance. I have mentioned social media and how Signal puts status updates and photos out there. One cannot deny how effective a marketing tool social media is and why acts need to keep theirs refreshed and relevant. Signal has provided fans updates on his E.P.’s release and always ensures one is informed and happy. Giving some great images and nuggets of information: a guide on how it should be done and why so many artists are struggling to gain recognition (if they do not do the same as him). I shall end this section but wanted to nod to a young man who has that approach to music. It means everything and you can just tell it is not about the streaming figures and awards. Sure, those are part of it but the main objective is to get his personal and stunning songs out to the fans – making sure they hear them and understand where Signal is coming from. He does not write for the charts and record labels. Here is a pure and personal artist that wants to forge a career and mark himself as one of the biggest voices in British Hip-Hop. Because of this, the promotional campaigns and engaged strategy is coming from a very good place.

I have talked about freshness and how the best British albums of this year have been marked by a sense of purpose and originality. One cannot underestimate how important it is providing the public something new and unexpected. Signal’s E.P. is raw and essential. It brims with life and has sick and slick raps. It is a work that projects images and clear designs; words that remain in the mind and performances overflowing with ability and confidence. It is not a work that works by-numbers and follows anyone else. The best albums of this year – Loyle Carner and Dizzee Rascal among the leading pack – have that edge and attitude that elevates them above the (boring) mass. The determination and allure of the central voice mean every song engrains itself in the imagination and lasts for a long time.  I am still spinning Raskit and Yesterday’s Gone. They are works that sound new and are hard to compare with anything out there. Among the indeterminate sludge and bulk of run-of-the-mill artists out there: that desire for something proper and decent obsesses my mind. I am pleased Signal has released his Progression EP and is making a stand. He is someone who gets where I am coming from and has such a sense of dynamism and attitude. I love his music and cannot wait to see how his stock rises. Here is a young man who has worked his way from the local clubs and is making strides in the capital. The only way music is going to progress and inspire the new generation is if we have a look at what is being put out – and whether we are seeing too many sound-alike acts and vague artists. I hope Signal gets a bigger reaction in the coming years because his music warrants incredible passion. he is putting the legwork in but there are countries and corners to be conquered. Right now, he is going a long way to ensure those plaudits come his way.

Let us consider, before coming to the E.P., those artists that put out an E.P. and are relatively new to music. This is not the first offering from Signal but it is his first ‘big’ work. His Make It Happen E.P. was out last year but I feel this is the E.P., now, that represents his true sound. I love Make It Happen but feel Progression EP is the young songwriter at his peak. In any case; he is fairly new to the blocks and it is always nervous and unsure putting that E.P. out. You are never sure how it will fit into the market and how it will rival your peers. I will combine two points and look at America vs. Britain when it comes to Hip-Hop and Rap. Okay, well…it seems there is a clear gulf, in terms of sound and quality, between British and American artists. In terms of the Hip-Hop/Rap coming from the U.S.; there is a lot more quality and durability, in my mind. Maybe it is the fact the artists are more hungry and angered – given the race riots and political divides there – or those genres are more established and better supported. I have name-checked a couple of British artists that are making sure our Hip-Hop scene is kept busy and alive. We are better at Grime than the U.S. and have a lot more agile and appealing examples – I am not sure whether Grime is that big in America. What strikes me about the two nations is how the mainstream best are so far ahead in America. The newer scene is a little closer but when you look at those established acts: it is America that is ahead of the pack and showing how it should be done. I am not sure the exact reason behind this but maybe it is as simple as talent and media support – the writers and music journalists giving proper affection and support to genres like Rap and Hip-Hop. I will come back to this more but, in a way, abandoned the E.P. debate I started. Progression EP is Signal’s second E.P. (I think) and shows he has made changes and grown in confidence. Signal has sharpened as a songwriter and bringing more compositional elements into his sound. The privation of quality in the music industry is worrying but we must champion and celebrate those artists like Signal – not only original and impassioned but able to improve and grow with every new release.

My last point will be about London and how, given his closeness to the capital, it seems like a natural stopping-off point for Signal. He has gigged a lot around Camden and other areas so it only seems natural he will spend more time here in the future. Whether you live close to London or not: it seems like the Mecca for anyone who wants to make a stab of music. Manchester is another essential base so, if one can get themselves to either; that goes a long way. I cannot understand why many overlook London and understand that is where music’s heartbeat is loudest. There are few that have the same talent and attitude as Signal: London seems ready-made and waiting. I am sure it is part of his design but, given his new-found attention and developments, maybe basing himself there would be a sage move? He has access to like-minded peers and so many great venues. He has a love for Basingstoke and will not forget where he came from. There is a definite need for the best Urban artists to stand up and tell it like it is. I have mentioned, and will do still, how Signal talks about the personal and, in a lot of cases, sexual – this might change on future E.P.s. He is at the stage where he is addressing youth and the daily life of a Rap/Hip-Hop artist. It is the sound of a cosmopolitan and worldly chap that has such curiosity and hunger. This cannot be satisfied and fully fed living outside of the capital. It is good he lives so close by but one can tell how much affection and connection Signal has for London. Maybe he will move himself there soon but it is interesting how artists change and grow when they get to London. There is that opportunity and breadth of people; the world at your feet and so many waiting ears. This is something Signal needs to consider because, I think, his music has that appeal and enormous potential.

Racing out the blocks is Progression. The E.P.’s title-track has bubbling beats and electronics. It has gorgeous backing sounds and urgency that leads to a fresh and bouncing vocal. Signal talks about performing in Camden and spending his days dreaming of bigger things – Wembley and getting those huge gigs. Looking back at 2016 – and the promises he was making and dreams he had – there is this renewed desire to make it big and be among the chasing pack. The “verbal grenade” is being thrown out there and the young songwriter is laying down his messages. Life is hard and it is a struggle getting your name out there. Signal is humble and modest but has that ambition at his heart. He recognises how he is mentioned in the back pages – a bit too mouthy or controversial at times – but it getting love from contemporaries like John Newman. This progression means he is going from the local press and getting talked-up by some of music’s hottest new artists. Little kids and players are trying to attack Signal and take his crown. He is not taking this and, above it all, promoting progression and common sense. Jay Picasso adds backing vocals and adds weight to a song that perfectly kick-starts the E.P.

After talking about not giving up and being determined: What Goes Around has a sharper and more attacking vibe. It seems to address a karmic vibe and those people who diss Signal. The man’s girl has been checking his (Signal’s) socials and liking photos. She has been respecting his rhymes and seems to be into him. Maybe the man in question has been slagging-off Signal and claiming he is a bit weak. There is a sense of battling a foe or someone who is not treating Signal with respect. Name-checking Carrie Fisher – showing this is one of the most-recent songs written – it is a track that has lush and busy production. There is so much going on and the man in question is chasing a dream. He is cutting back on costs and tightening his wallet. Starting with the “same team”; he has been working for nothing and preparing himself for the mainstream. This work ethic can determination will see the balance being redressed. It is a bold and confident attack from a young man who knows his time will come. What goes around, it seems, will come back around. That single-minded approach to success and triumph makes the song one of the standouts on the E.P. It is a club-ready anthem that many people can relate to – those who need to have the strength in their bones to know things will work out.

PHOTO CREDIT: Steph Brown Photography 

Down, a previous release, is one of the finest works from Signal and one that drips with sweat. Playing a bit of Ken and Barbie – smoking weed in the penthouse – there is that sense of chase and success. Our man is pursuing the girl and keen for some side-boob action. He, with EClipse as the heroine, is documenting a single night where he is getting the girl into bed. The song casts away from the business of success and musical ambition and goes straight to the groin. It is another confident and energised song that crackles with tripping beats and an incredible lead vocal, Signal lays down his intentions and touches his body to the girl’s. EClipse adds sweetness but there is a raw and hungry attack from her performance. It seems they are evenly-matched and there is that inevitable coming together. Rather than present a crude and simplistic account of a one-night-stand; the hero teases and adds exposition and explanation. He is texting and sending cheeky messages; guiding her to his room and charming with that wit and confidence. Mixing great wordplay and memorable lines – Sega and Mighty Morphing Power Rangers; the man sticking his sword in her “chamber” – it shows Signal is an original and exciting lyricist. EClipse is not giving herself away that freely but definitely wants something to happen. It is a great clash of voices and personalities, one expects, ends with an inevitable coming together. Always slick, controlling and oozing charisma – the song has that blend of sexuality and tease. It is a very modern-sounding song – some processed vocals and club-ready production – and could easily slot into the mainstream. What separates it from the lesser example out there is the addictiveness of the song – and the talent of Signal. It weaves into the brain and one will sing the song long after it has ended.

PHOTO CREDIT: Steph Brown Photography 

Something to Say offers another dimension and story. The man comes back to hopes and dreams. Studio fees and the BBC are mentioned. Signal, in five years, wants to me selling-out venues and making a go of things. He does not want to be chained to a desk and someone who cannot be confined and defined. A dope and epic performance from Signal – a song that gets right into the brain. It is fresh from the streets and shows there is no short-supply of ability and confidence in the artist. He knows where he wants to go and, with Picasso’s production and guidance, creates a song that swaggers and sway. It is one of the more hard-hitting and bold songs on the record. It has catchiness and captivation that means it is another standout. The testament of a songwriter who does not want to limit himself or play it modest. He has the ability and agility and wants people to know that. It is a song that brims with determination and a clear view. There are processed/strange vocals that add a deep-voiced allure to the song. It is a tough and ready song that flexes its muscles and drives the streets with speed.

Basic, bringing Chelsea Jade into the E.P., starts off with some calm and beauty. Signal comes to the microphone and it sees the hero casting off fake friends – a new mate needed and looking back on easier times. Back in the day, when it used to be simple and easy, Signal had that promise and hope. Weed used to grow in the garden and it seemed like life, at times, was hard. MCs moved from Reading and torched the man. Megadrive and Sega is back on the scene and we get a view of Signal’s life – and the people that came into the life. Illegal drugs and club nights are laid out; attacks and those trying to put Signal down. It is a song that challenges all foes and shows the king will not be put down. Chelsea Jade comes in and provides a relaxed and beautiful vocal – one that adds needed control and calm to proceedings. It is almost a two-hander between lovers and explanation where they both came from. Signal mentions his hometown and where he came from; how things have changed and the way life has changed over the years. He is in a better place but it seems there are plenty of challengers who want to take him on. Chelsea Jade looks at bitches around her and people who want to degrade her. There is a slight mystery to the song and whether Chelsea Jade and Signal are lovers taking on the world – or from two different sides of the tracks. A fascinating song that adds another dynamic to Progression EP.

Down, Part 2 brings Blizzard and EClipse together on the swansong. It is another interpretation of the song and provides fresh insight to the lyrics. Maybe it is the heroine bonding with another man and moving away from Signal – the same ideals and conquest but with a new man. An interesting take and song to end things on but it is good to see Signal give the reigns to others and ensure they bring the E.P. to its conclusion. Progression EP is a deep and challenging work but one everyone can appreciate. I hope, in time, Signal tackles issues around him and the affliction the U.K. – the same way Loyle Carner and Dizzee Rascal are doing. His latest E.P. addresses success and the way he has made his way from the basement. Songs look at successes and conquest – either in music or the bedroom – and show there is a need to be better and bigger. The hero knows what he wants and is out there trying to get it. Few can fault the quality and consistency throughout the work. The collaborators (and Jay Picasso) bring so many different qualities but it is Signal himself who defines the E.P. It is a stunning work from someone whose best years are still ahead. The lyrics and performances are slick and professional and the production ensures everything connects and hooks one in. A fantastic work that marks Signal out for big things.

I will end the review without revoking earlier points – as I have covered the songs quite heavily – and wanted to look at Signal’s future potential. He has gigs coming up but it seems like there is potential to get the music heard up and down the nation. People like Jay Picasso are in his corner and, with his tutelage end expertise, can get the young man heard right around the U.K. I have mentioned how the world is waiting for him: Progression EP can be taken to heart by audiences in other nations. I am sure there will be albums and future E.P.s but, right now, it is exciting seeing a fantastic artist make those first steps. Signal has been on the scene a bit but is making his finest and biggest tunes right now. I have loved investigating Progression EP and the sheer confidence one hears throughout. It does not repeat what is already out there but reminds one of the finest Rap out there. Signal is a performer who is always in control and able to weave original poetry throughout. He talks about childhood and computer games but can mix that with sexual conquest and the desire to rule the scene. His spits and slams are primal and he has the ability to weave and alter his voice in accordance with the lyrics. The production is polished but has that raw skin: meaning the music is not too professional-sounding but everything comes together perfectly. Collaborators like EClipse and Chelsea Jade add to the dynamic and ensure various songs have nuance and allure. It is good seeing Signal bring others to the party but he does not make it too busy and crowded. I have explained a lot earlier and shown what makes Signal such a great artist. He has the talent in his heart and I can see him going very far. Progression EP is a fantastic work from someone who will continue to strike and evolve. That incredible work-rate is what makes him such a fantastic and promising artist. If Signal remains on-point and focused; he can get himself into the international consciousness. He gets a lot of love from the local press but I can see him going further than that. Let’s hope worldwide sources feature Dan Amps and give him some love. When that happens; it means his music will resonate with a whole new world and let’s hope, when that does happen, he gets the stardom and attention…

PHOTO CREDIT: Steph Brown Photography 

HE fully deserves.

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Follow Signal

 Official:

http://signalofficial.com/

Twitter:

https://twitter.com/signalofficial

Instagram:

https://www.instagram.com/signalofficial/

Facebook:

https://www.facebook.com/SignalOfficial/

YouTube:

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

Spotify:

https://open.spotify.com/artist/6eT5RnbAROO57BuJz70EBc

INTERVIEW: Adam & Elvis

INTERVIEW:

 Adam & Elvis

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THE strangeness and savagery Adam & Elvis brings to their music…

has got critics standing like meerkats sensing a tiger looming large – if those two animals even share a continent! In any case; the band have been vibrating stages and propelling bodies with their intoxicating sounds. I speak with brothers Thomas and Patrick Malone about the latest single, Wasting Away, and what it is about.

They chat about Reading – where they are from – and what the scene is like; how the four of them came together and what they have planned for the remainder of this year.

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Hi, guys. How are you? How has your week been?

Been pretty dang amazing in a global context.

For those new to your work, can you introduce yourself, please?

We're a five-piece Alternative-Pop band from Reading that is interested in releasing good albums as often as physically and emotionally possible - and seeing what's left of us at the end.

Wasting Away, in addition to its cheery title, deals with life’s brevity and the human condition. It is an upbeat song – considering it could be seen as quite pessimistic. What was the reason for creating a song so uplifting and hopeful?

I think there's proximity between the somber and the hopeful: they breed one and other.

What impacted the song’s creation? Was there a general feeling you needed to write something like this or did a particular event compel that drive?

No. I think about death a lot, or as much as everyone else does, but I have too short an attention-span to be distracted by distractions.

There is a refusal/dismissle of the afterlife; a need to do everything we can in this life. Is there any one thing each of you has always dreamt of doing – maybe a dream holiday or musical goal?

I'd like to write a to-do list and do all the things on it.

An Adam & Elvis album is out later in September. What can you reveal about the themes and songs that will appear on the record?

Bits about weddings on fire; artists only working on the weekends; people eating mosquitoes to spite lovers (etc etc.!).

Where does the title, Through Snow and Small Talk, come from?

Chose the art for the album; saw the snow and the drudgery - and supposed playfulness - of winter weather reminded me of small-talk.

Patrick and Tom; you are brothers. Did you share similar tastes as youngsters and what was the decision behind forming the band?

We were sh*t at football so thought we had better start a band - or no one will ever think we're important.

How did you come across Steve and Dan? What is it about the guys that meant they were made for the band?

Dan served us drinks; Steve went to school with Tom.

You, like The Amazons, are based out of Reading. Is it a fertile place to make music? What is it like getting gigs in the town?

Yeah. There are lots of people making music in Reading. There's some nice people who put us on and then give us a pittance and some beer.

The Amazons are very boring though. I'm sure they're nice but I imagine you have to listen with a toaster balanced on your head in a bath-full of water - so there's the potential that something edgy might happen.

What do you guys do when not performing and recording? Do you all get much time to hang out? Anyone have any hobbies in the band?

We spend most of our time practicing together; getting drunk talking about music, films; politics or the normal jazz.

Do you have any tour dates approaching? Where can we come and see you play?

We've got three release shows: 30th September, (Reading) Oakford Social Club; 6th October, (Oxford) The Wheatsheaf and 7th October, (London) Finborough Arms.

We've had a lot of people trying to get us back up North after the last time we went there – so, we'll be back there before the end of the year.

Who are new acts you recommend we check out?

Love Wesley Gonzalez, Meatraffle; Phobophobes and Pit Ponies.

IN THIS PHOTO: Photophobes/PHOTO CREDIT: Holly Whitaker Photography

If you each had to select an album to take to a desert island; which would it be and why?

Thomas Malone: Leonard Cohen - I'm Your Man

Patrick Malone: Pixies – Bossanova

What advice would you give to artists coming through right now?

Find a day-time job you can do tired - and allows you time to scribble lyrics on paper during the day because, if you're going to make interesting and subversive music, you will have to pay the bills with another job

Finally, and for being good sports, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Patrick: Wesley Gonzalez - Not That Kind of Guy

Thomas: Leonard Cohen - Everybody Knows

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Follow Adam & Elvis

 Facebook:

https://www.facebook.com/adamandelvis/

Twitter:

https://twitter.com/Adamandelvis

Spotify:

https://open.spotify.com/artist/0OGepTrSmuNZlf0u3YFfGA

SoundCloud:

https://soundcloud.com/adam-74

YouTube:

https://www.youtube.com/user/adamandelvis/videos  

INTERVIEW: Benjamin Stevie

INTERVIEW:

 Benjamin Stevie

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IT would be easy enough to throw jealousy…

the way of Benjamin Stevie. The Edmonton-born, Toronto-based songwriter has a very spiritual and relaxed approach to music: in the sense, he allows the environment and landscape around him to influence his music. That is how the seeds for Yellow Bird - his new single - were planted. I learn more about the song’s gestation and his forthcoming album, Cara Cara. He talks about American under Trump and the music he was raised on.

I ask him about the music scene in Canada and some of the artists he recommends; what is was like recording in the idyllic spendour of Joshua Tree – a desert studio not far from the iconic spot – and what kind of gigs are approaching.

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Hey, Ben. How are you? How has your week been?

I’m great, thanks!

The week has been really beautiful. I played my first show with this new band and it was really special. Toronto is really a special place in the summer and this summer has been incredibly revelatory - and I’m overjoyed to be surrounded by so many beautiful people.

For those new to your music, can you introduce yourself, please?

Sure.

I’ve been playing music in various projects since I was thirteen; starting in the Punk scene in Edmonton - where I grew up - I played in the same band for twelve years. I moved to Toronto around ten years ago, where I started to do stuff on my own.

While it took me a while to find my stride with the solo stuff; I feel really happy with where it’s all at these days. In the last few years, I’ve been able to connect with so many beautiful people and had a wonderful time doing it.

PHOTO CREDIT: Anthony Tuccitto

Can you tell me about your new song, Yellow Bird? What is the story behind it?

Sometimes with lyrics, the melodies and words just come and you kind of find out what they’re saying, afterwards. The song, to me, is about shedding falsehood, ego; attachment and gaining freedom through that. It was definitely a reflection of my own personal experience.

Our unique experience of this existence is not to be defined and measured as it has maybe been told to us. But, the truth can never fully be told.

How did you come to work in the desert near Joshua Tree? What was the experience like?

So. I had come to the high desert in California after visiting my parents in British Columbia - where I came up with the first lines of the song while strumming on their deck.

A yellow bird flew past and I just started singing the first couple lines. When I got to California, I was a bit nervous as Adam and I had never worked together - and I didn’t know if I was going to bring the noise you know.

The location of the studio was a windy, expansive plateau on top of the desert mountains - right in between Joshua Tree and Big Bear. It was serene, magical and a bit foreboding (and harsh). I can still remember the feeling of being up there as inspiring a sort of calm and sense of solitude that forced me to evaluate my life in a real way. Also, in places like that; music resonates in a clearer way than in the city.

The song came out of those hills and right through me. That’s the best way I can explain it. Haha.

Your album, Cara Cara, will be released on 22nd September. It seems like it will be very eclectic. What themes are addressed within?

Yeah. The album is a very eclectic mix of music that really came together organically.

After being in so many situations in the ‘industry’ - that were looking to control the creativity and felt like they were choking me out - I was happy to kind of freely create with no real agenda other than getting the work done. I guess, in a sense, the lyrics reflect that energy as well. Obviously, there are songs about love, loss; joy and pain - you know...the basic stuff.

But, I think there is some clarity to it in a way for me. The themes, overall, are about appreciating where you are in the knowledge that you’re only here and now; never there and then - finding peace and truth through acceptance and love.

What sort of emotions and ideas compel your music? How important is the environment and natural energy of the location to your creativity?

I look to cultivate a sense of truth and light in my life which, I guess, could be called spiritual - and music without heart is just noise. I do my best to put that in it because the music that touches me is always wholehearted. The environment and landscape inevitably enter into the music - simply by the impressions of your daily life being filtered through you at any given time and place.

I do my best to remain empty and still in the mind and find when I can get to that the inspiration can flow through much easier. Humility and honesty are goals I strive for every day - and I find with that comes just a little more peace.

Tell me how the album came other and what the experience was like.

The album was recorded in a bunch of different places over about a year but the bulk of it was at one studio in Toronto, over the summer. We would go in with either a rough idea of a song - or a full song and work out the arrangements (etc.) in the studio. Different people would be involved on a day, other producers; players (etc.) who would lend their ideas as well.

A few times, we would inevitably come up with an idea on the spot and work on that. Like Mind Movie; I just started playing this riff one day, and for three days straight, we worked on the whole thing until it was done. It was amazing to have that luxury of time in the studio to try ideas out and be able to realize them without too much stress.

Also, I guess you could say we did a lot of post-production making a lot of small changes or additions to things - after the actual studio work was done. All in all; it was one of the best times I’ve ever had making music.

PHOTO CREDIT: Anthony Tuccitto

What do you make of the situation with Trump and the way America is headed? How do you assess the current political structure in the U.S.?

I grew up in a politicized household and in a highly-politicized music scene where I was exposed early on to ‘radical’ ideas which I think of more as common sense, humanistic ideas - so I pay some attention to what is going on. For myself, I tend look at the longer arc of things more than what’s going on day-to –day - so I see the current situation as more symptomatic of the downfall of this tragically misled society.

We’ve lived on borrowed time for so long and the people have been fed so many lies for so long that we’re physically, socially; culturally and spiritually malnourished- starving to make some sense of things; so we easily fall victim to divisive hateful political messages. If I could say anything, I would say anger breeds hate on both sides. But, the more productive and powerful thing would be to turn disgust and anger into empathy and love.

How musically-minded were your parents? What is your first memory of music?

I remember my parents had Whitney Houston’s first album when it came out - and I have this vivid memory of being about five and dancing in the living room with these girls my mom babysat. I lost my mind and felt entirely free in that moment.

I guess it was probably How Will I Know, as that’s the most dance-y but, really, that whole album has a very special place in my heart. I’ve been looking for that moment of freedom and musical connection ever since.

Have you got any gigs coming up? Any plans on coming to the U.K.?

Doing some shows this side of the world in the next little while but I definitely have my eye on the U.K. and Europe – so, fingers-crossed, I’ll be there before long.

Who are the new artists you recommend we check out?

I live in my little box where I don’t see too much of what’s happening musically these days but my friend, Matty Tavares - who produced some of the record - just released the first single, Embarrassed, off of his new album.

Hmmm…also, Charlotte Day Wilson is another Toronto artist making some beautiful stuff right now.

IN THIS PHOTO: Charlotte Day Wilson/PHOTO CREDIT: Devon Little

What is the advice you would offer to new artists emerging?

I’d say: do your best to connect with and develop your own intuitive sense of the music. Work at it and be as honest as you can with yourself; yet, gentle with yourself at the same time.

You’re not going to be amazing at certain things at first but, if you cultivate the connection between your heart and your music, one day, hopefully, you have a garden full of beautiful flowers.

________

Follow Benjamin Stevie

PHOTO CREDIT: Anthony Tuccitto 

Facebook:

https://www.facebook.com/benjaminstevie/

Twitter:

https://twitter.com/BenjaminStevie?lang=en

Instagram:

https://www.instagram.com/benjaminstevie/

Spotify:

https://open.spotify.com/artist/06ZVnBRVWngP7hMjnJsWRq

SoundCloud:

https://soundcloud.com/benjaminstevie

YouTube:

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

INTERVIEW: Shanghai Blues

INTERVIEW:

 Shanghai Blues

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THERE are a lot of bands out there; most of whom are described as…

PHOTO CREDIT: Ant Adams Photography

‘promising’ and ‘worth your time’. This can, in a lot of cases, by hyperbole and myopic. When it comes to Shanghai Blues; those words would fit them comfortably – I have no doubt they will make strides very soon. I talk to them about the single, Those Three Words, and what it is all about. They tell me how they have developed as a band and the importance of East London as a base.

Looking ahead; the guys discuss their plans and gigs; look back at the artists that have made an impact on them and provide a couple of names we should be aware of – those musicians that will be making an impact very soon.

_________

Hi, guys. How are you? How has your week been?

Great!

Loving the reaction we're getting for the new single.

For those new to your work, can you introduce yourself, please?

We are just four guys from East London.

We drink beer, eat chicken and play really fuc*ing loud.

You have been around for quite a few months now. How did you all come together? Can you remember the first song you laid down as a group?

We all met at school but played in different bands growing up. We decided, last year, to all come together and give it a go - and we're-super excited about how it’s going. Some of those early songs are not worth remembering!

Sick was one of those very early ones that made it out there!

Where does that band name, ‘Shanghai Blues’ stem from? Does it hold cultural and personal significance?

It’s homage to a dingy Chinese restaurant that is, sadly, no longer with us. That’s about as significant as it gets.

Those Three Words is your new single. Can you tell me about the origins and what compelled the single?

The song revolves around a broken heart reminiscing (of) ‘when things were easier’ - when it was just the protagonist and their partner. All the songs we write are very personal to us but this one, in particular, was written from a broken heart within the band.

How easy was it putting the song together? Did it flow naturally or was it assembled over a course of days/weeks?

Once we had the main guitar part down; all the other instruments fell into place - as well as the lyrics - so it was one of the more natural songs we've written.

Oz Craggs produced and mixed the song. What did he bring to the recording in terms of guidance and talent?

Oz is a fuck*ng gun.

We always have so much fun with him in the studio. One thing he did bring was a sweet new sofa. Anyone who's been in with Oz knew about the bench. Haha.

Aside from that, we always find him so easy to work with and everything happens very naturally. He gets us and our sound.

Working with him has influenced a lot - down to what guitar pedals and amps we use.

Your social media numbers are growing. Your fans seem to connect with your music. How much does that mean to you?

It means so fu*king much!

I don't think we really knew what to expect when we started the band – but, to see the reaction from so many people, from all over the world, is great. 

We've always got time for the fans so hit us up!

Critics are really pushing the music. That must be humbling getting such acclaim, right?

It's great to have a positive reaction to the music - whether its critics or not. We just want to make music we enjoy and, if other people enjoy it, too, that’s even better.

Is Those Three Words the catalyst for an E.P. or album? What do you guys have planned?

We may or may not actually have another single coming veryyyy soon.

Keep your eyes peeled!

Can you reveal the sort of bands and artists you grew up listening to? How important was music to all of you during childhood?

I would say we all have a pretty eclectic selection of music that we grew up listening to - from Grime to Metal.

Nothing is ever set in stone and I think that’s been a big influence on our style and music.

How inspiring is East London – where you are based – to your creative drive? Is it providing a lot of gig opportunities for the band?

I think East London has influenced us and inspired us in different ways.

We all grew up and still live here, rehearse here; get battered here. There isn’t much of a music scene here to be totally honest - but you’ll always find little hidden gems now and then!

What kind of tour dates do you have approaching?

Can’t give away too much, but we’ve got a massive show that we’ll be announcing soon - going to be our biggest one yet!

PHOTO CREDIT: Ant Adams Photography

Who are new acts you recommend we check out?

Our boys in Glass Peaks are slayyyying it at the moment.

Obviously, if you haven’t seen what J Hus has done - you should deffo check him out.

IN THIS PHOTO: Glass Peaks/PHOTO CREDIT: Ant Adams Photo

If you had to each select the one albums that mean most to you; which would it be and why?

Reece: Probably Grace by Jeff Buckley

It (just) has so much feeling and emotion.

Mike: Never Mind the Bollocks… by the Sex Pistols

The first record I ever owned and, the second I put it on, I knew that all I wanted to do was music.

What advice would you give to artists coming through right now?

Keep going and don’t give up. It’s a long, hard journey that we’re only just starting out on ourselves - but it’s so worth it.

Finally, and for being good sports, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Reece: Jay Som - The Bus Song

Mike: Nilüfer Yanya - Keep on Calling

________

Follow Shanghai Blues

 Official:

http://www.shanghaiblues.band/

Facebook:

https://www.facebook.com/weareshanghaiblues/

Twitter:

https://twitter.com/SHANGHAIBLUES_

Instagram:

http://webgram.co/shanghaiblues_

Spotify:

https://open.spotify.com/artist/3EsCuUoI5TjWqIyHBE9maV

SoundCloud:

https://soundcloud.com/weareshanghaiblues

INTERVIEW: Robot

INTERVIEW:

 Robot

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THE moniker might suggest an artist who detaches emotions from music…

and creates something processed and calculated. That couldn’t be further from the truth with regards Robot. Its ‘creator’, Robbie Moore, started like in the U.K. but is now based in Berlin. I ask him about that transition and whether life is better over in Germany – and how, having his own studio, he gets to welcome a variety of interesting musicians.

He talks to me about his forthcoming album, Vedgdbol, and whether it differs from his previous, 33.(3) – if new components have come in or there has been an emotional transformation. I was interested to know more about his most-recent video, Bones – from the 33.(3) album – and whether visuals (it is a very arresting film) are important to him.

ALL PHOTOS (except album cover): Elsa Quarsell 

________

Hi, Robot. How are you? How has your week been?

It's been pretty crazy.

Finishing off Jesper Munk's new album while trying to learn how to make an animation for my next music video - stop-motion, Terry Gilliam-style; using bits of paper instead of the computer (why do I always make life so difficult for myself?!).

For those new to your work, can you introduce yourself, please?

My name is Robbie Moore and I try to make melodic, intensely-emotional Pop music (using wooden instruments).

I am also very interested in human emotions and the way that people behave as a result. It's, as though, our brains are somewhat robotic in nature: following the programming that our emotions set out.

I find it endlessly fascinating and I try to put my observations of myself and people dear to me into my music.

On 27th October, you release the album, Vedgdbol. What can you reveal about the type of songs and themes explored on the record?

My first album, 33.(3), took me a long time to make. I played pretty much everything myself; locked in my studio - whenever I had a break in my schedule. I'm very proud of that record, but for this one, I wanted to explore a more spontaneous and upbeat approach. I had an idea that it should be something like a 1960s' Dance record. So...I sat down for two days and wrote as many chord progressions and riffs as would come out - without spending very long on each one.

I ended up with forty sketches: some had quickly turned into proto-songs; others remained (just) a basic idea. Then, I booked some of Berlin's finest players for three days in the studio. I fed them the sketches (basically turning them into robots) and we rattled through fifteen songs in those three days.

I, then, spent a further three or four weeks myself - writing vocals, overdubbing more instruments; editing and finally putting the finished album together. I think the concept worked well and I'm already planning the next album which will take it a step further! You'll have to wait and see, though!

Thematically and lyrically, this one deals with the pressure that artists feel when having to find a meaningful outlet for brains - which are very often completely overloaded with emotion - as well as social themes like gender identity and finding your place in the world.

Bones is the first single from the album. What is the story behind the song and will there be more singles from the album?

Actually, Bones was on the last record!

The first single (end of September) will be called Anybody Else (But You).

What was it like making the video for the song? Do you get quite involved with every stage of a video?

Well, the Bones video involved me being covered completely in black latex body-paint for ten hours - while my friend Armando Seijo painted a skeleton on me!

As I mentioned before; the video for my next single, Anybody Else (But You), is an animation...very time-consuming but I'm very interested in the art-form; so I'm enjoying the process.

I do generally get very involved in this!

What is the origin of the title, Vedgdbol?

The title, Vedgdbol, came from the feeling I often have that the pressures of life's work and art are turning me into a metaphorical 'vegetable'. It's an English saying: describing somebody who's brain doesn't work too well. I wanted it to be spelled wrong, too - as if I couldn't write it properly anymore.

I figured I would ask my six-year-old son to help me - and that's how he spelled it first time...so that's what I used.

I think it's perfect.

How does your new record, released less than a year ago, differ to 33.(3)? Have you taken in new influences and gained more confidence in that time?

Well. I'm definitely more confident.

As I said; the last record took a long time and it was such a relief to finally finish it. It can become a real nightmare when a piece of art takes too long to accomplish...like a writers-block, times-one-hundred!  I'm feeling pretty inspired and motivated right now. I think there's a lot of stuff that's been waiting to get out!

On Vedgdbol; you embrace more of the 1960s/Garage sounds. What compelled a bit of a sound change?

I've always loved that kind of aesthetic and I wanted to see what would happen if I tried to start off in that style - and then bring in my natural more thoughtful stuff on top. I also see 33.(3) as the birth of the 'Robot' character...all those songs are written from an extremely innocent standpoint: like a child is observing the human race and is able to keep notes on their behaviour.

I see Vedgdbol as the Robot becoming a teenager: letting its hair down - but, the experience of living as a human is beginning to take its toll! Plus, I wanted to have some more upbeat songs to play live. I think it makes a pretty interesting set now.

The songs from 33.(3) have a new lease-of-life as we play them with a new type of energy, too.

Who are the artists you grew up on and compelled your move into music?

I was always obsessed with The Beach Boys as a kid...then The Beatles, Bowie; all the usual stuff. I've always considered myself a student of songwriting, primarily. I was never interested in musicianship, really. I always felt that the biggest challenge was the writing process - so that's what I spent my time practicing.

I can play a lot of instruments in an emergency but I don't know any scales or any music theory. It keeps it mysterious to me, which I like – and, also, forces me to use my ears!

Robbie Moore is your real name. You started life in Britain but are in Germany now. What compelled the move and how do the music cultures differ between the two nations?

Britain is a difficult place, artistically, these days - especially London.

It's way too expensive to allow a relaxed artistic approach – and, as a result, the music scene is extremely cluttered, desperate and self-conscious. I had an idea that I could, possibly, get something good going in Berlin; so I took a chance...and it paid off, really. I've been way more productive since living here.

It's a wonderful place for the mind; very little judgment from others; everyone has a spirit of adventure - the opposite to London, I'm afraid!

I believe you have seen a lot of bands come through the doors of your Berlin studio. What is it like hanging with cool bands and do you have any favourite memories?

In many ways, it is a total dream-job: people come to work with me, specifically because of the little musical niche that I occupy - which means, I generally get to do a lot of playing and I'm generally really into the stuff that I work on. As a result; I usually get on well with the people I work with. It is, also, sometimes very challenging, though!

Helping somebody to realise their artistic vision in the studio can be a tricky process. There usually isn't too much money around for people to spend months in the studio; so we have to work quickly.

But, as hard as it can be...I do love the challenge! The relationship between artist/producer/musician in, the studio, is an incredibly intense one - very good, deep friendships can be quickly formed. You become like a family for a brief period of time, and, of course, often those friendships last after the job is done!

Recently, I've done things like the new L.A. Salami album. He's brilliant and getting a lot of attention at the moment. Also; the new Jesper Munk album...it's sounding really amazing - very excited about that one!

Are there any gigs/tour dates coming up at all?

We are doing a tour with Jesper Munk and Lary in October (15th - 18th): Munich, Hamburg; Cologne and Berlin...and then some more dates in November in support of Vedgdbol's release.

Who are new acts you recommend we check out?

Check out L.A. Salami!

IN THIS PHOTO: L.A. Salami/PHOTO CREDIT: Ken Abrams/ What's Up Newp

If you had to select the three albums that mean the most to you; which would they be and why?

Probably Pet Sounds

Because it combines unbelievably creative songwriting with a bunch of studio musicians at the top of their game - all playing live together, very inventive instrument combinations; topped with the best vocal arrangements The Beach Boys ever did.

Then...Hunky Dory

Because it was (just) at the perfect moment between 'Folk (David) Bowie' and 'Glam Bowie'.

Then, probably, Marquee Moon by Television

Just…because!

What advice would you give to artists coming through right now?

Don't do what you think you ought to do.

First: make yourself as weird and crazy as you can; push yourself into an unknown place; challenge your own ideas of what music can sound like (it can sound like anything). Then, afterward, sift through the chaos and try to guide your favourite bits back down to Earth - to live as a human moment on record.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

How about Mack the Bomb by Pete Seeger

Seems appropriate somehow - which is a shame - but it's an amazing track!

________

Follow Robot

 Official:

http://robotogogo.com/

Facebook:

https://www.facebook.com/robotogogo/

Instagram:

https://www.instagram.com/impressionrecordings/

Spotify:

https://open.spotify.com/artist/1vpyxawvjZzMZTpm8kKX7m

YouTube:

https://www.youtube.com/channel/UCIKOb8G5L6JoYWsamp9mGlg

INTERVIEW: IIDimensionz

INTERVIEW:

 IIDimensionz

________

BEFORE being a congratulator: I have to be a prevaricator and critical instigator…

of the IIDimensionz boys. I’m sure that’s a flow they can appreciate – apologies for syntax and grammar fracture - but Nathan and Jermaine have, in my mind, created something interesting and original with Closer – a summer-ready banger than samples/is influenced by Rosie Gaines’ smash, Closer than Close. The lads have a huge connection (being cousins) so I hope they put more images on their social media - and transfer them from Instagram to Facebook. One of my ball-busting demands is for musicians to become more aesthetically-minded so, luckily, they project interest and physicality in their music...

I talk to them about their latest song and what we can expect from their forthcoming E.P., Love from Above. They open up about their musician dads and their influence; the importance of East London and how they manage to mash old-school magic from the 1980s and '90s - with the modern-day sounds of Funk and Dance. They are an interesting and ambitious duo that is ready and primed for future successes...

_________

Hi, guys. How are you? How has your week been?

Nathan: Hi. Thanks so much for having us!

We’ve just been busy promoting this single - and in the studio, as well.

Jermaine: Hi! We’ve been great, thank you.

Yeah. Just working a lot.

For those new to your work, can you introduce yourselves, please?

Nathan: I’m Nathan Williams.

Jermaine: I’m Jermaine Williams, and together, we’re IIDimensionz.

Closer is the new single. Can you tell me what it is all about?

Nathan: Well. It’s about a relationship I was previously in. Such a complicated situation where we never actually fell in love but we spent a lot of time together; enjoying each other’s company and just creating memories together.

I’m thankful that it ended on a positive note, though!

It samples Rosie Gaines’ famous song, Closer than Close. What is it about that song, and Gaines, that made you want to sample it?

Jermaine: When Nathan and I create music; the main aim is to create a sound that bridges the gap between old-school and new-school music.

Closer than Close was one of our favourite Garage songs from the '90s growing up - so we just reworked a short segment using that famous melody - it all happened so naturally.

Nathan: Yeah. As Jermaine said; we grew up listening to that track and it’s an all-time classic. We grew up in an era where Garage was quite a dominant genre in the house-party scene. With Jermaine D.J.ing at house parties; it was always a favourite to be played.

Plus, Rosie’s voice, melodies and vocal range were just phenomenal!

Has she heard Closer yet? What does she think of it?

You know what; we’re not even sure!

If she has listened to it, I think she would enjoy it and be proud of what we’ve done with our interpretation of the song. So, if you’re reading this, Rosie: take a listen if you haven’t already and shout us!

*Both laugh*

I get the sense you two love 1980s and '90s R&B/Pop. What is it about those decades and genres that appeal to you?

Yeah. So, I was brought up on '80s Motown, Funk; rare Groove – that real old-school sound – by my father.

So, that was my foundation. It also helped me to become a better and more versatile drummer.

Jermaine: I was mainly brought up around 90s' R&B by my father - so that played a heavy part in the musical side of my journey.

Nathan: We both love their musicality and truth in their songs. Plus, the music was always positive and had a vibe to it that made us bust a move!

*Laughs*

Love from Above is the upcoming E.P. What kind of songs and stories will one discover on the E.P.?

Love from Above is all about bridging the gap between old-school and new-school – so, the 80s' Funk/Motown and 90s' R&B meeting the new-school R&B, Hip-Hop and Funk sounds.

We share our experiences through our lyrics. It’s just a feel-good body of work.

Jermaine: Hopefully, you guys feel the same way about it - when you finally get your hands on it!

Mark Asari and rapper Nick Brewer appear as vocalists. How did you come to meet them and what did they bring to the EP – in terms of style and dynamics?

Nathan: Well. I knew Mark from playing as a drummer for a Gospel group - and he was their backing singer at the time. I always took a liking to his vocals so he just came to mind when thinking of a singer to feature on this record.

Jermaine: Yeah. Nathan suggested Mark when we were thinking of singers. Nick, we knew through the church/Gospel circuit.

He actually went to the same secondary school as us, as well! So, that just added extra musical chemistry between us.

Nathan: Yeah. They both brought their unique vibe to the record. You know they’re so talented but what made it even more special was the fact that we all understood what the end goal was.

Based in East London; can you tell me how you formed IIDimensionz? As cousins, have you always shared a love of music?

Jermaine: Yeah. So, obviously, we’re cousins – our fathers are brothers.

Our fathers are both musicians - as well being involved in the music business. Nathan’s dad plays bass and my dad plays guitar.

My dad had a studio at home and was constantly rehearsing for shows – so, growing up around that inspired the both of us to find a deep interest and take a serious liking to music.

Nathan: Yeah. It happened very organically. Timing was everything.

We spent a lot of sleepless nights in the studio trying to figure out how our sounds would blend. But that soon took shape and, boom, it just clicked! That was the day that direction and passion both gelled together perfectly.

How instrumental were your dads and their music tastes? They both work in music. Do they still give guidance and support?

Jermaine: They were very instrumental – to say the least!

As we mentioned earlier, they introduced us to the whole world of music and classic records. Timeless music.

To this day, we still listen to it. We do still get influenced by it and vibe with their music.

Nathan: With guidance and support, they are extremely supportive.

My dad is our manager so he’s there to guide us every step of the way – keep us in line, as well! *Laughs*.

But, yeah, both of our fathers are so supportive and push us to be the very best that we can be.

Of course, as a production duo, you take care of everything yourselves. How important is it having that control over your work?

We wouldn’t say everything: we have to give credit where it’s due - we have a good friend, Nathaniel Ledwidge. He mixed our records. The artists you hear - as vocalists on the records on the E.P. - as well; they all contributed individually in their own unique way.

But, as for production and the general consciousness of our duo; we love to have creative control to a certain extent.

Jermaine: We do love to learn and take constructive criticism as well.

At the end of the day; that’s how you progress and improve your craft.

Are there any tour dates later in the year? Where can we see you perform?

Nathan: Yeah. That’s all going to happen.

For now, we’re just focusing on rehearsing for live shows and preparing for live performances.

Jermaine: You can stay up-to-date with all of this information by following us on social media - mainly our Instagram page (@2Dimensionz) - for our latest information.

IN THIS PHOTO: Tom Misch

Who are new acts you recommend we check out?

Nathan: We recently listened to a guy called Tom Misch - and his track, South by the River.

I’m not too sure if he’s up-and-coming but he’s new to us; he’s dope! Would love to collab. with him.

Jermaine: SZA, as well.

She’s real cool; great artistry!

 IN THIS PHOTO: SZA

If you each had to select the album that means the most to you, which would it be and why?

Michael Jackson – Off the Wall

M.J. has been an influential artist throughout my life growing up - and there’s just so much that I take from that album.

Nathan: I’d say Marvin Sapp – Greatest Hits

Simply because each song speaks to me. It reminds me and lets me know how God sees me and values me and who I am in him.

It’s important for us both, really.

What advice would you give to artists coming through right now?

Nathan: Remember that your WHY is far more important than WHAT you do.

Remember that you’ve been gifted with life on Earth to make a change for the better and, through your gift/skills that you’ve been blessed with, you have the greatest opportunity to succeed!

Jermaine: Never give up or take ‘no’ for an answer!

If you get knocked back; just keep a strong faith and believe that this isn’t the end.

Finally, and for being good sports, you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Jermaine: Aaliyah – Back & Forth

 Nathan: Michael Jackson – Rock with You

________

Follow IIDimensionz

 Facebook:

https://www.facebook.com/IIDimensionz-1884282281838437/

Twitter:

https://twitter.com/Twodimensionz

Instagram:

https://www.instagram.com/2dimensionz/

Spotify:

https://open.spotify.com/artist/2Nzpb61WyAeyprA0ng1t0f

SoundCloud:

https://soundcloud.com/iidimensionz

INTERVIEW: Vivienne Chi

INTERVIEW: 

 Vivienne Chi

________

ARRIVING in the U.K. and laying down her mark as…

one of the most intriguing new artists on the block; I speak with Spanish-born Vivienne Chi about her move to Britain and whether, having come to a new country, there is a sense of displacement and identity struggle. Her songs deal with issues such as this and JUNK – always dislike an upper-case song-title, but there you go! – so I ask about the song and what compelled its creation.

She talks to me about her influences and how important London is to her; the music she grew up with and, with new material in her pocket, whether we can see her perform in the near-future.

_________

Hi, Vivienne. How are you? How has your week been?

I’m great, cheers.

Could do with some sun, sand and sea.

For those new to your work, can you introduce yourself, please?

Hello. I’m Vivienne Chi.

I’ve been writing music for about ten years; working with different artists producers and musicians. It’s been an amazing, tough industry - but I’m embracing that aspect of it. 

I’m a bit of a loner: keeping the creative flow going is my constant goal. I’m really enjoying where I’m at the moment; putting songs out there and moving on to the next…

What is the story behind the single, Junk? Tell me more about it…

Junk is about the balance between freedom, happiness and madness.

As humans, we have delicate relationships with our minds, mental health and a responsibility for our own mental hygiene. I think we also put ourselves under immense pressure to earn, work; socialise, follow the rules; break the rules, be cool; be relevant - and it’s never-ending. I remember watching a homeless lady in Camden who appeared mad - but also free and happy.

Maybe a little madness is the answer? Who knows?

In terms of sound; how would you say the song differs from the single, Vivienne? Did you make any big changes in terms of style and approach?

I’m lucky enough to work with an amazing producer called Harry Tarlton. We get each other, creatively.

I wanted gypsy-liberated layered noise, pots and pans; festival sounding with big drums…to reflect the idea of the song….like theatre; a story.

Vivienne was the same in the way it has an aggy chorus and a delicate verse - to sync. with the dual -personality of the song.

Your songs talk about belonging and personal realisations. Having moved from Spain to the U.K.; do you feel you struggle with identity and your place in the world?

Absolutely.

Especially, trying to get into the music industry - where you are rejected and questioned and pick apart ALL the time. It messes with your head. When I moved back from Spain, I knew no one in London - so had to start from scratch - I grew up fast. I’m naturally a shy person, so it was tricky. 

I’m at the point now where I’ve found some amazing people to work with (and friends). I’m just doing my thing and loving it.  

What compelled the move from Spain to Britain? Is there a marked difference between the music scenes in both nations?

I moved from a small town in Spain where there was no opportunity for music for me - apart from bar gigs.

London is completely multicultural with so much to offer, music-wise. I knew I’d learn a lot and get something going much easier here.

 How important is London and its heartbeat to the rhythm and dynamic behind your music?

I keep saying I’d like to get out one day but I’m basically sucked in now!

All my work, friends (everything) is here and I travel enough for London to stay fresh. I know so many people putting on nights, making amazing stuff happen - it’s hard to leave. 

The people I work with have been conditioned, musically, by London - the standard is so high that I’ve been able to make some good music.

When you arrived in London, you had to juggle working various jobs with recording. Do you still need to do that or have things got ‘easier’ since you starting getting attention?

It’s a case of spinning plates: keeping different projects going; staying in the loop.

I’ve never had a nine-five so I’m used to being proactive. I guess things have gotten easier, yes…my time in London has given me the chance to establish myself as a performer.

How important are those plaudits and praise to your passion and determination?

It’s really amazing to hear lovely compliments. It does mean a lot to me.

I do music to feed my soul but I also want people to feel it and like it and identify with it. I’m putting parts of my life down on tape - including my struggles. If I can, in some way, help someone who’s having those same troubles then that’s amazing.

Can you give me an indication regarding the artists who you grew up with? What kind of music did you hear as a child?

Prince, Massive Attack; Leftfield, Kate Bush; Jeff Buckley, Björk; Lauryn Hill, Erykah Badu; D’Angelo, ZZ Top; Portishead, Layla Hathaway and De La Soul

Is there an E.P. or album coming in the future? What does the rest of the year hold?

I’m putting out an E.P. towards the end of the year…

What tour dates do you have approaching? Where can we come and see you play?

I’m not playing live until next year…

I’m independent, so I have to manage my time really carefully. I’m going to focus on this E.P. release.

Then, next year, I'll do the festivals …

Who are new acts you recommend we check out?

I’m obsessed with a band called Honeyfeet. I think they’ve been around for a while. I caught their set at Wilderness festival and then Boomtown. The front-lady is out-of-this-world-incredible. Her voice is something else.

I‘m also listening to Julia Jacklin, BADBADNOTGOOD and Methyl Ethel.

If you each had to select the three albums that mean the most to you; which would it be and why?

Lenny Kravitz - Mama Said

The first album I owned. My cousin bought it for me. I was so thrilled.

Prince – Diamonds and Pearls

Changed my life.

D’Angelo – Voodoo

For obvious reasons.

Lauryn Hill - The Miseducation of Lauryn Hill

I sang, sang (and sang) to this album. Fave track: Tell Him.

What advice would you give to artists coming through right now?

Dig deep, keep creating; don’t rush to put music out. Wait until you’re one-hundred-percent happy with it. 

Work hard. Exercise!

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

Lover, You Should’ve Come Over – Jeff Buckley

________

Follow Vivienne Chi

 Official:

http://www.viviennechi.com/

Facebook:

https://www.facebook.com/viviennechimusic/?ref=br_rs

Twitter:

https://twitter.com/vivienne_chi

Instagram:

https://www.instagram.com/viviennechimusic/

Spotify:

https://open.spotify.com/artist/4MTj2lUJ9Gg2J3WFyGFZrw

SoundCloud:

https://soundcloud.com/vivienne_chi

YouTube:

https://www.youtube.com/channel/UC9FfEBZBZUOG2_cXjodk0Tw

FEATURE: Imagery in the Social Media Age

FEATURE: 

IMAGE CREDIT: Ysabel LeMay

 Imagery in the Social Media Age

________

I encounter so many artists on my travels who feel…

IN THIS PHOTO: Annabel Jones/PHOTO CREDIT: Pip

there is nothing problematic about having few images appear on their social media pages. The reason I wanted to bring this up is that, having so many interview requests, I have to turn down artists regularly. I am getting stricter at it for good reason: so much of what I do relies on imagery. Most of my interviews, at least, are long and require, I’d say, a minimum of eight images. That would fill any gaps and allow the piece to have a much more aesthetically-pleasing element to it. The image above – desperately trying to find a credit for it but will have to add one when it comes to light – shows what a difference an image can make to a piece. One might say music is an audio industry, where sound rules.

PHOTO CREDIT: Unsplash

Many others might say image and aesthetic are causing issues: too much flesh being bared or endless Instagram photos being shared to people – many of whom could not care less. I am happy to accept we have been flooded with photos as a generation. It is said more photos have been taken in the last few months than the rest of time combined. That might be a slight exaggeration but, since the advent of the Smartphone; everything is being snapped and shared for public consumption. There are downs and advantages of this flood in so much as people have access and view to parts of the world they might not normally have – able to connect with others in a different way, I guess. Of course, one must draw the line when it comes to what they post online. Lewd and inappropriate content will not be tolerated: those who photograph their entire day should be discouraged and chided. Given the fact one can, without expense, post countless photos of great quality, it makes me wonder: why are musicians not doing this?! I, myself, have a few self-portraits on my social media but have a reluctance to capture myself – a lack of photogenic appeal and the fact I tend to take photos of myself with no company (it can appear sad after a time).

IN THIS PHOTO: Billie Black

That said, I can go anywhere and have a photo taken via my iPad. From there, I can apply filters and share it with the world – it costs nothing and, before you know it, I can have an entire photoshoot on my pages. I feel photographer is an industry that needs support and welfare. I mention this topic because there are many who feel music photography is a dying industry. A 2015-piece,  by photographer Pat Graham, shared his experiences:

“Sadly most of us in the world of art cannot afford to just share what we create without receiving anything in compensation or return for what we have created. This just means that all of us must be very creative and think of other ways to gain income through other activities. As for music photographers I think it’s very rare that one becomes a music photographer and remains the music photographer until the day they die. For more reasons than one. My work is based in music photography and that is what inspired me to want to be a photographer. I still enjoy music photography, and I do receive some income from these jobs, however it would never be enough to live on solely, and I think it would be very rare to find anyone being able to live off that on its own. Most people are of course helped out by working with related fashion brands or doing corporate jobs and that is what pays the bills.

If you look back at what people call great music photography a lot of it is based on pictures of bands before they were famous, or at very small venues when no one else knew what was happening. So to go back to the original statement I definitely think that we have not lost a whole generation of talent in music photographers. The most exciting music photography features young bands doing new things and usually the photographers taking pictures of young bands are also young and very excited by what they’re seeing. I think the last thing they’re thinking about is a paycheck at the end of the gig in somebody’s house.

PHOTO CREDIT: Pixabay

When I first started taking pictures of bands I never really thought of it as a career. I never thought about how I could make money or sustain myself by taking pictures of bands. I was obsessed with getting a great photo and being able to print that photo in a dark room the next day. My pursuit was of great music and performers who really had something to say in their actions and music. I was driven by photographing bands that gave me and the audience something to look at. Something I wanted to freeze in a moment so I could remember and also share with others”

There is a clear passion among photographers and, when writing a feature about the best music photographers at the moment; I was struck by the quality and beauty of their shots. Maybe digital methods (Smartphones etc.) have made photographers less necessary – people able to produce their own pictures for nothing. There is something to be said about the traditional and established methods. One gets a better quality image and takes a band/artist to an interesting location. I find a lot of the self-produced photos lack atmosphere and compositional nuance. One does not see the same attention and depth you’d get from a professional. It makes me wonder why the good-old music photographer is seen as less relevant? Maybe there is the cost associated: artists not able to make enough money to afford photoshoots. There is an interesting article that sheds light on how costs are calculated:

IN THIS PHOTO: Polo/PHOTO CREDIT: Ben Bentley

Charge by the Shoot

This is the strategy that most band photographers use when they first start charging for their services, because it's easy and straightforward for everyone involved. There aren't any surprises or hidden fees, which keeps the client happy, and your bookkeeping work on the back end is minimal.

However, the simplicity of this pricing strategy is also it's biggest weakness, because it doesn't give you a whole lot of flexibility for situations where things don't go exactly as planned.  Like when your scheduled 3-hour shoot ends up going twice as long because the drummer shows up an hour late, the guitar player wants to change shirts 13 times, and the lead singer can't decide which is his "good side".

Or what happens when an up-and-coming band suddenly catches the attention of an indie label, gets a recording contract, and now they want you to retouch twice as many images as originally planned (plus design an album cover)?  Do you create an awkward situation by trying to negotiate a new agreement after the fact, or do you just cut your losses?

IN THIS PHOTO: Photographer Nabil Elder/PHOTO CREDIT: Jaesung Lee

With all of that said, I do still use the "Charge by the Shoot" pricing strategy when I'm being hired to shoot a band's live show-- even though I fully understand that concerts rarely start and end on time.  The main reason is that it's tough to make much money shooting live music photography, so I really only view those types of gigs as a means to an end.

In other words, I'll usually only shoot a band's live show as a way to get to know them better, and then hopefully parlay that relationship into a promotional shoot at some point (for more detail on this strategy, check out my eBook entitled Shoot for the Stars).

So in a nutshell, the "Charge by the Shoot" pricing strategy is okay for situations where you're reasonably confident that you'll be fairly compensated for your time and effort.  But if you think there's a high likelihood of "unforeseen circumstances" cropping up, then you'll probably want to use....

Itemized

This pricing strategy offers the best protection against getting ripped off, because you can basically put a price on just about everything you do for a client.  In other words, all of the time that you would normally spend--  from preparation, to shooting, to retouching (and beyond)--  can be broken out into separate line items on your invoice, right alongside any physical (or digital) goods that you deliver to the client. Everything is spelled out in plain sight, so there should be absolutely no surprises at the end of the process.

Even better, many clients really appreciate this approach because it provides total transparency, and it helps them to budget accordingly. They'll take comfort in the reassurance that they won't get hit with a barrage of hidden charges when they least expect it.

IN THIS PHOTO: Los Angeles trio, The Vim Dicta

That is quite business-like but it shows there is an affordable option for anyone’s needs. I feel photography is an industry that is threatened by the ever-present domination the ‘Instagram Generation’.  A fascinating article by Eric Perret shows how many photos we’ll be uploading this year:

“How many digital photos will be taken in 2017?  It’s predicted there will be 7.5 billion people in the world in 2017, and about 5 billion of them will have a mobile phone. Let’s say roughly 80% of those phones have a built-in camera: around 4 billion people. And let’s say they take 10 photos per day – that’s 3,650 photos per year, per person. That adds up to more than 14 trillion photos annually (14,600,000,000,000). Much more conservatively, if only one billion people have cameras or phones, and take less than 3 photos per day/1,000 pictures per year, that’s still 1 trillion photos captured every year.

How many digital photos will be taken in 2017?

InfoTrends’ most recent worldwide image capture forecast takes this conservative route, estimating consumers will take 1.1 trillion photos worldwide in 2016. This number will grow to 1.2 trillion photos in 2017. The compound annual growth rate (CAGR) from 2016 to 2017 will be 9%”.

I bring in these statistics; because there is a clear sign that shows we are becoming less physical/tangible and more disconnected. Maybe the expance and development of technology mean our curiosities and wanderlust are being indulged – we are able to encapsulate and represent more of our world than ever before. Because of this; I wonder what excuse there is for musicians being so naïve?! I am not singling people out but I see so many promising artists that put a few photos on social media – some are poor-quality whilst there might be two or three half-decent ones. Those that take the trouble to put a range of photos on their social media/official website know it is a way of attracting people to your website. Photoshoots allow artists a chance to express themselves and capture some wonderful images. I get frustrated hearing musicians say they let their sounds do all the talking: why do we need to bother with photos? I look at it the same way you’d set up a dating profile. How likely are you going to contact someone with no image – or a few poor ones that you can barely make out?!

IN THIS PHOTO: Jake Mattison/PHOTO CREDIT: Pip

Music is no different to dating: you are selling yourself, to an extent, and trying to attract people in. It doesn’t matter how good your personality/music is: if one is greeted to an imageless profile; they are not going to be that interested. There is no financial or physical reason an artist cannot have images made up. Those that have a full and thorough spread always make the mouth water – I understand they are in the minority. It seems there is not a link between our obsession with photographing everything and professional duty. I see musicians – those without good images – take plenty for their own profiles but do not show that diligence when it comes to their music pages.

IN THIS PHOTO: Stray from the Path/PHOTO CREDIT: Thomas Brooker

I will end this because I am aware it is turning into a ‘constructive rant’. It seems strange that, in an age where we are photographing the internal details and external manifestations of our day: so many musicians are ignoring a fundamental necessity of their career – promoting themselves through a visual medium. It might not be feasible for an artist to get some great photos together right from the start – they are shy of money and unsure what image they want to project. Once you are sure enough to have an idea – excuse the jumbled grammar! – then you’ll be ready to take some images. So many are providing a scarcity of anything vaguely useable! I think Metal bands, for some reason, seem to be the worst offenders. They may take a lot of shots but they, with few exceptions, tend to be blurry or inferior – maybe that scrappiness and under-cooked look suit their musical ethos and rebelliousness.

IN THIS PHOTO: Femme/PHOTO CREDIT: Ben Bentley

If you are a young female singer or a great male band: getting a range of photos out there is paramount! All the bands/artists I have included in this feature (their images) have provided a selection of images for any potential fan/journalist. People like me, who wants to interview and review the best artists, are like moths to the lightbulb. We all want to see the face(s) behind the music – having that visual anonymity is frustrating for so many reasons! Again, like a dating profile; everyone will skip by if there are no photos. My reviews and interviews are quite deep so, to fill gaps and give it a good look; I do need to insert images. Not only does it flesh a piece out but makes it look professional and interesting – not only words and a block of text. Many musicians do not realise the effect they cause being ignorant of that desire. I am turning away more and more artists who do not ‘fit the bill’; bollocking P.R. companies who bring me acts ill-equipped and ignorant. That, in turn, means I am sour and sceptical of the new generation of musicians. There are a lot of exceptions: many hungry artists provide stunning images and plenty of choice. The same way original music and ambitious is key to success and attention – making yourself visible and photographed is equally essential. I will end it here but want to urge offending artists of the need for change. For all musicians coming through who think the music will do ‘all the talking’, believe me… it won’t.

IN THIS PHOTO: The Novellos/PHOTO CREDIT: Pip

Paul McCartney and Kate Bush are better than you and, funny enough, they have produced, between them, numerous images. Hot new acts such as Royal Blood crank out some stunning images and realise it is important; not only to give their fans a diary of what they are up to – provide journalists options and that visual allure. I am not a massive fan of Royal Blood’s music but, given the fact they are image-heavy, would interview them just to have those photos on my site. It should be a lesson to every musician but I fear so many are naïve about photos – thinking it does not make a difference. It does and, if they rely on the music to do all of the talking; they will find the remainder of their career will be…

IN THIS PHOTO: Hinds/PHOTO CREDIT: Ben Bentley

VERY quiet indeed.

INTERVIEW: Cold Reading

INTERVIEW: 

 Cold Reading

________

IF you’ve heard one Swiss Emo/Indie band…

you’ve probably been listening to Cold Reading. There might be another one but, given they have unique real estate, I was interested finding more about the boys. Books & Comfort is the latest song from the powerhouse collective – taken from their forthcoming E.P., Sojourner. They guide me through its creation and inspiration; talk about some of the music (and books) that inspire them and how the remainder of 2017 is patching out.

I talk to the chaps about their European success and, consider they have played in the U.K., there is any intention of returning anytime soon. They provide background on their latest single and the emotions and dynamics that feed into their unique blend.

________

Hi, guys. How are you? How has your week been?

Marc: Hey. We’re all fine, I guess.

Very exciting to release the first new music in two years, of course.

For those new to your work; can you introduce yourself, please?

We are a four-piece rock band from Lucerne, Switzerland called Cold Reading.

Our sound can be placed somewhere between Emo, Indie and Alternative Rock - and we formed in 2014.

We've got Mike on Vocals/Keys, Chris on Guitar/Vocals; Arthur on Bass/Vocals and Marc on Drums.

Can you tell me how you got together in the first place and where the name ‘Cold Reading’ came from?

Chris: I’ve known Mike for years now and we’ve played together before. Arthur and I met later and played together in a band called Face the Front. Then, we met Marc at a show and formed Cold Reading - after the disbandment Face the Front.

After getting Mike on board; our current line-up was complete.

Books & Comfort is your new single. What can you tell us about the song and its meaning?

Mike: Books & Comfort was, actually, the last song we wrote for the new E.P.

We certainly meant it to be a rather fast-paced, to-the-point song and it was soon decided that it would be a fitting first taste/single. With regards its content; it’s a play of thoughts on the desire to slip into another body. There are times when you think all your problems can be solved by running away.

In the end, however, one has to learn how to deal with one’s weaknesses and try to change them into something positive.

I get a sense of battling against struggle and finding a positive outlook on life (from the song). Was there a particular occasion or moment that inspired the song? Is it a track relevant and meaningful to all of you?

Yeah, you got that right.

As with many of our songs; the lyrics are simultaneously somewhat autobiographical and abstract. There was not a specific occasion that is being dealt with in the song - it’s more a processing of thoughts that I’ve had time and time again – and (about) how I’m striving to turn them into something more optimistic.

Arthur: While Mike is the lyricist - and certainly has the deepest connection to them - we certainly ‘feel’ them as well. As we are a very democratic and collaborative band, every song is a new baby for everyone – and, I think, Books & Comfort is absolutely a ‘relevant’ song in our limited discography.

Marc: Yeah. It’s probably my favourite song of ours (until now, at least). 

Sojourner is your E.P. – coming out on 22nd September. Can you reveal any other songs that will appear on it?

Well. There will be four songs on the album.

One of them is the title track - of which you can find an acoustic version online already.

I rarely get to interview Swiss bands. What is the music scene like there and how easy it is getting your music out to the people of Switzerland?

Switzerland is a great country to play in regard to how well you are treated as a band.

It is so small, however, that there’s no point of actually touring only in Switzerland - at least not if you are a small band playing a relatively marginalized style of music (like we are). The scene is tightly-knit, though, so you can count on a loyal fan base and cool opportunities popping up - like supporting some bigger bands.

PHOTO CREDIT: Luke Bateman Photo

It seems Books & Comfort, already, has garnered attention from German, British and American sources. Is it quite surprising hearing your music being taken to heart in these nations?

It’s very flattering that the likes of New Noise Magazine, Mosh (Hit the Floor), Intro Magazine (and more) were kind enough to premiere or write features about our music.

We don’t take it for granted and are just excited about everyone who takes pleasure in listening to our tunes.

Your music, I find, has progressed and evolved over the last couple of years. How would you say it has changed?

We just like to keep challenging ourselves...

We do have a core sound and style that we want to keep playing. For example, we won’t abandon our beloved quiet-loud dynamics any time soon, I guess. However, we always try to implement out-of-the-box approaches, different synth and guitar sounds; varying song structures and the like.

Or, as is the case with Books & Comfort, we challenge ourselves to streamline a song - which is often even harder to do for us.

PHOTO CREDIT: Luke Bateman Photo

Who are the artists you all grew up listening to?

Chregi: Marilyn Manson used to be my favourite artist as an early-teen. Soon all the Emo bands - like Taking Back Sunday and Brand New - that were huge at the time took over.

Marc: I listened to terrible American radio Rock for far too long. I think La Dispute and Alexisonfire were my gateway bands to the realms of Post-Hardcore; '90s Emo and all that stuff.

Mike: When I was younger; I started listening to Punk-Rock. I was totally into NOFX, Propagandhi and all these melodic Punk bands. What I loved most about Punk-Rock was that everybody could do it. You didn’t have to be a pro. to do what you want.

Yeah, I loved this D.I.Y. ethic and it’s still part of me.

Arthur: Since my parents kept spinning The Clash and Buzzcocks records over and over again; I ended up being a big fan of Punk music - even before my teenage years.

I, then, soon got into all the classic Pop punk stuff like Blink-182, New Found Glory etc. which, somehow, led me to discover smaller Pop/Punk/Emo/Indie bands.

Have you any tour dates coming up at all? Might we see you in the U.K. at some point?

Marc: Apart from playing a few shows in Switzerland, we are heading out on a ten-day tour in October. Unfortunately, it won’t take us to the U.K. but we’re excited to be hitting France, Germany and, possibly, Austria.

We enjoyed our U.K. trip last summer and definitely plan to come back next year. It’s just difficult to handle with our jobs and university (and that kind of stuff).

Are there any new artists you recommend we check out?

I’m currently digging Backwards Charm: an Austrian band we became friends with.

The new Sinai Vessel record is great (even though they aren’t really new: they’re gaining some steam this year).

IN THIS PHOTO: Backwards Charm

Mike: I really dig Portugal. The Man’s latest album, called Woodstock. It’s my favourite of this summer.

Check it out, it’s great.

Arthur: The Tiny Engine-signed band Wild Pink released an album which definitely is, for me, an A.o.T.Y. (album of the year) contender.

There’s also a German band called Leoniden - who released a hell of a debut album this year.

IN THIS PHOTO: Leoniden

If you had to select the one album that means the most to each of you; which would they be and why?

Chregi: Brand New – Deja Entendu

It’s an absolute classic of the genre and easily my most-listened-to album. It’s still so great to jam it in the van.

Marc: It’s gotta be Death Cab for Cutie’s Transatlanticism

Not only is it an absolute masterpiece of melancholic Indie-Pop-Rock; it (just) holds a special place in my heart and takes me right back to the time and place when I listened to it religiously.

Mike: That’s a tough question...I mean, there are so many good records out there. But, if I had to pick one, I’d choose The Devil and God & are Raging Inside Me by Brand New

I love the whole idea behind the record. The profound lyrics still guide me through life. 

Arthur: I’ll have to say American Football’s L.P. 1 (eponymous album)

It somehow made its way to my ears during a fitting period in my life leaving a big emotional connection toward its songs.  

Also, given your literature-referencing song and band name; if each of you could only rescue one book from a burning building – bear with me on this one! – which would they be?

Chregi: City of Thieves by David Benioff

Marc: Jonathan Franzen’s The Corrections

Mike: The Dark Tower series by Stephen King

I read these seven books the fourth time in a row now - and every time I still discover new things.

For me, it’s just a masterpiece because it’s such a great mixture of genres and one of the greatest stories ever written.

What advice would you give to any new artists starting out right now?

Marc: I don’t think we are really in a position to answer this question satisfyingly.

It’s a game with so many factors in it and only one-in-a-thousand will make it big - so you might as well just do what you want to; write the songs that you want to. Stay true to yourself and have fun. On a more practical note, it certainly helps if you show up at (local) shows - or even book and promote shows on your own.

You will make new friends, discover great bands and make connections that can help your own band as well…so it’s a win-win-win.

Mike: Make music because you love it - and don’t think too much about getting famous. Write songs and have fun.

Simply stay true to yourself.

Arthur: Marc already put in words what I’d have said perfectly….

Finally, and for being good sports; you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Chregi: Manchester Orchestra – The Alien

Marc: Slowdive – Don’t Know Why

Mike: Portugal. The Man – Live in the Moment

Arthur: Leoniden – Nevermind

________

Follow Cold Reading

 Official:

https://coldreading.net/

Facebook:

https://www.facebook.com/coldreadingband/

Twitter:

https://twitter.com/coldreadingband

Instagram:

https://www.instagram.com/coldreadingband/

Spotify:

https://open.spotify.com/artist/2hF1SQUkMYdZ35YogbA0iA

BandCamp:

https://coldreading1.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCRaLSgCBBPlry9Vp9Zq_PYw

INTERVIEW: The Cuckoos

INTERVIEW: 

 The Cuckoos

________

THERE is something sickeningly envy-provoking about a thirty-something…

journalist interviewing a hot band whose eldest member is twenty-one! Not that I am jealous or anything but, putting aside the stress ball, I have been talking with The Cuckoos’, Kenneth Frost. He talks to me about the coming-together of the band and how their home, Austin, is championing their music.

The band’s eponymous E.P. was released in April so I ask whether there will be singles released; the artists/sounds that helped influence their sound and the gigs they have coming up.

________

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

Good!

We’ve just been working on lots of new tunes.

For those new to your work, can you introduce yourself, please?

I'm Kenneth Frost of The Cuckoos.

Tell me how you guys got together and the inspiration behind the name, ‘The Cuckoos’. It sounds like you share a common viewpoint when it comes to music.

We met through various mutual friends and musicians around Austin - and we share lots of love for a lot of the same artists.

The name came from me (just) watching One Flew Over The Cuckoo’s Nest one day. I thought it had a good ring to it. 

Classic Rock christened your music as “spectacular”. Is getting that kind of kudos encouraging?

Of course.

It's always nice to be complimented on our work.

Your eponymous E.P. was released in April. What kind of themes and experiences did you channel for the E.P.’s songs?

The songs were inspired by love, growing up; heartbreak…all the usual Rock and Roll stuff.

Are you planning any future single releases from the E.P.?

Yes.

We've got tons of music we're working on and hopefully we'll drop a new single real soon!

What has the reaction been like so far? Has it gone down pretty well with people?

People seem to dig it from what I gather.

The response at shows has been really encouraging. We’ll see what happens from here.

Austin is your base. What is the scene like in the Texan city? What are the best venues for a band like yours to play?

There's lots of cool venues for Rock and Roll groups - and Psychedelic bands - to play. The Electric Church is really groovy because they've got a killer light show. I like Hotel Vegas and Swan Dive a lot, too.

Looking at you – and hearing the music – one gets the impression of the 1960s and the classic artists of that time. What kind of music were you all brought up on?

We all listen to, and grew up with, tons of music from all over the spectrum.

At the time of the recording, I think we were very much on a late-'60s kick, for sure. But, I mean, we listen to everything from the Pixies, Kate Bush and Miles Davis to Joy Division, Chic and Pink Floyd.

We just love groovy music. 

It seems you mix new artists like Tame Impala with the energy and prowess of The Doors – but have your own personality and sound. Was it quite hard getting that mix right?

I think, when we play, we really (just) try to have fun and just express ourselves. The music we like listening to definitely shows in that - and we're proud of our influences.

It's not really a mix we had to get right: we're just doing our thing because we love it and we like the way it sounds. 

How was your first-ever SXSW experience - it sounds like that is the Mecca for any U.S. artist!

Well, we live in Austin so SXSW is always in our lives to some degree each year – but this year was great. We had a ton of fun, played some groovy shows; did a lot of interviews and stuff.

It was really cool. 

 What kind of gigs do you have coming up? Any plans on coming to the U.K. this year?

We just got back from England and then had a show in New York just a little while ago.

Other than that, we've just got some gigs planned locally in Austin - but I'm sure we'll head back over to England in the not-too-distant future. 

Are there any new acts you recommend we check out?

I've been listening to Psychic Mirrors, Soft Hair and Ariel Pink a lot lately (they're new to me) but there's also a cool Psych. scene in Austin brewing up.

We just played a show with The Halfways and Sherry at The Electric Church - and those are a couple of groups with a lot of potential.

IN THIS PHOTO: The Millbrook Estates

There's also a band called The Millbrook Estates - formerly known as Roaring Sun - that is making some killer music…so check 'em out! 

If you each had to select the one album that means most to you; which would it be and why?

I can't choose one.

I'd say it's a three-way-tie between Joy Division's Unknown Pleasures; Strange Days by The Doors and 1999 by Prince.

The first time I listened to each of those they blew my mind. The first time I heard 1999, I was visiting my mother for the holidays, and I woke up really early one morning at like five or six A.M. It was really chilly, so I put on a leather jacket and rode my bike around town as the sky went from black to a purgatory-like white; really listening to songs like Little Red Corvette and Lady Cab Driver for the first time.

It changed the way I look at music. 

What advice would you give to artists coming through right now?

Work hard, do what you want; be respectful, have fun and don't be afraid to be a lil wild. 

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

I've been digging Running Up That Hill (A Deal with God) by Kate Bush, lately 

________

Follow The Cuckoos

 Official:

http://www.thecuckoosaustin.com/

Facebook:

https://www.facebook.com/thecuckoosaustin/

Twitter:

https://twitter.com/TheCuckoosATX

Instagram:

https://www.instagram.com/thecuckoos/

Spotify:

https://open.spotify.com/artist/64iabHO8nawCxWlco2cH3z

SoundCloud:

https://soundcloud.com/the-cuckoos

YouTube:

https://www.youtube.com/channel/UCrW7zyGoUuLlyBNNRwibe_g

INTERVIEW: The RPMs

INTERVIEW: 

 The RPMs

________

CHRIS Hawkins, he of BBC Radio 6 Music, has claimed Brighton’s…

The RPMs have “more hooks than a harbour”. That is a bold and old-world claim that I had to contest with the guys – just how many hooks can one band have?! The boys discuss Brighton and why it is the perfect place to brew their unique and arresting music; the skinny on their latest track, Things I Forgot to Do - and what we can expect in the future.

The band has released a tour schedule tease (video) and are preparing for some big dates. I ask about their inception and how songs form; whether they have evolved/changed since their applauded album, Digital Disobedience, and, given the choice, the one album (each) they would cherish above all else.

(The guys completed the interview a few weeks back but only just got the answers back - so don't be confused by the timeline!)

_________

Hi, guys. How are you? How has your week been? 

Hey!

Very good, thanks. Yeah; we've had a brilliant week as we're playing ButeFest 2017 and just come off the road supporting that great bunch of guys, We Are Scientist!  

For those new to your work; can you introduce yourself, please? 

Jack Valero - Frontman and Guitar player

Miguel Comse - Bass and B.V.s

Callum James – Drums

Give me the lowdown on the new single, Things I Forgot to Do. What is it all about? 

This song is about that universal feeling of struggling...

As soon as you feel you have a grip on things, something comes along to knock it all down or you miss something crucial that throws everything out of whack. It's a feeling we can all relate to - but I think it's particularly prevalent in our age group. Young people slowly trying to figure out who the hell they are - and where their place is in it all.

It can be a very confusing time but also an exciting one, thwart with adventure and creativity. 

The E.P., Agents of Change, was released in April. What has the reaction been like to it? Will there be more releases from it or any new material later this year? 

The reaction's been good...

I think there's a lot of young people out there who are worried about the same things we are and want to talk about them. Especially now, when our generation is feeling more and more isolated with society: berating us so-called 'millennials' for being lazy, entitled and without purpose - when it couldn't be further from the truth.

So, there's a whole generation out there looking for something to latch onto that belongs to us - and connects us like the Internet has. 

How do songs come together for you? Do you all write together or tackle it separately? 

Well, sometimes Jack (the frontman) will come in with an idea and everyone will then add to it and build around it…but, it's becoming more and more collaborative as we go on, which is brilliant - cos you always get the absolute best stuff when working together.  

Digital Disobedience was your much-lauded debut. How do you think your latest E.P. differs? Are you more confident and different from when you started out? 

Yeh. We've made a conscious decision to change and try new things every time we've gone to record.

Like, Digital Disobedience was all loud guitars and angry teenagers: whereas Agents of Change has a slightly more mature approach - with more focus on hooks and production. We all feel it's very important creatively to step out of your comfort-zone as you can discover so much more about yourself and your ability - and keeps your creative mind fresh with new challenges.

We were very inspired by David Bowie's approach towards creativity as he would always be challenging himself (and it seemed to work pretty well for him). 

Chris Hawkins (BBC Radio 6 Music) says you have “more hooks than a harbour”. That must be pretty flattering. Can you quantify just how many hooks you do have?! 

Ha ha! Yeh. We all love that quote - we all shout it out now when we're on tour. It's our 'toppa-most-of-the-poppa-most'!

It's hard to really quantify every hook - as some of them the listener isn't even supposed to be aware of - they just love the sound or want to start moving.

What 'makes' a hook can be different for different people: it's the wonderful intangible nature of music!

But, in short, the answer is…lots. 

Brighton is where you are based. How influential is the vibe and buzz of the city when it comes to your music? 

Brighton is our home, sweet home and we absolutely love it!

There's just nowhere else like it in Britain. You can feel the creative and enthusiastic vibes oozing out the walls and through the streets. It's had quite a big influence on us as everything new comes through here and it's full of all sorts of new young upcoming artists - so our music began to take a far more contemporary style.

Also, where we've started to focus far more on beats - which Things I Forgot to Do is a particularly good example - is due to the fact there are quite a few Funk and Dance kind of bands around that people just wanna dance all night to in the clubs.

But, Brighton has such a diverse music scene that you just end up taking inspiration from everywhere.  

Are there a lot of bars and venues down there for bands to play? What is it about the city that you all love so much? 

Ha ha! Yeh; just a few.

We've got pubs, bars; clubs and theatres up the wazoo! Wherever you go, on any day: there's gonna be something happening - normally music-based. That's the beauty of it: there's always something going on.

It's just alive all day, every day.

Even if a shop closes: a brand-spanking-new one will pop up in its place a week later - selling something crazy like vegan dildos or something. It's such a forward-thinking place with one of the biggest Gay Pride parades - and they're now just finishing up one of the biggest wind farms in Britain; just off the coast.

The people here are always so proactive and turned-on. If you see something on the news, you'll probably see people picketing about it the next day.

Music is everywhere, on every street corner: in every venue to even just drifting out of someone's window. We wouldn't wanna be anywhere else right now.    

You are all so young but have accrued plaudits and great gigs. Does it feel daunting or have you sort of got used to the popularity and acclaim? 

Ah, thank you so much. Stop it! You're making us blush!

Yeh, it can be very daunting when you get big gigs come through that you know you need to go really well; but I think we've gained enough experience now that we can handle most things that might come our way.

We all know we can rely on each other as well to deal with anything big and daunting.  

Camden Rocks and Isle of Wight Festival were two big gigs this year. What were those experiences like? 

Fantastic.

Camden Rocks is always jumpin' and we always have fun there…and Isle of Wight was a first for us - but we had a great time as it's a really well-run festival and we got to hang out with some music friends of ours, Asylums and The Strypes.

We actually had a few of The Strypes (boys) see our set and the bass player Pete O'Hanlon come over after and tell us he really enjoyed it.  

IN THIS PHOTO: The band with James Peter Hunt at Isle of Wight

What upcoming gigs can you tell us about? 

Our next lot of dates are The Big Feastival on August 26th; RivFest on September 2nd and Radar Love on September 7th! 

Looking forward to all of them - because we love getting out and playing everywhere as much as possible. So, this time, getting up to ButeFest will quite the adventure. 110 Above:  looking forward to being a part of such a brilliant lineup; Big Feastival is (a festival) run by Jamie Oliver and Alex James from Blur - so we're hoping there will be cheese and a healthy school dinner on the rider! 

Radar Love, the brilliant club night in Derby; RivFest 2017 is special to us as it was set up to honour the memory of River Reeves - and the members of Viola Beach and their manager, who tragically lost their lives last February - and we had the honour of playing their first year.

The River Reeves Foundation is already doing amazing work in Warrington to support young talent with the money raised - and we're proud to have been asked back to play again this year.

IN THIS PHOTO: Berries/PHOTO CREDIT: Michele Britton

Are there any new artists you recommend we check out? 

Black Honey: Brighton lot, too; hung out with them a few times around town.

BERRIES: great all-girl three-piece with a great combination of hooks and Punk rawness.

Rex Orange County: particularly the track, Uno - which has some amazing and really poignant lyrics.

And…Cabbage: saw them at Glastonbury; was very impressed and even got to meet them after - and they were a great bunch of guys.  

IN THIS PHOTO: BERRIES

If you each had to select the one album that means the most to you; which would they be and why? 

Jack: The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie

Because it helped me get through my latter-school years and showed me a world outside (of it) filled with possibilities. 

Callum: AM by Arctic Monkeys

Because it taught me not to be afraid to mix traditional Indie with other types of music - such as Rap and Dance etc. 

Miguel: Heartbreaker by Ryan Adams

Because it inspired me to start writing my own songs.

What advice would you give to any new artists starting out right now? 

I don't know if we're in a position to really give out much advice, yet…

But, if we would say anything, it would be to be ready for the long -haul and always keep pushing - and always try new things out of your comfort-zone.

Getting stuck in one thing and one place is the biggest of killers when it comes to advancing as a musician and creative. 

Finally, and for being good sports; you can name any song and I’ll play it here (not one of yours as I’ll do that). 

Fantastic.

Can you please play There She Goes by The La's - as it's one of our favourite songs and we wished we'd written it.

_________

Follow The RPMs

 Official:

https://www.the-rpms.co.uk/

Facebook:

https://www.facebook.com/TheRPMsOfficial/

Twitter:

https://twitter.com/The_RPMs

Instagram:

https://www.instagram.com/the_rpms/

Spotify:

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FEATURE: Hip-Hop at Forty-Four: Street Prophets: Musical Progression and Social Inertia

FEATURE:

 

Hip-Hop at Forty-Four:

IN THIS PHOTO: The album cover of Eric B. & Rakim's 1987 Hip-Hop masterpiece, Paid in Full

Street Prophets: Musical Progression and Social Inertia

________

IT is typical of Google that, when searching for results…

pertaining to the forty-fourth anniversary of Hip-Hop; the first options one finds are articles relating to their commemorative ‘doodles’ – a special design/interactive tool that appeared on their search engine a couple of days back. BBC Radio 6 Music celebrated the birth and evolution of Hip-Hop (Hip Hop Hooray) with a day of special programmes yesterday. It was a remarkable, authoritative and passionate examination of a genre that began, pretty much, from one man: Clive Campbell. Better known as DJ Kool Herc; he hosted a back-to-school party in the Bronx, New York on 11th August, 1973. That single, momentous event probably didn’t seem epic or groundbreaking at the time - but it has been credited as the time Hip-Hop was recognised as a genre. Defined by mixing, heavy beats and acute sampling/scratching: it started with modesty but certainly lit a fuse. It would a little while until the first commercial Hip-Hop album - Sugarhill Gang’s Rap Genius - was introduced to the public (in 1979).

IN THIS IMAGE: Ronald Reagan; who was President of America when Hip-Hop assimilated into the mainstream

There are debates as to whether forefathers pre-dated DJ Kool Herc and whether someone else snuck in and sowed the seeds. Conventional wisdom credits DJ Kool Herc, Afrika Bambaataa and Grandmaster Flash as the ‘Holy Trinity’ of Hip-Hop. It is debatable which had a greater effect on the explosion and noticeable nature of Hip-Hop: that back-to-school pioneering event from DJ Kool Herc or the social dissatisfaction that arrived when President Reagan came to the White House in 1981. There were murmurations and groundbreaking albums happening before that time – Rap Genius was the first time Hip-Hop ascended to the mainstream – but there was an acceleration and proliferation of outraged voices stepping up after Reagan’s appointment. I will talk about some of the best albums of the genres and the way the genre has evolved over the years but, for now, a social study. There is a haunting and troubling symmetry when we celebrate Hip-Hop’s birth. The movement/genre recruited its faithful off of the back of governmental ignorance and social poverty – the fact the community, the black community, for the most part, were being trodden on.

By the late-1970s; there was a hyperinflation of the racial divide, social inequality and political tension. Regan’s appointment to office was not exactly the turnaround and redemption many had wished for – being a Republican; he was unlikely to prioritise those less-well-off and struggling. That, back in 1981, caused greater division and cracks in the fabric of U.S. society. Out of the tensions and divides grew a band of artists who articulated, with passion and intelligence, the dissatisfaction and anger being felt by the people of America. Again, we assume it applies to the masses but it was the minority (the black community) who were worst affected – making it seem rather racially-motivated and oppressive. Of course, the whole of America was feeling strain but, as is the case now, there was racial divisionism and social alienation. The affected minority were not getting their voices heard: Hip-Hop was the counterculture explosion that gave its boldest and bravest the platform on which to campaign and sermonise.

IN THIS PHOTO: Scenes of the violence in Charlottesville, Virginia/PHOTO CREDIT: Samuel Corum, Andloua Agency and Getty Images

I mentioned how there was a rather ironic appropriateness we are celebrating the formation of Hip-Hop. One cannot ignore the news and the horrifying scenes coming out of Virginia. It is hardly conceivable what we are seeing happening in Charlottesville right now. Look at a BBC article and, be forewarned, there is some upsetting detail. One woman has been killed and many injured after violent clashes and terrorism – a car ploughing through a crowd of people. The sight of people being tossed through the air like a discarded tissue is enough to turn the stomach and cool the blood. I am not sure as to the exact reason for provocation but far-right white ‘supremacists’ must have been orchestrating and planning this riot for many months. Whether motivated by President Trump’s rhetoric concerning making America 'great again' – there has been nothing that could justify or rationalise this insane and degraded event. One, sadly, assumes there are racists in certain parts of America – the least-evolved and backwoods parts of inbred states!

IN THIS PHOTO: A shocking image from Charlottesville/PHOTO CREDIT: AP

The animals of Charlottesville that have brought the town into disrepute care not for human life or morals: their intention was to show, in some twisted way, why whites are a superior race. Trump’s response to the atrocities has been piecemeal and pathetic! In a rather aloof and unconvincing way; he has condemned the far-right and made it clear America will not tolerate such happenings. That is funny as one could easily blame Trump for this happening in the first place. If he wants to unleash "fire and fury" (as he promised the leader of North Korea, recently) then why not direct it squarely at the abdomens of the racists?! I say ‘abdomens’, because one assumes their brains and genitals are too microscopic to be affected by any weaponised reaction. It is sickening, in 2017, having to witness such hatred and division – that sound familiar?!

IN THIS PHOTO: President Donald J. Trump

If anything; it is worse now than it was at the peak of Hip-Hop. I am confident the reaction from the music world will be swift and unforgiving – barrels being unloaded in the direction of the guilty and Trump. The backlash and outrage on social media have proved how these ‘people’ – that can be seen in their modernised K.K.K. outfits – do not speak for the rest of the world. Even if these riots are confined to a small part of America: how can we be sure it will not spread and inspire like-minded factions to mobilise a similar battalion in another part of the nation?! We can’t, you know, but it seems shocking we should have to contemplate. In the late-1970s/early-1980s, there was balkanisation, economic gulfs and neighbourhood poverty – once-proud areas being reduced to ghettos because of the government’s cold and ignorant views of America. They, then, were unaware of ‘real’ American and how the honest, hardworking citizens lived. It seems, forty years down the line, they are as deluded and naïve as ever.

IN THIS PHOTO: Former President Barack Obama

One knows Trump will do nothing to quell the venom and assured his people – the fact his predecessor, Barack Obama, presently and retrospectively, seems to offer more hope is a sign of how scary Trump is a President. I shall get away from the issue but I know the titans of Hip-Hop will not let this one go. One imagines the likes of Kendrick Lamar, Prophets of Rage and Run the Jewels are inking up their pens and scribbling furiously. I will return to the social divisions and stagnation later but, before coming to the best Hip-Hop albums through the years, I wanted to source an article I have just discovered. Talking about Hip-Hop’s pioneer, DJ Kool Herc; a piece from The Guardian (in 2011) highlighted how much the Hip-Hop community owes to their forefather. Suffering illness during this time; the piece scorned those who did not play benefits and raise money to fund Herc’s treatment:

“There are few pioneers of any musical form who could truly be considered the master architect of a genre – but Herc has that distinction. Hip-hop doesn't just have a family tree, it has a birth certificate: the hand-drawn flyer for the party Herc threw in the basement of 1520 Sedgwick Avenue in the Bronx on 13 August 1973, which so many people turned up to, they had to move it outside, to the nearby Cedar Park. His "merry-go-round" approach – extending the percussion break by playing a second copy of the same record on one turntable as soon as the break had finished on the other deck – gave the world the concept of the breakbeat. Breakdancing, rapping over breakbeats, sampling and loop-based dance music all began that night. Although he is generally seen alongside Afrika Bambaataa and Grandmaster Flash as one third of hip-hop's founding "holy trinity", Herc is first among equals. While Bam was the "Master of Records", his encyclopaedic knowledge of different music adding to the emerging genre's stylistic and sonic palette, and Flash was the innovator whose aptitude for electronics enabled his invention of cutting, cueing and (perhaps: his protege Grand Wizard Theodore claims the invention, though Flash demurs) scratching, Herc was the one who laid the foundations on which they built.

 Yet unlike practically everyone who followed him, Herc did not manage to monetise his innovations. Bam and Flash both formed groups with rappers, got signed to key independent labels, and made worldwide hit records. By contrast, Herc was more about the size of the sound system and the atmosphere of the parties he threw, neither of which were things he could duplicate and sell. He stayed in the rec rooms and parks, rocking the beats for the people of hip-hop's epicentre, paying little attention to DJ innovators or the politics of the record industry. Maybe he paid the price for not trying to forever stay on the cutting edge of the genre he accidentally founded: but if you were putting it in the sort of language rappers have tended to use down the years, he never sold out, and he kept it real. His prize for this was a ton of respect, but virtually no cash.

IN THIS PHOTO: Run-D.M.C. and Posse captured in Hollis, Queens (New York) by Janette Beckman in 1984

With the honourable exceptions of Public Enemy and the Chemical Brothers, it looks like pretty much anyone involved in the business of hip-hop, breakbeats or sample-based music owes Herc big time. Jay-Z once rapped that his approach to the industry was to make it pay for the way it mistreated hip-hop's innovators ("I'm overchargin' niggas for what they did to the Cold Crush," he wrote in Izzo, referring to the Cold Crush Brothers, whose leader, Grand Master Caz, had his rhymes used by the Sugar Hill Gang on the first ever rap single) – but words only go so far”.

I will not sub-categorise and headline the segments of this piece but one must forgive that lack of discipline – the fists are still clenched reading the updates coming out of Virginia. Although there is utter f*cking chaos and insanity happening in the U.S. – nothing new there! – it seems like a new, intent wave of Hip-Hop will form. There have been pieces that have studied the etymology of Hip-Hop and the neighbourhoods/people that helped build its foundations – and ensuring it reached the masses. I know the next year-or-so will lead to some explosive and pioneering Hip-Hop albums.

To me, the best Hip-Hop albums were created in the 1980s. It is not shocking considering the factors that contributed to the rise of the genre – artists reacting to the dislocation and instability around them. Aside from confident raps, scratching and socially-aware lyrics: one of the key corners of the Hip-Hop sound has been sampling. It is common in almost all of the best Hip-Hop albums of all time. During the 1980s, there were some fantastic Hip-Hop albums springing up. Criminal Minded by 1987; Run-D.M.C.’s Raising Hell; 3rd Bass’ The Cactus Album; LL Cool J’s Bigger and Deffer. Those are all enduring and defining works that have survived time and influence artists today. One of the biggest albums of the decade – that did not necessarily go overboard on sampling – is/was N.W.A.’s Straight Outta Compton. A humorous album that many felt raised more hell than it did answers: it was provoked and propelled by the same anger and problems that kick-started the Hip-Hop movement. It is an angry and evocative work that remains the group’s most-famous record. Look at those heavyweight Hip-Hop-samplers and I bring to you Beastie Boys, De La Soul; Public Enemy - and Eric B. and Rakim. The latter can be seen as one of the first albums to use sampling in such a way as to unify disparate genres and artists.

IN THIS PHOTO: The cover art to Beastie Boys' album, Paul's Boutique

Paul’s Boutique arrived in 1989 and many can argue it is a finer album. Paid in Full came two years earlier and is considered one of the greatest albums ever. It, not only gave Hip-Hop artists the confidence to use sampling in their work, but directly nodded to where the genre came from. One of the most remarkable things about Hip-Hop is the fact it is not an organic and lab-created style of music. Paid in Full is credited as a landmark album of Hip-Hop’s golden age. Rakim's rapping, which pioneered the use of internal rhymes in Hip-Hop, set a higher standard of lyricism in the genre and served as a template for future rappers. The album's heavy sampling by Eric B. became influential in Hip-Hop production. It is a benchmark, for sure, and one that assimilated Jazz textures and multiple sounds into the Hip-Hop boiling pot – a gauntlet that their contemporaries learnt from and integrated into their own work. 3 Feet High and Rising arrived (in 1989) and was another one of those late-1980s albums that took from Paid in Full and nodded to those golden pioneers.

IN THIS PHOTO: De La Soul

De La Soul employed humour, a unique positivity and uplift that seemed to contrast a lot of the Hip-Hop material at the time. Fellow Hip-Hop legends like Public Enemy would take a more direct and aggressive road to realisation – De La Soul seemed like their Angel (to The Devil), The skill and breadth of De La Soul’s sampling meant 3 Feet High and Rising was listed as one of the finest albums of the 1980s. Jazz, Jazz-Rock and Pop were all poured into the mix. If not as socially-conscious as other albums of the time: it balanced humour and seriousness; put disparate songs – Hall and Oates, Steely Dan and George Clinton were all sampled – together in one. Beastie Boys’ 1989-album, Paul’s Boutique shouldn’t have received the mixed critical reception it did. Considering the like of De La Soul and Eric B. and Rakim had shown how accessible heavily-sampling albums could be; there was a comparative lack of empathy towards the New York trio’s masterpiece. It took years for true acclaim and realisation but, in that wonderful era, it seemed like a natural thing. Using different samples than De La Soul:

IN THIS PHOTO: Public Enemy

Using different samples than De La Soul:Beastie Boys were the vocal/lyrical link between Public Enemy and De La Soul. They had the anger and swaggering attitude but laced lashings of wit and humour into their music. Their rhymes are legendary and their rapping ability cannot be faulted. Hip-Hop artists at the time were using older styles of music and modernising them for new audiences. The same way we can trace modern Rock back to Rock and Roll of the 1950s: one can look at styles like Jazz and Soul as vanguards and inspirations for Hip-Hop. The fluidity and experimentation of Jazz seemed like the natural parent of a genre synonymous with its flows, inventiveness and boldness. It was Public Enemy’s magnum opus, It Takes a Nation of Millions to Hold Us Back. It seems strangely prescient and clairvoyant. An album, nearly thirty years on, seems to represent a sense of racism and outrage.

With Chuck D still in circulation (with Prophets of Rage) one imagines his mind is starting to work on new material. In 1989, the Hip-Hop world had not witnessed anything as articulate, groundbreaking and impactful as Public Enemy’s masterpiece. Maybe N.W.A. had the same anger and aggression but did not channel it into anything as fascinating and relevant as It Takes a Nation of Millions to Hold Us Back. With this L.P; The band wanted to write a Hip-Hop equivalent of Marvin Gaye’s What’s Going On. Whilst their debut, Yo! Bum Rush the Show was largely shunned in favour of the R&B/Rock mainstream in 1987 – there was no ignoring their follow-up in the wake of a Hip-Hop takeover. The Bomb Squad, the group’s production team, produced thick layers to compliment Chuck D’s fiery lyrics; Flavor Flav’s lighter interjections and a myriad of sounds – breakbeats and scratches; incredible samples and some of the most intense performances on record. It remains one of the best albums of all-time and propelled Hip-Hop into the 1990s.

Not only did It Takes a Nation of Millions to Hold Us Back inspire a generation and unify ample samples with a unique identity: the album, in itself, has been sampled by the likes of Madonna (Justify My Love) and Beastie Boys (Egg Man). Not to fly through the ensuing three decades but we have covered the best Hip-Hop albums. The 1990s picked up the mantle and, whilst social concerns and divisions were not the same as the decade previous; the legacy laid down by Beastie Boys and Public Enemy gave contemporaries the confidence to use more sampling and push boundaries. Nas’ Illmatic, Dr. Dre’s The Chronic and A Tribe Called Quest’s The Low End Theory took the origins of Jazz and Hip-Hop and updated it for the early-1990s. One can bring in Funk and Soul that, together with Jazz, relies on a sense of flow, improvisation and rhythm – which were being appropriated and adapted by the Hip-Hop masters of the 1990s. Mos Def’s Black on Both Sides and Lauryn Hill’s The Miseducation of Lauryn Hill were two of the defining works of the late-1990s.

IMAGE CREDIT: Roman Genn

Many assume Hip-Hop to be male-dominated and, whilst true to an extent, Hill’s sole solo album showed there was a generation of female innovators unafraid to join the male-heavy landscape of Hip-Hop. Hill, like her peers, addressed issues affecting her people/community but looked at love and personal demons. She showed it was possible to mix social commentary with more traditional songs and create a stunning work of art. Hill was bringing in Reggae, Roots and Soul (more than Jazz and Funk) – showing how many styles Hip-Hop was inspired by. As opposed to the crate-digging samplers of the 1990s – Lauryn Hill was among a new breed relying more on original compositions but still being innovative and expressive with regards sounds and genres. Aside from the occasional piece of genius sampling album – DJ Shadow’s Entroducing…… in 1996 – the more modern brand of Hip-Hop was defined by a grittiness and directness.

More in common with the acceleration and passionate deliveries of Public Enemy: the best Hip-Hop albums of the '00s have retained the affectionate nods to the past but updated Hip-Hop. Take modern geniuses like Kanye West and Eminem and you hear them dip into the annals of music’s past and scatter Soul, Rock and early-Hip-Hop samples into their music. Eminem is one of the few white Hip-Hop artists of the last to hit the mainstream in the last few decades – showing it is a genre that is not confined in terms of race. Social poverty affected the black community, and still does, in the 1980s – hence its popularisation and explosion – but modern Hip-Hop artists are reacting to the breakup and fragmentation in their nation – something that affects everyone. I have mentioned mostly American artists but, aside from a few British acts like The Streets, the most compelling Hip-Hop albums from all time have been American.

Eminem’s The Marshall Mathers LP arrived right at the start of the '00S and mixed humour, outright aggression – the author lambasted for his homophobic, misogynistic and sexist lyrics – and incredible confidence. The extraordinary raps and incredible flows made the album of the defining works of the decade. The likes of Eminem and Kanye West were addressing issues affection society of the time. Eminem, when he was not rallying against lovers and accusers, was talking about the pressures of fame and nature of popularity. Kanye West, on The College Dropout, talked about materialism and sexual identity. It brought in samples of Michael Bolton, Aretha Franklin and Marvin Gaye (among others) and ensured Soul was still part of the Hip-Hop landscape. Eminem was using Rock samples/strings and, between them, created some of the most astonishing, inventive and compelling music of the decade.

IN THIS PHOTO: The album cover of Kendrick Lamar's 2015 album, To Pimp a Butterfly

Outkast’s phenomenal double album Speakerboxxx/The Love Below (2003) was a landmark record and one of the best records of the '00s. Kanye West’s Yeezus; Frank Ocean’s Channel Orange and Kendrick Lamar’s To Pimp a Butterfly show there is plenty of life and inspiration in modern Hip-Hop. One can draw a line between Lamar’s 2015 epic and albums by Public Enemy and N.W.A. There is a lot of anger and fracture in America: ensuring this is represented through a medium like Hip-Hop is essential. It is encouraging seeing Hip-Hop artists retain the components and D.N.A. of the pioneers. Kendrick Lamar, on To Pimp a Butterfly, mixed Jazz elements and instrumentation against tougher and tauter raps – that balance of defiant verses and smoother horns went into a remarkable record.

IN THIS PHOTO: An exciting new British Hip-Hop talent, Loyle Carner

I opened by looking at the tensions and problems affecting Virginia right now. The wreckage and bloodshed of yesterday will take a long time to clean. The stains and repercussions of the horror will endure and there is a lesson for America to learn from. If its music and Hip-Hop artists have evolved and fostered something inspiring and beautiful – they are being let down by their government and worst elements. It is the minorities (black community) affected and afflicted by hatred from another minority (the far-right). In the same manner President Reagan compelled anger and rebellion in the early-1980s: President Trump seems to share a lot of the same components. It is scary seeing two very similar leaders oversee racial tensions and division. Reagan’s leadership (or lack of...) led to the commercial birth of Hip-Hop: current violence and aggression will, in my view, lead to a new wave of Hip-Hop meaning and aggression. Artists will not idly stand by and watch these kinds of things go down. It takes an inept President and the monkey-brained faction of racists to provoke worldwide condemnation and revulsion. It seems, since the birth of Hip-Hop forty-four years ago, society has really not progressed and learned from its mistakes. It is the hate-fuelled minorities that are dragging things down. I am pleased seeing Hip-Hop celebrated and given proper honour but worry those pioneers and innovators will be spinning in their commercial graves knowing their important and powerful messages have not been taken seriously.

IN THIS PHOTO: Hip-Hop pioneer, Afrika Bambaataa

Yes...they have inspired musicians and changed the fabric of music but they are being ignored by those who have the power to change policies and ill practices. Let us hope it does not take another racist rampage like yesterday’s for us to realise more needs to be done; how timely the landmark Hip-Hop albums are – and where we need to improve. Against all the sourness and disgust that is being felt around the globe; let’s be thankful for DJ Kool Herc and that incredible night forty-four years ago. He helped create and inspire a genre of music that, to me and many, is one of the finest and most inspiring. It has evolved over the decades but produced some of the greatest albums in history. Long may that continue and, as we remember those affected in Virginia; let us pay homage to a remarkable genre of music – created by a phenomenal human. Tonight, you know, let’s all get a drink in hand and…

IN THIS PHOTO: DJ Kool Herc

RAISE a glass to him!

FEATURE: Elvis Presley: The King of Rock and Roll

FEATURE:

 

Elvis Presley: 

 The King of Rock and Roll

________

IN three days; it will be forty years since Elvis Presley…

left the world. Fortunately, I was not alive to hear that sad news because God knows how extraordinary and life-changing it would have been for the people – not only his fans but those who did not recognise his music! One cannot celebrate and talk about Presley without talking about him as a phenomenon. Nearly every other musician who has ever lived could be seen as such: that is not the case with Presley. I guess the only other musician death that would have had that biblical impact as John Lennon. I feel, unlike Lennon, Presley stewarded in and invented what we understand to be Rock. His Rock and Roll/Blues mixtures were unheard of and completely revolutionary. With the likes of Chuck Berry; he helped put Rock and Roll into the mainstream and reinvented music of the time. That is not an exaggerated and one cannot underestimate the importance of his debut album, Elvis Presley. Before I go on, as an overview and distillation unfamiliar with Presley’s birth and rise, a Wikipedia summary of his life:

“Elvis Aaron Presley[a] (January 8, 1935 – August 16, 1977) was an American singer and actor. Regarded as one of the most significant cultural icons of the 20th century, he is often referred to as the "King of Rock and Roll" or simply "the King".

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee with his family when he was 13 years old. His music career began there in 1954, when he recorded a song with producer Sam Phillips at Sun Records. Accompanied by guitarist Scotty Moore and bassist Bill Black, Presley was an early popularizer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who managed the singer for more than two decades. Presley's first RCA single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. He was regarded as the leading figure of rock and roll after a series of successful network television appearances and chart-topping records. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines that coincided with the dawn of the Civil Rights Movement, made him enormously popular—and controversial.

PHOTO CREDIT: Gillian G. Gaar (from the book, Elvis: The Legend)

In November 1956, Presley made his film debut in Love Me Tender. In 1958, he was drafted into military service. He resumed his recording career two years later, producing some of his most commercially successful work before devoting much of the 1960s to making Hollywood films and their accompanying soundtrack albums, most of which were critically derided. In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed televised comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley featured in the first globally broadcast concert via satellite, Aloha from Hawaii. On August 16, 1977, he suffered a heart attack in his Graceland estate, and died as a result. His death came in the wake of many years of prescription drug abuse.

Presley is one of the most celebrated and influential musicians of the 20th century. Commercially successful in many genres, including pop, blues and gospel, he is one of the best-selling solo artists in the history of recorded music, with estimated record sales of around 600 million units worldwide.[5] He won three Grammys, also receiving the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame”.

PHOTO CREDIT: Getty

That is, of course, a brief biography – the webpage gives a lot more detail and depth – but it is a pretty good assessment of a true legend. Many call Presley the King of Rock and Roll – I cannot argue against that! To me, he is someone I appreciate retrospectively and vicariously. I was not alive during his lifetime so did not get to experience the brilliance and rush of his musical genius. The artwork to Elvis Presley’s debut album has been much-copied – The Clash on London Calling, for example – and it was a record that spent ten weeks at number one on the Billboard Top Pop Albums chart. In 1956, there were rumblings of Rock and Roll. People had heard of Buddy Holly but there was nobody who propelled the genre into the spotlight and helped changed the landscape of modern culture.

The young, beautiful and peerless talent of Presley was a fire-breath of revelation at a time where there were so much beige and ‘old-fashioned’ sounds. Here, a cool and swaggering God created the first million-selling album of the genre. No denying how necessary and universal his album was. Heartbreak Hotel was a monster hit for Presley so, following that success; RCA wanted its promising star to put an album out. Presley and his band sojourned to the studio but, before they did, penned moments and lines that would appear on that decade-defining record. In the 1950s, today I guess, there was that pressure to release the ‘best’ songs as singles and have ‘lesser’ tracks as album material. The record company wanted those big songs that appealed to the young – to get the dancefloors moving and the diners/clubs jumping. The recording of that debut was not that smooth. Presley had a few smashes to put in but, requiring a minimum length of time/amount of songs forced The King to put five unreleased songs onto the record – including Just Because and Trying’ to Get to You. Covers formed the album but the reason Elvis Presley was such a landmark was the way it transformed the original material.

Money Honey (Jessie Stone) and I’m Counting on You (Don Robertson) were turned into near-religious experiences in Presley’s hands. He showed he could tackle R&B, Rock and Roll and Blues and craft his own unique voice. Even a cover of Little Richard’s Tutti Fruitti sounded new and reborn – some honour given the stature of its creator. The entire album was released as singles - which meant the public has full exposure and access to that incredible release. At the time, the debut album was a revolution and revelation. Today, there is literally no way of quantifying the effect and influence that single album has had on the modern landscape. In the way it changed the 1950s and popular culture: that, in turn, influenced 1960s artists and the biggest artists of the time – that has passed through the generation and brought music to where it is today.

PHOTO CREDIT: Gillian G. Gaar (from the book, Elvis: The Legend)

Subsequent albums like Elvis (1956) – with the likes of Rip It Up and Long Tall Sally included – it was another smash and commercial hit for the Presley. In 1956, Presley was the first artist to see both of his albums hit the number one spot in the charts. The fact he managed to produce two albums in the space of a year would seem almost alien today – quite a few artists had that productivity in the 1950s and 1960s. One could argue there was an immense aesthetic appeal to the young singer. Today, Presley would have to battle through hordes of iPhone-wielding teens – not giving him any eye contact – but, back in the 1950s, he was an absolute sensation. It was not only his natural beauty but the incredible voice that hooked in the fans. There has been nobody that has managed to rival that mix of husky depth and youthful vigour. There are few ‘unique’ singers today – most sound like someone to an extent – but Presley certainly had no equals. Couple that with a stage presence and hip-swivelling allure that topped off that true Rock package and one had a ready-made icon. It seemed to happen right from the off. So many contemporaries had to work hard to get the same kind of success but Presley was thrust into the limelight.

The young star grew up inspired by Gospel music and, according to his mother, from the age of two, the boy would dance in the aisles of the Assembly of God church in Tupelo. He attended all-night Gospel sing-alongs later and this all cumulated in Presley’s initial musical incarnation as part of The Statesmen – emotive and thrilling singing from lads dressed in dapper and eye-catching suits. It is unsurprising Presley’s stage demeanour would captivate and move as easily as it did. That spiritual and religious affinity flowed through the blood (and groin) of the legend. During the 1950s and 1960s, of course, there was segregation, race riots and racism – look at the news today and we have not progressed that far! – so it was quite unconventional for artists to back black artists and show a love of genres like Gospel and R&B. That race ‘issue’ materialised when Presley would conduct radio interviews. Many would call thinking he was a black artist – given segregation and racial tensions; that was a no-no – and that might seem flattering to many. Luckily, Pressley was not as ignorant as many of his fellow Americans and showed his respect and support of the black community.

This openness and universal love were reciprocated and, before long, Presley was a big film star getting roles in Jailhouse Rock (1957), G.I. Blues (1960) and Blue Hawaii (1961). The fact the musician was having films written for him is something we could not imagine in this day and age – there is no star that has that demand and popularity. If Presley’s acting chops were impressive (if not on a par with James Dean) he certainly had the same cool and command as the Hollywood idols of the day. His early-1960s albums might not have been as meteoric and popular as his debut – still commanding enormous respect – but his 1960 album, Elvis Is Back! can be considered one of his finest. Fever, The Girl of My Best Friend and Like a Baby, like his debut, was ground-breaking and conic.

IN THIS PHOTO: Presley in Jailhouse Rock (1957)

If his 1956-debut was marked by its fusion and progression of Rock and Roll: Elvis Is Back! bonded more to Pop and was the start of a more Pop-driven period for Presley. It was this album where Presley’s voice hardened and the arrangements became more sophisticated; he was tackling a wider range of songs and experimenting with new genres – performing ballads and love songs alongside the megahertz-thrill one heard four years earlier. It seemed like the album title was not ironic: it was very much a comeback and regeneration. Aside from film soundtracks – Blue Hawaii and G.I. Blues in the early-1960s – there was not a lot of studio action from Presley before the 1970s. That film stardom and increasing popularity drew his attention elsewhere and, conceivably, started a course that would end in tragedy.

It is hard to say how linked increased fame was to his untimely death but there was a lot of pressure on his shoulders. Growing larger – in terms of success and girth – meant health problems and creative dips followed. The world had never experienced a phenomenon like Elvis Presley – and have not since – so it was understandable the megastar took advantage of the acclaim and demands. Back to his debut years and it important to note just how needed Presley’s introduction to music was. Artists like Little Richard praised how Presley let black music through. At a time, when there was segregation and homogenisation in the music industry – certain genres being heard by black audiences; other genres reserved for white people – Presley broke barriers and helped put R&B into the wider arena. President Jimmy Carter recognised his pioneering music and how his rebellious attitude electrified people of the time and turned him into an instant icon.

IN THIS PHOTO: Graceland

That blend of sexuality, showmanship and explosive music was the catalyst for a social change and betterment. It is hard to say how influential Presley was with regards changes in attitudes to black Americans but it is clear his music transformed the world. If early albums like A Date with Elvis (1959) and For LP Fans Only (1959) showed how prolific and consistent he was in the 1950s: the years that followed saw less music but no real slowing of his popularity and work. Presley was putting more time in his film career and live gigs. The 1972 album, He Touched Me, was, debatably, the most-successful album of Presley’s 1970s. His third and final Gospel album showed a focus and quality previous albums lacked and his final album, Moody Blue, contained some pearls. I have not even mentioned Presley’s famed and hallowed home of Graceland. It has seen millions of tourists flock in worship; Paul Simon talked about it on the Graceland album – it is the most-revered and iconic musical home ever (more so than Prince’s Paisley Park and Michael Jackson’s Neverland Ranch).

IN THIS PHOTO: The ‘Jungle Room’ at Graceland - where Presley and friends recorded music/PHOTO CREDIT: Gillian G. Gaar (from the book, Elvis: The Legend)

It is a monument to an artist who managed to transform music in ways we cannot fully appreciate. I shall not go into his final hours – for they are grotesque and appalling sad – and his romances and celebrity lifestyle. It is the music, image and magic that elevated a promising young singer to the King of Rock and Roll. That incredible debut ignited and sparked a Rock and Roll riot; later albums helped popularise and evolve Pop and Gospel – at every stage, in every decade, Presley was transforming music and breaking boundaries. That incredible personality helped bring physicality, emotion and incredible candour to the music. Listen to songs like In the Ghetto and one gets shivers and shocks – it is a marvellous and haunting rendition that showcases how tender and transcendent the master could be. The fact Presley could awe when talking about social poverty as he could something as (relatively) shallow as jukebox joints and young romance – how many of today’s artists can say they managed that?!

Live albums such as 1970’s On Stage showed what a captivating and accomplished live performer Presley was. From his Vegas period through to his return to that Memphis sound: the King of Rock and Roll managed to cast himself as that casino showman or pastor without much strain. He had these guides and period that reflected his progression from the Rock and Roll innovator to this glitzy showman. Maybe the Vegas era did have a hand in his addiction to food and drugs; that pressure and fame meant Presley self-medicated and self-destructed to an extent. There is something sad and tragic realising he was only forty-two when he died. Who knows how far he could have gone and where he would reach was he better safeguarded and advised. It is those live shows, in my mind, that perfectly demonstrated why Presley is an icon whose importance and legacy cannot be disputed. In a few days, we will mark forty years without him in the world: a timely reminder of all the terrific music he left behind. From Hound Dog and Love Me Tender (1956) to Jailhouse Rock (1957); It’s Now or Never (1960) and Crying in the Chapel (1965) – such a range of iconic tracks and wonderful moments. Strip away Colonel Parker and the Aberbachs – great band name, by the way! – and the control they exerted over Presley’s career (and, how, that could have led to his untimely demise) and the 'Memphis Mafia' – the group of friends who Presley discovered in the early-1960s and opened his world to excess and degradation – and let’s focus on the music and legacy. I feel nobody has left a bigger mark on the world than Elvis Presley.

IN THIS PHOTO: Presley in Jailhouse Rock (1957)

From that monumental debut to his incredible raft of number-one singles: nobody has done more to push music forward. That can be contested but I stand by that assertion. Regardless of your appreciation of the music: you cannot ignore the importance of Presley and what he did to music. It would be hard enough breaking boundaries now: in the 1950s, against a tide of racial segregation, he managed to, in a way, unify black and white communities but de-segregation music. That was noted by politicians and legendary peers; in a way, it gave people like Paul Simon the courage to do likewise in the 1980s – when he performed with Ladysmith Black Mambazo during Apartheid-era South Africa (for the Graceland album). He has sold more than a billion records; broken more than a billion hearts but, in sheer terms of numbers…

THERE is no one as spectacular and influential as him.

INTERVIEW: Steve Rodgers

INTERVIEW: 

 Steve Rodgers

________

QUITE a few artists have some famous ties but when it comes…

to Steve Rodgers; he has quite a prestigious and illustrious background. His father is the legendary musician Paul Rodgers – his sister, Jasmine, one of the finest new artists in the U.K. He has seen his work praised by Jimmy Page and Roger Taylor. There is no doubt Rodgers has witnessed a busy and exciting start to his career: toured and performed alongside other artists and marked himself as one of those songwriters to watch.

I ask Rodgers about his new single, I Will Grow, and working with producer Ken Nelson; what to expect from his upcoming album and some of those artists he tips for future success...

_________

Hi, Steve. How are you? How has your week been?

It’s been great, thank you – how are you?

For those new to your work; can you introduce yourself, please?

I'm a singer/songwriter from the U.K. - who has just finished a new album with producer Ken Nelson (Coldplay, Snow Patrol; Gomez, Paolo Nutini) and mixed by Adrian Bushby (Muse, Foo Fighters)

I Will Grow is your new single. What can you tell us about its inspiration and what it means to you?

I was at a gig and the promoter’s girlfriend was a life-coach - and was asking for some music for her website. I felt that it had to be a piano song. I went home and wrote the song and sent it to her the next day.

It's about how 'life' can happen to all of us: no matter our background; it’s about how we pick ourselves up time after time; how we overcome our struggles. We either sink or we grow. We have to adapt and learn to succeed - even when life is being hard on us.

It’s about being triumphant in the face of adversity.

Ken Nelson produced the track. What was it like working with him?

It was great.

He is fantastic at getting the right sound. It’s exactly how I wanted to record the album: very organic, no Auto-Tune – what you hear is what we play. I love some of The Beatles' albums where every song had a different vibe - and that's what I tried to do with this album.

So, we have songs that are full-electric band: just a piano, recorded live; acoustic band or just a guitar etc. We recorded at Elevator Studio in Liverpool at a time when the city was having a celebration of music, too - which was great.

On every street corner, there was a piano left standing for passers-by to play. It was great to hear buskers, school-children; Classical, Jazz and Blues musicians; mothers and office workers creating music.

The video sees you in woodland, playing the piano. What was it like filming there and do you think the images/setting act as a metaphor for the song’s messages?

I was brought up there - so, it’s almost my back garden.

Yes; climbing a hill is a bit like life I guess: it’s enjoyable but can be hard at times – but ultimately growing and learning makes us feel alive.

PHOTO CREDIT: Jane Judd

Will the song form the basis of an E.P. or album? What is in the pipeline?

Yes, I have.

My first album, called Steve Rodgers, is being launched this October.

The likes of Jimmy Page and Roger Taylor have heaped praise on you. Is it quite scary getting that kind of kudos from legends?! Does it motivate you to keep recording?

No, it’s not scary.

It's a huge, huge compliment and icing on the cake to what I do already. To be out there doing what I love, and having an audience enjoy it, is what it’s all about.

Your dad is Free/Bad Company’s Paul Rodgers. Does your dad offer support and have you learn a lot from him, as a musician?

I've had to figure a lot out myself and I like it that way - because it means I've earned it. I have, of course, learnt a lot by just being around him - and hearing him sing and play at home; as well as on stage.

He's always been very encouraging. We recorded a charity song together called This Place Called Home - about all the steelworks shutting down in the U.K.

The money goes to Zoe's Baby Hospice in Middlesbrough - where my dad and family come from. It was great to watch him in the studio as an adult and see how focused he is on everything within the song.

I have met and reviewed Jasmine Rodgers. It seems there are a lot of very talented musicians in the family! Any plans to work with her anytime soon?

We have spent ten years in the same band, Boa; travelled and toured and recorded two albums – plus, done an acoustic tour together.

So, we have kind of done that already - but I think we would definitely do it again.

What was it like growing up in the family household? What kind of music were you listening to and did famous musicians often drop by for a cuppa?

It was how you would imagine...

Dad would be in the studio; my sister on the guitar (in her room) and me on the piano, downstairs. Earlier on, Dad had always tried to steer us both away from the 'business' as it can be tough. However, we would see him singing his heart out around the house or running upstairs with band members - and we thought: ''Hang on, he's having way too much fun here in this 'business".

I used to borrow dad's L.P.s and, so, I'd be introduced to whatever he had - like Albert King/Born Under a Bad Sign; Miles Davis/Tutu; Holst/The Planets – I remember I listened to a lot of Blues (for a thirteen-year- old: really old Blues, too) and I loved it.

Yes, we would often have famous people stop by: Jimmy Page, Peter Grant (Led Zeppelin/Bad Company’s manager); Bill Wyman and Bryan Adams - amongst the ones I can remember.

Your new work is, in my view, your most confident and memorable. How would you say you have changed and evolved since the early days – in your band, Boa, where you released two albums, for example?

Thank you very much.

I reckon, back then, I was more focused on how the music sounded – whereas, now, I feel I have something to say. I guess I felt lost for many years and wanted to find answers.

I think, like most of us, we're wondering what it’s all about - and is there a better way to live…to thrive rather than just exist.

So...it comes out in the songs along with heartbreaks and moments of real joy.

Where can we see you perform this year? Do you have any tour dates coming up?

Yes.

I'm really excited (to be) coming back over to play with my band on a U.K. tour.

OCTOBER

Friday 20th: The Bull Theatre, Barnet

21st: Cranleigh Arts Centre, Surrey

23rd: Waterfront Studio, Norwich

26th: The Diamond, Notts.

27th: The Globe, Newcastle

28th: The Salty Dog, Northwich 

29th: The Cavern Club, Liverpool

30th: The Speakeasy (at The Voodoo Rooms), Edinburgh

 IN THIS PHOTO: Jasmine Rodgers

Are there any new artists you recommend we check out?

No; just me! L.o.L

Yes. Obviously my sister, Jasmine Rodgers.

Scott Matthews is a favourite of mine.

If you had to select the one album that means the most to you; which would it be and why?

Any Led Zeppelin album – it always feels so warm and speaks of some other force that exists Plus...the musicianship is stellar.

What advice would you give to any new artists starting out right now?

I'd say get a great team of people behind you that love what they're doing.

Finally, and for being good sports; you can each name any song and I’ll play it here (not one of yours as I’ll do that).

Great, thank you…

Birdy – Wings

(Thanks again for the interview. Warm regards, Steve).

__________

Follow Steve Rodgers

 Official:

http://www.steverodgersmusic.com/

Facebook:

https://www.facebook.com/Steverodgersmusic/

Twitter:

https://twitter.com/srodgersmusic

Spotify:

https://open.spotify.com/artist/4Lh0EgAoEtIGWlh3AJ306g

YouTube:

https://www.youtube.com/watch?v=zvu0zhKE8pQ

TRACK REVIEW: Cormac O Caoimh - Silence and Sound

TRACK REVIEW:

 

Cormac O Caoimh

 Silence and Sound

9.5/10

 Silence and Sound is available at:

https://cormaco.bandcamp.com/album/silence-and-sound-single

GENRES:

Singer-Songwriter; Folk

ORIGIN:

Cork, E.I.R.E.

RELEASE DATE:

15th September, 2017

The album, Shiny Silvery Things, is available at:

https://open.spotify.com/album/7x9gKK4KX0B1Vg7zJXv41k

_______

I always aim to keep reviews relatively brief…

but, when approaching a subject, find myself going on forever! That is going to be the case when I tell you about Cormac O Caoimh. When assessing O Caoimh; one must talk about a number of things. I shall start, I think, by looking at Ireland and the variety of landscape – not only geography but musical. Then, I will come to investigate more established/mature artists and longevity in the music industry. From there, rather niche, I want to look at Joni Mitchell’s album, Blue – as an example of a Folk album that has stood the test of time. O Caoimh’s songwriting has been heralded and celebrated by big publications and gained kudos around the world – I need to address that. Finishing off with a word about the underappreciated nuances and pleasure of a finely-crafted lyrics. Let’s talk about Ireland/E.I.R.E. and the sheer depth of its art. Yesterday, when reviewing Dublin-based Indie-Folk artist Blake’s Fortune (John Lennon); I was stunned by the artists coming out of the capital – so many different flavours and varieties of a musician! It is amazing how many great musicians Dublin has in her midst. I have never been there but, from reliable testimony, there is a very strong and productive music economy. That does not surprise me because, looking at O Caoimh, and one discovers a musician who feeds and writes from that energy and supportiveness. Although he is from Cork; that gives me chance to look at that part of the country. Many might look befuddled and perplexed when being tasked with naming famous musicians from Cork. It is a part of the world not many are over-familiar with. I, myself, have a little knowledge of the place but, bringing to mind a couple of artists, it is clear there’s a healthy music economy there. Miracle of Sound (Gavin Dunne) has made headlines because he has wracked-up millions of views on YouTube. His speciality is writing songs based on fictional characters – including those from Breaking Bad and Guardians of the Galaxy. The music, it has been written, provides uplift and hope for a long of young people; a niche and original take on songwriting – no wonder he has amassed a loyal fanbase.

Altar of Plagues and Simple Kid are (diversely) two artists that call Cork home – it is a county that has produced some fine musicians but does not give the credit it deserves. E.I.R.E. is a wide and varied landscape so, depending which part you travel to, the sound is likely to change. What amazes me about Irish music is the fact people like Cormac O Caoimh are world-class and established – yet there are many here yet to discover him. That is not his fault but the media, to an extent, who tend to stick with particular kind of artists. I often wonder whether we overlook certain nations and genres because it does not fit into the traditional moulds and commercial remits. Regardless of sound and quality; music should be a meritocracy that promotes the finest and most pure – rather than those with a certain look, mannerism and attitude. O Caoimh is a notable and dignified artist who has crafted some of the world’s finest music – over the years – and is one of those songwriters we should use as a guide and inspiration. There are few who can pen a lyric like him and I wonder how much that has to do with his surroundings. I mentioned how evocative and diverse the Irish landscape is. Such is the beauty of the surroundings; songwriters cannot help but be moved and compelled by what they see. I know O Caoimh borrows and sources from his own life but I wonder how much of nature goes into that extraordinary music. It is interesting to ponder but, one knows, the nation, in general, is a key Muse. One wonders whether O Caoimh would produce the same quality of music was he based somewhere like London. I will move on to another point but wanted to recommend people investigate Irish music more. From Dublin’s hard-hitting and memorable Pillow Queens to the likes of Blake’s Fortune; the eclectic mixture of musicians one can find in all the counties – it is a stunning country that warrants huge acclaim and attention. I hope that will come but, for now, there are steely godfathers like Cormac O Caoimh who are leading a noble charge.

We often think of music as being about fresh and brand-new artists. I think there is undue focus and exposure towards the younger artists of the music world. One cannot call music a young person’s game: they cannot see someone like Cormac O Caoimh as being irrelevance or deserving of less acclaim. To me, the finest music is made by the finest artists – regardless of age, situation or location. The media seems to place too much emphasis on the youth of music; they ignore the established artists that have made an impact and are producing sensational music. I will bring in publications like Mojo, who have backed O Caoimh and his latest album, but it seems strange we still promulgate the young and ingénue above everything else. It is vital we offer encouragement and help to those brand-new but the spotlight is put on age rather than quality. I know Cormac O Caoimh has a big fanbase but there are many here yet to discover the wonders of his craft. Even if you are not a fan of the Singer-Songwriter/Folk genres; one cannot ignore the beauty, appeal and effect of his music. The only reason music progresses and inspires new artists is those stalwarts that lay down their marker and survive the tests of time. One of the saddest things about music is how disposable and unpredictable it is. I have seen many terrific bands and artists produce wonderful music; only to be overlooked and see their career end. There are others who have a cliché and commercial sound that manage to succeed for years to come. It is baffling so, for that reason, we must look to those musicians that have been providing the world music for many years. O Caoimh has been around a while but does not rest on his laurels. Rather than repeat earlier sounds; he continues to evolve and search for fresh inspiration. That quality remains the same but the subject matter leads to discovery, compelling avenues and some of the most beautiful music around.

How sad a music world where there seems to be so much imbalance. I have talked about sexism and racism in music – and how we NEED to make improvements and changes – but there is an interlinking trouble that worries me. I shall not call it ageism (I am sure O Caoimh does not want me to think of him as old) but it is, let’s say, experienceism. That word would be perfect to describe the comparative ignorance established musicians are afforded in music. I know a host of artists who might not have lit the charts up but has been producing consistently beautiful and strong music for years. We are still proffering those artists young, sexy and vibrant. Naturally, there are a lot of young artists who do not get attention simply because of their looks – they still have to work a lot harder than they should. I am not sure whether Cormac O Caoimh is disgruntled by the fact he has to work harder to get the same affection of a lot of brand-new artists but I guess he is happy knowing so many people respond to his music. Regardless of the fact, it would be nice to see the Cork musician ascend to a new peak. I have only recently come across his music so I wonder whether, with better representation, I would know about it a lot earlier. It is down to the media to show equity and parity with regards promoting music. I know one must concentrate on new albums and foster those making their way into music. That cannot come at the expense of artists who have worked for years to earn respect and acclaim. They cannot be reduced to the back pages and afforded a few column inches. I will rest this point but, if anything comes out of this diatribe, it is to force the media to re-evaluate and reassess the way they promote artists. There needs to be that fairness so the likes of O Caoimh are brought to a wider audience. He is doing a sterling job getting his native Ireland involved but one can only wonder the international possibilities were his songs to be provided adequate promotion by the mainstream media.

It may seem inconsequential mentioning an album like Blue but, when thinking of Joni Mitchell’s writing style; I think of O Caoimh and the way he pens. That album is forty-six and is enduring because it is so universal and affecting. Its longevity and fame exist because of Mitchell’s ability to make her personal songs speak to every listener. It is a record that is flawless and shows so emotion, revelation and honesty. Focused around, mainly, relationships and experiences: a wondrous creation that has inspired countless musicians to put their voice on record. Before the album was recorded, she broke up with songwriter Graham Nash. When it was being made; a relationship with James Taylor turned sour – heroin addiction and other troubles (Taylor) did not help – and many of the songs address the reasons behind the split. The reason I mention it alongside O Caoimh is the fact he, like Mitchell, can write in the most sumptuous and tender way. His voice is more accessible and refined than Mitchell – some feel her voice a little raw and atonal – but that is the beauty of her appeal. It is gorgeous but does have those moments when it flies and wanders. That expressiveness and stripped-back openness is something I hear in O Caoimh and his album, Shiny Silvery Things. I have not really alluded to the album – I will do more – but, listening to his upcoming single, Silence and Sound, it seems to be a song that could have come from Joni Mitchell’s heart. What strikes me about Cormac O Caoimh is the way he summons sensational poetry and imagery but does not let the words do all the talking. The performances and compositions speak volumes and project incredible images and emotions. The same can be said of O Caoimh’s expressive and assured vocals that have the same gravitas and richness as Mitchell. Perhaps Shiny Silvery Things is not the equal of Blue but, in many ways, it has similarities. Perhaps, too, the background is not as turbulent and fractured but, when listening to the songs, I get a real sense of a songwriter wrestling with some harder times but, in essence, providing the listener with the most personal and perfect music possible.

Previous albums from O Caoimh have been concept-based and looked at specific narratives/arcs. Here, there is a more traditional mindset that means there is greater lyrical/musical freedom. Another reason I wanted to compared the moody hue of Blue with the sheen of Shiny Silvery Things is because of the range and confidence displayed within. When Joni Mitchell released that seminal album in 1971; it resonated with critics and the public because of the vast array of pleasures. Songs did not simply repeat one another or stick to a simple theme. The finger-picking sublime throughout; the stories compelling and diverse; the singing always captivating and nuanced – a rich bouquet of sounds that, no surprise, have been inspiring musicians since its release. O Caoimh’s latest record mixes genres and does not stand still. It is a curious and agile album that, given its title, suggests something inattentive and dazed – it, actually, focused and alive. I am amazed by the songwriting quality throughout and how it seems vintage and modern at the same time. It has that quality and prowess of Blue and manages to sound completely new and traditional. Both are complex and stunning works but, like Joni Mitchell, one hears a stunning songwriter whose words are among the finest in the world. I do hope the promotion and media situation changes so albums like O Caoimh’s latest endure and survive decades down the line. I am sure he wants to inspire the new generation and make sure his music is protected and shared many years forth. I look at Blue and, when Mitchell was assessing her position at the time, she felt like she had no defences at the time; no secrets left and she was like a cellophane wrapper on a pack of cigarettes. There is a rawness and personal vulnerability from O Caoimh but, unlike Mitchell, he mixes in optimism, uplift and hopefulness.

I am pleased O Caoimh has seen Shiny Silvery Things get into the ears of the guys at Mojo. They felt each song superglued to the memory and made an indelible impression. Others, with slightly less articulate views, saw the album as a mix of genres and a Pop-y, Jazz-y kind of thing. The record has gained kudos in Ireland but, unlike other efforts, made an impact around the world. It is the praise from Mojo that really speaks to me. They, unlike publications such as NME, have a broader remit and tend to look at a greater range of artists. So many magazines and sites focus on a certain set of albums but Mojo go further and look at albums one might not normally see reviewed. It is a shame to think O Caoimh is a niche artist but that is the fault of the media. Mojo’s passion for representing the best music in the world means they sat down and spent time with the album. Looking at the songs – seeing them as “Acoustic gems” – they understand how the music enveloped the imagination and demanded repeated listens. I do not have the same sort of time to review the entire record – lest my fingers fall off! – but I will be looking at O Caoimh’s forthcoming single. I only wanted to mention getting great reviews from big publications because it shows how good an artist is and the fact they deserve wider appeal. It would have been good to see the likes of NME and The Guardian to spare more words; get all the broadsheets sparing more time promoting the record. It is heartening seeing Shiny Silvery Things collect kind words from some respectable sources. I will try and lend my positivity to the mix but, lacking the same reputation as Mojo, know this is the start of bigger things for O Caoimh.

Let us move onto lyrics and making sure your words are as fine and concise as possible. There is a division in modern music between artists who can pen exceptional and memorable lyrics – those who prefer something shallower and less assured. That might seem cruel but one cannot underestimate the importance of words. It is the heart and soul of every song; the storybook and narrative that defines the moment. There is a lot of importance to be found in the music and vocals but it is the lyrics that, to me, represent a track best. Making sure you craft lyrics that have intelligence and meaning is as vital as anything. I see so many artists create lazy and uninspiring lyrics and that, in turn, will reflect negatively on future generations. Maybe it is a problem that exists in the mainstream. There is such a proliferation and focus on those chart songs that are, usually, not defined by depth and intelligence. The average listener – teenagers and the very young – want something easy to remember and chantable. The music is often pumped and energised; the vocals primal and spirited; the overall package designed to be heralded and loved by those who do not necessarily have a great understanding of music’s past. I guess the mainstream has always been like that but, lately, I am seeing too many annoying Dance and Pop songs being highlighted for the wrong reasons. There is such emphasis on streaming figures and views – often, these come because of songs/videos that promote sexualisation and subjects not tied to the music itself. One cannot get a true impression of quality based on streaming figures: one needs to truly listen to a song and judge it without any outside influence. I have been listening to a lot of modern music and find it is those artists away from the charts, as you’d expect, producing the finest lyrics. O Caoimh is a songwriter that has been creating music for years but always been an exceptional writer. I look at his words and am instantly transported to a wonderful place.

There are few that can deny the strength and personality one finds in O Caoimh’s songs. Some of the lyrics are oblique and demand unique interpretations: others are more clear-cut and cannot be misunderstood. Poetry and intelligence run through all of his lyrics and, because of that, songs like Silence and Sound should be getting more focus from the mainstream as a guide to young songwriters. I have mentioned publications like Mojo but, if one looks at O Caoimh’s official website – link at the bottom of this review – there are plenty of sites that have heaped praise on his current album. Similarly; the songwriting is not purely Folk and Mitchell-esque. I mentioned Joni because of her lyrical strengths but, in terms of compositional and thematic exploration; there have been comparisons to Paul Simon and Paddy McAloon. Those are lofty comparisons but deserved when you listen to O Caoimh’s music. I am a big fan of McAloon and love his witty and wonderful words. He is someone who can write about the heartache and complexity of love (When Love Breaks Down) and, via Prefab Sprout, pen sillier songs like The King of Rock and Roll. Paul Simon, too, has a diverse pen and someone I can see a lot of in Cormac O Caoimh. It is intriguing watching the scenes and stories unravel on an album like Shiny Silvery Things. I have a lot of respect for O Caoimh for he is a writer that seems to speak to the masses. It is no coincidence he has managed to accrue such a wealth of positive reviews – seeing as his music addresses common concerns but does so with a lot of unique perspective. Throw in a sumptuous and alluring voice and a masterful musician of epic repute – you have a true star that should act as how young songwriters should be doing things. It is those words that, to me, define O Caoimh and what makes him so special.

I will come and look at O Caoimh’s forthcoming single soon but, to end this section, a slight return to Ireland. It is hard linking geography and the people to a certain type of music but, as I mooted earlier; one could not expect to see a songwriter like O Caoimh in London. Maybe it is the stress of life (in London) or the easier pace of Cork. I feel O Caoimh has more room to think and dream in Ireland. Maybe it is the people and community that compels his mind and leads to some of the wonderful songs we hear. I am not sure but know the country has such a wide range of art and culture. It is a part of the world that many overlook but, take a trip there, and you will discover incredible music, wonderful poetry and some of the finest writers anywhere. That is true of O Caoimh who is a treasure of the nation. His music has always garnered respect but it seems, right now, he is hitting new heights and finding fresh inspiration. There are so many great Irish musicians around so I wonder how instrumental having that close-knit network is. E.I.R.E. is somewhere we should all be looking towards because, as we can see with O Caoimh, he is getting a lot of fond praise. There are few as able to take from the surroundings and dip into his heart. He has that innate ability to speak about the intimate with grandeur and compress the epic landscapes into something portable and close. That is a talent that cannot be overlooked - and skills that have taken the time to craft. The Irish musical magician has left critics spellbound and, aside from his wonderful talent, I have the feeling the people around him are responsible for some of that success. It is interesting to wax and wonder but, when Silence and Sound is unveiled, I think O Caoimh will get a lot of gig requests around the world. I have talked a lot about Cormac O Caoimh and issues related to him but not come to the main event: the issue of reviewing Silence and Sound. I must get on, then…

It is the way O Caoimh articulates and announces his lyrics that really gets to me. The opening verse – “Time is like a church/Its signs remind me/A choir of ghosts sing rhymes/A bell tower chimes/Statues stand still in lines/Silence and sound remind me” – changes course and speed as the words are presented. There is a fast sense at the beginning but elongated; syncopation and a breeziness that all occurs over a few lines. The composition is largely composed of strings but it is such a fulsome and flourishing thing. Rather than delicate acoustic: one gets a rush of various tones that create a near-symphonic rush of the ocean. The lyrics, let’s look at them, maybe there are regrets and haunted memories. That ‘choir of ghosts’, as it is sung, might refer to past memories and bad times. There is something distant and oblique that means one can interpret the lyrics how they see fit. The way O Caoimh delivers the words mean they come to life a lot more readily than you’d normally hear – so many other artists would make the presentation simplistic and obvious. Instead, I was looking at past romances and some regrets. That ecumenical foundation gives the song a sacred and dignified skin. “A lover’s spurring tongue” and “Young love undone” are brought in and it makes me think it is less about O Caoimh and his testimony – more about observations and the nature of love. One can understand the comparisons to Paul Simon: it is easy seeing similarities in the lyrics and the way the music is delivered. So much emotion and physicality is evoked from the words; the singer skips and hovers; he delights and distances in equal measures. It is that oblique nature that keeps coming through. I look at the song as a paen to the diversity and balance of love: never being able to predict it; everyone has their own ghosts and takes something different from it. Every O Caoimh song, to an extent, is based in personal experiences so I wonder whether there are demons he is trying to bury.

There is light and darkness; shadows and shade – plenty of light and contrasting embers. One hears a real and honest voice present something meaningful and meaningful. What O Caoimh is talking about is up to you but one is seduced and entranced by the words. If you are not affected by the complexities of the lyrics, then that rich and rewarding composition surely has to be highlighted? It brings in some burning desire and refinement. There is all manner of shades and contours working away in the compositions. O Caoimh’s voice holds everything together like a priest administrating to his flock. I delved and dived into the song, following O Caoimh as he sings, and was traversing the graveyards and woodlands one hears about. The vocal continues to extract pleasure and delight with every line. It has that unpredictable nature where some words are rushed and others are given more attention. It makes the song nuanced and, when you revisit it, you’ll find something you do expect. There are backing vocals and ethereal backdrop that heightens that sense of tease, intrigue and beauty. In the same way Nick Drake talked about time as being cruel and provoking; O Caoimh, in his most interesting offering, reveals more pieces of the puzzle – “Souls walk where once
Walls stood years and months”. Time takes on different aspects and can be kind of foreboding. It is this thing that bonds and defines us all and, depending on your situation in life, can be a blessing or curse. There is a sense of loss and people passing through. Where once something physical stood: now, there are memories, spirits and the spiritual. Time, as later revealed, is a clique that watches how you bow and who you do it to. It can shut the door hard and ignore you. It is interesting listening to O Caoimh sing and what his words can do. They have such power because every listener will have their own views.

Rather than being painfully straightforward and obvious; we get lines that are poetic and deep. It takes a long time before all the images coalesce and you can form a story. Silence and Sound is a contradiction of a title and that is a pretty appropriate representation of the track. It looks at time and passings; the nature of being and belonging; how love can go fast and endure for years. Whatever the inspiration for the song; it is obvious it has a special place in O Caoimh’s heart. Maybe it reflects a lost love or a general view of the world. The crosscurrent emotions of love and romance might be behind the story’s truths. I am not sure but have loved investigating the song and how it resonates. It is a very powerful and fascinating song that shows how strong Shiny Silvery Things (album) is. Few will come away from the song not being enriched and improved. It is a fantastic song that recalls songwriting greats but, the way O Caoimh sings his lines, it is almost like nothing else out there. I am not shocked his music has gained huge reviews because the best songwriters are those that go beyond the obvious but ensure their music remains appealing to the masses. That is what one gets from Silence and Sound. It is a treasure of a song and fabulous moment from Cork’s very own Cormac O Caoimh.

I have talked about a number of things and shall, briefly, return to one or two before I close things. Before then; it seems like Cormac O Caoimh’s next few months are going to be busy. He has dates around Ireland and one hopes he gets to the U.K. very soon. He plays Clare and Dublin before the year is done but I know he would go down a storm in London. In fact, there are so many cities that would love to see O Caoimh play. I know he would be welcomed in Manchester, Leeds and Glasgow; some of the smaller areas - maybe some international dates could follow? Who knows how far he can go but one thing is for sure: the music one hears throughout Shiny Silvery Things is of the highest order. I am not sure whether there is new music planned and how far ahead the Cork musician is looking. He is a prolific artist so I know there will be ruminations and ideas in the back of his mind. I look at O Caoimh’s social media feeds and come to the conclusion he deserves a lot more fans. He is doing his utmost to get the music out there but it is incumbent on the listeners and fans to get the music to new realms. I can see recent pictures that show him on the road at some of Ireland’s finest and most evocative sights. It is small wonder he feels so comfortable and ‘at home’ in the country. Perhaps he does not want to travel and stray too far but there is plenty of energy in the legendary songwriter. He has a lot more to say and many more songs inside him. That worldwide tour will come but, right now, he seems happy playing and seducing the audiences of his native country. Let’s wrap things up but, before that moment, I want to return to Irish music and longevity in music; a little about musical diversity and acclaim O Caoimh has been receiving.

Let’s return to that last point because one cannot underestimate the importance of those big reviews. O Caoimh is held in high esteem and is an artist that has struck the heart of publications and sites all around the world. A lot of the praise has been local but it is heartening to see the big music magazines throw their weight into the agenda. Mojo are an example of a huge name who has taken the time to listen to Shiny Silvery Things. It is an album brimming with imagination, life and quality. Reviewers have been aghast because Cormac O Caoimh is an artist impossible to pin down. He mixes styles and, at once can be quite simple and direct; the next, he is inscrutable, complex and deep. The same can be said of his music that does not stick in the Folk/Singer-Songwriter realm. He does not unleash an unexpected Dance banger but there is array and diversity to be discovered in the Irishman’s work. Consider a song like Silence and Sound and it represents one of the deeper and more contemplative aspects of the album. Second Hand Clothes is different to Born and Big Mirror. The songs all have their own dynamic but there is that distinct sound and personality that unifies the entire album. It is no surprise O Caoimh has gathered effusive reviews and been celebrated by a vast array of reviewers. Longevity and diversity can be interlinked but, in O Caoimh’s case, he has managed to survive and prosper because of his variations and inherent talent. From those concept albums to his latest record: an amazing songwriter that continues to write the finest music around. There is something about his songs that stay in the mind and rattles around the brain for many weeks. I have been listening to various songs on Shiny Silvery Things and, each time I hear them, take something new away. That is the mark of a quality songwriter who knows how to captivate an audience.

I will wrap things up but state how important Cormac O Caoimh is to our music landscape. I opened by suggesting there is too much attention paid to younger artists. O Caoimh is not an old man but he is not a twenty-something (young) buck leaping onto the scene. There is a hard ethical dilemma to address. Many sites and reviewers have to support the new breed and ensure they get all the support they require. That being said; one cannot compromise the music of the more established songwriter. O Caoimh has been performing for years and built up a reputation based on exceptional songwriting and consistency. There shouldn’t be a point of a career where artists are being ignored and confined to narrow sources. If it is not ageism that there is a certain ignorance of focusing entirely on new/mainstream music. It is just as well magazines like Mojo go further and represent the full spectrum of music. Second Hand Clothes, the first song released from Shiny Silvery Things, has reached more than two-million listeners around the world and thirty different stations. That is no small feat and shows there is a lot of love for O Caoimh. Let me wrap things up because, as you can tell (I hope) from my words; there is so much to recommend when it comes to the Cork treasure. I love Silence and Sound and it is one of those songs that makes one forget their troubles; enriches their mind and remains in the memory. That is the mark of an artist who is unlike any other and deserves a lot more success and acclaim. Cormac O Caoimh is a songwriter that should not be ignored…

DARE one ignore that fact.

_______

Follow Cormac O Caoimh

 Official:

http://www.cormacocaoimh.net/

Twitter:

https://twitter.com/cocaoimh

Facebook:

https://www.facebook.com/cormacmusic

YouTube:

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

Spotify:

https://open.spotify.com/artist/5tTI635bEYNCY5PDx79cvt

SoundCloud:

https://soundcloud.com/cormaco

FEATURE: Busking and the Road to Success: Change Is Gonna Come?

FEATURE:

 

Busking and the Road to Success: 

PHOTO CREDIT: Unsplash

Change Is Gonna Come?

________

IF you’ll forgive the pen-laden cringe of the title’s sensibilities…

I wanted to address a side of the music industry that has caught my mind recently. Living where I do; unfortunately, one does come across buskers whose quality and worth are not exactly sky-high. Sure, there are some occasional standouts but, by and large, when I am situated, in busking terms, seems to be stuck in the 1940s. Maybe it is a reaction to the coolness/demographics of the area or a real lack of any ambition – getting people smiling rather than offering any depth, quality or credibility. If you are performing on the street to raise fun, that is okay, but I find myself travelling to the city in order to discoverer the decent and worthy buskers. There is a codified legislation – sternly known as Buskers’ Code – that details the rules and regulations all buskers must adhere to:

Where to busk

·         Busking is legal on public land and there are lots of great places to busk in London.

·         All pitches operate differently. Chat to local buskers to get the lowdown.

·         If you trying out a new area, talk to local busker, businesses and traders. You are less likely to get a complaint.

·         Let people get past. There should be space to push a piano past you and your audience - even at busy times.

·         If your audience blocks a doorway, market stall, pavement, ATM or loo, please stop and clear the blockage! You may want to try a bigger pitch or adapt your act for a smaller audience.

·         If there isn’t a suitable space, wait for one to become free. Ask other buskers if there's a queue you can join.

·         If a performer is waiting for your pitch please share it. On really popular pitches this could mean sharing after one hour or less.

·         Avoid sound clash! Acts involving sound should have lots of space between them.

IN THIS PHOTO: Mercy Grace (one of the competitors at this year's GIGS: Big Busk)

Your Performance

·         Your performance will have an impact on people nearby. Please be aware of this and be willing to move or adjust your performance if necessary.

·         Please don’t cause offence or humiliation.

Sound

·         The biggest cause of complaints is sound. Sound can travel a long way and go high into the air. Many busking locations are surrounded by flats, shops, offices or hotels. Because the people inside can’t walk away, please make sure your volume doesn't bother them.

·         As a rule - keep your volume just above the level of background street noise and check that it is not distorted.

·         Please don’t repeat music in the same location. Acts with varied content are much more popular.

·         Some sounds have a big impact on people. If your act has loud, bass heavy or percussive sounds, please monitor your volume regularly, vary your music and limit your time at each location.

·         Keep backing tracks unobtrusive and turn them off when you’re not performing.

Equipment

·         Make sure no-one could trip over your equipment.

·         Never leave equipment unattended.

·         Keep it safe! Check out our guidance page if your act involves anything risky (e.g. fire, knives, high wire, unicycle, diabolo, juggling).

·         Please don't cover your face (e.g. by wearing a mask) as this puts people off talking to you if there is a problem.

If you use fixtures such as furniture, lamp-posts or railings, or you draw on the ground, please get permission beforehand and make sure nothing gets damaged.

·         Please keep the pitch clean and tidy-up afterwards.

Collecting Money

·         Performers can accept donations but the public must never feel obliged to pay.

·         You can give away CDs or other items, but you cannot charge a fee for them. To sell items for a fee you need a street trading licence.

·         If you are collecting for charity you'll need a permit.

Resolving Problems

Talking with the performer is the starting point for solving all busking related problems. Unless there is an imminent risk to the performer or others, they should be given the chance to change their performance so that it follows the Buskers' Code.

Enforcement action should only be taken once the following three steps have been taken:

·         STEP 1 - Don't wait until you're irate! If a performer or group is causing a problem it can usually be resolved quickly and amicably by talking. Where possible, wait for a suitable break before talking to the performer(s). Introduce yourself and explain the impact that their performance is having on you. Ask the performer if they know about the Buskers' Code and refer them to Busk in London website.

·         STEP 2 - If you have spoken to the performer(s) and the problem continues, please contact you local authority. This might be via an on-street warden/officer or by calling council hotline. They will decided what steps to take, which may be enforcement.

The Law and Enforcement

Is busking legal?

Yes - busking on public land is legal in most places. However there are some exceptions:

·         The London Borough of Camden has introduced a bylaw that requires acts with music or amplification to have a busking licence. If you perform without one you could be arrested and have your equipment seized.

·         Uxbridge Town Centre in the London Borough of Hillingdon has introduced a bylaw that requires all acts using the four town centre pitches to have a busking licence. If you perform without one you could be arrested and have your equipment seized.

·         The financial district of the City of London (known as the Square Mile) allows performers but does not allow money to be collected in public places.

·         Some parks and squares have bylaws that don't allow busking.

·         Private land owners may have their own policy on busking and you may require permission from the landowner. It is often hard to tell private from public land, so please check with a local warden or business or contact Busk in London if you are unsure.

·         Private busking schemes that have entry requirements, such as auditions, permits or licences, include: the London Underground Busking Scheme; some pitches at Covent Garden; and the Southbank Centre Busking Scheme (between the London Eye and Hungerford Bridge).

IN THIS PHOTO: Dawson

Anti-social behaviour

·         If your behaviour is unreasonable and you are having a persistent, detrimental effect on the quality of life of people in the area, you will receive a verbal warning.

·         If you carry on, you could be issued with a formal warning letter, followed by a Community Protection Notice under the Anti-social Behaviour, Crime and Policing Act (2014).

·         If you breach the notice, you could be fined or have your equipment seized.

That is, actually, a simplified truncation of the full ins-and-outs. If one wants to play their music on the streets of London; it is not quite as romantic and easy as the likes of Jerry Rafferty and Ralph McTell romanticise – the ease one can work their craft and discover some great music. The reason I raise this article is the discrepancies between town and city; why people busk and whether it can open doors – or if it is a way for musicians to cut their teeth and get first-hand feedback. One of the incongruous aspects of my local busking scene is how unregulated it seems to be. Anyone can busk which creates a couple of issues: the high streets can, especially at the weekend, be awash with ill-fitting sounds that cause some hostile reactions. One might move down one section and hear Hokum bands covering relatively modern songs with all the cheesy charm and jug-blowing coolness one might expect from counties away from London. A few metres down the street and there will be a wannabe X Factor warbler or droning, sonorous Folk singer – mangling some classics and draining the emotion from them.

One is ‘treated to’/threatened with’ so many different performers in the space of a few seconds. Other than the fact the quality is seriously questionable – so many musicians covering songs badly is not going to get me heading for the wallet – it makes me wonder the reasons behind this. Unregulated performances give freedom for artists to ply their trade on the street but does it create a culture of over-saturation? I walk down some streets and find myself inundated with crooning, strumming and sounds of various offensiveness. Even if one discovers a gem down a side-street; that is often washed away by a caterwauling singer a few yards down the road. London’s rigid and rigorous book of rules ensures their buskers are selected in terms of quality and potential.

IN THIS PHOTO: The cast of Once; busking at Leicester Square Tube/PHOTO CREDIT: Matt Crockett

I remember a few friends of mine auditioning for Busk London and trying to secure a spot on the London Underground. It is a competitive and much-contested process that sees musicians battle for converted spots in some of the capital’s prime locations. I will come to look at the ‘goods’ and ‘bads’ of busking but, considering London, I want to introduce a piece from TimeOut London written a few years ago:

“Actually, it’s pretty hard to compete as a busker in general. The tube is out of bounds for newbies. There are currently 280 licensed buskers on the Underground in a TfL-run scheme. It’s proved so popular since its inception in 2003 that it now attracts 4,000 applications when auditions for new licences are held every two years.

Above ground, the outlook isn’t much sunnier. We’ve got away with playing music freely in Trafalgar Square without being moved on by the authorities. But we’ve been lucky. ‘There are times when the police come round Trafalgar Square and tell everyone to stop without any reason,’ says Olly Corpe, one of The King’s Parade, the quartet arrested in Leicester Square. ‘It’s really strange. It depends on the day, it depends on the officers on duty. Sometimes there’s complete hostility towards you.’

Part of the problem is the lack of a citywide consensus on how authorities and the police should treat buskers. For example, The King’s Parade were carted away under the Metropolitan Police Act, an obscure piece of legislation from 1839. They weren’t formally charged according to Corpe: ‘When we got to the police station the officer in charge didn’t even know what the Metropolitan Police Act was.’ Still, it was later defended by the Met in a statement to press. The reason? ‘There is strong evidence that this type of street performing attracts thieves.’

To remove this confusion, the Mayor’s Office is running a #BackBusking campaign to establish a universal code of conduct. It should allow non-nuisance, unlicensed buskers to perform without recrimination. It’s tricky, though. When we asked Camden Council to explain their clampdown on unlicensed acts they said it was ‘light touch regulation’ due to ‘a rising number of complaints from residents […] particularly where amplified and percussion instruments are used’. The number of complaints? One hundred. In a year. If the councillors felt this sufficient to act against spontaneous street performance it seems unlikely they’ll get on board with a mayoral campaign which asks councils to ‘make sure [that] genuine buskers outside designated schemes don’t get moved on.’

‘It’d just be nice to change the image of a busker to someone that adds to the character of the city rather than being a nuisance,’ says Charlotte as we return to the South Bank, this time setting up at an unlicensed area by Gabriel’s Wharf. Apparently, the public agree. As Charlotte begins to coat chart hits with her honeyed voice, nearby office workers eating sandwiches on benches flash megawatt smiles at us.

IN THIS PHOTO: Ina Reni (an artist, whom I have interviewed, who has taken part in London's biggest busking competition)

Fifty daytripping kiddiwinks in luminous jackets are dragged over by an excited teacher. They clap along until Charlotte finishes singing and then run at her, wrapping their arms around her waist, squeaking ‘Another! Another!’ Pocket money fills the guitar case (we later find that we’ve made £45.26 in two hours) and the youngsters sit in a big crosslegged huddle in front of us, gazing up in adoration”.

It is that ‘public appreciation’ that seems to get to me. Not only does London prove to be a perfect place for busker hostility – people taking ‘offense’ at the music being played – but deters artists who want to bring the streets alive – and make some money for themselves. What troubles me is the fact some of these artists are genuinely trying to make a career and path for themselves. Even if they are there to provide happiness and music: should they be protected and safeguarded more than they are? The article above – I urge you to read it in full – is supported by testimony from many buskers in London. A recent piece in Metro added another dynamic to the argument:

“Buskers and street performers could be forced to buy a licence in order to legally perform in one London borough.

Councillors representing Kensington and Chelsea will discuss a proposed clampdown on buskers, mime artists and ‘living statues’ that would involve street performers needing a licence.

The plans state a new policy would ‘help eliminate people who are not providing a genuine performance’, the Evening Standard reported.

IN THIS PHOTO: Boris Johnson (Mayor of London at the time) and Newton Faulkner

It is not known how expensive the licence would be, but nearby Camden charges £17 a year, or £47 if they use amplifiers, drums or bagpipes.

In a report, councillor Tim Ahern said the proposal would reduce ‘nuisance and inconvenience to residents and businesses’.

He said: ‘It has proved difficult for enforcement officers to attribute anti-social behaviour to an individual busker. Officers would now like to license busking across the whole borough, initially for a trial period of 12 months.

‘The proposal is that all categories of busking performance, including those that are considered low impact, such as mime and living statues, will require a busking licence.

IN THIS PHOTO: Luca (a former winner of a London busking comepetition)

The borough would make about 100 permits available on a first-come, first-served basis.

Kensington and Chelsea is the first council in Britain to propose a ban on unlicensed street performers”.

This seems like a super-harsh taxation on people who are trying to create something pure – not bilk and swindle credulous tourists. I walk through London a lot and, away from the Tube stations, one does not encounter many musicians on the bigger streets. It used to be the case I would discover a lot of musicians performing through Oxford Street and Piccadilly. One finds more homeless than musicians these days: should we reverse a policy that seems to strangle a sense of artistic freedom?! It is a complicated brew but one we need to decode, review and amend. One can apply to busk on the Underground because, in my mind, we need to encourage and nurture those who risk performing to the bustling, unpredictable commuters of London. I am not down on London but feel cities like Manchester and Glasgow afford their buskers greater humanity and financial remuneration. I will, when passing through the London Underground, dip into my pocket when I hear a great musician play – it makes commuting more pleasant and appealing.

There are negatives when it comes to city busking. Recently, when travelling on the Jubilee Line; a trio of accordion-playing buskers leapt onto a Tube and ‘serenaded’ the patrons to a very loud and confined ditty. The pressure to compensate them – one could not easily look away or get private – was a pressure I surrendered to. There are rogue and rebellious artists that do offer sonic force and pressure. There is a minor element many associate with ‘London busking’. That is not the majority and is an unfair representation of what one can expect from the city. You can say the same of any major city where a variety of artists want to play. I am soured and off-put by the musicians one gets in smaller towns and local environs – often anyone can rock up and you might find, say, one half-decent busker in ten. To perform in the city; there are more stipulations and obstacles one has to navigate – to ensure there is an emphasis on quality and promise.

IN THIS PHOTO: Maeve Fitzpatrick (a contestant at this year's GIGS: Big Busk)

There are a few points from Roland’s guide to busking that offers tips to any wannabe busker:

#10. Loosen their wallets
“Most buskers ‘salt’ their cases before starting the set, slipping in a handful of their own money so punters recognise that tipping is welcome and know where to throw coins. As the set progresses, you want enough coins in the case to imply that you’re popular, but not so many that people conclude you don’t need more. Every few songs, take out some of the accumulated coins to stop a passing toerag stealing the loot. And that leads us onto…

#11. Grin and bear it
You’ll get drunks, nutters, thieves, pensioners informing you that you suck and hoodies gobbing in your case. Take it all on the chin. If you get heckled, laugh it off. If you get robbed, don’t chase them. Dealing with borderline psychopaths is an invaluable lesson for anyone hoping for a career in music.

#12. Use it as an apprenticeship
Busking can teach you everything you need to know about live performance. Spend a few weeks out there and you’ll work out what engages people and what leaves them cold, which songs spark a singalong and which ones get you punched. Learn your trade on the streets and who knows: maybe you’ll follow in the footsteps of ex-buskers like Ed Sheeran and Rodrigo Y Gabriela, and use the experience as a springboard to a gold-plated career. Today, the doorway of a defunct Woolworths. Tomorrow, the world…”

IN THIS PHOTO: Donna - Lois Andrea Music (a contestant at this year's GIGS: Big Busk)

We have all heard the story of famous musicians starting their lives as buskers. Ed Sheeran is a modern example of someone with those humble roots – transitioning, over the years, to the mainstream. That success did not occur overnight but, seeing him rise to prominence, gives heart and hope to buskers who, on an average day might seem deflated and lacklustre. Of course, one cannot say whether busking was instrumental in Sheeran’s success – and whether he was ‘spotted’ and discovered. There are few that have managed to rise from the streets to the mainstream but it is not impossible. Most musicians, when they busk, do not yearn for instant stardom: the fact they are able to get their music out there is the most important thing. I have reviewed and interviewed many musicians who busk; for different reasons. Some do it to showcase their music and get the first-hand reaction. It can be a terrific forum to see how songs are perceived by the British public. If one can navigate the ignorance and attitudes of the average citizen; you do get a core that recognises the hard craft and talent of musicians trying to make other’s lives better. Many busk to earn extra money or provide an outlet for amateur designs – not necessarily parlaying into a career in music or play at a professional level. Whatever the scale of ambition – and magnitude of their performance – we must provide better reception to buskers; those doing it legitimately and imbued with actual talent. There are many, as I have explained, who pollute the streets and crowd the eardrums – so many streets laden with similar-sounding buskers; none of whom warrant a pitch or any second thought. Bigger cities have greater quality control but, with such stringent guidelines being introduced, many are forced to pay to set up a pitch – often not able to turn any sort of profit over the course of a week.

We need protectionism and stricter codes in the RIGHT direction. Of course, nobody wants to see a cavalcade of semi-talented buskers singing at them but, at the same time, we do not want to purge the streets of genuine musicians who have something to say. I go to London and discover a range of wonderful sounds and artists. From the edgy and cramped conditions of the Underground to the open and swaying Oxford Street – it can be a great way of enlivening and enhancing a city. I fear, with venues under threat, many musicians will have to busk in order to get their music heard and honed. The danger of verbal and physical abuse; the criticism, banning and costs: all of this is muddying and diluting a culture that needs to survive and grow. I can understand the need to limit buskers in towns and smaller areas. Those who do not have a license should be punished by those who have the right to perform should not have to face taxation, repression and curfew.

IN THIS PHOTO: Ed Sheeran (busking in Brighton in 2010)

Music is an industry that should welcome people in and promote growth and expression. We cannot see our live venues close and struggle and push people off the streets. Maybe busking is not an easy way to success – it is part of a gruelling series of steps – but it needs to be protected and strengthened. I am split when it comes to town vs. city but, in terms of those instilled with promise and talent – they should not feel fearful and unable to follow a busking path. It is not a big ‘industry’ but, from the street-level player and artists looking for larger success, it is absolutely crucial. Whether we see buskers on the streets, cities or trains; I feel we all…

SHOULD be a lot more hospitable.

INTERVIEW: FØNX

INTERVIEW:

PHOTO CREDIT: Emily Elizabeth

 FØNX

________

THERE is a rare charisma and sense of attraction one feels when listening to…

PHOTO CREDIT: Asia Pracz Photography

the music of FØNX. I have been spinning his new track, Can’t Get Enough, for a while and find something new each time I play it. For that reason, it was interesting chatting with the East Sussex-based songwriter about the track’s origins. He discusses working alongside Grammy-winning producer Tommaso Colliva and how he managed to transition between a period of sofa-surfing and where he is now.

I get a peek into the creative mindset of someone who recommends the music of Eminem alongside Frank Ocean and Ben Howard. The enigma and contrasts of FØNX are apparent in the music – that imbued with so much nuance and allure.

FØNX is live-streaming his latest track tomorrow - via his Facebook page - so make sure you get a first-hand representation and experience of the incredible music.

_________

Hi, FØNX. How are you? How has your week been?

I’m great, thanks. How are you doing?

It’s been an awesome week so far! The single came out last Friday - so there’s been a constant stream of things to do and people to talk to which is great.

For those new to your work, can you introduce yourself, please?

I’m FØNX. I’m an artist/songwriter/producer - forever on the move.

Tell me a bit about your new track, Can’t Get Enough. What compelled the song?

The track, Can’t Get Enough, came about after a night out with a friend in Brighton - during The Great Escape Festival weekend. During the night, he told me how he recently had a bad trip on something funky and was tripping out for twenty-hours straight - which sounded pretty horrendous.

Forward a few days later, and I still had his story going through my head and thinking how nuts it sounded, so, I started penning some lyrics down and that’s how the initial ideas starting flowing.

Was it true you found yourself sofa-surfing and busking? How did things get to that point where you had to live like that?

When you put it like that, it sounds bad - but it wasn’t quite like that. I was moving house and it was that in-between stage where you don’t have your old home to live in anymore and you don’t have a new one to move into yet.

So, I was just sofa-surfing with friends for a couple of months, which was cool, but a bit random not knowing where you’re going to be staying the next night!

Lucky, I have some cool friends with sofas to lend! It was during this time that I started writing Can’t Get Enough and I remember turning my mate’s living-room into a little make-shift studio - while he was at work during the day - to record the demo.

IN THIS PHOTO: Tommaso Colliva

Tommaso Colliva produced. Was it quite daunting working with a Grammy-winning producer? What did Colliva bring to the process in terms of expertise and insight?

It was awesome working with Tommaso because he really wanted to get to know where my mind was at and what I liked; down to my favourite films, music I’m digging and everything else - so we could draw from that palette, if you like. It felt like we were on the same wave-length in terms of wanting to experiment with sounds; find something unique within what we were doing and not being afraid to try something outside the box. His studio is sick too. He has a lot of analogue and vintage gear, so we used some bits in our recording sessions.

The whole process just felt really exciting for me as it was the first time I had worked with a producer on my stuff. It was amazing going to the studio every day to work on these songs and ideas that were born in my room.

Tommaso won his Grammy during our initial recording sessions so it was pretty cool walking into the studio, one day, to see his Grammy had arrived. It definitely has a presence to it. Feels like you’re in good hands when you can see that in the corner of your eye!

How do songs like Can’t Get Enough come together? Do you set time aside to write or is it a more natural process?

The initial spark of an idea is usually a natural process as something will trigger an idea or story for me that I’ll want to carry on writing about. I guess, once I have that, it becomes more about setting the time aside for writing. I usually want to write about something specific or express a certain way I’m feeling before I write it - instead of forcing a thought or a song idea to then write a song out of it (if that makes sense?!).

Then there’s a point where musical ideas meet the lyrics. This process I find has to be more forced as you are trying out different musical ideas with different lyrics until something clicks - and you feel like you’re onto something.

Sometimes, I can write most of a song, produce (up) a demo for it and still be missing a verse. But I know I will eventually find what I want to say and come back to it later.

PHOTO CREDIT: Emily Nelson

What has been your most-treasured memory in terms of gigs and achievements?

I think writing the next song feels like the biggest achievement each time for me because that’s my favourite part of the process - and means the most to me as it’s something I’ve created and can treasure forever - whether it reaches a lot of other people or not.

Hearing my song being played on BBC Radio 1 for the first time was a big deal for me too. This was when I wrote music under my old name, in a slightly different vibe.

How important is London to your work and outlook on life? It seems like you vibe hard from the people and sights of the city.

London is really important.

There’s this buzz I feel when I’m London that I can feed off for inspiration. When I’m there, I feel more inspired than anywhere else. I feel I can think outside the box and look at things in a different way.

It’s definitely a good place to write for me.

Is there going to be new material or hookups in the future? What have you got brewing?

Definitely: lots of new material to come in the near-future.

I’ve been writing solidly for the past couple of years and I almost feel like the music, in terms of releasing and sharing, has now got to catch up with where I’m at now. So, yes, there’s a lot more to come and I really can’t wait to start getting it out.

It seems like you take a lot of influence from the likes of Frank Ocean and Childish Gambino. Is American R&B music you connect hardest to or are your tastes quite broad?

Yeah, I’d say you’re right.

It’s definitely one of my favourite genres of music right now. It’s the sort of stuff I stick on with friends and dance to - but I also love how artists within that genre are pushing forward and searching for something different and surprising within production and song form. It’s exciting.

My tastes are pretty broad but, at the moment, I’m loving artists like Anderson Paak, Kendrick Lamar; John Mayer, Mac Miller; George Benson, Tom Misch and Francis and the Lights (to name a few!).

 PHOTO CREDIT: @emelizabeth

Do you have any tour dates approaching? Where can we come and see you play?

I’m playing a few intimate Sofar Sounds shows over August - which I’m really looking forward to. These are some of my favourite shows to play right now as you can really connect with people in a way you don’t in a big music venue or festival. I’m also going to be playing a few London shows in September:

Saturday 19th August - Sofar Sounds, London

Monday 21st August - Sofar Sounds, Bath

Sunday 27th August - Sofar Sounds, Cambridge

Wednesday 30th August - Sofar Sounds, Cardiff

Friday 8th September - The Spice of Life, London

Tuesday 19th September - The Bedford, Balham

Thursday 26th October - Aloft Hotel, Excel London

Tuesday 5th December - Sofar Sounds, Southampton.

IN THIS PHOTO: Tom Misch

Who are new acts you recommend we check out?

Puma Blue, WAX; Rob Araujo and Tom Misch.

If you had to select the three albums that mean the most to you; which would it be and why?

That’s a really difficult question…can I pick ten?!

Earth, Wind & Fire - I Am

My earliest memory of music is listening to this album in the car…you just can’t go wrong. It’s a magic record from start to finish.

Eminem – Encore

This was the first album I bought with my own money. I used to listen to it on my Walkman on the way to school. I knew all the lyrics and played it on repeat for quite some time!

PHOTO CREDIT: Emily Nelson

Ben Howard - Every Kingdom

It reminds me of a magical time when I starting studying music in London and experiencing that buzz for the first time and falling in love. Not quite the style of music I’m listening to much these days, but still, a beautiful record.

What advice would you give to artists coming through right now?

Keep writing and never think you have the song - or ‘hit’, as people like to call it.

Support other artists.

Finally, and for being a good sport, you can name a song and I’ll play it here (not one of yours as I’ll do that).

Tom Misch - South of the River

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Follow FØNX

PHOTO CREDIT: Emily Elizabeth 

Official:

https://www.fonxmusic.com/

Facebook:

https://www.facebook.com/fonxmusic/

Twitter:

https://twitter.com/fonxmusic

Instagram:

https://www.instagram.com/fonxmusic/

Spotify:

https://open.spotify.com/artist/1HKfOnFdrJOXSXHyx8JOvN

SoundCloud:

https://soundcloud.com/fonxmusic

YouTube:

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

TRACK REVIEW: Blake’s Fortune - Heart’s Roulette

TRACK REVIEW:

 

Blake’s Fortune

 Heart’s Roulette

9.3/10

Heart’s Roulette is available at:

https://blakesfortune.bandcamp.com/track/hearts-roulette

GENRES:

Folk; Americana; Indie-Folk

ORIGIN:

Dublin, E.I.R.E.

Vocals, Guitars and Percussion: John Lennon
Bass: Dave Buttner
Clarinet, Backing Vocals: Sarah Gallagher
Fiddle: Eileen O’Driscoll
Banjo: Lily Gems

The album, Hello World, is available at:

https://open.spotify.com/album/6IO5Bxi6QBcfIJW6h7iQhe

RELEASE DATE:

20th March, 2017

All songs written by John Lennon. 

Recorded from August 2016 to February 2017 at The Windmill in Dublin. Additional recordings at The Cottage in Aillebrack, Rory & Lily’s in Sallynoggin and Damo’s in Glasthule. 

Mixed by Tony Harris (tracks 1, 3, 4, 5) and Damien Walsh (tracks 2, 6, 7, 8, 9, 10). 

Mastered by Fergal Davis. 

Lighthouse at Point Reyes by Briano. 

Art Direction and Photography by Céline O’Donnell. 

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THIS weekend, I get to look at two male artists who…

hail from the same sort of part of the world. It is great to subject myself to Irish music and, in this case, Blake’s Fortune. That is the moniker of Dublin-born John Lennon so, as you can imagine, using his real name might have been a bit confusing – or else led to some lofty expectations. There are few, in the world of music, that do things quite like him.  I will come to John Lennon’s creative half in a minute but, right now, I will address a few subjects. Among them is Americana and Folk music; Dublin music and venues there; wishful/romantic music; male singer-songwriters and standing out from the crowd – artists who can provide beauty and lyrical/compositional range on debut albums. I will end things with social media and upping the visual side of music, too. I often get to look at Folk music and its various incarnations. I am not sure what it is but the genre is starting to grow. Artists are bonding with it and, like no other time in modern music, it is seeing more recruits than ever. To me, it represents a freedom and flexibility that most genres do not. There are those who say Folk is quite a boring and specialist medium. I would argue against that but, taking their side, suggest one could not listen to a lot of like-minded Folk artists for too long. By that, those performers who play rather placid and calm music – sounds meant to soothe and seduce the soul. It can be difficult listening to songwriters who do not get out of second-gear but, in the case of Blake’s Fortune; there is such a variation and depth one doesn’t fall into that trap. Yes, there is a lot of romance and tenderness but other sides to the artists. Recently, I investigated Folk and how multifarious it is.

One does not necessarily have to see it as an off-putting brand of music. We all have our tastes but Folk cannot be accused of being predictable and limited – not anymore, anyway! What Blake’s Fortune does is show what you can do by keeping Folk pure and modern. There are Americana roots that, interestingly, are coming into British music a lot more. Whilst we refute their world leaders, attitudes and negatives – we are embracing American music a lot more. Hip-Hop from the U.S. is assimilating into British culture more readily and Folk is taking a lot from America. Maybe that is not a shock, also. John Lennon, like many artists, is inspired by the best and brightest of U.S. Folk. I know Dublin is not in Britain but forgive my eager typing – you know what I mean! What I find, when listening to Lennon’s music, is someone who has immersed himself in Americana and Folk from a young age. There are many Folk contemporaries who limit themselves to a certain style but Blake’s Fortune is an outfit that has a lot to say; so many different stories that suit the full expanse and range of modern music. Why I wanted to look at Folk/Americana is how agile and popular it is. One cannot accuse it of being for acquired tastes. As the mainstream remains rooted in commercialism and a Pop sound: away from that, there are so many young Folk artists updating the genre and lending their voice. I feel, unlike other types of music, one is able to project an array of emotions without having to leap between genres. Folk/Americana have malleability and is attractive because of its freedom and potential. Blake’s Fortune enters a busy market that is as competitive and hostile as any other time. I mentioned how busy Folk music is becoming and that needs to be addressed. We are seeing so many different artists come into the genre and provide their own take. It might be scary for a young artist to join the fray but, as he shows, one can carve their own empire if they do not replicate and copycat.

This might be the first time I have looked at a Dublin Folk artist this year. That might sound like a niche issue but many overlook the joys and potential of the city. Recently, I hosted Pillow Queens at The Finsbury in London. They are a girl group that rock hard and have the promise to ascend to the mainstream in years to come. Brilliant live; fantastic songwriters with a tight connection – few bands have the attributes and qualities they do. They are among a small selection of artists that genuinely have something different about them. Having Blake’s Fortune before me allows my mind to go to Dublin and the great music coming from there right now. Hare Squad and Bad Sea are two Dublin acts that, between them, offer energy, bangers and longevity. The former is an Electronic act making a name for themselves in E.I.R.E. The latter, a more contemplative and charmed. Their music has Folk embers but mixes Country and Aaliyah-like R&B into the fold. Saint Sister have links to Derry and Belfast but have that Dublin base. They are a terrific duo that has been touring the U.K. and Europe the past couple of months. True originals that have the opportunity to go as far as they want. Throw in the boys of Orchid Collective and one has a band that mixes Fleet Foxes-esque harmonies and Folk-Rock brilliance. I particularly love Farah Elle and all she promises. She has Libyan heritage and mixes that with flecks of R&B, Reggae, Ska and Pop: a brilliant artist who has a lot more to say. The urban realities of life are presented by Burnt Out. Their name might be an apt description of their lyrics and worldview. Songs address the harsh realities of the city and the kind of people they have encountered. The North Dublin guys have only a few songs under their belt but are another band to watch carefully.

The same can be said for TooFools whose membership expands – depending on whether they play live or record – and mix Funk, Soul and Stomp. Eden is a fantastic artist who has seen his fanbase expand and music take off. He has completed worldwide tours and is one of the most popular and promising new artists in Ireland. That is merely a reflection of the kind of act one can experience in the country. I did not include links to their social media but you can investigate for yourself. I did not want to distract one from Blake’s Fortune and what he is producing. I often think the quality of a city’s/country’s music depends on the people and the culture. Dublin is renowned for its friendliness, warmth and wit. It is an encouraging landscape for musicians and, as I shall show in the conclusion, full of great venues and sites. A fabulous city that is promoting and raising some future stars. I can understand why Lennon is based there and why his music has the character, heart and quality it does. Other areas like London, for example, have their own brand – and is immensely varied – but there is something unique about Dublin. I have discovered few areas that have that exceptional genre-fusion and immense quality. Maybe it is to do with the people and the fact musicians feel supported and hopeful. If one feels they will be successful and get long-term support; their music is going to be that much stronger and solid. I have not been to Dublin myself but know, from reports people send back, what a place it is. There is a loyal and tight-knit music community that is encouraging its inhabitants to remain there – rather than come over to England and live here. Blake’s Fortune has many Folk/Americana compatriots but, when it comes to his combination of sounds/emotions, there are few like him.

One might look at John Lennon and assume they have him all figured out. The hirsute musician strikes you as a Badly Drawn Boy-esque act whose music will be beautiful and appealing – but lack the marrow of diversity, energy and edginess. Hello World, by its title implications alone, is an album that welcomes people in and has a positive disposition. There are some more introverted and moody moments but, largely, the music has an optimism and hopefulness. That is reflected in the ambition and flexibility of Lennon as a writer. He switches genres and ensures his songs never become too repetitive and predictable. Not only does he keep the compositions interchangeable and broad but carries that over into his lyrics. On his album, from the opening number, there is that sense of emotional space and recuperation. Hiatus is, literally, the man spending time away from home and getting a break – returning and finding himself refreshed and rejuvenated. Other tracks look at romance and something tender and pure. I shall look at a particular track from the album but, if one goes to his BandCamp page – link is at the bottom of this review – you can read the lyrics and the stunning wordplay at work. Scanning the words and one finds senatorial dignity and curious come-on; beautifully weaving poetry and incredible imagery. Blake’s Fortune reminds me of Nick Drake and his incredible songwriting. You only need read the lyrics and you can immerse yourself and picture the scenes. The best part of the lyrics, to me, is the romance and the angle Lennon puts on the trope. That is an appropriate word because a lot of songwriters, when addressing longing and passion, tend not to differentiate themselves from the pack. Here, one discovers an artist who casts from his own experience and makes sure his words contain no clichés and stereotypes. There are few who project the same majesty and beauty as John Lennon. From my perspective, having affection for someone and pining for a person I cannot have, I find a lot of comfort and solace in the work of Blake’s Fortune. The words provide a sense of hope and guidance. One, when intoxicated by the relentlessness of love, need answers and clarity. When listening to the songs throughout Hello World; not only did I find answers to some arresting questions but some perspective and hope. I will not go into the details of my predicament but am glad I have discovered Blake’s Fortune. Wistfulness and romance and words that might balk some; get under the skin in a bad way – assuming the music will be soppy and cloying. A lot of artists do write that way but there is a real intelligence, dignity and depth to Hello World.

Listen to the album in full and one is enriched, enlivened and encouraged. Few can deny the incredible voice of John Lennon helps embolden and define his lyrics. It is the songwriting that, in many artists, is overlooked. We look at the surface and sound but rarely dig down to the core. Whether that indicates a lack of interesting songwriters – and whether they are saying anything original – or a naivety, I am not sure. I feel too many take songwriters at face-value and do not spend time looking underneath the bonnet, as it were. When listening to Blake’s Fortune; those words are as instrumental and effective as anything. The genre of Folk/Americana is a crowded one and so, for that reason, one cannot be lazy and complacent with their music. Blake’s Fortune has a style that many can apply to others but, when seeking that U.S.P., it only takes a brief sip of the opening track (of the album) and there is that hit. The fact John Lennon takes in many different sounds and styles keeps the songs unexpected and innovative. I find many artists last a short time because they do not take the trouble to study and see what people want. Maybe they are obsessed by commercialism and replicate mainstream acts: some go the other way and try to be unique – but lack any identity and focus. It is tough coming into music and creating music sustainable, interesting and enduring. Such is the capricious and ever-changing nature of tastes; it is challenging discovering what people want. Blake’s Fortune is unconcerned about hollow fame but he wants that credibility and respect as a songwriter. Because of that, his music comes from the heart but is not exclusive. It is intended for the people and welcomes the listener in. I will touch on this subject in greater depth later but, for now, a nod to the male singer-songwriters.

One of the most noticeable fashions/trends in modern music is the switch in genre and tastes. People are becoming bolder and broader with their music choices and not rely on the charts to tell them what to like. Also, one sees the shift from bands dominating: female artists are taking a lot of ground and influence from the chaps. This is good to see and, whilst this quality and talent is not translated into festival headliners, there is evidence to suggest changes will occur down the line. Once was the time male bands were all the rage and dominating the landscape. I am not sure what one can attribute the change to but I am discovering a lot of female acts replace them. That means the male singer-songwriter, by comparison, gets less attention. I am not suggesting the male singer-songwriter is weaker and less important but I am finding fewer examples that can match their female peers. This is good in regards gender equality but suggests there are issues inherent that need addressing. I feel a lot of the best female artists are solo acts. Not to stereotype, but certain genres have particular dynamics. Grime and Hip-Hop tend to have a greater number of black artists; Folk more white artists; one can look at various genres and know what the demographic will look like. Pop, Folk and Electronic music are starting to eek greater reactions than modern Rock and Indie. These styles, when bands dominated, were favoured but right now there is a structural weakening and lack of motivation. I find the finest new Pop and Folk artists are women. The reason for this, I think, is because of the voice and music approach. The sheer beauty and comfort from the voice; the vocal range and the lyrical balance of warmth and physicality. That is a generalised and simplistic definition but I notice a real difference between male and female songwriters.

One finds more range, diversity and nuance with female artists. Folk and Pop are genres that have so much room for manoeuvre – they are exploiting this and making some real strides. Look at newcomers like Phoebe Bridgers and that says everything, really. In a way, she reminds me of Billie Marten – maybe Bridgers came first – and has that sweet and impactful vocal. She is a young songwriter but has older shoulders. Listen to her music and she talks about older bands and strange romance; quirkiness and an insight into her day-to-day life. You jump into the music and stand alongside Bridgers. She is someone to watch closely and one of many incredible female songwriters that have something very special about them. I am finding fewer male comparisons: those who possess the same quality, talent and range. Maybe I am not looking hard enough but I do not think I am wrong. Blake’s Fortune is one of a promising brand of musicians that have the chance to steal back some focus. I feel one of the reasons for the gender discrepancies is the way artists look at life and love. They are solid foundations for tracks and a currency many still yearn for. They are solid foundations for tracks and a currency many still yearn for. It can be tricky writing from the heart and making your words sound new but that is why the women are ahead. Maybe it is a mindset or perspective that makes them more intriguing but I find it is a combination of interesting and poetic lyrics and vocals that can express greater emotional range. The boys are too rigid and few stand in the memory for as long. This is not the case with Blake’s Fortune who has something about him. Like the finest female songwriters around; he goes the extra mile and away from the predictable. It is hard to characterise but I hear so many male songwriters that come across boring, formulaic and uninspired. In order for music to grow and evolve, we need to encourage those artists that have something special about them. One hears that in Blake’s Fortune and an album like Hello World.

I shall come to the music very soon but, before then, a look at debut album and social media. On the first point: Hello World, could have been quite a defined and limited album that stuck with a single genre and taking its inspiration from a shallow well. I hear a lot of debut album that shows a lack of courage and innovation. That is understandable in an industry that is unstable and cruel. What I mean is many artists can be overlooked if they try to be different and unconventional. Because of that; an opening salvo is personable and strong but lacks any real experimentation and difference. You may hear the odd song that has a unique flair but few artists come in with such a kaleidoscopic and inventive approach to music. That is not to say Blake’s Fortune has come in with a Paul’s Boutique style of album (Beastie Boys) but neither does it sit still and play it cool. There is a banquet of different stories, sounds and possibilities.  I am always surprised when new artists play it safe on their first album and do not take chances. Maybe it is a commercial risk but, considering most are not under the radar of the big labels, they have the opportunity to do something unexpected and stand out. Far too many are repeating what others have said or producing rather average albums. Musicians like Blake’s Fortune are not looking for the big streaming figures and getting into the charts. Here is a pure and proper musician who is inspired by multiple genres and artists – putting this into his work and matching that with stories from his past and present. Whether this will continue as he goes deeper into his career I am not sure – I would like to think it will. At this early stage; the signs are promising and it looks very rosy. Hello World has that wide-ranging ethos but manages to keep things grounded and focused. The songs are personal and intimate but, when you least expect it, they expand and take you somewhere else. A heady brew that many of his peers could learn from. I am excited to see where John Lennon’s alter ego can go and what the future holds.

Before I look at a song from his album, I wanted to talk about social media and images. The man behind the music has a lot of promise and aesthetic appeal. That is not saying he should be a model or shooting for calendars but there is an approachable and captivating artist that deserves greater representation. This review has a few photos but the vast majority do not feature John Lennon. One of my greatest tirades is when taking musicians to task regarding photographs. It can be quite frustrating when they do not put images online and want the music to do all the talking. That is something that irks me: no musician worth their salt is strong enough to ignore visual demands and solid music will only get you so far. In the case of Blake’s Fortune, there is a modesty and humbleness that dictates this omission – rather than an egotistical approach to his sounds and image. I would like to see him captured on the streets of Dublin as, not only will that ensure people put a face to the music but mean the big magazines and websites will go for him. The Dublin artists I mentioned earlier, between them, have a wide range of images and have social media pages fulsome and updated. Blake’s Fortune impresses me because of the number of sites one can find him on. All the social media and music-streaming platforms are included and he has an official website. That is a big and important aspect many musicians are overlooking. The only way to better this is for Blake’s Fortune to put more photos up and, perhaps, a bit more background and biography. He is a strong musician that has years ahead: getting a jump on these kinds of demands is paramount. Another thing I would like to see from him is some music videos. Maybe that is planned but, when promoting an album, YouTube visibility is vital. So many of the songs provoke clear images and fascinating stories. Having those represented through videos would bring more listeners in and get a greater number of followers onto his social media pages. Blake’s Fortune has a good fanbase but can increase the numbers with a few tweaks and developments. Maybe, again, that will come in time and something I would like to see happen.

The opening strings of Heart’s Roulette get you into the countryside and the landscape. Lennon’s voice is soft and assured but does not needlessly race and emote. There is a dignity and control that means the words are punctuated and precise. It seems like things have fallen apart of the seams and come apart. “Bridge the gap that was awfully/across my heart” is an example of lyrics that are oblique and interesting. The masculine, assured vocal has plenty of emotional and romance but there is some caution and wariness. Maybe things have gone sour in a relationship or, as the song title suggests, love is a real gamble. A past relationship may have made the hero sceptical but a new girl can change all of this. It seems like he is directing his words to a new love: someone who can overturn the bad days and bring some new inspiration to his life. I am not sure whether Heart’s Roulette is the result of a break-up but there are definite heartaches at work. When you think the song is going to be a straightforward and accessible thing – those who judge Folk and music upon few words – there are luscious and serene female vocals that back the hero up. It is a shot of colour and sensuality that raises the shivers and takes the mind elsewhere. I started off in the countryside – the sensation of rolling fields and pastoral solitude – but, now, go into the bedroom. Not in a seedy way but it seems like pillow-talk and intimate conversation is coming in. “Dreams can pull us together”, it is said. The hero has a hopefulness and wants to transition to better times. The heroine, it seems, left the bed for the sea.

It is quite an old-world view of fleeing lovers and new lands. The hero looks around and sees the heroine depart. Trying to take this all in; he casts the spotlight into his own soul and wonders where it went wrong. Maybe it was a natural breakup or the two were on different pages – she wanted something different and a new way of life. Whatever the origins, I get the sense of redemption and renewal. The hero, backed by gorgeous female vocals, investigates the wreckage but, rather than lament and wallow, seems to have a pragmatic imagination. Things will get better but it is important to take lessons away from this current love. I mentioned how a new love could be on his mind but I cannot shake that sense of being in the bedroom and looking from the window. The wilds and oceans are outside and, holding his heart firmly, there is a young man trying to make sense of things. The compositional broadens and expands as the song progresses. There are harder strings and Indie touches; bigger percussive influence and a change in the vocal dynamic. The hero did not expect to win the game of roulette but wants to take a chance. Fiddle and falsetto blends with electric licks and a stringent approach – a man who has doubts but wants things to be better. Those wordless vocals are such an inherent part of the song’s charm and strength. There are few lyrics on Heart’s Roulette but, the ones there are, give you all the story and revelation you need. Despite that; there is mystery and room for interpretation. Whether the hero found satisfaction and bonded with the new love – or was haunted by the fallout of the relationship – I am not sure but would like to imagine there is hope and new lease. The final stages of the song build those vocals and perfectly melt traditional Irish Folk and modern Indie. There is flair and energy but that passion and traditional element of Irish folklore. You swim through the song and imagine yourself out at sea. From the opening segments – where you picture countryside and calm – you go to the bedroom and the hero looking out. By the end; you are on the boat with the heroine and, perhaps, the hero is following her. Heart’s Roulette is a song that tackles lost love and the risk and gambles of relationships. It is a new take and aspect of love and the way it can take you by surprise.

I have written about Heart’s Roulette and why it represents Hello World perfectly. It is a song that gets inside the head and captures the heart. That brilliant track is in great company: the album has some brilliant moments and consistent quality. What grabs me about the album is the variation throughout. Some reviewers have noted how the music is Indie-Folk and has shades of War on Drugs. They are a band getting a lot of acclaim right now so is a good thing for Blake’s Fortune. To be fair, that comparison does not fully appreciate the talent and original aspects of his music. I will end by returning to some points I investigated early. At the moment, I am looking at Blake’s Fortune’s social media feeds and there is a lot of interesting developments. Not only has he recently encountered The Divine Comedy’s Neil Hannon – a cheeky signed photo and all – but the new album has been included in stores around Dublin. It seems things are going really well for John Lennon so I wonder how far he can go. I guess there are gigs happening around E.I.R.E. and, maybe, Northern Ireland. I am not sure whether artists from the South of Ireland are willing to gig there or if there are tensions still. I would not like to say but hope it is possible for Lennon to travel to the North. In any case; he can come to the U.K. and perform in countries like Scotland and England. We here would love to see him perform in places like London, Brighton and Manchester. There are so many areas that would welcome the fantastic music of Blake’s Fortune. Maybe he is already planning on coming to England but, maybe, financial restrictions mean he might stay in Dublin for a while. I can see the young songwriter making big strides in years to come and rising through the ranks.

Coming back to the Dublin music scene and the quality one can see there. The Grand Social and The Cobblestone are a couple of great venues that many local artists are taking advantage of. Vicar Street has played host to comedians but it is the musicians that pass through the doors that remain in the memory. It is a great space for artists of all genres to play to a welcoming and passionate city. The Button Factory and Whelan’s are incredible venues and, between them, having seen some legends of music pass through the doors – including Nick Cave and Jeff Buckley. There is so much to recommend about Dublin’s music scene – a part of the world that gets overlooked by many. Blake’s Fortune is part of an incredible scene that has so many world-class musicians performing. It is a magnificent part of the world and one you should naturally look to when it comes to future legends. I hope Blake’s Fortune takes full advantage of the city and the venues scattered throughout. Even if he does not play over there for a while; his music is going down a storm and it cannot be long before there are big demands around the world. I will end by looking at his music and how he is adding new life into Indie-Folk. That genre gets a bad reputation because, many associates it with a certain listlessness and fatigue. Whether you class Blake’s Fortune as pure Folk or Indie: he has so many different styles working through Hello World. It is hard to pin the man down but, on the surface, one might predict and judge. John Lennon has the look of a man one might find strumming the guitar and performing something gentle and unengaging. That is stereotyping and something a lot of critics and music-lovers do.

One cannot jump to conclusions and assume an artist is the grand total of their image. It takes merely a few minutes before John Lennon’s incredible music gets into the imagination. He portrays sides of Folk that would please fans of Joni Mitchell and Nick Drake but, dig deep, and there is a modern sensibility that is fresh and exciting. He has incredible songwriting ability and can take the listener in multiple directions. The songs are deep and compelling; the singing varies from warm to rousing. An accomplished composer who feeds from the city and people. Earlier, I listed a few of the artists who are putting Dublin on the map. The city has always produced great music but, recently, too many eyes have been cast elsewhere. It is musicians like Blake’s Fortune that mean Dublin will always be relevant and exceptional. The range and diversity of sounds is amazing. Maybe you feel Ireland will have a very limited sense of musicianship but it is as modern and nimble as any other nation. The supportive and rich music scene is encouraging its artists to remain and support one another. That is rare to find and is a shining example to other parts of the world. I will end this now but want to congratulate Blake’s Fortune on a terrific album and wonderful sound. I wish I could write more – aware people might be losing concentration – but I hope I have represented his qualities and personality appropriately. It has been great bonding with a personal and approachable musician who writes music that, somehow, fuses universal with the individual. I will follow his career because, in years to come, more people…

WILL be enriched by Blake’s Fortune.

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Follow Blake’s Fortune

  Official:

http://www.blakesfortune.com/

Twitter:

https://twitter.com/blakesfortune

Instagram:

https://www.instagram.com/blakesfortune/

Facebook:

https://www.facebook.com/blakesfortune/

BandCamp:

https://blakesfortune.bandcamp.com/releases

YouTube:

https://www.youtube.com/c/BlakesFortune

Spotify:

https://open.spotify.com/album/6IO5Bxi6QBcfIJW6h7iQhe

SoundCloud:

https://soundcloud.com/blakesfortune

FEATURE: The Rise of the British Festival Scene: A Time for Celebration?

FEATURE: 

 The Rise of the British Festival Scene: A Time for Celebration?

________

OVER the weekend, I will be looking at a range of themes…

and sides of music. I will address Hip-Hop and the growing influence it has had – and how it has evolved the past three decades – and other cool things. That is for then but, for now, I am interested in the festival scene of Britain. In the news, the past few weeks, we have heard reports of bad weather afflicting various festivals. An article by The Independent investigated claims, by patrons of BoomTown festival, that people were fainting in hostile conditions – having to queue for hours and barely moving:

“The searches are very thorough this year which as previously warned is lengthening queuing time - speed this up by using amnesty bins.”

Later, just before 3pm, the festival tweeted: “GATES UPDATE: All gates are now open. Thank you for your continued patience.”

Cordelia Keston, a ticket-owner who was still queuing at the time of writing (5.20pm), spoke to us about her experiences live from the scene stating she had arrived two and a half hours previous and had only moved a maximum of “50 metres.”

Describing the queue's movement as “snail-pace,” Keston said: “We're trying to stay optimistic but there are no stewards around telling anyone anything. We feel a bit like sheep - there are no barriers, we're all in a huddle.”

Commenting on the reports of fainting, she told us that all she hadn't seen anybody pass out herself and had earlier seen someone handing out water which was then chaotically “thrown” into the crowd so everyone got some”.

We cannot do much about the British weather but it seems, in order to make festivals as secure as possible; we are compromising public safety to an extent. Of course, a couple of festivals are going to be afflicted with logistical and security issues. I think, in the case of BoomTown, there were some failings – which marred an, otherwise, great event. There are, as we know, so many other festivals occurring around the country that one can attend. It makes me wonder, when it comes to queuing and complaints, where the issue lies. Naturally, people want to come and see live music but are we being over-protective and under-resourced?

Describing the queue's movement as “snail-pace,” Keston said: “We're trying to stay optimistic but there are no stewards around telling anyone anything. We feel a bit like sheep - there are no barriers, we're all in a huddle.”

Commenting on the reports of fainting, she told us that all she hadn't seen anybody pass out herself and had earlier seen someone handing out water which was then chaotically “thrown” into the crowd so everyone got some”.

We cannot do much about the British weather but it seems, in order to make festivals as secure as possible; we are compromising public safety to an extent. Of course, a couple of festivals are going to be afflicted with logistical and security issues. I think, in the case of BoomTown, there were some failings – which marred an, otherwise, great event. There are, as we know, so many other festivals occurring around the country that one can attend. It makes me wonder, when it comes to queuing and complaints, where the issue lies. Naturally, people want to come and see live music but are we being over-protective and under-resourced?

IN THIS PHOTO: BoomTown festival (2016)

The threat of terrorism is real and ever-present but it seems like security has been stepped-up hugely in the past year. Maybe it is the increase in attendees that means festival staff are unable to cope with the huge numbers. We must protect everyone who attends a festival but I feel we are a bit too nervy and over-protective in the wake of recent attacks. One can never protect and safeguard every public gathering but there needs to be vigilance. I am not sure the exact details of BoomTown but let’s hope things have improved for the last day or two. Weather...we can do nothing about – it is one of those things that can affect a festival immeasurably. Rather the bemoan the grievances and problems; let’s acknowledge the great events happening around the country and the loyal music-lovers willing to risk rain and rancour.

IN THIS PHOTO: Eva Lazarus (who performed at last year's BoomTown)

Victorious Festival is one of the more-recent events that shows how passionate the young generation are (about them). That was set-up in 2012 by three friends – James Ralls, Ben Miles and Andy Marsh – and will go down from 25th to 27th of this month, in Southsea. There are some big names on the bill: it is recognised as one of the best family-friendly festivals in the country. V Festival is on 18th and is that hardy perennial (if that is the right gardening-related term?!) that brings in a, predominantly, younger crowd. Virgin V Festival 2017 and Creamfields are up soon and it means August is going to a hot one. After that, Reading and Leeds will bring in a very large and eager throng. Whatever your tastes and preferences: there is a festival that suits your tastes. With so many fears surrounding the dwindling of live venues around the nation; I wonder whether festivals are replacing smaller spaces – people able to afford a once-a-year jaunt rather than regular attendance. It is encouraging to see the number of festivals increase. People are getting out there and keen to soak up live music.

PHOTO CREDIT: Jenna Foxton

Those big festivals – Reading and Leeds; Glastonbury – pulls in more mainstream tastes; same can be said of Bestival and Victorious. Radio 1 has their Big Weekend and there are festivals representing the biggest radio stations in the country. Even though Secret Garden Party bade farewell this year: it is one of those boutique festivals that has had an enormous effect and inspired other organisers to change their ways and make a more varied and inspiring festival. I will not go into that side of things but am pleased there are so many smaller, unique festivals providing a worthy alternative to the mainstream. I wanted to update my feature regarding festivals – I wrote one a couple of months back – because, there and goods and bads to the rise of the festival scene. I can only imagine how hard it is for organisers making their lineups eclectic and original.

IN THIS PHOTO: V Festival

One looks at the festival posters and sees a lot of the same artists appearing. That is good for reasons – if you do not live near one festival, and want to see an artist, you can catch them elsewhere – and provided a steady yearly income. It also means, given the number of festivals, a lot of the best upcoming artists have a platform to perform on. The best thing about the festival explosion is the choice and health of our music economy. Genres and tastes are not being excluded: one can catch the best Dance, Metal and Alternative sounds without having to travel too far. The fact so many artists appear at many festivals does not necessarily put people off. Such is the richness and the sheer number of artists at each festival; the odd replication is inevitable. Many might look at lineups and say there is too much predictability and homogenisation. I will address that in the final part but, before then, the boom and fertility of new festivals. With every Secret Garden Party – and, because it is no more – there are two or three popping up.

IN THIS PHOTO: KT Tunstall (she plays Towersey Festival in Thame, on Friday, 25 August, 2017 (18:00)

The fact 'everyday Joes/Jos' can set up their own festivals means it is more achievable and ‘for the people’. There are those corporate festivals that continue to dominate but the emergence of promising new festivals means the balance might redress in the coming years. At any rate, it is positive for musicians having so many chances to perform – and the associated freedom, choice and availability for music-goers. Many might be dissuaded by the terrorist attacks and threats to our national security. That doesn’t seem to be the case this year: business is booming and people are unaffected (relatively) by those atrocities. One can go here to get a list of all the festivals happening in the coming months – the volume and variation is staggering! The fact more people are getting out there and desperate to get to festivals can only be a good thing. It means international artists – who might not have considering straying beyond big U.S. festivals in the past – are tempted here and it shows Britain’s music economy, this side of it, at least, is booming. The simple endorphin-rush and community aspect of festivals means the more we have (festivals); the greater the feel-good factor.

There are ‘bad’ factors that are more complex than one might imagine. One might ask how much money those big stars get. Does someone like Ed Sheeran or Foo Fighters make a bundle from their appearances at festivals like Glastonbury?! A recent article, explained:

“Radiohead, Katy Perry and Ed Sheeran are among those taking to the stage at this year’s event, but Eavis has said it won’t do much for their bank balances.

She told BBC 6 Music’s Matt Everitt that acts earn “less than 10%” of what they could make at other festivals.

"We're not in a situation where we're able to just give people enormous amounts of money," she explained.

"So we're really grateful for the bands that we get, because they're basically doing it for the love of it."

Founder Michael Eavis had, for context, previously revealed that £200,000 was once paid to Coldplay.

“Although it sounds a lot, they could have charged me far more,” he said at the time.

Oasis, for example, were believed to be paid upwards of £1m when they topped the bill at Reading and Leeds in 2000.

Oxfam, WaterAid and Greenpeace are among the charities who benefit from the money Glastonbury makes, rather than the musicians who take part”.

An earlier piece by The Telegraph shed more light on the complexities and rationale:

“Mintel’s senior leisure analyst, Michael Oliver, says this growth has been down to two key factors. Firstly, there has been an 8pc increase in the average ticket price for major festivals between 2013 and 2015. Secondly, and perhaps most crucially, is what he terms the “explosion” in the number of festivals since 2010.

As an example, the number of festivals listed on festival website eFestivals has jumped from 496 in 2007 to 1,070 last year. Steve Heap, chairman of the Event Industry Forum and general secretary of the Association of Festival Organisers, says the industry has been “swamped” with new festivals.

 “More and more of these events are cropping up, and more and more people are realising that, if they want to go to festivals, they can go to one relatively near to home,” he says. As well as the number, the nature of festivals has also changed dramatically, with greater focus on the “experience” of the event, rather than just headline acts. “More and more festivals don’t depend on the big act,” Heap says.

“They depend on putting on a great experience which has got a lot more to it than just the artist and the music.” So, if everything is going swimmingly, why are new festivals collapsing? Heap says, on the whole, there are always “a few” festivals that either close down, collapse or go bankrupt each year.

“Every time one closes down, two others start,” he says. Perhaps that is the problem. There is a concern that the market has become oversaturated and will plateau as a growing number of people try their hand at running a festival, seeing it as an easy ticket to riches.

That pot of gold very rarely materialises, though, and Heap says only a few of the smaller festivals are financially lucrative. “It is harder now than ever to make a profit,” he says. “Apart from the big boys, the festival scene is not making loads of profit. “The new ones coming up have a crack at it and think themselves very lucky if they just get by. Some of them, especially the ones who think they will make a quick buck, usually don’t and quite often just collapse.”

IN THIS PHOTO: Tiesto

One of the biggest hurdles to profit is the considerable cost of organisational factors such as the staging, lighting, speakers and lavatories, which can very easily – and very quickly – spiral out of control. The second major problem is artist fees. As is well documented, a decline in record sales has led musicians increasingly to view live performances as their primary source of income. Because of that, the artists are charging higher fees than ever before.

Without the musicians, it can be incredibly hard to sell tickets, but with the artists, the festival’s balance sheet can become strained. Neil Warnock, head of worldwide music at United Talent Agency, represents artists such as Glastonbury headliners Muse, Motörhead and Dolly Parton.

He says the fees paid to artists at festivals have become “far more attractive” in recent years. “We have almost gone back now, full circle, to artists earning their money on the road, like they did in the ’60s,” he said”.

IN THIS PHOTO: Foo Fighters (who, like the other headliners at Glastonbury, were not paid as much as one might imagine)

I guess there is an intent desire and passion in the festival stars. They are not in it for the loot and, within reasonable boundaries, are prepared to take a pay-cut. The warnings can’t be that bad but one imagines the payment for smaller acts is a lot more modest. I suppose, if one wants to put themselves on the map, they have to tour and get out there – often barely making a profit from a year of touring. Maybe that desire and push to get exposure is forcing many to, not only perform at as many festivals as possible, but be prepared to play for less money than usual. There are those security concerns but, I guess, in a time where terrorism is a very real threat; can we undermine and under-source security personnel? The recent fiascos at Boomtown and other festivals have been as much dictated by the weather as human error. It is inevitable there will be some mishaps but there are definite creases to be ironed-out. There have been fights and complaints, yes, but that was the results of a ‘perfect’ storm: the delays, heat and invariable stresses that built up. It is a rare exception but one we need to learn from. We can see, from the creation of new festivals and masses flocking to them, the British music scene – in this dimension and corner – is burgeoning and healthy. My hope is this proliferation and blossoming lets the government and decision-makers know – who affect the funding and survival of small venues – realise there is an enormous desire for…

 IN THIS PHOTO: Secret Garden Party (2015)

INCREDIBLE live music.