INTERVIEW: Winnie Brave

INTERVIEW:

 Winnie Brave

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THE married duo of Winnie Brave…

provide the music world with plenty of charm and unique spirit. I ask about their new single, Moonshine, and whether Amy and Brad are coming to the U.K. Winnie Brave is based in Canada - so I ask why Canada is producing so many great artists. They talk about the new album, Cheap Gin, and what more is coming.

The guys chat about their Winnebago and why they tour in it (and why it is so homely); what it has been like getting such a great reception – and whether they have any plans set for this Christmas.

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

We are Winnie Brave (Amy and Brad McIsaac); a husband-and-wife, Americana/Soul duo who tour/travel in our 1976 Winnebago with our two dogs.

Moonshine is your new single. What is the song about?

Moonshine was written by Amy (music and lyrics) one morning in February a few years ago. The song came about rather quickly and flowed from start-to-finish in under an hour – it was one of those easy songs that popped out fairly complete and without much effort or toiling. I wish they could all be that easy.

I didn’t have a set idea or story in mind at the start: I (just) let it flow and connected the dots – so to speak – what came out was a fairly traditional story of love that just wasn’t meant to be.

Catherine North Studio is where your album, Cheap Gin, was made. How was that experience?

Drums and vocals were recorded live in the main cathedral room of Catherine North Studios. The room provided the perfect acoustics for the driving train beat and the big, wide-open vocals. The large room also provided a great natural reverb - which was perfectly captured by Dan Hosh (Engineer) and his creative microphone techniques.

Will there be more material released from the album?

Lover on the Side is the second single that will be independently released before the year’s end.

Who are the other musicians who aided on the music of Cheap Gin?

The album features us, Amy and Brad McIsaac, along with Christine Bougie on Lap Steel; Adam Cannon on Drums; Lauren Campbell on Backing Vocals - and Albert Carraro on Electric Guitar.

We tour as a duo since the Winnebago only has two seatbelts.

Why did you guys get into music and which artists have inspired that decision?

Playing music was a shared, common interest and, what started as a hobby/just-for-fun pastime, naturally progressed into something we wanted to do for a living - it became our family business. We take inspiration from such a wide collection of artists that it’s hard to narrow it down to only a few...

In the last few years, we have looked towards artists like Shovels & Rope as inspiration for what we are aiming to achieve.

Talk to me about your 1976 Winnebago, ‘Winnie’. Why is she your chosen method of transportation? Does it feel like a home to you?!

Winnie, our 1976 Winnebago, is definitely home. She is the (most) perfect touring vehicle for us...

Having all the comforts of home (i.e. a kitchen, full bathroom; our own bed and dogs) means we can stay out on the road for extended periods of time without feeling like we’re missing anything - it’s comfortable all the time. Plus, she gets lots of attention and we have met some wonderful people - just because they were attracted to her good looks.

You must have experienced some great times in the Winnebago?!

There are so many great memories from our travels: it’s hard to pick just one; however, there was one night on the Central Coast in California that comes to mind…

One night, we pulled off Highway 1 (California’s old coast highway) and ventured down a gravel path that led to a bluff overlooking the ocean. We made dinner and ate outside under a perfectly-clear sky. Once it got dark, we settled into bed and fell asleep listening to the waves – it was a perfect evening and there wasn’t another soul around. Around 7:30 A.M., Brad woke up and peeked out the window… “Holy s*it; we’re surrounded!” I (Amy) jolted up to see what he was referring to (naturally thinking it was the cops. L.o.L.), and, low and behold, there were about thirty cows surrounding the R.V. – extremely curious and having a good look.

I guess not many Winnebagos roam into their pasture.

What is Canada’s music scene like now? Is it quite fertile and productive?

Finding gigs is the easy part: finding recognition is a whole other ballgame.

Having travelled to many different parts of Canada and the United States, we find that the scene is fairly similar across the board. In most circumstances, there are more bands than there are places to play.

What tour dates do you have coming up? Will you be coming to the U.K.?

We will be playing a bunch of dates throughout the remainder of the year in Western Canada - followed by a four-month tour of the United States (commencing in January 2018).

We’d love to come to the U.K.! We’d love to take Winnie for a spin around the Top Gear test-track.

Christmas is approaching. Do you all have plans already or will you be busy working?

We will be spending this Christmas in our new home in rural, eastern Alberta; then, heading south right after the New Year (to start our U.S. tour).

What do you guys do/enjoy outside of music?

Brad: Vintage cars and guitars; craft beer and hockey.

Amy: Thrift shop-hunting and cooking a great meal (while sipping a cocktail, naturally).

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

When I was about fifteen; I learned how to play the guitar and was really drawn to Sarah McLachlan. Her album, Fumbling Towards Ecstasy, was probably one of the first albums I bought that I listened to over and over again – it wasn’t long before I learned how to play all the songs… and then I cut all my hair off. L.o.L.

Brad: The first album I went deep with was Ten by Pearl Jam. I bought a pawn shop bass and a tab book and tried to master all the songs. The process of learning those songs inside and out informed my current taste in songwriting and production. My taste and influences have broadened greatly since then but that was where it began for me.

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

Work hard and keep working hard.

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).

Amy: Crazy on You – Heart

Ann Wilson can SING!

Brad: Blown Wide Open - Big Wreck

Canadian content!

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Follow Winnie Brave

Official:

http://www.winniebrave.com/

Facebook:

https://www.facebook.com/winniebravemusic/

Twitter:

https://twitter.com/winniebrave

Instagram:

https://www.instagram.com/winniebrave/

Spotify:

https://open.spotify.com/artist/45jiDVDqf8rVeFuwjg5jac

SoundCloud:

https://soundcloud.com/winniebrave

BandCamp:

https://winniebrave.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UChwTOM_SPK-KnGtpAmXmglg 

INTERVIEW: Brooke Sharkey

INTERVIEW:

 Brooke Sharkey

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SHE is based out of London…

and is shaping up to become one of the brightest young stars here. I talk to Brooke Sharkey about her background and how she came to find music; what her new single, Offida, is all about and whether her album, Wandering Heart, is the start of great things – what we can expect next year. She talks about busking from a young age and playing across Europe; playing with Blick Bassy on 11th November – and what London is like for a young artist.

Sharkey gives me a window into her young life and what music means to her; the kind of sounds she was raised on – and what it feels like being lauded by some inspirational and beloved sources.

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

Hello there. I have to say, it’s been pretty special...

I was at my mum’s house in France, and now, I’ve just arrived in Paris for a show this evening - in a little intimate venue in Montmartre. 

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

I translate what I go through in life into music - to make my own sense of things that happened; happen and may happen to me. It’s an emotional acknowledgement of an event: the insight into a person’s state of mind, or my own. Sometimes, the music comes before I have any idea that something needs my attention. I was brought up between France and U.K. and express my songs in both languages.

I’ve spent a lot of time roaming, busking and meeting interesting people; jumping around a lot - for reasons I wasn’t sure about until a few days ago. 

Tell me about the new single, Offida. What is the tale behind the song?

Offida is the story of a lady who dedicates herself for weaving lace in a small town in Italy in the Marque region. I visited this town a few years ago and met this woman in a shop. We had a beautiful exchange and she talked about how hard it was to survive there doing was she does. I really related to this. There were all these incredible garments tucked away in her draws that don’t usually sell.

Most of what she made these days were lace butterflies that she sold for 6€ to tourists - to keep her afloat and took her a few hours to weave. I bought some lace earrings for my mum; gave her one of my albums and left the shop. She ran after me and handed me a butterfly and thanked me. I promised myself I’d give it to Jez - who ended up joining the band shortly after the song was made. I wanted to remember the exchange with this lady; not to have faith in surviving and being successful. It was deeper than that.

About her being an example of dedication to what she loved, and the song in reflection, was valuing the moment we had together; our unique exchange. I guess I wanted to give an example of one story I lived - so that, in some selfish way, could perceive most events and things that happen in life this way.

If others did too, then wow…what a place the world would be like.

The song is from your album, Wandering Heart. Can you tell me the themes of the album and what it was like to record?

The album, in retrospect, is a collection of moments, exchanges; places that a sequence of random events let me to leading the life I lead - which is one that relied nearly entirely on trust. I have been a busker most of my life and it has been my main source of spirit and income, too. The songs are refections of the good times and bad - and the challenges and the magical encounters that started to make me see things in a different light.

We toured the songs for a while before recording them. Adam Beattie (Bass or Guitar), Jez Houghton, and myself - and sometimes, Sam Pert - developed it from touring. It was a big learning curve for me to try and bring the essence of what we do on a record and it was a big challenge for me and my band member - but it was very rewarding to see it come together. I stripped each song to its essence. By that I mean, if it was a personal song, I would do it solo then build on it so the intimacy wasn’t affected. If it was about a place, I tried to capture the atmosphere with the relevant combinations of instruments and recorded it live.

Jez preferred to work alone so we let him do it his way; then he sent over his parts when he was done. The hardest part was having what I wanted and what each person in the band was satisfied delivering - and trying to adapt to their way of working too. Each of us is so unique: it’s the uniqueness of my band members that were also a bit part of this album.

Your voice seems to take in a lot of different emotions and colours. Who are the artists you look up to and were inspired by?

I connected to the spirit of Lhasa de Sela, Silvia Perez Cruz and Tom Waits (to name a few of the bigger names) but, also, to all the bands and musicians I have been lucky to find and stumble across - being a musician of many years on the East London music scene. Through the diversity of music, I have had the chance to encounter a lot and managed to find my own voice - to express my own experiences. 

Did you bond with music quite early? What was it about music that made you want to write and perform?

My first connection with music was before I could talk.

My dad used to sing us sings; then when I got a voice and started experimenting with it. I remember trying to capture a melody by scribbling a line down on a piece of paper when I was about five. I have no idea what it is that makes us want to play. It feels good and connection and experiences come out of it - the richness only sometimes emerges later. Lots of them are revelations that I can relate back to when I stop valuing the moment. Creative works are a limitless pool that I carry on to uncover them each time I perform them. They change and grow and I change and grow.

It’s amazing to feel my way through them.

You started busking at sixteen and travelled Europe and London; France and Italy. Was that quite an enlightened time or was it quite tough?

I was still living in the same head of that girl until a few days ago - and would never have known what I was doing and how/what for. Now I can look back and see my life unfold slowly with the richness of those experiences. What it gave me was my own story that I didn’t know how to value them…but do now. The tough parts were the biggest lessons and formed me as a person.

The beautiful moments are there for me to savour forever.

PHOTO CREDIT: Alan Schaller Photography

Looking back at your time in music; which memories and gigs stick out?

I have played so many shows: they are all unique in their own way. The launches of new releases - such as St. Pancras Old Church in 2012; Wilton’s Music Hall in 2014 and The Jazz Cafe at the end of 2016 - are very memorable because it’s a time when every part of this journey I am on comes together - and I see all the wonderful people that have helped me along the way in the same room.

It’s very overwhelming and real.

London is your base. How important is the city to your music? What is it like for a young musician here?

Every musician’s life is different: everyone has their own path. We are united by common ground but I can’t stress how much we have our own underlying fate. We may end up in the same venues at some point but how we got there and where we go afterwards is so different. London is hard, easy; full of spirit and lonely. If you want to feel life at its most intense then live in London. I wouldn’t know how it feels for a young musician. I would know, if I met them and asked them, though, they will notice all the details that make sense to them - that would be entirely different to the places, people and experiences I go through and want to write about.

That’s the beauty of art - our own unique experience and view of the same things.

You are going to headline Union Chapel, London on 17th November. Are you looking forward to that and playing with Blick Bassy?

I first did a show with him in 2016. It was magical.

Sometimes, you need an element missing to notice other things. By that, I mean I didn’t know what he was singing about as he sings in Bassa - one of the many languages in Cameroon - and yet; I still felt like smiling, crying and tapping my foot. I have been praised and criticised for singing in French and English - as people either feel alienated or like they’re not understanding me. It is the perfect platform to imagine what I was saying.

There is something more to what Blick Bassy presents in his music. There’s a strong and vulnerable spirit. He’s amazing to watch and listen to and I trust his messages. I’m so excited about it. It’s insane. 

What other tour dates do you have coming up? Which dates are you most looking forward to?

I’m doing many dates with Blair Dunlop who is (also) quite a talent and, from our conversations, an ace person. I’m looking forward to being on the road with him - and us combining our journeys. 

PHOTO CREDIT: Bertrand Goareguer

It is nearing the end of the year. Will you have time to rest nearer Christmas and do you have any plans for later this year?

I have been writing a new album alongside my experiences since the start of the year. The songs have been a key tool to understanding my next steps in life and diving further into myself.

I’d like to spend some time alone this December and (spend) Christmas with my family in France. 

Who are new acts you recommend we check out?

I have spent the last few months diving into music that my close friends listen to - mainly what they were brought up with - so I’m not up-to-date with current acts at the minute.

Maybe let me know if there’s something you’d like to share with me?

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

Lhasa de Sela - Lhasa

This album is beautiful, but what I like most about it is her outlook, her life and her version of her life. She says “When I was young, I realised that the words you put in a song are precious”. She has spent time getting closest to who she really is: the pain and the joy.

You can feel that on this album... 

Adam Beattie - The Road Not Taken

I travelled alongside Adam all around France and Italy when he was making this album. In his revelations, intrigues and understandings; there’s nothing more valuable to listen to his creations from the events we lived together. 

Geoff Sharkey (Demos never-released and a lost tape) 

The third is this - surprisingly, it was never released officially. It was a bunch of demos, of which I had the tape, and then lost at some point in my teenage years. I remember how much they marked me and sometimes his lyrics crop up in my songs - and I say ‘hi’.

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

Keep doing what you do - and trust and marvel in your personal journey.

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).

Fleetwood Mac - Dreams

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Follow Brooke Sharkey

Facebook:

https://www.facebook.com/brookesharkeymusic/

Twitter:

https://twitter.com/BrookeSharkey

Instagram:

https://www.instagram.com/brookesharkeymusic/

Spotify:

https://open.spotify.com/artist/6GKB8m6MY4QJQrLipt5qAc

SoundCloud:

https://soundcloud.com/brooke-sharkey

YouTube:

https://www.youtube.com/channel/UC28FPdDz0cJGSioBgmNzU0A

INTERVIEW: MY BABY

INTERVIEW:

 MY BABY

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THIS may be the first time…

I have featured an Amsterdam band on the site. I have been to Germany and France but never snuck into the Netherlands. This is exciting and especially so given the ethos, dynamic and look of MY BABY. They consist frontwomen Cato von Dyck and brother Joost – New Zealand-born Daniel ‘DaFreez’ Johnston completed the line-up. Their new single, Sunflower Sutra, is a stunning one; it has a terrific video I find out more about. The video consists three parts: Birth, Ceremony and Rebirth. The totems of each individual band member are evoked. We have Rooster (courageous and hardworking – this is Daniel’s); Hare (concerned with happiness and fertility – Cato’s sign) and Pig (soft and modest sums up Joost).

It is a quirky and unique take on music so I was eager to find out more and whether we can see the guys in the U.K.; how the trio got together – and if there is any more material down the road.

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

We're doing great.

It’s been rather busy. Only just finished the festival summer, and now, straight into the European tour for two months - so, we were busy preparing for that.

However; we did manage to find some time to work in our studio. 

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

We are a trio based in Amsterdam - that play Roots-driven hypnotic Dance.

What is the new single, Sunflower Sutra, all about? Can you reveal the story behind it?

Whilst writing songs for our album, Prehistoric Rhythm, we delved into ancient rituals that involved songs of worship.  Some cultures sang songs of worship for the sun as it also represented a deity - for instance, the Inca civilization or the peoples of ancient Egypt. We really fantasized about how their songs would have sounded.

The inspiration for the lyric came from discovering an old ancient Persian poem about sunflowers turning their heads to follow the sun - creating a sense of unity and symbolizing a strengthening bond.

We took the title from a poem by Allen Ginsberg. We fused all those influences to create the journey-like song that is built up out of different stages - and rhythms that represent the different stages of a ritual.

 

Tell me more about the video – as it has been nominated for a Los Angeles Music Video Festival award. Whose idea was the concept?

Ayla Spaans is a young talented filmmaker who approached us with the idea of making a video for Sunflower Sutra. She had an inspired vision and fresh interpretation of the song in mind that really tapped into the relationship between music and spirituality.

Your third album, Prehistoric Rhythm, employs different sounds, beats and styles. Do you think you have encompassed more influences as your career has progressed? 

We have always strived to fuse different styles and sounds. A lot of African beats formed the basis for quite a few songs on Prehistoric Rhythm.

Taking Influences from Indian and oriental melodies also made difference.  

How did you all get together? Were you all friends from years back?

Cato and Joost are sister and brother and have been playing together since childhood. We met Daniel over twelve years ago at a festival when he was Blues-busking around Europe (after leaving New Zealand).

PHOTO CREDIT: Bart Heemskerk

Amsterdam is where you are based. What is the music scene like there and are there lots of great acts emerging?

Amsterdam doesn't have a particularly rich history in Rock and Pop...

But, in recent years, the number of interesting acts has increased. There is a conservatory of music where a lot of Jazz musicians, in particular, emerge. Amsterdam is home to famous venues like Paradise, Melkweg and Bimhuis.

You have been getting a lot of love from stations like BBC Radio 6 Music and Beats 1. How important is this to you and how does it make you feel?

It’s great to get that support and recognition; especially because our music is not straightforward radio-music.

What tour dates do you have coming up? Where can we come see you play?

We have an autumn European tour coming up including U.K., Germany; Belgium, the Netherlands; Switzerland and Central/Eastern Europe.

Are you coming to the U.K. this/next year to play?

We had a great summer of festivals in the U.K. including Glastonbury, Isle of Wight; Shambala (and many others). Hopefully, that has generated interest in seeing our own headline show. 

We’ll be playing our Prehistoric Rhythm show in Leeds, Bristol; London, Manchester; Birmingham and Brighton.

IN THIS PHOTO: Emme Woods/PHOTO CREDIT: Bella Rebel Media

Who are new acts you recommend we check out?

Emme Woods from Glasgow is an amazing singer and performer.

Echo Town is a duo supporting us on our U.K. tour. They have a great energy to watch out for.

PHOTO CREDIT: Mitchell Giebels 

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

Daniel: Robert Johnson's - King of the Delta Blues Singers

Robert Johnson is the most pivotal Blues influence because he was able to, so profoundly, depict the struggle of human existence and describe, in poetic imagery, what that entailed for him, personally. It's where Blues, as a Folk and a form of entertainment, meet artistry.

That discovery, for us, is part of the foundation of how we see our music and art in general.

Joost: Sly and the Family Stone - There’s a Riot Goin’ On

Sly and the Family Stone has been a prime source of inspiration in terms of Rock ethic and genius musicianship. There is a persuasive power of Gospel-meets-hippie idealism in Sly's music that is striking. There is always an expression of a dark and corrupted side (of himself) that threatens and leaves you feeling the fragility of life and all things beautiful. That is a rare combination to have shine through in your music.

It's something we aspire to...

Cato: The Gospel According to The Staple Singers - The Staple Singers

1950s’ recordings from The Staple Singers is a collection of powerfully evocative and enchanting Gospel traditionals. The guitar-playing of Father Pops Staples is spooky - and harks back to early-Country-Blues. Then, there is the majestic voice of Mavis - who powerhouses through all the songs; backed up by the brilliant harmonies of her siblings.

Truly humbling music.

Do you get the chance to relax/have downtime away from music? What do you all get up to when you have time to detach? 

Cato likes to travel and look for vintage clothing; Joost likes to party (especially in Glasgow); Daniel likes to hike in the mountains.

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

Be determined - and play as many shows as you can when you start out.

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).

For happy Pop-Soul goodness; check out Vulfpeck – Back Pocket

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Follow MY BABY

Official:

http://www.mybabywashere.com/

Facebook:

https://www.facebook.com/MYBABYMUSIC

Twitter:

https://twitter.com/mybabywashere

Instagram:

https://www.instagram.com/mybabymybabymybaby/

Spotify:

https://open.spotify.com/artist/0c103ZyWDycpfVxR0lNrjm

SoundCloud:

https://soundcloud.com/mybabywashere

YouTube:

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

LIVE REVIEW: #BLOGTOBER: Jasmine Rodgers, Hero Fisher and Sonia Stein

LIVE REVIEW:

 

#BLOGTOBER:

 Jasmine Rodgers, Hero Fisher and Sonia Stein

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EVERY time I come up to London…

which is, to be clear, not as often as I should, my stresses lessen when I get there – they always start when I begin the trip and find the capital’s people a lot more conducive to a relaxed and memorable time. This was the case as I headed to #BLOGTOBER – my second year taking part in the event – and found, after travel delays, people issues and general stress – I was safely deposited in London and found my way to The Finsbury. Once there; bedecked in the warmth and daylight of October – last time I was in N4 it was dark so it is rare to be up there whilst still light – I sat outside the performance area at The Finsbury and listened to the soundchecks take place. Chatting with Lost in the Manor’s Chis – thanks to him for organising it and having me again – it was interesting hearing the slightly distant soudncheck playing against the faint sound of the bar’s music. Doors opened at 8 P.M. and I was up there a few hours beforehand. The acts relaxed beforehand and took time to enjoy the food and drink at The Finsbury. Sonia Stein and her band checked first and had some time off before they night-closing set; Hero Fisher arrived after and was the penultimate act – Jasmine Rodgers arrived after and was the first act up. I have seen Rodgers play before – she was one of my chosen acts for the first #BLOGTOBER – so I knew her set was going to be a solid and exceptional one. I had not heard Stein and Fisher in the live environment so it was interesting discovering how their music, which I was aware of, would sound on the stage. After all the stresses of actually getting to London: a night of great music was exactly what the nerves and brain needed. Stein and her band, along with Fisher, made their way to the backstage/artist area as Jasmine Rodgers took to the stage.

PHOTO CREDIT: Maria Aragon

Her pre-gig ‘promise’ not to tell any jokes melted as quickly as the subject of her first gag – which asked what one would get if they mixed a snowman with a vampire (the punchline is ‘frostbite’, in case you were wondering). It gained a good smatter from the crowd – going down a storm, as Rodgers, rather cheekily, said – and that was not the only joke (they were actually pretty good). It is part of a personality and artistry that offers more than stilted chatter and quietness. I find a lot of musicians plough through their music and do not really provide any conversation with the audience. It can be nervous on such a stage – small and intimate as it is – so, one would be forgiven for having a heads-down approach to performance. Rodgers is someone, like Keira Court (who I saw a couple of months back), who tells some jokes and brings the crowd into her set – relaxing them and putting them in a good mood before a note is sung. Joined by Sean, her guitarist, Rodgers’ set was a fantastic and compelling one. Her current album, 2016’s Blood Red Sun, is one I am familiar with – so it was nice hearing material from it. Icicles, perhaps the standout from the record, is a song I am always excited to hear, but the entire set was incredible.

Rodgers’ set-up is, essentially, an acoustic guitar and ukulele – or mandolin; she’ll forgive me for a mix-up – so one gets sweet and infantile strings and more familiar sounds. It is rare finding a solo artist who has that blend so, when mixed with Sean’s vibrating, evocative guitar echo, it was a combination of emotions, colours and sounds. Few could command a stage with such ease as Jasmine Rodgers; that is a testament to her natural stagecraft and loveable personality. She is someone I want to feature, in some capacity, very soon as she always gets a great reaction from the crowd – and someone who deserves a big-label deal very soon! I am not sure whether any label bosses were in the audience but they would do well to see her play as soon as possible. It is obvious anyone related to (legendary musician) Paul Rodgers has a passion for music and immense skill. His daughter's music, not like that of Free and Bad Company, is its own beast and takes from different genres and cultures – before the set, she told me about a Japanese project she is lending her voice to at the moment. It was a great performance from Rodgers and, as 2018 looms into view, I would not be surprised was a new album to arrive from her. With her voice in especially fantastic form – going from tender to ecstatic and enraptured – it was a perfect way to kick off the night...

Facebook:

https://www.facebook.com/jasminerodgersmusic/

Spotify:

https://open.spotify.com/artist/1npod25ImfTYkFpelxT760

Twitter:

https://twitter.com/JRodgersmusic

Hero Fisher is a personality and human who could have her own T.V. series. There is a blend of dramatic and comedic about her. She is, on paper and in the flesh, a heroine that has immense allure and beauty - but a sort of rebellious edge and charming core that makes her incredibly intriguing. Alongside her ailing guitarist/musician, who was fighting off a cold on the night (the second in a month, as was revealed), the bond between the two made the set very strong. I am not sure whether they have been touring for a while but the ersatz relationship/strong friendship dynamic gave the set a flicker of flirtation and romance; a clear edge that resonated through the venue. If one is unfamiliar with Fisher then they would do good to get onto her music. Since 2014, when she released songs like Fear Not Victorious and No Ceremony, she has released a lot of work – an E.P, Slipstream, and a series of singles. In fact, Push the Boat Out was unveiled a couple of months ago and is a fantastic and addictive track. On stage, we were treated to a mixture of older and more recent songs. Fisher premiered a brand-new song – and future single – and provided the excited and vivacious crowd a look through her back-catalogue. By this time, more people came into the room and, aside from a couple of sound issues – the door to the room was constantly opened as people came and went; it meant we got bleed-through from the bar quite often – it was a triumphant set and one that revealed a true talent and future star. Fisher already has a solid and growing fanbase - but she is someone I can see doing tremendous things in the coming years.

On some numbers, using an effect peddle, she would sing a vocal (wordless, normally), and, with the press of a switch, that vocal could be looped as she would continue singing live. It provided a haunting and impressive extra layer to the set. I had not seen a live performer do this before and, because of that, one could enjoy Fisher’s incredible voice replicated and heightened. Her musical beau – his name has slipped my mind; it will come to me – provided percussive elements (via another effect peddle/on-stage device) and guitar. It was amazing to see such a full and eclectic sound come from two musicians. Fisher’s guitar-playing was sensational and her set was one that gained rapturous applause. Favourites like Bird of Prey and Sylvie (which got the biggest reaction) mixed with songs many there would not have heard performed live. It was a storming set and again, like Jasmine Rodgers, I would love to house Fisher again, very soon! As the final song was performed, and many demanded an encore, it was the conclusion to a tight and hugely accomplished set from a unique and amazing musician. Expect Hero Fisher to be a mainstream inspiration very soon...

Facebook:

https://www.facebook.com/herofisher/

Spotify:

https://open.spotify.com/artist/2UTLIPgfUhvKa3m0poQrC0

Twitter:

https://twitter.com/HeroFisher

Sonia Stein is why many turned up to The Finsbury so it was not a shock seeing many cram into the room and see her play. The three performers each had their own stage mannerisms/composition: Stein was, as I found, more softly-spoken. Not that Rodgers and Fisher were booming and lary but it was interesting seeing the difference between the three. Like Rodgers and Fisher; Stein was joined by other musicians – she had her full band on stage to bring the magic and fullness of her records to life. She is, as I understand, on her way to Los Angeles to shoot a music video (alright for some!). Beforehand, speaking with a few people like musician Cocoa Futures (Greg); it seemed many had made the trip to my #BLOGTOBER especially to catch Stein up-close. She has performed around the country and acquired a band of dedicated and loving fans. When her set got underway, it was not a surprise discovering why that is. She combines the sound of 1980s Pop with modern-day Soul and Electro-Pop. A voice that is expressive, versatile and powerful – a striking and unforgettable performer who had the crowd stunned and hooked from the first number. Stein is another artist who has been releasing music since 2014: we got a nice mix of her career trajectory and a perfect balance of material. One of Those Things, saved to last, got the biggest reaction but her entire set was stunning and body-moving. There was a lot of dancing, cheering and response from the crowd as Stein whipped up an audio storm.

It was a perfect way to end the night and proof she is among our faint young artists. As she is off to L.A. – jammy sod! – it will be interesting to see the result of her music video. I know there are rumblings of new material and, like the other two performers, one pines for an album next year. There is a lot of impetus and desire in Stein so I expect she is already one step ahead. Credit must be given to her band on the night who provided guitar, keys and percussion. It was the biggest-sounding set of the night and beforehand the most kick – a nice contrast against Fisher and Rodgers. In fact, if one takes it chronologically, the night got harder and fuller as the sets progressed. From Rodgers’ enticing, if more subtle, set to Fisher’s more volumised and electric turn – it culminated in a full-out romp when Stein took to the stage. By the time she performed her final song; there was a call for more from the hungry crowd. They were, I must say, well behaved and crucial on the night. I have been to The Finsbury when various elements from the audience have let the performers down. There were no drunken shout-outs and loud chatting during songs. This meant the musicians were free to play their sets without anxiety and disruption. Sonia Stein is almost certainly on her way to the mainstream and another artist who can easily buckle the knees. Her clear connection with audiences and the stage means she will be getting gigs all over the place in 2018.

Facebook:

https://www.facebook.com/soniasteinmusic/

Spotify:

https://open.spotify.com/artist/5ct2WFb5gFMXAntFsAwA0y

Twitter:

https://twitter.com/SoniaSteinMusic

PHOTO CREDIT: Anna Sandul 

It was a day, for me, of contrasting emotions and fortunes. It started wretchedly – train delays and people stress – but, as soon as I stepped into London, that dissipated and my mood bettered as the night wore on. That is, in no small part, down to the artists on the night. They blended superbly and, who knows, maybe there will be collaborations down the line?! I could certainly imagine all three performers going on to brilliant things next year…that is guaranteed! As I stumbled my way into the North London night; the buzz and electricity of the gig were still fresh in my ears. From Jasmine Rodgers’ perfect opening set – I actually liked her jokes and made me giggle on the way home! – to Hero Fisher’s incredible turn (must book her again!); right through the spectacular swansong from Sonia Stein – a brilliant evening that few will forget anytime soon! It is only left to me to thank the staff and peeps of The Finsbury and Lost in the Manor’s Chris for being hospitable, accommodating and kind. I hope to get an invite this time next year - maybe a chance to do something else at The Finsbury in a few months? – as #BLOGTOBER provides a chance to showcase three musicians a website/blog holds in fond esteem. Catch the artists I featured and follow their updates: see why they are among the finest and...

TALENTED artists we have.

FEATURE: Headphones On, Earphones In! Ten Great Podcasts and Audiobooks for a Busy Commute

FEATURE:

 

Headphones On, Earphones In!

 PHOTO CREDIT: Unsplash 

Ten Great Podcasts and Audiobooks for a Busy Commute

________

MUSIC is not only about the songs and albums…

PHOTO CREDIT: Unsplash

we hear from artists. That would be one-dimensional and limited: there are some wonderful music-related podcasts from all avenues of the globe. I am a huge fan of Desert Island Discs and, whilst it is an interview-based format; it does incorporate a ‘castaway’s’ eight chosen records – those songs they would take to an island, were they stranded. There are so many options out there for the music lover and radio listener. Whether you want a band archive or interview series; a D.J. stepping into new territory or a podcast that keeps you updated with the latest musical happenings – one is hardly stuck for options!

I collate ten awesome podcasts/audiobooks everyone should investigate...

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Steve Lamacq’s Roundtable

PHOTO CREDIT: Dean Chalkley/BBC

Lammo’s Thursday Roundtable is, as the title suggests, a place where one can get the latest hot vibes and musical tips – three guests come in and review the upcoming releases and recent albums. Each episode is available to download following the broadcast: a quintessential show that incorporates a variety of genres and musicians; all discussed with passion and depth.

Follow: http://www.bbc.co.uk/programmes/b00p4l4t

XLR8R

The XLR8R podcast features the best producers and D.J.s creating fine mixes. It is a brilliant place one can discover hidden gems and rare treats – some last-minute music choices and party-savers! It has been going for a while now but always manages to keep its followers enticed and fulfilled!

Follow: https://www.xlr8r.com/podcasts/

Dissect

This is the most streamed/listened-to podcast for the serious music-lover. It is, as they say in their own words:

“Dissect is a serialized music podcast. In a world creating and accessing more content than ever before, we’ve quickly become a scrolling culture, hurriedly swiping through this infinite swath of content that seems to replenish without end. Dissect was created to counter this cultural shift. We’ll step outside our new consumption habits and take our time analyzing pieces of music measure by measure, word by word in sometimes painstaking detail. To appease our new consumption habits, we’ll break up our analysis into short, easily digestible episodes”.

Follow: https://dissectpodcast.com/

Shaun Keaveny’s Not So Simple

The title might be bitterly ironic – just kidding, obviously! – but, here, is another BBC Radio 6 Music stalwart who brings us something wonderful and enriching. Unlike Lammo; this is less music-orientated and, instead, sees Keaveny interview experts in biology, psychology; economics and business – audio extracts from their upcoming works are featured; the guest is given oxygen to discuss their careers and bond in a unique crucible. Keaveny, an adept and skilled comedian/D.J., provides an accessible and warm-hearted route into areas of society few of us have investigated – a must-hear for your ears!

Follow: https://soundcloud.com/user-347937138

Desert Island Discs

The aforementioned Desert Island Discs is an institution and a Sunday fixture for many. Each week, a guest discusses their choice of eight discs with Kirsty Young – there have been other presenters but she is the current incumbent – and they, at the end, have to select the one record they’d save from the waves. They also select a luxury item to take and a book – they get the Bible and The Complete Works of Shakespeare to have already – and contemplate life on the island. Guests are taken from the world of science, business; music, film and, well….anywhere. Over its seventy-five year history; the show has included countless castaways who have given us hours and hours of entertainment.

Follow: http://www.bbc.co.uk/programmes/b006qnmr

Song Exploder

This series puts the microscope over a song and dissects it in great depth. It is a forensic approach to music but one that unravels the anatomy and lineage of that track. Host Hrishikesh remains unobtrusive as a guest talks about the song, in-depth, and how it was made. There is a range of genres and sounds – each edition offers something new and unexpected.

Follow: https://twitter.com/songexploder

No Jumper

The so-called “Coolest podcast in the world”; No Jumper, hosted by Adam22, started life building his own BMX community and empire. His trajectory into music started with late-night sessions on SoundCloud- where he discovered the brightest Hip-Hop stars and those under-the-radar artists. A lot of the rappers featured do not get interviewed much: the warm and convivial style of interviewing leads to a very candid, revealing and engaging.

Follow: https://www.youtube.com/channel/UCNNTZgxNQuBrhbO0VrG8woA

Showstopper

This is a Spotify original podcast and one that looks at how music has impacted big television shows. Over its course; it has interviewed music supervisors from the likes of Breaking Bad and The O.C. Host Naomi Zeichner highlights the pivotal nature and effect a great soundtrack can have on a show – and how certain tracks can gain a new lease after being featured in T.V. shows.

Follow: https://open.spotify.com/user/spotify_in_residence/playlist/22q0S2C0SxQAA70MLp82xM?utm_source=twitter&utm_medium=social&utm_campaign=spotify_social_us_showstopper_bb_2017_social&gtm=1#_=_

Listen: http://www.slate.com/podcasts/showstopper.html

PHOTO CREDIT: Tuan Tran/Moment/Getty Images

The Future of What

This series wonders whether radio still matters. Are downloads the way forward and what is the future of music licensing – host Portia Sabin speaks with those industry experts who chat about trends, realities and insights into the music industry. It is a useful guide for anyone looking to forge a career in music.

Follow: https://soundcloud.com/thefutureofwhat

This Song

KUTX’s This Song asks a guest whether a song has changed their lives. The likes of Run the Jewels have sat down with Elizabeth McQueen to talk about songs that have changed their life – why that is so and the impact the track continues to have. It is a way of slowing things down and exploring a song in huge depth and detail.

Follow: https://www.stitcher.com/podcast/kutx-this-song

FEATURE: Heartbreakers: The Legends We Have Lost This Year

FEATURE:

 

Heartbreakers:

 IN THIS PHOTO: Tom Petty 

The Legends We Have Lost This Year

________

IF one could invent a contraption…

where we could preserve musicians for a set amount of time – I am sure many would scrabble to invent the thing! Last year was a particularly bad one for high-profile musician deaths. We had to say goodbye to the likes of David Bowie, Prince and George Michael. This year has not exactly been a fantastic one, either. On 18th March, Chuck Berry left us and, with it, we had to say goodbye to one of the true pioneers. His death was, perhaps, not that unexpected: he was in his nineties and had lived a full and eventful life. Even so, it is difficult accepting he will not be around anymore. Chris Cornell’s death in May was, perhaps, one of the most shocking of this year. Few could have anticipated what was going to happen – his death took everyone by surprise. It was ruled Cornell died through hanging: a suicide that affected many and took one of the greatest living musicians away.

IN THIS PHOTO: Chris Cornell

For me; his death was especially sad and shocking. I was not aware the turmoil and pain he was living in. I knew, during his early Soundgarden days, he was speaking about depression and anxiety with candour and openness. One looks at a musician and assumes their private life is happy and okay – we never see behind the closed doors and what goes on. It is desperately harrowing that Cornell died. Greg Allman, known for his work with the Allman Brothers Band, died on 27th May at age sixty-nine. The Nashville-born artist inspired a new generation of artists to get into music. The Allman Brothers Band made a huge impression and one of its founders, not being here, is a very sad thing. On 20th July, two months after Chris Cornell’s suicide, came another blindsiding loss: Linkin Park frontman, Chester Bennington.

IN THIS PHOTO: Chester Bennington/PHOTO CREDIT: Tibor Bozi/Redux

Here, like Cornell, was someone who addressed his depression and psychological issues through music and urged fans to speak out. His death came as a kick in the stomach and broke many hearts. Hours before his death, a video emerged of the frontman smiling and laughing with his family. It showed how hard it is to detect someone in trouble and in need of help – the complexities and hidden depths of a terrible illness. Rather than lament and mourn heavily: one looks back at the music of Bennington and how many people he influenced. Bands have formed because of Linkin Park so the contribution he made to music cannot be underestimated. On 8th August, aged eighty-nine, Glen Campbell departed the world. Few of us who love music can avoid the sheer majesty and importance of Campbell’s work. Rhinestone Cowboy and Wichita Lineman have become standards and show what an immense voice Campbell had – one of those artists that get into the heart and stays there forever. Adiós, his final album, was released shortly after his death and completes a stunning and legendary career.

IN THIS PHOTO: Jessi Zazu

Jessi Zazu, the lead singer of Nashville-based group Those Darlins, died on 13th September. She was twenty-eight and lost her fight with cervical cancer. The band’s unique blend of Punk, Garage-Rock and Country won them legions of fans – the band released three albums since their formation in 2009. Walter Becker, perhaps, is the single-most-tragic death of the year. I am a huge admirer of Steely Dan and followed their career since I was a child. Deacon Blues (from 1977’s Aja) is my favourite song ever and I count Pretzel Logic – their third album – among my top-twenty. Walter Becker, alongside Donald Fagen, brought Steely Dan to the masses and created an arsenal of timeless songs – from Hey Nineteen and Reelin’ in the Years to My Old School and The Boston Rag.

IN THIS IMAGE: Walter Becker/PHOTO CREDIT: James Leynse/Corbis (via Getty Images)

Steely Dan’s cutting and sardonic lyrics – intellectual and poetic – were matched with nuanced compositions and exceptional musicianship. Walter Becker was one of the reasons why Steely Dan managed to affect and seduce so many people. A one-of-a-kind musician and kind-hearted human – people are still affected by his death. Soul singer Charles Bradley died on 23rd September after suffering from stomach and liver cancer. He was sixty-eight and it seemed, at one point, he would be okay. We all heard news about the diagnosis and the fact he had to stop performing. When he was better; many assumed he was over the worst of it. That was not the case and, tragically, he left a big hole in the world of music. The ‘Screaming Eagle of Soul’ and that planet-shattering voice will not see any equals come forth, that is for sure. One of the big reasons for this piece – and a recent death that is still very raw – is the loss of the legend that is Tom Petty.

IN THIS PHOTO: Tom Petty and the Heartbreakers

One need not explain why he is 2017’s greatest losses. The Heartbreakers lead, through the years, penned all-American anthems that we all know and love. Petty suffered a massive cardiac arrest on 2nd October and could not be saved. Petty was born in Florida where he met future bandmates Mike Campbell and Benmont Tench. They initially formed a band called Mudcrutch: luckily, when they reformed, that was changed to the Heartbreakers; that changed to Tom Petty and the Heartbreakers by 1976. I have included Petty’s best-known songs in the playlist below but we can all easily relate to peals such as American Girl and Runnin’ Down a Dream. To me, Petty will always be one-fifth of the ultimate supergroup, the Traveling Wilburys. Featuring Roy Orbison, Jeff Lyne; George Harrison and Bob Dylan – an assembly of some of the world’s finest and most influential artists. The band’s debut album, Traveling Wilburys Vol. 1, remains one of my favourite ever.

IN THIS PHOTO: The Traveling Wilburys

Each member brought songs to the album – except for Orbison – and Petty is credited with writing Margarita and Last Night – two of the best songs from the record. The rest of the band contributed lyrics to the songs but Petty injected his input into the other members’ numbers. It was a collaborative effort among friends and a fantastic collection of musicians. I cannot think of another band that boasts so many heroes and legends in its ranks. Petty was an integral cog and, with his solo career, made a huge impact on music. In interviews; that drawled and rich voice made you smile and settle – a man who could ease any pains with a few syllables. The way Petty spoke about music meant passion and knowledge emanated from every word.

His endless hunger and innovation influenced musicians to pick up a guitar and write – the likes of Dave Grohl count Petty as an idol. There are many more who owe their careers to the American great. His death is, perhaps, the most shocking of this year – let’s hope there are no more! It shows how fragile and unpredictable life can be but, rather than wallow in sadness, a perfect time to listen back to Petty’s catalogue and what he gave to music. 2017 has seen some incredible musicians leave us. I have included a playlist that collates the best songs from the artists I have mentioned. Of course, other musicians have died this year – their absence no less sad and affecting than any other. As we go through the autumn and winter weeks; we can reflect on those artists that have gone and celebrate their incredible music. Whilst they might not be with us; it is obvious their fantastic music…

WILL endure for many years to come.

________

INTERVIEW: CHMBRS

INTERVIEW:

 CHMBRS

________

CHMBRS is an exciting new Electro-Pop artist…

from Australia who has released a stunning single in Rabbit Hole. I ask about the song and the details behind it. She discusses her forthcoming E.P., EXORDIUM, and what we can expect from it; why artists like BANKS are important to her – and the musicians she fell for at a young age.

I ask CHMBRS about the Melbourne scene and whether it is a ripe and fertile landscape; what her future gig schedule looks like – and whether she will treat us to a few performances over here.

________

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

Hey! It’s been good.

It’s been a good week. Lots of hustle. Definitely, time for a wine when I get home!

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

My Pleasure! My name is CHMBRS. I am an independent, incredibly emotional Electro-Pop artist from Melbourne, Australia. My music is very much inspired by some of my favourite artists: BANKS, Lapsley; Halsey, Paramore; Broods etc.

I’ve always found music to have a strong impact on my emotions - and I want to be able to create music to capture, inspire and heal emotions.

Rabbit Hole is your debut single. What is the story behind that song?

Rabbit Hole is the story of my constant war with my own self-doubt and anxiety.

Something I’ve always found really hard to deal with, as some young people do, and it bleeds in my insecurities with my music. I felt compelled to fit into all these different genres, songs; styles that just didn’t fit me – they didn’t feel natural.

It wasn’t until I spent a night, in tears, writing on the piano that I wrote a song (Rabbit Hole) that would define the direction of my music.

Rabbit Hole by CHMBRS on VEVO.

It is an evocative and eye-catching video. Can you tell me whose concept it was and what it was like to film?

It’s amazing to watch, isn’t it!

The concept and costume design was by Caitlin O’Grady (Desfura) who was also the Director of the clip. When I bared my song to her, her inspiration was almost instantaneous. We were almost unsure how we were going to bring it to life but we had so many people come into help build the concept that it all came together so well. It goes without saying a lot of work went into this clip - and by everyone involved.

We spent just over eleven hours shooting: my partner spent three or so days building the steel cage; my dancers performed in nothing but leotards and veils in under ten degrees (centigrade) – all of us filming until 5 A.M. It was equally exciting to film as it was to see as a complete video.

My favourite fact about it all is you would never have guessed…it was filmed in a driveway!

Is there going to be an E.P. coming? What can you reveal about that?

There sure is!

I can reveal that it is coming and it’s coming before Christmas (*sigh of relief)! I named my E.P. EXORDIUM - which means 'beginning/introduction' – which I felt was fitting because this piece of work, with all the varied and dramatic emotions incorporated, is just the beginning of my story.

Is it quite exciting releasing a debut single? How do you hope Rabbit Hole will be received?

It sounds so cliché, but it really is like a rollercoaster. It’s such an emotional experience and, with (me) already being an emotion person, it was full-on! But it was such an amazing feeling to finally release a song that was so personal to me - and give it out for others to listen to and keep. I have already received some amazing feedback already but my hope, for its reception, is for it to feel different - but a good kind of different.

I hope for people to listen to Rabbit Hole and feel the deep emotions behind it; to feel empowered by it and to want to overcome whatever it is that holds them back from doing/taking/receiving the thing they desire most.

I hope Rabbit Hole moves people the way it moved me - to not be scared to take a risk and just be me.

Melbourne is home. What is it like for a musician there? Is it the best city in the world for new music would you say?

Melbourne is great.

I think there are so many opportunities in the C.B.D. You have so many avenues; whether it’s live gigs, shows; buskers, Triple J/Triple J Unearthed – there are so many ways to expose your music in Melbourne.

I couldn’t say whether it’s the best city for new music because I haven’t seen the rest of the world - but there is so much incredible talent and amazing songwriters in Melbourne.

Can you give me an insight into the music you were raised on? Is there a band or artist that sparked that interest in music?

My music taste changed so dramatically when I was younger...

One minute, I’d be listening to a Shania Twain album; next minute I’d be listening to Foo Fighters and then putting on P!nk’s newest album. I loved listening so much music when I was little – was absolutely obsessed with Disney music for a long period. I also went through an ‘Emo’ phase (go figure!) so Rock music definitely had a strong impact on the kind of music I really wanted to perform and sing. I always thought I was going to be in a band and be like Hayley Williams. I guess, as I’ve grown, my music tastes have broadened with me.

I’m always looking for new artists to inspire me, to create sounds I’ve never heard - and lyrics my heart needed but never knew how to say.

It seems personal doubts are put into music – in the search of an answer. Would you say music is a way of dealing with doubts and struggles in your life?

Music has definitely always helped me put it all into perspective, I guess. I definitely have a lot of thoughts, doubts; questions, musings about everything and anything – sometimes, my mind is just constantly going a-mile-a-minute. Music has always had a way of taking all that weight off my shoulders and by being able to write. I’ve found it helps me to think clearer about situations – sometimes, when you’re in that situation; you only get stuck in the one view.

We all have our own struggles and demons to face: I’ve still got plenty to work on and write more songs about but I believe music has been the key to being about to cope with the weight of it all.

Do songs come together quite easily? How do you usually write? Do tracks come together gradually or is it quite quick?

I try very hard not to ‘force’ a song.

In saying that, there’s plenty of ideas and melodies/lyrics I try to come back to if I really love them. But, if I feel like I’m working too hard for a song, the inspiration for it fizzles and I part with it. I usually like to start with chords/music before lyrics, but every now and again it changes – I’ll think of a really sick lyric and write it down to use for later or I’ll hum a melody that I can’t get out of my head.

They don’t always turn into a song but the key to songwriting that I was taught was always, ALWAYS record it. With tracks coming together, I guess it really depends on the inspiration - Rabbit Hole came together one night in a couple of hours, if that, whereas one of the tracks from the E.P. took a day or two to finish.

What are you chaps up to this Christmas? Do you visit family or have other plans?

Christmas is family time, for sure!

Praying that we actually have good weather this Christmas – would be nice to actually go for a swim on the beach five minutes from the house! Mum usually puts on a massive spread; my sister Adele and I make Sangria; my niece will make us watch Frozen for the millionth time - and my nephew will probably run around playing with his cars and dinosaurs.

Who are the new artists you suggest we check out?

BANKS is dope - favourite artist out for sure. Really enjoying Vera Blue’s new album as well. Running Touch is sick - so is Låpsley, BROODS; Meg Mac, SAFIA.

IN THIS PHOTO: Meg Mac/PHOTO CREDIT: Metaxia Coustas

Some really wicked Australian upcoming artists are Samsurah, ESSIE and Rya Park.

Are you touring before the end of the year? Any plans to come to the U.K.?

I am hoping!

Lots of details to get through but I am hoping to get a tour started A.S.A.P. I am hoping to get over to the U.K. next year sometime, hopefully! Keeping my fingers crossed…

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

Goddess – BANKS

it’s hard to choose between her albums because they both moved me so much - but the Goddess album just hit home on so many levels. Her lyrics in these songs hit me so hard - the day I found BANKS’ music is the day I felt like I had someone on my side.

Riot! – Paramore

I could 100% sing every song on this album. I was in love with Hayley Williams for so long, I even skipped school to go see a Paramore concert – doesn’t sound that hardcore but being the A-grade student I was in high-school; that was a big thing for me. This was the album of my teen angst. I might actually play through this album tomorrow: it’s taking me back so much.

21 - Adele

I think we all went through a crazy amount of tissues through this album. This album was such an emotional masterpiece and made not only want to be a greater and bolder singer - but to be able to make people feel as deeply as Adele made everyone feel listening to the album.

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

Don’t give up. Don’t give in. Stay true to yourself. Be patient.

This is not an instant gratification industry. Behind the cameras, it is hard work - every minute. But the most important thing: believe in what you are doing. People can feel that; they can tell if you believe in your own music.

Don’t be scared to be yourself: be present in every moment.

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).

Hahaha. Jolly good. I’m trying not to be biased but BANKS’ new single just dropped – Underdog - and it is a bloody tune! Absolute killer track.

_________

Follow CHMBRS

Official:

https://chmbrsmusic.com.au/

Facebook:

https://www.facebook.com/chmbrsmusic/

Twitter:

https://twitter.com/chmbrsmusic

Instagram:

https://www.instagram.com/chmbrsmusic/

Spotify:

https://open.spotify.com/track/6aD1zSWuHG9Qt2QmlPFO7p

SoundCloud:

https://soundcloud.com/chmbrsmusic

INTERVIEW: Born Stranger

INTERVIEW:

 Born Stranger

________

FEW come along that stand you to attention…

and make you want to dig deeper. This Is My Life is the latest single from Born Stranger and a song that shows Maddox Jones and Raife Hacking are on the top of their game. I learn more about the duo’s latest song and the story behind it; how they will be spending the rest of this year – and whether they have changed their sound in the past few months.

I ask whether there are any new artists we should keep an ear out for; the tour dates Born Stranger have in the pipeline – and whether there will be an E.P. very soon.

________

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

Maddox Jones: Good, thanks.

It's Tuesday night, all is well; currently walking to our studio to finish a new song. 

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

We are Maddox Jones (me) and Raife Hacking - and we are an Electronic-Pop duo from Northampton, U.K. – although, we now prefer to call Devon and London our homes. We are inspired by Pop music that says something different and we love anything from House music to Rock and Roll...

Good songs are always king: it doesn't matter where they come from. 

Is there a special story behind your name, ‘Born Stranger’? Where does that come from?

Well. We are all ‘born strangers’ aren't we?! We are two very different characters: Ying and Yang - that's why it works, I guess. 

 

Talk to me about This Is My Life. What is the song about, would you say?

This Is My Life is a song for the mavericks and the dreamers: for anyone who doesn't want to conform. It's about having and believing in your own voice. 

You worked with Yoad Nevo on it. What was that experience like?

We still work with him often, and he's great. He feels like a third member of the band! He has helped shape our sound massively!

Would you say you have changed a lot since Fire & the Flame and Be Someone? Do you look to inject something new into each single?

We like every single to stand alone and have its own voice - but be part of our sound as well. I would say we are always evolving and we never want to be tied down to any rules or specific sound.

Pop music is about living in the moment - and we never want to stand still creatively!

Your music has been praised by Chloe Moretz and BBC Introducing. Is it quite an honour getting that sort of praise?

Yes. It's awesome, of course. We love it when our music connects with people. 

Spotify seems to be a place your music goes down well on. Is it beneficial and special being included on their playlists? Is it something you two chase as musicians?!

Yes, Spotify is the new radio, isn't it? Being on Spotify playlists can attract so many new fans - it's amazing. 

I am seeing a lot of duos coming up and replacing bands in terms of popularity. Do you have a theory why this is so?

Less politics and cheaper to travel around?

Haha. Mmmm…I'm not sure. I think more and more people make music in their bedroom now and you don't need a full band to sound like a full band nowadays...songwriting partnerships have always been successful as far back as Lennon and McCartney. 

I guess duos need a solid bond and connection. Do you two get on most of the time or are there ever creative differences?

I'd say we know each other well enough to put up with each other's idiosyncrasies. We used to argue but now we know better - and it's just wasted energy as we both want the same thing! 

You are based out of London but did you two form a band after becoming friends? How did it all come together for you?

We are actually based in London, Devon and Northampton. Ha.

Northampton is where we met and grew up. Raife actually auditioned to be in an old band of mine, Newislands - and we just carried on working together ever since. 

Does Born Stranger have similar tastes in music or do you pull in different directions?

We pull in different directions - but for the common good! 

Can we expect an E.P. or album in 2018, do you reckon?

Mmmm maybe ?! We've got enough material so let's see what happens. We love creating, so if an E.P. feels natural, we will do that. 

What are you chaps up to this Christmas? Do you visit family or have other plans?

Mmm. Family; yes. I think Raife is going to France; I'll probably stay in Northampton and spend it with my girlfriend and family. 

IN THIS PHOTO: Caitlyn Scarlett

Are there any new artists you suggest we check out?

Mmmm - you probably know better than me. Caitlyn Scarlett is awesome; Ruby Francis and Girlhood (too).

 I've been listening to loads of old Classical music lately - so probably not much help to you here. 

Are you touring before the end of the year? Where can we catch you play?

Mmm. Keep an eye out on our Facebook page!

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

Depeche Mode – Violator

It’s when I first got into dark Pop music. Enjoy the Silence is my favourite song…well...it was.

Nowadays, I don't have a favourite song I'm always open and love hearing new music I've never heard before.  

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

Don't give up, and don't be precious - and do it because you love it!

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). 

Girlhood - Bad Decisions 

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Follow Born Stranger

Facebook:

https://www.facebook.com/BornStrangers/

Twitter:

https://twitter.com/born_stranger_

Instagram:

https://www.instagram.com/born_stranger/

Spotify:

https://open.spotify.com/artist/1iFQkdAkxRL9aeBe342DcY

SoundCloud:

https://soundcloud.com/born_stranger

INTERVIEW: Late TV

INTERVIEW:

Late TV

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SOURCING their membership from the U.K…

the U.S. and France – there is something cosmopolitan and exotic about Late TV. The London-based sextet talks to me about their new smash, Citizen, and what the story behind it is. The band fuse Jazz-Funk, Art-Rock and cinematic sounds; each band member brings something unique and stunning to the music – the effect is simply amazing. Guitarist, Lyricist and Singer Luke Novak charts the history of the band and what the future holds.

I ask about their formation and what gigs they have coming; whether they mix trashy cultures and late-night T.V. evocations into their music – and how they separate themselves from the competition.

________

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

Pretty sweet. We had a rehearsal last night…

We did a jam that lasted for ten minutes - that never stopped being fun. Now, we’ve got to carve a song out of it which, in a six-man-band, is like being a cross between a sculptor and hostage negotiator…it’s like…“I’ll give you eight bars of solo each and a helicopter to the airport..if you let me sing all over that cool bit.”

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

My name is Luke J. Novak I am the Guitarist, Lyricist and Singer for the band, Late TV.

The rest of the group is: Richard ‘The Showman’ Bowman on Drums; Ryan Szanyi on Bass; Martin Coxall on Synth and Keys; Evesham Nicholas on Saxophone - and Mathew Halsall on Trumpet.

Citizen is your new song. What led to the song’s creation and what kind of themes does it address?

Lyrically, the protagonist is trying to turn a negative experience into a positive one by shifting perspective. It seemed that, towards the end of the 20th century (and start of this one), culturally, we were promised a lot of action from Western society - and it turned out to be a somewhat cynical cheque that we couldn’t cash. I was chewing on that thought and, on reflection, felt it wasn’t necessarily just ‘The Man’ getting in the way: it was the mentality of our fellow citizens - like, “How dare you try to be yourself!”

The song is kicking against that attitude. I’m sure we’ve all come up against it at some time or another especially if you live, or have lived, in a small town or provincial area.

The song has a Lynchian, dark vibe. Was it an easy track to put together and which artists/types of music inspired the track?

Most of our stuff comes from one member bringing in a loose idea.

We, then, collectively kick the sh*t out that idea until it tells us what we want to know – and, if it doesn’t spill the beans, we leave it out the back in the alley for the rats. Citizen happened just like that. I already had the lyrics and was singing them to a tune but then Martin - our keyboard player - was getting on my back about it sounding too wistful - as it was in a major key. He came out with this slinky Acid-Jazz groove; shifted it all into minor and the whole thing clicked into this deep, dark vibe.

Our bass player, Ryan, stuck some cheeky Funk-Disco slaps: the horns came up with a killer hook and our drummer, ‘The Showman’, just balanced all those different elements like spinning plates. In the middle of the song, there’s a kinda French-House-style breakdown - it’s, basically, there to deliberately wind people up! Like… “Now; what the hell are they doing?!”.  

The music, much like the song, is turning the situation around. So, in reference to Lynch influence…I think that’s what he does with his work. He takes familiar and awkward feelings and re-frames them as exotic entertainment. That’s what I hope Citizen achieves.

The video looks like it was cool to shoot. Whose idea was the concept and do you think it does justice to the song’s lyrics/themes?

A friend of mine filmed out of the window every time he went on a train journey for a year...

He originally edited it to the beats of a Techno track. He showed it to me and I thought it was perfect! You get such a cross-section of life when you look out of a train window. All these fleeting places and people. It’s like hitting fast-forward on an old video. We layered the footage with us playing the song.

It's pretty lo-fi but I really like it.

Will there be any more material next year? What are you all working on right now?

We’ve got a ton of songs that I’d love to record. However, the next single and video is ready to go. It’s called Losin’ It. I’m not sure yet when we are putting it out...but stay tuned.

How did you all get together? When was the moment you decided to form Late TV?

I’ve known Richard, our drummer, all my life: we played in school bands together and came to London together. I met Evesham when we were both playing sax in an orchestra. Mathew (on trumpet) was our ex-bass player’s, sister’s boyfriend. After that; it goes international.

Ryan, on bass, is from Chicago. He stumbled across us while looking to buy an upright bass. Martin, on synth, is from Paris. I don’t really know why he moved to London - other than, maybe, a deep, subliminal urge to find me and argue about chord changes. 

The band is called Late TV because we like to think of ourselves as the house band on a late-night chat show - for people who can’t sleep.

It seems B-films, late-night T.V. and trashy shows are part of the sound/ethos? What bonds you guys in terms of passion and cultural tastes?

I suppose we all grew up on a certain brand of trashy Western culture - even though we are from different places, geographically. I wore a white suit at a gig once and Martin said something like: “Hey, Nash Bridges; where’s the Barracuda parked!?”. I thought, ‘F*ck you!… but, actually, this guy gets it’. What I like about T.V. and B-movies is the over-the-top sentiments and the garish intensity. I enjoy how T.V. soaps and cinema boil down all this humanity into a little tasty slice.

I’d like to think we attempt that, musically...

How would you define your music - and what stands you out from the competition?

We're a true band - in that everything is formed as a collective.

I don’t see the point of having one overriding writer in a group - you might as well make programmed music, in that case. We've got that vibey-ness of a live band – but, at shows, we join all our songs together like a D.J. set.

We want to take you on a trip the way that a good D.J. does.

It seems, in a way, your music comforts that who struggle to find any normality and live on the periphery – the outsiders and innovators. Do you think that lack of conventionality is what makes the music so special?

Yeah, man!

We're simultaneously highbrow and lowbrow. We are mutant junk-dwellers in the postmodern wastelands of Pop; collecting shards of fragmented culture and building a shelter out of it - and everyone's invited to come and hang out in that shelter.

I am struggling to compare your music to anyone else but aware you all must be fans of other artists. Who are the musicians you all cherish and listen to?

Hmm…. let me see…

…as a group, we enjoy a pretty broad spectrum…

Vulfpeck, The Souljazz Orchestra; The Budos Band, The Meters; Sam and Dave, Herbie Hancock; Sons of Kemet, The Stepkids; Phoenix, Thundercat; Michael Jackson, Weather Report (especially with Jaco Pastorius - Ryan); Tom Waits, Jamiroquai; Rage Against the Machine, Brass Construction; Medeski, Martin and Wood; Average White Band, Crazy P….loads of stuff.  

Personally, I’m into the 1980s Post-Punk stuff, such as The Lounge Lizards. I love the band Morphine - who were a minimalist sax/drums/bass trio. I am also influenced a lot by singer-songwriters such as Bill Callahan, Tom Waits; Nick Cave and Cass McCombs. I always loved Jarvis Cocker – specifically, it’s his irony and way of looking at the world that really stuck with me growing up.

I like musicians that build their own universe - rather than bend to this one.

Are there going to be more tour dates before 2018? What are your plans for Christmas?

We've got the Citizen launch gig on Saturday, 21st October - and we'll be arranging something else in London for late-November/early-December.

Then, we'll be back in the New Year with Losin' It.

IMAGE CREDIT: Angry Che

Are there any new artists you suggest we check out?

This year, collectively, we’ve enjoyed the aforementioned Vulfpeck.

We like Thundercat's Drunk album... I’d say, if you're ever in London on a Friday night; check if the Sarah Tandy Trio is playing at Servant Jazz Quarters. She does it every few weeks and blows me away every time...

Other than that; everyone needs to go and listen to Folk singer Natalie Bouloudis' E.P., Dead Sea Scripts.

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

Luke: Nighthawks at the Diner by Tom Waits.

I got this after hearing his late-1990s stuff - but I preffered the sleeve on this one. It’s part-lounge, part-performance poetry - and part-stand-up comedy. It was written and recorded like a studio album; however, they set up a bar in the studio and brought in an audience to make it a true performance. It’s a total one-off.

Ryan: Friday Afternoon in the Universe by Medeski, Martin and Wood

Because it spans so many different areas of Jazz: from Groove to Free-Jazz, to Melodic.

Evesham: Sleepify by Vulfpeck

Because someone had to make a joke suggestion - and this album hilariously ripped-off Spotify! They made twenty-grand from five minutes of silence by asking their fans to play the silent tracks on loop while they were asleep.

Martin: Rage Against the Machine by Rage Against the Machine

Because of the best use of cowbell during an intro, ever.

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

Play live at every opportunity and don’t be afraid.

The more you show your face in public, the more you get used to it…and the more fun it gets. Just remember: if it goes well, it’s fun: if it goes wrong, it's funny.

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).

Luke: Morphine - Buena (from the Cure for Pain album)

Martin: Rage Against the Machine – Killing in the Name

Evesham: The Souljazz Orchestra – Dog Eat Dog

Ryan: Medeski, Martin and Wood – Chubb Sub

Matthew: Angelo Badalamenti - Audrey’s Dance (from the Twin Peaks soundtrack)

Richard ‘The Showman’ Bowman: 18 with a Bullet – Pete Wingfield

_________

Follow Late TV

Facebook:

https://www.facebook.com/theLateTV/

Twitter:

https://twitter.com/TheLateTV

Instagram:

https://www.instagram.com/late.t.v/

SoundCloud:

https://soundcloud.com/latetv

INTERVIEW: LAOISE

INTERVIEW:

PHOTO CREDIT: www.ethanhartphoto.com

LAOISE

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IT is exciting discovering an artist who seems so natural…

that the music they produce sound effortless and pure. There is a personal – and stressful – origin to new single, Rich, that Galway-based LAOISE discusses with me. It is from her forthcoming E.P. (that follows the Halfway E.P.) and sees a new direction and impetus derive from the talented songwriter. Her upcoming E.P. is due in the spring so I ask her about future plans and what we can expect from her; what the music scene is like is Galway – and what kind of sounds she was brought up on.

A busy summer and gig experience means LAOISE’s new material is bolder and more intent than anything she has ever produced. I learn more about a sensational artist who has a very bright and promising future.

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

Hello! I’m great, thank you.

My week has been fantastic. I’m just starting to wind down after Hard Working Class Heroes Festival here in Dublin.

Had so much fun.

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

I am LAOISE; a twenty-year-old Electro-Pop artist from Galway, Ireland.

Rich is your new single. What can you tell me about its origins and inspiration?

Rich is a track I co-wrote with Seán Behan of A Place Called Kai Studios.

It’s about an old relationship that was supported by glitz and glamour and ended up turning nastily sour. I’ve said before that I don’t deal well with being screwed over - so the song has helped me to deal with poisonous people that are luckily no longer in my life.

It is taken from your forthcoming E.P. – out next spring. Can you reveal any of the songs or ideas that will appear on the E.P.?

Yes, for sure.

Over the past year or so, I’ve found myself delving deeper and deeper into my own emotions and the different perspectives that come with them. I’ve stopped being so afraid of expressing the finer details in songs that could possibly get me in trouble with old friends. Haha.

But it’s taking my new music to higher and bigger places.

PHOTO CREDIT: Ellie Smith

I believe your new material is a step-up from your debut E.P., Halfway. What was the decision behind the transformation?

Yes, definitely. I guess when I was writing and recording the Halfway E.P., I was still newly experimenting with electronic instruments and sounds. Now that I’ve become more familiar with them, there’s a sense of confidence and courage in my new music that I’m very excited about. If I feel like being brash, I’ll be brash. If I want to be a bit more abstruse, I can be abstruse.

I’m just learning to let myself go - and I’m basking in its ratification.

This summer, you have been busy gigging and not had much time to settle. Would you say this never-stop-rush has ensured your music has few compromises and time for reservation?

I’ve actually found that being away touring or playing festivals has given my creative side a little rest – that, when I came back into the studio to write and record, new ideas started pouring out of me. I guess because I had to keep a lid on that area on my work for a bit; I had gained some new experience I felt the need to write again.

PHOTO CREDIT: Lucy Foster

Will you get any time to calm before the year’s end – or are things pretty manic?!

Haha, yes and no.

I always make sure to take some time to myself if it’s necessary. Of course, music is my escape and I feel it always will be - but that doesn’t mean it doesn’t need a lot of work and energy. Like most, I go through bouts of writer’s block; so, if I’m not feeling a song, I’m not feeling it - I won’t force it. Mostly though, I’m just having fun!

I wouldn’t be an artist if I wasn’t…so I’m very lucky.

Galway is your home. What is the music scene like in that part of Ireland?

Galway is such a beautiful county to grow up in.

I’m so glad I got to experience its music scene when learning music, especially during my teens. I played traditional Irish music with my parents all the time and I taught myself guitar and Folk songs so I could sing during sessions. It’s always gladdening to go home to see that it’s the same; welcoming-as-ever a scene to be in.

Do you remember the artists that inspired you to take up music? Which albums were familiar to your young ears?

My father was fantastic for showing me incredible artists and bands like Joan Baez, Pink Floyd; Joni Mitchell…the list is endless. He played the guitar and sang – and, I think, I would’ve been too shy to do the same if it wasn’t for him. I still remember being seven or eight; the first time I heard Little Lies from Fleetwood Mac’s Tango in the Night album - and wanting to learn all the harmonies.

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

I’m heading on tour with the divine Ailbhe Reddy this month! We’re playing Galway, Cork and Dublin - and I’m itching to get back out on the road. There are a few tickets left for anyone that wants to come along!

Are you coming to the U.K. at all?

I hope to get back to the U.K. very soon, yes! I don’t have any set date at the moment but I’m definitely going to be back very soon…

PHOTO CREDIT: Lucy Foster

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

Ooh, tough question...

But, I’d have to (predictably) say Rumours by Fleetwood Mac

Just because of how much it reminds me of my childhood - and because Stevie Nicks is a QUEEN.

Second would be Kate Bush’s Hounds of Love

I’ll never get over her otherworldly creativity: the way she blends vision with sound will forever inspire me.

Thirdly; Warpaint’s self-titled (2013) album changed the way I perceive music completely

Each song on this album explodes with a certain raw energy I like to draw from, particularly when recording. It’s a breath of fresh air.

PHOTO CREDIT: Lucy Foster

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

My advice to new artists would be to spend a lot of time on your own sound: don’t be afraid to try something a little outside of the box because that’s what’s going to set you apart from so many other artists. Seeking advice and feedback as much as you can is always great - be it with your songs, artwork; live shows etc.

Just keep finding ways to develop and progress.

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).

YES! I’m loving Glory by Dermot Kennedy. He’s insanely good.

_________

Follow LAOISE

PHOTO CREDIT: Ellie Smith

Official:

https://www.iamlaoise.com/

Facebook:

https://www.facebook.com/laoisemusic/

Twitter:

https://twitter.com/laoisemusic/

Instagram:

https://www.instagram.com/laoisemusic/

Spotify:

https://open.spotify.com/artist/23an6pADJ65QGp0XlnkYkI

SoundCloud:

https://soundcloud.com/laoisemusic

YouTube:

https://www.youtube.com/channel/UCHED5AUlEkNYFoShveroybA

INTERVIEW: Kadija Kamara

INTERVIEW:

PHOTO CREDIT: Garry Carbon

Kadija Kamara

________

I am excited about the song Eyes on You…

and its creator, Kadija Kamara. The London-based songwriter explains her Alternative-Soul music and why she has a love of the 1960s and 1970s. Kamara talks about her influences and a residency at The Finsbury (London). She has won the MTV Iggy Artist of the Week poll and awarded PRS for Music Individual funding for her Artistic Development Programme. In addition; she curates a new showcase, LADY – highlighting great female artists within the underground and commercial scene.

I find out more about her upbringing and the new artists we should keep our eyes out on – and what future gigs there are.

________

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

I’m great, thank you! Busy days - but great stuff happening A.T.M.

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

Well, hello there, new readers! My name is Kadjia Kamara and I love to sing.

On a more serious note: I am a singer/songwriter/composer/curator; working independently on my craft I call music - and other projects, like curating events and platforms for leading female musicians.

Born and bred in South London - but I love to travel and meet creatives across the globe.  I would say my sound is Alternative-Soul - which is Soul fused with other sounds. A lot of my tracks are (mainly) guitar-based - but I love merging live instruments with electronic sounds.

I’ve been lucky enough to collaborate with some amazing producers and hope to continue down this route.

Overall…huge lover of music.

Eyes on You is your latest track. Can you reveal what the story behind the song is?

The song is about love at first sight and (just) feeling that instant connection with someone. It isn’t about anyone in particular but just a familiar feeling we may have all felt at some point.

I started writing it with a simple guitar riff, then mumbled a few words with the melody. I felt the vibe was quite sexy - so I wanted to play with my tone and flow.

It seems like an uplifting, charged stormer. How did you feel hearing it back for the first time? What are your feelings about the finished product?

Ha! This track took a while to complete.

Although I had written the lyrics quite quickly - and the basic skeleton was easy to work out - we revisited the track a couple of times; adding additional elements like synth and drum layers.

Overall, it was a relief to finally have it completed but I was very happy with the finished product - even more so to release the track.

The video is colourful and fun! What was it like shooting it?

We had a lot of fun shooting the video...

I worked with a bunch of creative friends, so I felt very relaxed and could be myself. I enjoyed putting the storyboard together with Bunny Bread, and then, the styling with Geraldine (and makeup with Stacey).

It didn’t feel like work and time seemed to fly by so quickly. I love shoots when you don’t have to be too serious. I feel at this point I can be my most comfortable at which point we capture the best pics/footage.

Is there going to be more material before the end of the year? What plans do you have regarding an E.P., for instance?

Yes. Most certainly so.

It’s been a long time coming but there is an E.P. ready … I will be out before the end of this year (all will be revealed soon). The process can be quite slow as an independent artist - but I am happy I to have such a patient and supportive fanbase, friends and family.

PHOTO CREDIT: Garry Carbon

You describe your sound as ‘Alternative-Soul’. Which artists did you listening to as a youngster? Was Soul music a big part of your childhood?

Soul was a massive part of my life and childhood.

My parents collected vinyl; so I was always interested in Motown, Funk and Soul. I have a love for collecting vinyl myself now, too. Also, the way music was recorded back then…I love to record live with my band and capture the vibe in the studio with the musicians.

My parents played a lot of Marvin Gaye, Aretha Franklin; The O’Jays, Sister Sledge and, of course, M.J. (and much more).

In your career; you have won MTV Iggy Artist of the Week poll and been awarded PRS for Music Individual funding for your Artist Development Programme. How important and pivotal have these moments been?

I was very humbled by both: as a creative, you create music you feel represents you. You don’t know if people will understand you or even like what you do. But, then, you put it out into the world hoping for the best...

When you receive positive feedback and gain great acknowledgement - or are even rewarded for it - it motivates you even more. I feel they helped build my confidence and release some of the doubts I may have had about continuing with music.

I’m not going anyway just yet.

You recently curated a music night called LADY – showcasing female musicians within the underground and commercial scenes. Was this something you have been planning to do a long time? Do you feel female artists are afforded less attention than men?

The idea actually popped out of nowhere...

Other than music, I love to get involved with business plans and projects. At that particular time, I felt I wanted to create something of my own - other than just focusing on creating music as a singer-songwriter. I knew there were so many things I was great at - but hadn’t invested any time in making them work...mainly because my main focus was on me as a singer-songwriter.

I also wanted a regular gig for myself and band; to perform and grow; work on our live set and just do our thing. I don’t like the idea of chasing promoters asking for gigs: I have something of my own; in a place I was comfortable with.

I thought about the other things I do behind the scenes like managing; P.R. video editing; events management (plus more). Sometimes, these things are overlooked … I wanted to provide a platform for others like me.

So, I spoke to Chris (the promoter for Lost in the Manor) about my idea - and he was amazing enough to give me the platform on which to run the first night. We did the second night after that and I was offered a residency. Now, almost a year later, I’m having a festival for my event, LADY, at Pop Brixton. This includes a larger line-up consisting a nine-piece band and D.J.s. I can’t believe how quickly the brand has grown - I’m excited about what’s to come next! I’m so grateful for the opportunities...

London is your base. You have played The Finsbury many times. What does London mean to you - and is The Finsbury an important venue for you?

London is my hometown and ‘the hug’.

I have so many connections here in the music world (and personal life). I would find it difficult to live anywhere else.

I've played The Finsbury in the past and loved the vibe in there. It’s even better now since the refurbishment - the staff and promoters are all great. They are becoming part of my family.

IN THIS PHOTO: Joan Thiele

Who are the new artists you recommend we check out?

Artists I recommend you check out …oh gosh; are you ready for my Longlist?! L.o.L.

Ok. So, some of them are new bands - and others are quite established:

Joan Thiele; Dead Man’s Knee; Jodie Abacus; Michael Jablonka; Leonn; Dornik; M w S; Zara McFarlane; Native Dancer; Tawiah; Stac; Aadae; Obenewa...

(...to name a few).

IN THIS PHOTO: Obenewa

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

So. The festival I mentioned earlier is coming up this month…but here are all of my dates so far:

Tues 3rd Oct. - PopRevue Women in Music @ Freedom Bar Soho

Sun 15th Oct. - LADY Presents: LADY Festival @ Pop Brixton

20th Oct. - Loose Lips @ The Haunt

27th Nov. - LADY (residency) @ The Finsbury

It is coming up to Christmas (sort of!). Do you have any plans at the moment?

I usually spend the time with friends and family.

I love to have some downtime in Dec. - as most months in the year are quite hectic. Many Christmas dinners and drinks coming soon.

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

Ah; that’s a difficult one…

Marvin Gaye - What’s Going On

Feel like we’re living this at the moment.

Alabama Shakes - Boys & Girls

Just feeling every song on here.

The Jimi Hendrix Experience - Are You Experienced

I just love Hendrix. This album has many great tracks I rock out to.

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

Don’t give up!

It’s a difficult industry but try not to focus on the politics. Remember why you started in the first place and just enjoy the journey. Learn as you go along and, most importantly, be comfortable with the music you put out.

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).

Ha, that was my first thought: my new single.

Ok. So, I recommend the following: Anderson .Paak - The Bird

_________

Follow Kadija Kamara

Official:

https://www.kadijakamara.co.uk/

Facebook:

https://www.facebook.com/kadijakamaramusic/

Twitter:

https://twitter.com/kadijakamara

Instagram:

https://www.instagram.com/kadijakamara/

Spotify:

https://open.spotify.com/artist/7vI8VvLrvPt0YrcdU3aU6K

SoundCloud:

https://soundcloud.com/kadija-kamara

YouTube:

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

INTERVIEW: Laura Llorens

INTERVIEW:

 Laura Llorens

________

FORMERLY of the American Midwest…

Laura Llorens is now based in Paris. I chat to her about her new single, Inside Out. September was Suicide Prevention Month. As is revealed; Llorens has exposure to suicide and discusses why her latest song has personal relevance. I ask about her musical upbringing and the artists she was reared on; what compelled her to move from Wisconsin to Paris – and what it was like working with producer Charlie Chastain.

Llorens talks about forthcoming music/gigs and whether she will come to the U.K. – and provides some useful advice for upcoming artists.

________

Hi, Laura. How are you?

Doing well, thank you! Yourself?

How has your week been?

My weekend has been quite nice – I’m enjoying seeing all of the feedback from the video release...

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

I am an Indie Pop-Folk singer/songwriter originally from the Midwest in America. I’ve been living in Paris, now, for the past fifteen years.

Tell me about the single, Inside Out. It tackles and addresses suicide. Is this an area you have personal or second-hand experience of?

Yes. One of my dear friends took her own life a few years ago...

She was such an amazing person; her energy and her musical talent were real motivators for me at the time when we met. She inspired me to reach new levels in my music and to not be afraid to show the world who I was - to really be a confident woman.

Why did you decide to highlight suicide through song? Was it emotionally challenging putting it to paper?

This song actually took years to be completed. I had this guitar-riff that I had been playing for years…I had even played it for my friend. I just wasn’t able to put lyrics down and it was really bugging me that I had this music with potential - but I didn’t know what it was about yet.

When Naghmey died; I just started writing down my anger, my frustration and my love for her. It was a big let-out for me.

The video seems to capture urgency and emotion. What was it like shooting the video?

I didn’t really know what direction the shooting was going when we started but I had worked with Clarence Tokely before - and he is a great coach and director; he really brought me back into the heart of the first emotions that I felt when I learned that she was gone.

I fed off of that and just let the performances become a celebration of life…of her life.

What has the reaction been like, so far? Do you hope the song helps change opinions and raises greater understanding?

Most people wonder why the colored powder, and for me, the color really represents calling out for help and allowing ourselves to express our feelings. Violence can sometimes be the result that our emotions make us go through. For me, the important thing is just to allow ourselves to share, talk; live, exist the way we are…

Nobody is perfect.

The song was produced by Charlie Chastain. What was it like working with Charlie?

Charlie is an amazing producer and artist...

He is a great listener and really brought me to a new level of creativity during the sessions. Inside Out was one of the first songs I recorded with him for this album - and he had a vision that the video for this song should just be contemporary dancing.

That idea stayed with me for a long time - and the result is this video.

You are from the shores of Lake Michigan. You seem more at home in Paris. What compelled the move and what are the differences between the music in Wisconsin and Paris?

Good question! I was born and raised in a small town; really quaint and full of nature. When I think of Wisconsin, I immediately go back to walks in the woods; sailing on the lake and campfires in the backyard. Wisconsin is my Folk/Acoustic music side (of me).

Paris is a completely urban setting (I actually live in one of the only parts of Paris where high-rise buildings are) and, here, I am stimulated by a totally different atmosphere - Rock and Roll and music from all around the world.

As a little girl, I dreamt of making it in a big city. I made it Paris and ended up staying.

It seems your music is influenced by France and its classic singers. Was it a quick thing for you – bonding with the nation and people?

I really just fell in love with France; long before I had travelled here.

I studied French in school before and once arrived; saw the real beauty in their ‘traditional’ culture, revolving around meals; respecting the arts and revolution! The country of France certainly has a strong cultural identity - and it was so inspiring to become a sort of chameleon and camouflage myself in their world.

Digging Deeper, released last year, tackled everything from war and love to living in a media-driving world. Do you think you captured everything you wanted to in the album – or are there songs/topics you still want to address?

No. There are certainly so many more areas to talk about…sing about. Digging Deeper was/is a snapshot of what I was feeling about the world at that time - and I certainly hope that I will continue to try and represent other areas that need the spotlight on them in the future.

Will we see a new E.P. or L.P. next year?

2018 is going to be a year of writing for me, for sure! I do hope to release something new in the near-future.

Are there going to be more tour dates before 2018? What are your plans for Christmas?

I am currently looking at a quick tour in the U.K. for late-fall and Christmas time -  will bring the release of one more video before the end of the year.

Who are the new artists you suggest we check out?

I would recommend checking out Hannah Featherstone (a dear friend of mine) and a French singer named Solveig.

Definitely worth the listen.

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

I would select Rumours by Fleetwood Mac

For its authenticity and amazing songs.

Alanis Morissette’s Jagged Little Pill

Because its lyrics and music really represent a time-frame of rebellion in my life - and singing my heart out until I couldn’t anymore.

Amy Winehouse’s Back to Black

An album that revealed, so candidly, the woman that she really was - and the love stories that brought her voice known more largely to the public.

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

I think this is more and more the case with the younger generation…but, just BE YOURSELF. Authenticity is YOU. Don’t waste time trying to become original.

Just be yourself - that is as original as it’s gonna get.

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).  

Fleetwood Mac - Don’t Stop

_________

Follow Laura Llorens

Official:

http://www.laurallorens.net/

Facebook:

https://www.facebook.com/laura.llorens/

Twitter:

https://twitter.com/LauraLlorens

Instagram:

https://www.instagram.com/laurasingsinparis/

BandCamp:

https://laurallorens.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCJz_TuirHCyW0qFBf5Axw3A

FEATURE: Songs in Slow Motion: The Best Music Documentaries Ever

FEATURE:

 

Songs in Slow Motion: 

IN THIS PHOTO: Janis Joplin (the focal point of Janis: Little Girl Blue)

The Best Music Documentaries Ever

________

WE often concentrate on the musician…

IN THIS PHOTO: Tupac Shakur (who featured in the documentary, Biggie & Tupac)

without considering where they came from and what makes them special. The music documentary allows rare insight into an artist’s life and what goes into the music. The best and most tasteful documentaries are never exploitative and crude: they are deal affectionately with the subject and feel no need to obscure the truth.

I have been thinking about the best music documentaries through the years and have assembled, what I feel, are the finest examples of the breed.

(Thanks to Wikipedia for supplying the information about each documentary)

________

Amy (2015)

Subject: Amy Winehouse

Director: Asif Kapadia

About:

Amy is a 2015 British documentary film about the life and death of British singer-songwriter Amy Winehouse. Directed by Asif Kapadiaand produced by James Gay-Rees, George Pank, and Paul Bell and co-produced by Krishwerkz Entertainment, On The Corner Films, Playmaker Films, and Universal Music, in association with Film 4. The film covers Winehouse's life and her struggle with substance abuse, both before and after her career blossomed, and which eventually caused her death.

In February 2015, a teaser trailer based on the life of Winehouse debuted at the pre-Grammy event in the build-up to the 2015 Grammy Awards. David Joseph, CEO of Universal Music UK, announced that the documentary entitled simply Amy would be released later that year. He further stated: "About two years ago we decided to make a movie about her—her career and her life. It's a very complicated and tender movie. It tackles lots of things about family and media, fame, addiction, but most importantly, it captures the very heart of what she was about, which is an amazing person and a true musical genius."[4] The film was shown in the Midnight Screenings section at the 2015 Cannes Film Festival[5] and received its UK premiere at the Edinburgh International Film Festival.[6]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Amy

Supersonic (2016)

Subject: Oasis

Director: Mat Whitecross

About:

Oasis: Supersonic[2] is a 2016 British music documentary directed by Mat Whitecross. Asif Kapadia and James Gay-Rees, already awarded with an Oscar for the film Amy, worked on this film respectively as executive producer and film producer.[3][4][5] The Production Companies associated with the film are Mint Pictures, Nemperor and On The Corner Films and is distributed in the UK by Entertainment One and Lorton Distribution.[6]

The film details the history of the Britpop band Oasis during their formative years and the height of their success in the 1990s, featuring off-screen interviews with members of the band and people associated with them, set to archive video of concerts, contemporaneous interviews and backstage footage.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=supersonic+oasis&rh=i%3Aaps%2Ck%3Asupersonic+oasis

Cobain: Montage of Heck (2015)

Subject: Kurt Cobain

Director: Brett Morgen

About:

Kurt Cobain: Montage of Heck (also billed as Cobain: Montage of Heck)[1] is a 2015 documentary film about Nirvana lead singer Kurt Cobain. The film was directed by Brett Morgen and premiered at the 2015 Sundance Film Festival. It received a limited theatrical release worldwide and premiered on television in the United States on HBO on April 24, 2015. The documentary chronicles the life of Kurt Cobain from his birth in Aberdeen, Washington in 1967, through his troubled early family life and teenage years and rise to fame as front man of Nirvana, up to his death in April 1994 in Seattle at the age of 27.

The film includes artwork by Cobain as well as music and sound collages composed by him. Much of music and sound collages were released on the film's soundtrack, Montage of Heck: The Home Recordings. A companion book was also released containing animation stills from the film as well as transcripts of interviews, photographs, and Cobain's artwork that were not featured in the film.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=montage+of+heck&rh=i%3Aaps%2Ck%3Amontage+of+heck

The Devil and Daniel Johnston (2005)

Subject: Daniel Johnston

Director: Jeff Feuerzeig

About:

The Devil and Daniel Johnston is a 2005 documentary film about the noted American musician Daniel Johnston. It chronicles Johnston's life from childhood up to the present, with an emphasis on his experiences with bipolar disorder, and how it manifested itself in demonic self-obsession. The film was directed by Jeff Feuerzeig and produced by Henry S. Rosenthal.[1]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_i_1_25?url=search-alias%3Daps&field-keywords=the+devil+and+daniel+johnston&sprefix=the+devil+and+daniel+john%2Caps%2C157&crid=2OWKUR2E4J2L5&rh=i%3Aaps%2Ck%3Athe+devil+and+daniel+johnston

Dont Look Back (1967)

Subject: Bob Dylan

Director: D.A. Pennebaker

About:

Dont Look Back is a 1967 American documentary film by D. A. Pennebaker that covers Bob Dylan's 1965 concert tour in England.

In 1998 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In a 2014 Sight & Sound poll, film critics voted Dont Look Back the joint ninth best documentary film of all time.[1]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=dont+look+back+bob+dylan&rh=i%3Aaps%2Ck%3Adont+look+back+bob+dylan

Janis: Little Girl Blue (2015)

Subject: Janis Jopiln

Director: Amy J. Berg

About:

Janis: Little Girl Blue is a 2015 American documentary film directed by Amy J. Berg, about the American singer-songwriter Janis Joplin. It was shown in the TIFF Docs section of the 2015 Toronto International Film Festival.[3]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=janis+little+girl+blue

Searching for Sugar Man (2012)

Subject: ‘Rodriguez’

Director: Malik Bendjelloul

About:

Searching for Sugar Man is a 2012 Swedish–British documentary film of a South African cultural phenomenon directed and written by Malik Bendjelloul which details the efforts in the late 1990s of two Cape Town fans, Stephen "Sugar" Segerman and Craig Bartholomew Strydom, to find out whether the rumoured death of American musician Sixto Rodriguez was true, and if not, to discover what had become of him. Rodriguez's music, which had never achieved success in the United States, had become very popular in South Africa although little was known about him in that country.

On 10 February 2013, the film won the BAFTA Award for Best Documentary at the 66th British Academy Film Awards in London,[2] and two weeks later it won the Academy Award for Best Documentary Feature at the 85th Academy Awards in Hollywood.[3][4]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_19?url=search-alias%3Daps&field-keywords=searching+for+sugar+man&sprefix=searching+for+sugar%2Caps%2C174&crid=T938MBFUIF7M&rh=i%3Aaps%2Ck%3Asearching+for+sugar+man

The Filth and the Fury (2000)

Subject: Sex Pistols

Director: Julien Temple

About:

The Filth and the Fury is the second movie Julien Temple made about The Sex Pistols. His first effort was The Great Rock and Roll Swindle, which was released in British cinemas on 15 May 1980. This earlier effort was heavily criticised for being too skewed towards the Pistols' manager Malcolm McLaren's version of events about the band.[citation needed] The Filth and the Fury tells the story from the viewpoint of the band members themselves (albeit in silhouette during their contemporary interviews).

The title of the film is a reference to a headline that appeared in the British tabloid newspaper The Daily Mirror on 2 December 1976 after an interview on ITV's Today presented by Bill Grundy. The title of The Daily Mirror article was itself inspired by William Faulkner's novel The Sound and the Fury which was in turn taken from a line in Shakespeare's Macbeth.

Temple's documentary charts the rise, decline and fall of the Sex Pistols from their humble beginnings in London's Shepherd's Bush to their disintegration at the Winterland Ballroom in San Francisco. Temple puts the band into historical context with Britain's social situation in the 1970s through archival footage from the period. This film was seen in some ways as an opportunity for the Pistols to tell their side of the story, mostly through interviews with the surviving members of the group, footage shot during the era, and outtakes from The Great Rock and Roll Swindle.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_22?url=search-alias%3Daps&field-keywords=the+filth+and+the+fury&rh=i%3Aaps%2Ck%3Athe+filth+and+the+fury

Buena Vista Social Club (1999)

Subject: Buena Vista Social Club

Director: Wim Wenders

About:

Buena Vista Social Club is a 1999 documentary film directed by Wim Wenders about the music of Cuba. It is named for a danzón that became the title piece of the album Buena Vista Social Club. The film is an international co-production of Germany, the United States, the United Kingdom, France, and Cuba.

The film documents how Ry Cooder, long-time friend of Wenders, brought together the ensemble of legendary Cuban musicians to record an album (also called Buena Vista Social Club) and to perform two times with a full line-up: in April 1998 in Amsterdam (two nights) and the 1st of July 1998 in the United States (at the Carnegie Hall, New York City). Although they are geographically close, travel between Cuba and the United States is restricted due to the political tension between the two countries, so many of the artists were travelling there for the first time. The film shows their reactions to this experience, as well as including footage of the resultant sell-out concert. It also includes interviews with each of the main performers.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=buena+vista+social+club+film&rh=i%3Aaps%2Ck%3Abuena+vista+social+club+film

It Might Get Loud (2008)

Subjects: Jimmy Page, The Edge and Jack White

Director: Davis Guggenheim

About:

The film documents the varied playing and recording styles of guitarists Jimmy Page, The Edge, and Jack White.

Page's history with guitar traces back to his childhood when he played in a skiffle band. After desiring to do more than play pop music, Page "retires" from guitar playing to attend art school. He later revives his music career as a session guitarist, only to be discouraged by the realization that he is playing others' music and stifling his own creativity. At that point, Page begins to write and perform in the bands The Yardbirds and Led Zeppelin. Page discusses the skiffle and blues music that influenced him at the time. For many of Page's scenes, he is seen visiting Headley Grange, where several songs from Led Zeppelin IV were recorded, and in one scene, explains how the distinctive drum sound from "When the Levee Breaks" was achieved from the acoustics of the house in which it was recorded.

The Edge's history with guitar traces back to building a guitar with his brother Dik and learning to play. In the film, he visits Mount Temple Comprehensive School and recalls forming U2 in his childhood. He also demonstrates his playing technique, in how he eliminates certain strings from chords, as well as his use of echo and delay effects to "fill in notes that aren't there". He also discusses his purchase of his signature guitar, the Gibson Explorer, in New York City and the punk music that influenced him. In other scenes, he plays early demo tapes of "Where the Streets Have No Name", discusses his inspiration for "Sunday Bloody Sunday", and spends time experimenting with guitar effects for the riffs to "Get on Your Boots".

Jack White traces his musical background to his childhood in a rundown neighborhood of Detroit. Living with two drum sets and a guitar occupying his room and sleeping on a piece of foam due to taking out his bed for more room for his music, White struggled to find a musical identity, as it was "uncool" to play an instrument and his nine siblings all shared a musical propensity. His strong interest in blues and roots music opposed the hip hop and house music popular in the predominantly Latino south Detroit neighbourhood at the time. White eventually finds a niche in a garage rock band called The Upholsterers while working as an upholsterer, which paves the way for his future bands The White Stripes and The Raconteurs. White's philosophy is to limit and challenge himself in various ways to force creative approaches to recording and playing.

The touchstone of the film is a meeting of the three guitarists dubbed "The Summit". In these scenes, the three guitarists not only converse about their influences and techniques, but they also play each other's songs together, showing each other how to play "I Will Follow", "Dead Leaves and the Dirty Ground", and "In My Time of Dying". The film concludes with the men playing an impromptu cover version of The Band's "The Weight" on acoustic guitars.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_13?url=search-alias%3Daps&field-keywords=it+might+get+loud&sprefix=it+might+get+%2Caps%2C171&crid=2YRDN7W9NATDN&rh=i%3Aaps%2Ck%3Ait+might+get+loud

The Last Waltz (1978)

Subject: The Band

Director: Martin Scorsese

About:

The Last Waltz was a concert by the Canadian-American rock group The Band, held on American Thanksgiving Day, November 25, 1976, at Winterland Ballroom in San Francisco. The Last Waltz was advertised as The Band's "farewell concert appearance",[2] and the concert saw The Band joined by more than a dozen special guests, including Eric Clapton, Ringo Starr, Bob Dylan, Ronnie Wood, Muddy Waters, Neil Young, Neil Diamond, Van Morrison, Bobby Charles, Dr. John, Paul Butterfield, Emmylou Harris, Ronnie Hawkins, Joni Mitchell and, The Staple Singers. The musical director for the concert was The Band's original record producer, John Simon.

The event was filmed by director Martin Scorsese and made into a documentary of the same name, released in 1978. Jonathan Taplin, who was The Band's tour manager from 1969 to 1972 and later produced Scorsese's film Mean Streets, suggested that Scorsese would be the ideal director for the project and introduced Robbie Robertson and Scorsese. Taplin served as executive producer. The film features concert performances, intermittent song renditions shot on a studio soundstage, and interviews by Scorsese with members of The Band. A triple-LP soundtrack recording, produced by Simon and Rob Fraboni, was issued in 1978. The film was released on DVD in 2002 as was a four-CD box set of the concert and related studio recordings.

The Last Waltz is hailed as one of the greatest concert films ever made,[3] although it has been criticized for its focus on Robertson.[4]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=the+last+waltz+film&rh=i%3Aaps%2Ck%3Athe+last+waltz+film

Scratch (2001)

Subject: Hip-Hop D.J.s

Director: Doug Pray

About:

Scratch is a 2001 documentary film, directed and edited by Doug Pray.[1] The film explores the world of the hip-hop DJ from the birth of hip-hop when pioneering DJs began extending breaks on records, to the invention of scratching and beat juggling, to the more recent explosion of turntablism. Throughout the documentary, many artists explain how they were introduced to hip-hop while providing stories of their personal experiences.[2]

Buy/Watch:

https://www.amazon.co.uk/Scratch-DVD-Z-Trip/dp/B0000DINKC/ref=sr_1_1?ie=UTF8&qid=1506876226&sr=8-1&keywords=scratch+documentary

Woodstock (1970)

Subject: Woodstock Festival (1969)

Director: Michael Wadleigh

About:

Woodstock is a 1970 documentary film of the watershed counterculture Woodstock Festival which took place in August 1969 near Bethel, New York. Entertainment Weekly called this film the benchmark of concert movies and one of the most entertaining documentaries ever made.[3]

The film was directed by Michael Wadleigh. Seven editors are credited, including Thelma Schoonmaker, Martin Scorsese, and Wadleigh. Woodstock was a great commercial and critical success. It received the Academy Award for Best Documentary Feature. Schoonmaker was nominated for the Academy Award for Film Editing, a rare distinction for a documentary.[4] Dan Wallin and L. A. Johnson were nominated for the Academy Award for Best Sound.[5][6] The film was screened at the 1970 Cannes Film Festival, but wasn't entered into the main competition.[7]

The 1970 theatrical release of the film ran 185 minutes. A director's cut spanning 225 minutes was released in 1994. Both cuts take liberties with the timeline of the festival. However, the opening and closing acts are the same in the film as in real life; Richie Havens opens the show and Jimi Hendrix closes it.

Jimi Hendrix at Woodstock was also released separately on DVD and Blu-ray.

In 1996, Woodstock was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". An expanded 40th Anniversary Edition of Woodstock, released on June 9, 2009 in Blu-ray and DVD formats, features additional performances not before seen in the film, and also includes lengthened versions of existing performances featuring Creedence Clearwater Revival and others.[8]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_1?url=search-alias%3Ddvd&field-keywords=woodstock

Madonna: Truth or Dare (1991)

Subject: Madonna

Director: Alex Keshishian

Madonna: Truth or Dare (known as In Bed with Madonna outside of North America) is a 1991 American documentary film chronicling the life of American singer and songwriter Madonna during her 1990 Blond Ambition World Tour. The film was generally well received by critics and was successful at the box office with a worldwide gross of $29,012,935 (an estimated $50.99 million in 2016 dollars[1]). It remained the highest-grossing documentary of all time, until Bowling for Columbine surpassed it in 2002.[2] It was screened out of competition at the 1991 Cannes Film Festival.[3]

In 2005, Madonna produced another documentary, I'm Going to Tell You a Secret, which followed her 2004 Re-Invention World Tour. It was filmed and narrated in the same style as Truth or Dare, with stage performances filmed in colour and behind-the-scenes in black and white. Truth or Dare was nominated for a Razzie Award for Worst Actress for Madonna as herself, which she lost to Sean Young for A Kiss Before Dying.[4] It holds an 80% rating on Rotten Tomatoes.[5]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_14?url=search-alias%3Ddvd&field-keywords=madonna+truth+or+dare&sprefix=madonna+truth+%2Cdvd%2C171&crid=1YPXTV2XWSUIB&rh=n%3A283926%2Ck%3Amadonna+truth+or+dare

Marley (2012)

Subject: Bob Marley

Director: Kevin Macdonald

Marley is a 2012 documentary-biographical film directed by Kevin Macdonald documenting the life of Bob Marley.[4] It was released in theaters on April 20, 2012 to wide critical acclaim.[1][2][5] The film was also released on demand on the same day, a "day and date" release.[6] The film features archival footage and interviews.

The content spans the life and musical career of Bob Marley, mainly as seen through the eyes of those who knew him and contributed to the documentary, including Bunny Wailer, Rita Marley, Lee "Scratch" Perry and many others.

Although Marley was enthusiastic about music from a very young age, he had disappointing record sales as a solo artist with his first singles, “Judge Not” and “One Cup of Coffee”. He then decided to collaborate with Peter Tosh and Bunny Wailer to create “The Wailers.” This group later became known as “Bob Marley and the Wailers” and achieved international fame. The group made Bob Marley a household name and brought worldwide attention to Jamaican culture, Reggae music and the Rastafari movement.

Throughout the documentary, much of the content deals with Marley’s struggle with racial identity and acceptance. Marley’s widow, Rita Marley stated “they saw Bob as an outcast, because he didn’t really belong to anyone. You’re in-between. You’re black and white; so you’re not even black.” Livingston also comments that Marley was harassed in school for being mixed race. On his race, Marley stated:

"I don't have prejudice against meself. My father was a white and my mother was black. Them call me half-caste or whatever. Me don't deh pon nobody's side. Me don't deh pon the black man's side nor the white man's side. Me deh pon God's side, the one who create me and cause me to come from black and white."

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_18?url=search-alias%3Ddvd&field-keywords=marley+documentary&sprefix=marley+documentary%2Cdvd%2C162&crid=T9ZDS7W0CZYZ&rh=n%3A283926%2Ck%3Amarley+documentary

What Happened to Miss Simone? (2015)

Subject: Nina Simone

Director: Liz Garbus

About:

What Happened, Miss Simone? is a 2015 biographical documentary film about Nina Simone directed by Liz Garbus. The film opened the 2015 Sundance Film Festival. The screening was followed by a tribute performance by John Legend.[1] The film was released by Netflix on June 26, 2015. The documentary combines previously unreleased archival footage and interviews with Simone's daughter and friends. The title of the film was taken from a Maya Angelou quote.[2]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_25?url=search-alias%3Ddvd&field-keywords=what+happened+miss+simone&sprefix=what+happened+to+miss+sim%2Cdvd%2C157&crid=1KZWF2MX707UC&rh=n%3A283926%2Ck%3Awhat+happened+miss+simone

Muscle Shoals (2013)

Subject: Muscle Shores Sound Studio

Director: Greg 'Freddy' Camalier

Muscle Shoals is a 2013 documentary film about FAME Studios and Muscle Shoals Sound Studio in Muscle Shoals, Alabama. The film was released by Magnolia Pictures on September 27, 2013.[2]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_25?url=search-alias%3Ddvd&field-keywords=Muscle+Shoals+&rh=n%3A283926%2Ck%3AMuscle+Shoals+

Biggie & Tupac (2002)

Subjects: ‘Notorious B.I.G.’ and 2Pac

Director: Nick Broomfield

Biggie & Tupac is a 2002 feature-length documentary film about murdered rappers Christopher "Notorious B.I.G." Wallace and Tupac "2Pac" Shakur by Nick Broomfield.

Broomfield suggests the two murders were planned by Suge Knight, head of Death Row Records. Collusion by the LAPD is also implied.[1] While the film remains inconclusive, when asked "Who killed Tupac?" in a BBC Radio interview dated March 7, 2005, Broomfield stated (quoting Snoop Dogg) "The big guy next to him in the car... Suge Knight."

Broomfield's low-budget documentary was as the New York Times[2] described it, a "largely speculative" and "circumstantial"[2]account relying on flimsy evidence, failing to "present counter-evidence" or "question sources." The movie alleged that Knight had Tupac killed before he could part ways with Knight's Death Row label and conspired to kill Biggie to divert attention from himself in the Tupac murder.[3] 

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_12?url=search-alias%3Ddvd&field-keywords=biggie+and+tupac&sprefix=biggie+and+t%2Cdvd%2C160&crid=3JOCKKSYYV789&rh=n%3A283926%2Ck%3Abiggie+and+tupac

INTERVIEW: Brenda

INTERVIEW:

 Brenda

________

WITH a name like Brenda…

 I had to ask the Canadian band where it comes from – and whether there is a cool story they want to share. The guys chat about their new single, Children, and why its video was shot in south-east London. I ask them about their track and what meanings/stories lie behind it; what we can expect from the E.P., Creeper, and whether touring will see them come over here.

There is a lot of good stuff in the pipeline for the band so I talk to them about the remainder of the year and what is ahead of them; the new artists we all need to switch onto – and the music that inspired them to get into the industry. 

________

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

We’re great!

Currently in the process of putting the final touches on some things; creating new things and discarding other things - while juggling our work lives.

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

Sure. Our band is Brenda.

Andrew plays the drums; Jordan plays bass; Matt plays the guitar and sings backup vocals - and John plays the guitar and sings! We’ve been doing this project together since fall, 2015. Jordan Matt and Andrew were in a Punk band previous to Brenda, based out of Toronto.

Andrew moved away for a while when we started the band with a different drummer - and, after some changes, moved back to Toronto and joined the fun.

Children is the new single. It talks about the inevitability of growing old. Was there a moment or realisation that compelled the song?

The realisation probably came when we first started getting into a studio all together...

John had some songs that he had the bare bones of (one being Children) that everyone, together, kind of fleshed-out and transformed into one if not many different beasts - before it took its final form. When we realised, after a ton of practices, that we may have something; we all collectively decided that this was something that we were really going to seriously try and do.

Everybody gets old: we might as well really do something if we were going to do it at all.

Do you chaps feel like you are awkwardly straddling childhood and adulthood? Is getting it out in song quite cathartic?

We’re sure everyone is getting a cathartic release when they write songs in some way or another - and isn’t everyone straddling adulthood and childhood?!

Children’s video consists of old home movies. Where did that footage come from? Is it original (made to look old) or taken from another source?

Artist Sarah Ann Watson, at a church service in south-east London, shot the footage on an old camcorder.

The service was a gathering to pay tribute to Joseph Grimaldi - an entertainer that was considered to be the father of modern clowning, that lived and performed in London around the late-1700s. Sarah is a family member, and close friend of ours, and she does incredible video work. She shot the footage before we finished recording and proposed it to us after.

It works really well.

 PHOTO CREDIT: @brianmcmillanphoto

Toronto seems to be busy with life – so much so I am going to have to turn away artists from there due to the dominance on my blog. What would you say is the reason for this influx and output of quality?

There are amazing artists living all around Canada - so it seems only natural that they flock to big cities like Toronto, Montreal; Vancouver etc. Toronto has an extremely strong music community that tend to not only stick together when putting on shows, releases and whatever else - but they also open their arms to anyone that wants to get involved. Not only are the musicians open, but also the promoters.

Everyone helps everyone.

PHOTO CREDIT: Dominique van Olm

How did Brenda get together and what is the origin of that band-name?

Like we said; Matt Jordan and Andrew were in a band together before.

Jordan met John through friends and knew that he was writing music alone - but always wanted a full-band project. They wanted to begin playing together again, so Jordan called up John…and the rest is history.

The band name kind of started as a joke that stuck. We were bouncing first names around that struck an image in our heads. ONE of us said, 'Brenda'. None of us has owned up to it but it strikes a high-school scene in the early-eighties. Ha ha.

That’s really all we have for the origin of Brenda, but it works!

Do you all share the same music tastes? Give me an insight into your record collections?

We generally ball-park the same kind of stuff at the core.

To name a bunch: The Black Lips, Fat White Family; Wand, Brian Jonestown Massacre; Ty Segall, Joe Walsh; Goblin, Jack Name; POND, Orb; Lightning Bolt; Marc Bolan, Psychic TV; Tiny Tim, Roy Orbison; Ex-Cult, Oh Sees; Night Beats, Black Rebel Motorcycle Club; Can, etc, etc, etc, etc.

 IN THIS PHOTO: Thrifty Kids/PHOTO CREDIT: Victor Sweet

Who are the new artists you recommend we check out?

In Toronto: Crazy Bones, Hot Garbage; Jean Daddy, Possum and Thrifty Kids.

Elsewhere: Jerkcurb, Running; Speak Easy (in B.C).

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

We will be at the Monarch Tavern in Toronto, October 20th - promoting a split we are doing with good friends of ours.

We are at the Piston on November 16th.

The U.K. would be a great place for you guys to perform. Do you get a chance to come over here much?

John is from the U.K. so he goes quite often.

We haven’t yet (for performing) but, hopefully, that will change!

It is coming up to Christmas. You guys have any plans at the moment?

Turkey and family!

Can we expect an album or E.P. in 2018? What plans does the band have?

We may or may not have a full-length planned - we’ll both have to wait and see. We’ve definitely begun the process of writing songs that fit together well.

We definitely want to travel more.

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

Be nice to everyone and don’t be afraid to send out emails to everyone - even if you think you are annoying them.

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

Sure…put up Crazy Bones - I Am the Sun

_________

Follow Brenda

Facebook:

https://www.facebook.com/brendabandTO

Twitter:

https://twitter.com/brendabandto

Instagram:

https://www.instagram.com/brendasband/

BandCamp:

https://heybrenda.bandcamp.com/

FEATURE: BBC Introducing at Ten

FEATURE:

 IN THIS PHOTO: Last year's BBC Introducing Artist of the Year, Izzy Bizu 

BBC Introducing at Ten

________

ANY function or faction that actively promotes…

the finest artists out there is to be commended and applauded. BBC Introducing started life in 2007 and showcases unsigned, self-signed and emerging artists. It runs across BBC radio stations and, when each act is featured/wins, they retain their own identity and sound. That is rare in an industry where, if one wins a competition, they are often forced to compromise their music and fit into a label’s agenda. Since its formation; the competition has seen winners feature at Glastonbury – spotlighting wonderful acts on the main stages there. By 2010; BBC Introducing was awarded the best new platform to discover music at the BT Digital Music Awards. The following year, it won the Gold award for Best Use of Multiplatform at the Sony Radio Academy Awards. Since January 2013; every BBC Local Radio stations across England and the Channel Islands broadcast a BBC Introducing show (8 P.M. on Saturdays). The idea, originally, was for the BBC to introduce new talent to its stations – artists that have a definite future and are have commercial possibilities. Its brand was discovered by Jason Carter – who continues to lead to the proposition for the BBC – and has expanded and evolved since its first year. Back when it first arrived, many local BBC stations created competitions to showcase local bands. That became so popular and powerful that, as of 2010, that any local BBC station that had not rebranded themselves with the ‘Introducing’ component did so. It is amazing to think BBC Introducing had a stage at Glastonbury in its first year. That is power to a format that is not here to make money and sign karaoke singers – looking for serious artists who have the potential to headline the Main Stage very soon. The fact 2011’s incarnation featured Ed Sheeran at BBC Introducing (in Glastonbury) meant that desire fulfilled itself – Sheeran headlined Glastonbury this year. I am not a fan of his work – as many will know – but understand BBC Introducing has a wide remit and casts its net right across the musical ocean.

Many might say celebrating ten years of BBC Introducing is a minor thing: they have not spawned THAT many modern legends. It is true we have seen few breakaway stars survive and inspire but there have been plenty that have made a real impact and compelled other acts to come into music. It is the way BBC Introducing has spread to local stations and helped artists in those areas get their music heard. I know a lot of musicians who have auditioned and performed as part of the regional BBC Introducing events and it always puts them in a better mood. By that, they get their music to judges and new crowds; they get an impression regarding how their music will fare in the market and the fellow musicians around them. It is a tremendous networking opportunity and a showcase that is free from label pressure and viewer call-ins. Against the tide of televised reality T.V. shows and circuses: BBC Introducing seems like an old-fashioned showcase for musicians who are not leering after the camera – equipped with sob stories and broken-hearted tales. There are filmed segments and YouTube videos but, largely, BBC Introducing is about music and radio. It is great looking at each county and the talent that emerges forth. There are few national events/ideas that extend to local areas. The televised talent shows like The Voice are all about the glamour of the stage and finding something mainstream. That is not the case with BBC Introducing. Even though it has the BBC brand; that does not mean it is aimed to discover a talent that would be exclusive to Radio 1 and 2. One assumes they would search for a Radio 1 star – the age of the participants suggests a younger audience – but past winners, as I will explore, find their music played on several BBC stations – and other national brands. Sceptics have looked at other BBC initiatives like their annual ‘BBC Music Sound of…’ list and queried the winners and their longevity.

IN THIS PHOTO: WOWH at Glastonbury

It is always hard seeing, when you do crown a winner, how they will assimilate and adapt to the demands of music. The same can be said of BBC Introducing. It scouts for the finest artists out there but there is no way to say how the artists will fare – and whether they will be a long-term success. The upload tool, launched in 2009, allows users to upload their music direct to BBC Introducing producers and presenters. Artists can enter their postcode and submit their songs to producers. It is a quick and great mechanism for artists to get their music into the hands of producers without having to post material or audition. My final point will look at the upcoming anniversary concert that is taking place but we need to consider artists that credit BBC Introducing for bringing their music to the U.K. public. Jake Bugg, back in 2007, was covered during Glastonbury and, thanks to Introducing, it brought his music to a greater number of people. Other acts, such as Florence and the Machine, The Temper Trap and Two Door Cinema Club have seen similar benefits. Bombay Bicycle Club, Everything Everything and Izzy Bizu – more on her, soon – have credited BBC Introducing. BBC Introducing launched their Artist of the Year which highlights an Introducing artist worth extra merit. Jack Garratt claimed that honour at the end of 2015. Catfish and the Bottlemen won the award in its first year but both artists have found success following the nod. Before that, they were well-known, but it is an extra layer of accreditation and congratulations. When Izzy Bizu received the award last year; BBC ran a piece:

“BBC Music has announced Izzy Bizu as the winner of its BBC Music Introducing Artist of the Year Award ahead of the 2016 BBC Music Awards which take place at the ExCeL London on Monday 12 December.

Announced as the winner on The Radio 1 Breakfast Show with Nick Grimshaw this morning, Izzy Bizu says: “It’s an amazing honour to have won BBC Music Introducing Artist of the Year. The BBC has been hugely supportive of my music ever since my independently released Coolbeanz EP and it’s a real honour to follow in the footsteps of acts like Jack Garratt and Catfish and the Bottlemen.”

BBC Introducing, the BBC’s scheme for emerging musical talent, showcases undiscovered and unsigned artists and has helped to kick-start the careers of James Bay, Jake Bugg, Florence and the Machine, and George Ezra plus many more since its launch in 2007, providing a platform to propel the best new acts from across the UK onto the national stage.

IN THIS PHOTO: Izzy Bizu/PHOTO CREDIT: H&M

Jason Carter, Head of BBC Introducing says: “Izzy is a huge talent that I’m certain will be a huge success story both at home and abroad. I’m proud of the part that BBC Introducing has played in launching her career and look forward to her live performance at the BBC Music Awards, and supporting her in the years to come.”

Born in London, Izzy Bizu started her journey with BBC Introducing back in 2013 when she uploaded her EP Coolbeanz to the talent scheme’s website. Picked up by her local BBC Introducing show on BBC Radio London, the unsigned singer-songwriter gained exposure on the Radio 1 and 1Xtra BBC Introducing playlist slots, garnering support from the likes of Jamie Cullum who played her on his Radio 2 show before being chosen to perform at the BBC Introducing stage at Glastonbury in 2014.

She then supported Sam Smith, Rudimental and Foxes on their UK tours, and last year performed on Later…with Jools Holland and was shortlisted for Critics’ Choice Award at the Brit Awards. This year Bizu was longlisted for BBC Music Sound of 2016, performed at and was nominated for Best Newcomer at the 2016 MOBO Awards, opened the 2016 BBC Music Day concert from Cornwall's Eden Project on BBC ONE, and was the voice of the BBC Euro 2016 theme tune, singing her version of Edith Piaf’s La Foule.

Now signed to Epic Records Sony, she released her debut album Moment of Madness in September. Alongside other BBC Introducing artists Spring King and Sundara Karma, Izzy recently performed at the first BBC Music Presents US tour - a partnership between BBC, Live Nation and the GREAT Britain campaign - showcasing the best UK talent in the US. Beginning in November 2016 and running over the next 12 months, BBC Music Presents will deliver four tours across America, with the first tour visiting New York City, Boston, Philadelphia, Cleveland, Detroit, Chicago and Washington, DC.

Izzy Bizu will perform live on BBC One and bbc.co.uk/music on Monday 12 December from 8.30-10pm with additional programming on Radio 1 and Radio 2, alongside Kaiser Chiefs, Craig David, Lukas Graham, Zara Larsson, John Legend, Emeli Sandé, Robbie Williams and The 1975.

Last year’s winner was Jack Garratt who since his performance at the BBC Music Awards in 2015 has gone on to release his debut album and be named the BBC Music Sound of 2016. The first ever recipients of the award in 2014, Catfish and the Bottlemen, have enjoyed continuing success in the UK and the US appearing on The Late Show with David Letterman and winning the Brit Award for British Breakthrough act in 2016”.

Bizu’s album, A Moment of Madness, was released in September of last year and, alongside the BBC Introducing prize, completed a fantastic year for her. The L.P. was received well by critics and her music was played on T.V. shows and adverts. Her music has reached millions and it is debatable how far along she would be was it not for BBC Introducing. She has natural talent but the connections she has made through BBC Introducing cannot be undermined.

I will finish by bringing in the details surrounding the tenth anniversary of BBC Introducing – and the gig that is going to take place:

BBC Music Introducing has announced a gig at O2 Academy Brixton to celebrate its 10th anniversary.

George Ezra, Blossoms, Nao, Slaves and The Big Moon are among the names on the line-up for BBC Music Introducing Live, with more yet to be announced.

The night, featuring artists who have all been backed by Introducing, will be hosted by Huw Stephens, Annie Mac, Phil Taggart, Steve Lamacq and Tom Robinson.

BBC Music Introducing Live takes place on 4 October.

Since launching in 2007, acts supported by BBC Music Introducing have gone on to release 14 UK number one singles and 28 UK number one albums between them.

There are now over 460,000 tracks, which is more than three years-worth of music, uploaded to the BBC Music Introducing website and 170,000 artists are registered.

Each BBC regional radio station across the country has a BBC Music Introducing programme dedicated to finding local talent.

Some of the musicians they discover are then picked up on a national and international stage through BBC Radio 1, 1Xtra, Radio 2, 6 Music, Radio 3, Asian Network and World Service.

Bob Shennan, Director, BBC Radio and Music, said: "I'm incredibly proud of the work BBC Music Introducing has done over the last 10 years to bring talented UK artists, from all musical backgrounds, to a national and international audience.

"So many of the musicians supported by BBC Music Introducing have gone on to achieve great success and this gig will be a fantastic opportunity to celebrate all that is special about new music in the UK."

IN THIS PHOTO: George Ezra/PHOTO CREDIT: Robert Blackham

George Ezra

"The music industry was a very intimidating and confusing world for me when I was 18.

"I knew I wanted to perform and write for a living but had no idea how to make this a reality.

"BBC Introducing was, and still is, the most amazingly inclusive platform I could have asked for. Long live Introducing."

IN THIS PHOTO: Blossoms

Blossoms

"The BBC plays a significant part in everybody's lives in one way or another, but BBC Music Introducing (specifically) has certainly played a colossal part in ours, especially in our embryonic stage, and has continued to support us throughout.

"They provide a service like no other and are at the forefront when it comes to championing and nurturing new talent."

IN THIS PHOTO: NAO

NAO

"BBC Introducing were fantastic to me when I was starting out.

"Not only did they give me my first radio play but they put me on at Glastonbury, which at the time was a dream come true.

"They're a hugely important part of the BBC and a big reason why more interesting music can break through in the UK compared to other countries."

IN THIS PHOTO: The Big Moon

The Big Moon

"They've championed us from the beginning and given us the opportunity to play amazing festivals in the UK and abroad.

We're incredibly grateful for their support and are so so happy to be playing at their 10th anniversary."

TRACK REVIEW: Bleek Noir - Harder Love

TRACK REVIEW:

 

Bleek Noir

Harder Love

9.5/10

 Harder Love is available via:

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

The E.P., Fresh Born Animal (And I’m Not Sure Who I Am), is available from:

https://bleeknoir.bandcamp.com/album/fresh-born-animal-and-im-not-sure-who-i-am

GENRES:

Alternative; Lo-Fi; Noir

ORIGIN:

Leeds, U.K.

RELEASE DATE:

28th July, 2017

WRITTEN, PERFORMED; ENGINEERED AND PRODUCED BY:

Bleek Noir

MASTERED BY:

Mark Walker at Couch Studios

MIXED BY:

Bleek Noir and James O’Connor

PHOTOS:

Frank Garland

__________

ONE man has been in my mind for the past…

few days. Nick Cave has been performing over here and making the music news. It is rare we get to see him and his Bad Seeds gig in the U.K. Ever since his album, Skeleton Tree, last year; we have not heard any new music from him. That is understandable, to say the least – considering the harsh and tragic circumstances that defined some of the album’s most emotional moments. He is an artist that is in a league of his own. I have not encountered anyone who has his same gravitas, sense of atmosphere and songwriting ability. I have followed his career from the early days and amazed by every album he produces. He never seems to slow when it comes to quality and originality – each record provides a new dynamic and theme. The reason I mention Cave is because of my review subject, Bleek Noir (although I know him as ‘Chris’). I wanted to talk about a number of things but, before that, how influential Nick Cave is and why artists like Bleek Noir – who inject the same sense of shamanic darkness and theatricality to their music – are so important. There are so few genuinely exciting and intriguing artists in music at the moment. If one wants to discover a musician that plays in the alleyways of music’s metropolis then they need to really go far and wide – there is far too much convention and ordinary spirit wafting through the streets right now. Yeah, one can hear some interesting and dynamic artists but there are few who have that energy and rare magic of Cave. Bleek Noir is no tribute act but one definitely feels a connection between Cave and Bleek Noir. In fact, as I shall discuss earlier, Bleek Noir covered a song by The Birthday Party – a Post-Punk group Cave was a member of in the 1980s. I will arrive at that but wanted to stay on the theme of artists like Cave and why Bleek Noir is an exciting force. The group/moniker arrived from Christopher Fox and, by various reviewers, has been described as Victorian, seedy and fascinating.

It is hard to put into words but there are music gymnastics and lizard-crawling vocals: hovering spirits, cheap hotel beds and flickering city neon. It is a heady and intoxicating brew that takes you by the hand and leads you somewhere exciting. I am not sure how much of Bleek Noir’s character and personality Fox takes into his everyday life but one suspects the man’s songwriting and creative process has a flair of the method – immersing his head in a space most of us would not go. I wanted to discuss unique artists like this, first, because there are so few innovators and genuinely alluring artists. Fox’s alter ego is a fevered imagination and colourful brew that gets right into the brain and spikes the imagination. It is unusual departing from the garden path and going into a new world. It is not an exaggeration to say Bleek Noir inhabits a very rare territory and approaches music in a weird and wonderful way. Those who are not used to Nick Cave-like sounds and voodoo-cum-tribal embers; it will be an unexpected experience and might put some off. That is not a slight against Bleek Noir but a commentary on how we all get used to something quite familiar and safe. People assume artists that have a quirky appearance and eye-catching description are going to be off-putting and divisive. There is nothing niche about Bleek Noir and the music that comes through. If you give it a chance; you’ll find the music gets into the soul and provokes an immediate reaction. It sounds like I am defending the Goth kid in school but it feels like that at times. Fox’s disguise appears to be that free-thinking loner that stalks the playground with his dark make-up and peculiar views – this is the way outsiders might perceive his aesthetic and music. In fact, like Cave and artists who have few like-minded contemporaries, there is nothing to be fearful of. What you get is relatable music that has a different skin to anything out there. I’ll end the Cave mantra by talking about Bleek Noir’s sense of lyrical prowess and vocal dynamics. I have known Fox for a bit and can tell you, since his last project, there have been some real changes.

One would hardly recognise the man I was reviewing all that time ago – the transformation is quite dramatic. I am interested learning about his association and love of Nick Cave – and Rowland S. Howard, for that matter. Every time I approach an artist, when it comes to influences, there is a bit of a repeat. You get the same names popping up and, whilst that is okay, there is never the feeling you’ll find someone who breaks that trend. Bleek Noir is a pleasant surprise and someone who has given me a new impetus: the chance to talk about something new. I wanted to talk about the immediacy of release and how striking when the iron is hot is essential. Bleek Noir only formed in July but is straight to work! Two releases came straight to light: double A-side Harder Love/Draggin’ That Damn Thing Around and the E.P., Fresh Born Animal (And I’m Not Sure Who I Am). I am looking at those titles and a few things strike me. Fox, as a conspirer, is not someone who goes for the trite and boring. Harder Love, the song I am looking at, is as close as conventional as he will ever get – in terms of the title, anyway! Draggin’ That Damn Thing Around and the E.P., I will allude to both later, compel you with their title alone! It is hard discovering anyone on the musical landscape that has a flavour of fascination about them. You get samey titles and music that really doesn’t hook you like it should. The love of the lugubrious festers and crawls through the blood. I digress but such is the power of those titles and the suggestions one gets. I wanted to commend Bleek Noir for racing off the blocks so quickly. It can be hard for artists to get music out they are happy with. You hear a lot of tease and trickle in modern music. One will invariably have that debut single and all the hype surrounding it.

I know it is challenging getting a song out and keeping the pressure up. Such is the competitive nature of music, each artist takes their own approach to songwriting. I know few who put music out quickly that has a real quality and sense of completion. Bleek Noir’s music is atonal and dark but has plenty of fireworks, compelling scents and bold tattoos. There is a sense the world needs it and there is a gap that requires filling. The fact, only a matter of days after the formation the first material was out, shows what a talent Fox has – a work ethic that few others possess. I am interested he released a double A-side: this is something more musicians are undertaking. The fact an E.P. shortly followed shows what productivity there is in his blood. If you have a couple of great songs and do not want to divide them – releasing each as a single can be quite a task and drags on a bit – the double A-side is the perfect solution. One can experience two excellent songs and does not have to endure the endless promotion and build-up to get their hands on it. I am not sure why there is this rise in the double A-side but it interests me. Bleek Noir is that explosive project that you cannot contain. It acts as a guide to other artists to get their finger out and not to linger. There is that sense of theatre and performance when it comes to promotion. Why do we need endless teaser videos and those cryptic status updates?! It seems music can just arrive and not demand a carnival of buzz and spoon-feeding. Productivity is one of the most underrated and ignored aspects of music, to me. I find a great new artist but, after the first single, there is a huge gap until we hear new music. Maybe they are ensuring the music is as good as it could be but there is a risk there – so many others will come into music and take away some of your followers.

We live in an age where we need constant music and updates. It is not good enough to love an artist and wait an endless time for new stuff to come out. Bleek Noir is in no danger of disappointing. There is a real desire to get music to people that has quality and originality. If the songs out there seemed rushed then I would be reluctant to proffer such an artist. As it is; I find myself drawn to various tracks and noticing the differences between them. Harder Love struck me because it has an accompanying video and it stuck with me the longest – but I will mention other tracks as we go on. I am not sure whether there will be more material before the end of the year but one can forgive Bleek Noir for taking a bit of time off now. I find it fortuitous I am reviewing music that has such a Hallowe’en vibe so close to the big day – a few weeks away, anyway! I would expect Bleek Noir to mark the day with something, at least. Maybe there will be a video or a new song?! It will be exciting to see if anything does arrive on 31st. I wanted to talk about Spotify – before I come to look at a couple of other aspects. Bleek Noir is someone on Spotify but, as an aside, it is near-impossible finding his Spotify page through a search engine. If you type ‘Bleek Noir’ and ‘Spotify’ together – you will not get any relevant results back. It is a slight detour but I am not sure why that is coming up. I have not included the link because of that. Maybe I am typing the wrong words or not looking in the right places but that is beside the point. I know he is on Spotify because I have the application and can find his music on there.

The reason I wanted to (briefly) talk about the streaming site is because Bleek Noir has that niche. Owing to the night-crawling sounds produced; it appears there is a chance to create playlists and hook other artists/contemporaries in. I know Nick Cave’s music is on there so perhaps Bleek Noir could add his music to a playlist and tag Cave on Twitter? It would be good to see his own themed playlist come through that includes similar artists. I highlighted how there are few out there like Bleek Noir but one gets a similar smell from Captain Beefheart…um…yeah, might leave it to the man himself to search the archives! Spotify is a useful way of getting music shared and exposed. Playlists are a good way of including other artists, new and old, into your own rundown and getting their music shared. The hope is, once that is done, those artists will return the favour and include you. This allows the songs to get to new audiences. I wonder whether Cave, if his music were included on a playlist, would share it?! That would open Bleek Noir to his crowd and, with it, so many new fans. I am not sure why Bleek Noir does not show on the search engines but I will have a word with Fox and see whether he has encountered any similar issues. That is a minor point but I feel Spotify is a platform Bleek Noir could thrive on. I have mentioned Hallowe’en and it seems only natural there would be a place for the E.P. Fresh Born Animal (And I’m Not Sure Who I Am) on any spook-themed playlists. I will come to look at Harder Love very soon but, before I move onto that, I want to look at Leeds – and music from the North of England.

I have written extensively about the fact music seems to be split between the North and South. We live in a time when everything has to be divided between London and ‘elsewhere’. Artists who are close to London often get mentioned as London-based acts and that is quite worrying. Such is the dominance and size of the city it is hard for any other areas to get their music heard. It is a trouble that needs addressing but artists like Bleek Noir show what a wealth there is out there. I always mention Leeds in the context of music that flirts away from the mainstream. Mainstream acts like alt-J show there is definitely something in the water up there. Over the years, when reviewing Leeds artists, there have been so few that do anything ordinary and boring, Heir were the last band I featured (from there) but I have also looked at Electro-Swing (Little Violet) and similarly unexpected treats. I am not sure whether it is the way the city runs and the type of music heard there but few feel the need to follow the pack and replicate what is already out there. Different parts of the U.K. have their own sound but there is nowhere quite like Leeds. The city seems to beat to a different drum and everything about the place excites me. We put so much emphasis on London and what is coming from the capital, I wonder whether areas like Leeds are even considered? I guess it is easy to discover artists that live/work near London because that is where all the big labels and studios are – and most of the bigger venues. That is no good reason to overlook the rest of the country. The recent Mercury Music Prize showed what an emphasis there is on London. There were more South London-based artists on the Shortlist than there were from the North. It gets worse than that. Ed Sheeran, born in the North, does not live there anymore and the further North we got was Leeds – alt-J were the most-northern act, it seems.

Scotland was ignored and, actually, Stockport’s Blossoms were also in the mix. Even so; it is hardly encouraging to see so few northern artists included in big music prizes. The lack of visibility is no reflection on the quality and innovation arriving from cities like Leeds and Manchester. I will move things on soon but, before then, artists that come from other projects to create new music. I am not going to get into Christopher Fox’s previous incarnation too much but his latest project is a leap from where he came from. Anyone who has heard his older music would recognise very little in what he is producing now. Maybe it was the desire to do something more challenging but I have never heard him as electric and exciting as he is right now. Beforehand, when listening to his music, there was something charming and loveable but it was quite a niche style – something possibly reserved to past decades that attracts a very small audience. I have noticed certain bands/artists – who play under-heard styles of music – rebrand themselves. Most of these are older Folk types and genres like Hokum and Tinpan. You know the kind of music I am alluding to: music we might hear from the 1940s and artists who play sea shanties at coastal bars. It is quite interesting, I guess, but there comes a time when that kind of music slips the mind. Music has evolved where it is and going that far back creates a danger. I know a lot of artists want to be unique but if the style of music you are playing is not that popular then your lifespan is not going to be that long. Fox is in a position where he still plays on the outskirts of music’s normality but has reinvented himself in a more populist mould. I keep bringing names like Nick Cave in but it is only as a compliment. The Australian is someone who has an enormous fanbase but has very few out there like him. Maybe it is the sheer potency and majesty of the music but I feel there is a need to find Caves-in-waiting to fill the eventual void – when he does retire from music. Bleek Noir has all the right ingredients to build a real foundation and, in time, ascend to the mainstream. I am a little weary of what we have right now and there is a desire to give it a real kick. Too safe, predictable and grounded: Bleek Noir is a head-spinning cocktail that would shake-up music and provide it a rare fascination.

The hero, it is said, is going to make a hundred kind of harder love. These words spike the mind right away and make you wonder what he is alluding to. Before then, he urges (the heroine) to peel back that “fleshy, pink armour love”. The instrumentation and composition remain far-off and the vocal a little distorted and echoed. That lo-fi sound means the song has a degree of danger and stranger-lurking-in-the-shadows. It is a threadbare and interesting start that gets you in and settles you in your seat. The strings wallow and vibrate out of the blocks. Carnivorous, animal-like and echoed – few can ignore the power and mystical power of the sound. The percussion slams and offers punctuated slams that bond nicely with the strings. It is a witches’ brew that instantly transports the mind from the laptop into Bleek Noir’s world. In my mind; I was in a rather odd commune where the hero acts as a shaman. Standing over the boiling and bubbling pot – with lusty and night-dwelling ladies beside him – he fixes the listener with a cheeky and troubled wink. Before long, the steady and level-headed composition starts to twirl and trip. It is almost like a drug has got into their system and they are feeding on the chemicals. It is never too strange but one notices voodoo smiles and crocodile snap to the strings. The hero asks, the heroine, I assume, where it hurts. He is almost like a love doctor – albeit, one who wants satisfaction rather than a medical cure. His mind is focused on the bountiful and sensual: concerned with something primal and lusty. One cannot ignore the Nick Cave echoes that stem from the song. The composition has the same sort of sound and flavour one would find on the 1996 album, Murder Ballads.

The early stages of the song have a flavour of Cave but that is all good in my books! Yes, there is that love of the great mind but Bleek Noir has his own mind and soul. One gets a real hit of that as we learn about his motives and mindset. If one can detect bits of Murder Ballads on the song; it doesn’t take too long before the man steps out from the shadows and lets his golden teeth shine. That snarl and alluring smile talks of banging walls and the place where the pain if kept. Maybe there is that need to release something pent-up and confined. Perhaps a heroine is being addressed – someone who is reserved and in need of ‘guidance’. Our hero allows that deep and commanding voice to paint scenery and keep the imagination fevered and tormented. The imaginations and visions flood to the eyes and you cannot help but follow the story in your own way. My schematic and interpretation remains true but transports to a candle-lit room in a creaky house – maybe a grand mansion somewhere on the hill. Bleek Noir approaches the girl in the corner (without notice) and casts his spell. Such is the potency of the music; anyone who listens will have their own view. The girl, confessed, undressed for the hero with some shame – it entered both their backs at the same time. What the ‘it’ refers to is beyond me but possibly a sense of lust or a strange spirit hanging in the cobwebs?! Whilst most songs are neutered and domesticated: here, there is something sinned, damned and recidivist. One admires the skeletal nature of the composition – it has booming moments but retains a bone-knocking sound – and whether the introduction of swaggering/off-tune horns might add an element of the demented? Perhaps that would be a step too far but, also, a Quartet of Dark Souls – a string combination that fuses Bernard Hermann and Danny Elfman. “Sweet leather rain” are words you probably haven’t heard together but sound natural companions in a song that continues to press and stalk – the hero threatening to push the button where pain is penned; unlock something inside that has been cloistered and hidden.

Subcutaneous crawl and sense-altering odd: Harder Love continues to grace and fascinate to the dying embers. The hero wants a harder love and does not seem one for easy answers and natural foreplay. Fox’s voice has an operatic quality and is at its most striking near the end – when the chorus comes back in and he is at his most wracked and afflicted. The tree-clashing percussion and the Devil’s toybox are combined in a sentient sound that grabs you by the arm and leads you into a peculiar fantasia. If one watches the video to the song – link is at the top and bottom – then you can see the hero with his hands over his eyes and revealing little of his face. It is a simple concept but one that documents the torment and physicality of his feelings. I am not sure whether Harder Love is constructed from a personal relationship or is cribbed from the pages of fiction. It is an engaging song that conspires theories and makes you dig deep. Few songs get into the mind as easily and vividly. It is part of a remarkable double side and is the opening song to the E.P., Fresh Born Animal (And I Am Not Sure Who I Am). Many might see the song as anhedonic and quite po-faced – it does play on the shadier side of the street. There is much delight and colour to be found among the sepia, noir and grey. There is no privation of soul and one discovers emotional resonance and nuance in every moment. A remarkable and addictive song from one of music’s new pioneers; make sure you discover the song and explore the back catalogue (already quite fulsome) of Bleek Noir.

Wild World is the latest single from Bleek Noir – originally recorded by The Birthday Party. Given the fact, in a few short months, Bleek Noir has released a few originals – many would forgive the Leeds-based artist for releasing a cover. In fact; it is a great move and shows the full range of Bleek Noir’s talents. Covering other songs can be quite risky and few artists manage to add anything interesting to the songs that tackle. A song that has Nick Cave involved is already a quality product and has his own voice. Bleek Noir takes on the moment and does not replicate what has already come. It is a great interpretation and takes the song in a new direction. If that were not enough; we have the upcoming single, Last Night I Saw Myself with the Animals (And the Animals Ate Themselves). Bleek Noir is not someone who does punchy titles but, when you hear the music, it would be hard to abbreviate the titles. It seems like his upcoming song is not going to be a slushy ballad: another crawling and creeping viper with a variegated tongue and peculiar sting. There will be an E-book accompanying the song and another step from the new outfit. At the start of this month; Bleek Noir announced there would be FOUR new releases – two singles, a collaboration double A-side and the second Bleek Noir E.P. It seems like music pumps through every sinew of the creator and he cannot stop recording. He even makes King Gizzard and the Lizard Wizard look like a bunch of lazy bastards – they are only releasing five L.P.s this year. I was musing whether Bleek Noir would release anything for Hallowe’en but it seems like we are going to get Christmas presents, too. I am not sure when new releases will come to light but we have his E.P. out there – and singles like Harder Love. Draggin’ That Damn Thing Around and the Fresh Born Animal (And I’m Not Sure Who I Am) E.P. are fantastic works and show what a force of nature Bleek Noir is.

Material is spewing forth and it is hard capturing the breath. What we have right now is electric, fascinating and highly engrossing. There is something rare and peculiar about Bleek Noir but one is always hooked and seduced. You never balk or feel distant from the music. It beckons you in and takes you by the hand; takes you through the Lewis Carroll-cum-Haruki Murakami world of weird and wonderful. I wonder if there is going to be any touring before the end of this year? It would be great to see the songs come to life on the stage and how that is translated. That will be down to Christopher Fox but I know he is busy promoting and working on new stuff. He is a musician that never tires and has an imagination that one cannot put a corkscrew in – nor would you ever want to! There are few who are as prolific and keep the fans engaged. Normally, one would bond to an artist and then have to wait months for new material to come. It is important getting music out there but ensuring the quality is solid. That might sound like a hard trick but it can be achieved. Bleek Noir is someone who is unaffected by the buzz and stress of areas like London and is breathing the psychotropic smoke of the North. It will be interesting charting the progress of Bleek Noir and where the music goes. I am excited by what it is out there and seeing the fan numbers rise. Fox keeps his followers engaged and informed – this is rarer than you might think. I know few others who are as busy and keep that work ethic strong. The quality is really strong and it all bodes well for 2018. I would have reviewed his E.P. but I do so very infrequently – only assessing singles; due to the rather wordy nature of my blog. I have heard the remainder of his E.P. and can only urge people to dig in and experience something fantastic.

Each song explodes from the speakers and gets the mind working and whirring. If, at first, you find the music peculiar and unexpected then give it time: everything will fall into place and win you round very soon. The very best artists are those who remain aloof to the marketing men and the sounds of the mainstream. Fox, in guises past, has shown real promise and innovation but Bleek Noir is his finest realisation. I hope his horizons broaden and he continues to record top-quality music. There is, as he says, new music coming so keep your eyes on that. I have been hooked to Harder Love and all it possesses. It seems like an appropriate word (possesses) as one cannot shake off the entrance and allure of the song. Find out for yourself and, more than that, involve yourself with everything Bleek Noir. I am keeping my eyes out and seeing what comes next from Bleek Noir. Whatever it sounds like, you can pretty much guarantee…

IT will blow the mind.

_______

Follow Bleek Noir

Official:

https://www.bleeknoir.com/

Twitter:

https://twitter.com/bleeknoir

Facebook:

https://www.facebook.com/bleeknoir/

Instagram:

https://www.instagram.com/chrisfox_bleeknoir/

BandCamp:

https://bleeknoir.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCmnLpAbDUeMY42Usk4ZiY5A

FEATURE: Globetrotting (Part Three): Thirteen Artists to Watch

FEATURE:

 

Globetrotting (Part Three):

IN THIS PHOTO: Gretta Ray/PHOTO CREDIT: Emma McEvoy Photography 

 Thirteen Artists to Watch

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IT is rare we get to travel the music world…

IN THIS PHOTO: The Vryll Society

and discover artists from outside our own nation. The media does its best to cover other areas but it can be hard keeping a track of everything. In the third edition of the Globetrotting series; I have collated artists from Edingburgh, the U.S. and Canada; Swedish and Icelandic talent – plus, some Australian and Liverpool gems in the collection for good measure!

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The Night Café

Location: Liverpool, U.K.

Genre: Indie

Essential Song: Felicity

Follow: https://www.facebook.com/nightcafeband/

Cardi B

PHOTO CREDIT: Natalia Mantini

Location: New York, U.S.A.

Genre: Rap

Essential Song: Bodak Yellow

Follow: http://iamcardib.com/

Gretta Ray

Location: Melbourne, Australia

Genres: Alternative; Indie

Essential Song: Towers

Follow: https://www.facebook.com/grettaraymusic/

JFDR

Location: Iceland

Genre: Indie

Essential Song: White Sun

Follow: https://www.facebook.com/jfdrcurrent/

Hater

Location: Stockholm, Sweden

Genre: Indie

Essential Song: Coming Down

Follow: https://jajajamusic.com/artists/hater/

Elijah Ocean

Location: Los Angeles, U.S.A.

Genres: Folk; Rock; Country

Essential Song: Malibu Moon

Follow: http://www.elijahocean.com/

Emma Stevens

Location: Surrey, U.K.

Genres: Singer-Songwriter; Country; Folk

Essential Song: A Place Called You

Follow: http://emmastevensmusic.com/

Pastel Felt

Location: Los Angeles, U.S.A.

Genre: Rock

Essential Song: Miel

Follow: https://www.facebook.com/pastelfelt/

The Vryll Society

Location: Liverpool, U.K.

Genre: Indie

Essential Song: Shadow of a Wave

Follow: https://www.facebook.com/TheVryllSociety/

Lion Bear Fox

 PHOTO CREDIT: Morten Fog Photography

Location: Vancouver, Canada

Genre: Alternative-Rock

Essential Song: Going Going Gone

Follow: https://www.facebook.com/lionbearfoxband/

Stefflon Don

Location: London, U.K.

Genre: Grime

Essential Song: 16 Shots

Follow: https://www.facebook.com/stefflondon.official/

CAMP COPE

PHOTO CREDIT: Ian Laidlaw

Location: Melbourne, Australia

Genre: Alternative

Essential Song: Keep Growing

Follow: http://www.elijahocean.com/

Indigo Velvet

PHOTO CREDIT: Alice Hadden Photography

Location: Edinburgh, Scotland

Genre: Alternative

Essential Song: Mona

Follow: http://weareindigovelvet.co.uk/

INTERVIEW: VJ Jackson

INTERVIEW:

 VJ Jackson

________

VJ Jackson is a hot Dublin-based artist…

who specialises in soulful R&B songs. He is waving the flag for Tallaght and hopes to become a household name. I speak to Jackson about his upcoming single, Famous, and what it is all about. He talks about the Irish music scene and what it is like for a young artist there – and whether he has any plans coming to the U.K. in the future. Jackson sang lead in a choir when he was young and busked in Dublin city centre when he was at BIMM – something that has helped him craft stage presence and confidence.

I ask him about artists he would recommend to us and whether there is any more material coming through before next year. Jackson talks about gigging and the artists who will be supporting him – and the albums that have made a big impact on him.

________

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

Hey, Sam, I’m good, thanks. How're things?

The week has been good and busy for me. Getting prepared to release Famous next week - and follow that up with my first headline show in The Workman’s on 19th.

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

Of course...I’m VJ Jackson; a Dublin-based artist specialising in soulful RnB-Pop songs. I’m a Tallaght native who has been on the Irish music scene for a few years now. Singing lead in choir from a young age and playing guitar, keys and drums; I began busking in Dublin city centre while attending BIMM college to develop my song and stage presence - something that I bring to all my performances and audiences; no matter how big or small the stage.

I’ve also just announced that my new single (and video for) Famous will be released on 5th October. We shot the video with graduates from Pulse College and will be kicking things off on Thursday 5th October - with the song available on all digital platforms - and in Tower Records - from Friday 6th.

To celebrate that, I’m putting on my debut headline show in The Workman’s Club on 19th October (with support from Rueben James, Sean X and Yomi).

Famous is your new song. What is the tale behind it?

Famous is about how people, nowadays, are generally only in music and entertainment for the fame – and because it looks easy but most of them don’t know how hard it can get to be into a sustainable position. You need to put work and sacrifice in all the time.

You have to invest in yourself and be prepared to go all the way.

I have had a look at the video and it looks like an interesting concept. Can you tell us anything about the shoot and what it was like to film?

The shoot was amazing.

We shot it on a budget - with some extra help and support - and made it work to make the best video we could - using two locations and a brilliant crew and cast.

With the concept, the thing about that is that our director, Daphne, brought an extra perspective to the song - which opened things up for me. We connected straight away on some of the ideas. At the end of the day - and hard work from all involved - it came together.

Everyone will get a chance to see what I mean on Thursday 5th!

You confirmed your first headline show in The Workman’s Club on 19th October. Are you looking forward that show?

Yes, I’m actually just on my way into rehearsals with the band right now and we’re creating something special for the night.

Shout out to my manager Paul for making this happen, because I couldn’t have done it on my own. I’m looking forward to seeing my family and friends there - and to let them see how far I’ve come.

Rueben James, Sean X and Yomi are supporting. What is it about that trio that resonates?

Rueben has been grinding for years, same as me. We went to the same college (BIMM) and clicked from there. He’s humble and I like people that are very humble. He’s also very honest. I like to keep those people around me - and that’s why I picked him to support. We’ve also collaborated on a song before called Everything You Need - so we work very well together.

Sean X and I have a similar sound and genre and I wanted to mix the set up and not just have Hip-Hop or Rap, only - as he is a singer, too, like me.

Yomi is a young up-and-coming artist new to the game. We grew up together and he kept talking about his music. I wanted to help him out and give him an opportunity for people to hear his music.

Is there going to be an E.P. before the end of the year?

There will definitely be another single or two before the end of the year – and, come 2018, we’ll be looking at an E.P. release. I’m constantly recording and working on my music so I have a wealth of material to choose from.

Who are the musicians that inspired you when you were young? Did you have a musical upbringing?

I was listening to Tupac, Tyrese; Neo and Chris Brown. I grew up in church, so I spent most of my Sundays there - as the lead singer of the choir at a young age - and played other instruments there too - piano, guitar and drums (which I still continue to do now).

My mum sings lead in the choir too - so that’s where I get it from, I guess!

Dublin is your hometown. What is the city like in terms of music and venues? Is it somewhere you feel can further your career?

A great scene – it’s really buzzing right now. We’re booking shows and doing our thing, which is great.

Yes. I feel like I can further my career here: it’s a small city but that can also mean there’s more opportunity to get further and get heard.

Many people gravitate towards London and cities in the U.K. Do you think you’ll remain in Ireland – or are you settled there right now?

Yes. I will remain in Dublin because of opportunities here and the scene that’s building right now. Very soon, people will get to know the Irish scene better.

But, of course, I want to expand and play shows all over Europe, the U.S. and the world!

Your fan numbers are rising and people are vibing to your music. How important are the fans and what message would you give them?

The fans are key: without them, or family and friends to support, artists would be nowhere.

Thanks for all the support and messages so far. Keep an eye on all my social pages and website for upcoming dates and new releases coming your way.

Are there going to be more tour dates before 2018? What are your plans for Christmas?

Yes. I hope to have more shows before Christmas.

At the moment, my manager and I are talking about a potential mini-tour before Christmas - but we’ll keep that under wraps for the minute.

IN THIS PHOTO: Jafaris

Who are the new artists you suggest we check out?

Reuben James, Sean X; Yomi, Jafaris; Sion Hill, Killa Yan; King David, MathMan and Mango.

IN THIS PHOTO: Sion Hill

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

It’s not so much that they mean the most but they have influenced me recently;

Anderson.Paak - Malibu

Justin Bieber – Purpose

Chris Brown - Royalty

As artists; The Script and Coldplay count as influences.

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

Always be focused on your craft and improving it. Take time on your own and focus, the hard work pays off at the end of the day. You never know how close you are to getting to that next level.

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

Sion Hill - Beaches

_________

Follow VJ Jackson

Facebook:

https://www.facebook.com/VJJacksonMusic

Twitter:

https://twitter.com/vjjacksonmusic

SoundCloud:

https://soundcloud.com/vj-jackson

YouTube:

https://www.youtube.com/channel/UC7mvzLAEw4puKRTszGXj-Mw

FEATURE: BBC Radio 1 and 2 at Fifty

FEATURE: 

IMAGE CREDIT: @BBCR1

 BBC Radio 1 and 2 at Fifty

________

ANYONE who says radio is a dying medium…

IN THIS PHOTO: D.J.s Nick Grimshaw and Tony Blackburn

would do well to remember the impact and influence it actually has. The fact BBC Radio 1 and 2 are celebrating fifty years of broadcast shows there is a lot of demand and love for the quality and variation you get on the radio. I will employ my own thoughts but a lot of other sources have been celebrating the milestone anniversary the past couple of days. This morning, D.J.s Nick Grimshaw and Tony Blackburn presented a joint ninety-minute broadcast that featured music from the past fifty years. Radio 1 has launched a ‘pop-up’ vintage station to feature fifty one-hour themes shows (over the next three days). On this morning’s celebratory show was Sara Cox – a current Radio 2 D.J. (who hosted the Radio 1 Breakfast Show between 2000-2003) – whose first record on her show was Robbie Williams’ Let Me Entertain You – she started the job three days early and, tasked with hitting the ground running, put in a pretty great show. She recounted how nervous that first show was but how exhilarating it was.

I shall let the BBC ­take up the rest of the story:

“Veteran broadcaster Mike Read, who hosted the breakfast show for five years from January 1981, spoke about the former BBC Radio 1 roadshows.

He told how he once played Wham! classic Club Tropicana with three kazoos on stage at a roadshow in St Ives, Cornwall, alongside George Michael and Andrew Ridgeley.

"We had such a great time that we said 'lets stay for the whole weekend'," he added.

"It wasn't exactly George's kind of weekend so he flew back the following day, but Andrew and myself stayed on and had a crazy time, gatecrashed a few parties and had enormous fun."

He added: "The roadshows were fantastic. I want to go back and do those all over again."

IN THIS PHOTO: Mike Read

Red telephone

Tony Blackburn, who hosted Radio 1's first ever show, spoke about interviewing The Beatles and Rolling Stones and also of touring with Diana Ross and The Supremes.

"That was the big moment for me. I was standing on the side of the stage and listening to her and watching her. It was fantastic, because I love Diana Ross.

Blackburn also described hanging up on Frank Sinatra, who had the same agent as him.

He described how a red telephone, usually reserved for Radio 1 bosses to call the studio, started ringing one day.

"I picked up the phone and said 'who's that' and he said 'Frank'.

"I said 'Frank who?' He said 'Frank Sinatra' and I said 'oh very funny' and put the phone down.

"I thought it was Pete Murray, one of the DJs at the time. He always used to send us up a little bit and do these things - but it was actually Frank Sinatra."

Meanwhile, Simon Mayo - who hosted the breakfast show from 1988 to 1993 - spoke about his interviews with Sir Paul McCartney and Sir Mick Jagger.

"Mick Jagger and the Rolling Stones were part of Radio 1 in the 90s as well. Even then you are dealing with a guy who has been responsible for 30 years of hits."

The show heard archive footage of Jagger appearing on Mayo's "God of the week" section of his show.

New-look stations Radio 1 and 2 were launched on 30 September 1967, from what had previously been the BBC's Light Programme”.

IN THIS PHOTO: Tony Blackburn in 1967

It has been a momentous and eventful day for the stations. Although Radio 1 peaked in the 1970s; it first broadcast, obviously, was back in 1967. It was seen as an edgy and cutting station: Radio 2 a more middle-of-the-road show that could go alongside Radio 1. Before that, there was BBC Light Programme  - it had been broadcasting music and entertainment since 1945. It is interesting to learn about the background and why there was so much anxiety when Radio 1 was launched. We all know about pirate stations like Radio Caroline and Radio London. The former, especially, gained huge notoriety and acclaim during its tenure. It was a rebellious, offshore station that brought music to the people. It was a ‘pirate’ station because it was outlawed by an Act of Parliament. There was, also, an element of swashbuckling about stations like Radio Caroline. Something very cool, outlawed and contemporary – we do not really have any likeminded stations these days. Things have changed so we do not need to moor stations out to sea but there are, I guess, a few smaller stations that have the same sort of vibe as Radio Caroline. It is just as well things did change as radio has become more mainstream and widespread. It would be shocking to imagine a world without radio – if Radio Caroline’s death was the end as we know it. That could never be but it is was a huge relief when Tony Blackburn launched BBC Radio 1 at 6:55 A.M. on 30th September, 1967. He had worked on Radio Caroline and Radio London and was a natural, affable voice to herald in a new era. U.S.-style jingles were used on the station and that was familiar to those who had followed Blackburn during his pirate radio station days. The Move’s Flowers in the Rain was the first full record played and, in its early days, D.J.s like Ed Stewart.

Jimmy Young and Kenny Everett made their voices known. I will end the piece by looking at facts about Radio 1 and 2 – and the most popular BBC D.J.s of the past fifty years. Although there were a lot of great names in those early days; it was Annie Nightingale’s appointment in 1970 that created the biggest wave – she became Britain’s first female D.J. She is the longest-serving presenter and is responsible for more women coming into radio. It is amazing that, until 1970, there had been no British female D.J.s on the air. It would be an outrage if there were no female D.J.s today but, back in the 1960s, it was not seen as that unusual. Pioneers such as Nightingale broke boundaries and ushered in, gradually, a change in radio. Now, we have so many wonderful female D.J.s in the country – that is down to Annie Nightingale and what she created from the 1970s. It is pleasing to hear she is still a D.J. and has such a passion and determination for what she does. I am not surprised she became the first female D.J. as her defiance and love of music can never be extinguished. Over the decades, there were changes and controversies. In the 1970s, there was a sense that radio had become institutionalised and was part of a huge corporation like the BBC. A few of the D.J.s, like Jimmy Young, were in their 40s – and there was the feeling BBC Radio 1 and 2 were bringing in ‘older’ listeners. Before, pirate stations like Radio London, were aimed at younger listeners. Times changed and radio had to broaden and become more conventional. That being said; Radio 1 rose to become the most-listened-to station in the world with many of its D.J.s courting column inches in the tabloids of the time. That was not due to scandals but the celebrity status they had acquired. Owing to a lack of competition at the time – a few periphery stations but no mainstream rivals – BBC Radio 1 and 2 (the former, especially) was free to reign and dominate.

IN THIS PHOTO: Steve Wright

Eventually, Radio 1 became more crossover and took talent from other parts of the BBC. High-profile D.J.s like Steve Wright departed – an unsuccessful move from his long-running afternoon show to the breakfast slow in 1994 – meant Chris Evans was drafted in. Evans was sacked in 1997 and Mark and Lard (Mark Radcliffe and Mark Riley) only lasted a few months when they took over the breakfast show. There were bumps but the rebrand and changes at Radio 1 coincided with the birth of Britpop. At a time when British music ruled and compelled: BBC Radio 1 seemed like the perfect station to soundtrack the explosions, developments and joys of the time. That, alongside Rave and Dance of the 1980s and 1990s, brought in youth-orientated like Pete Tong. He was a D.J. that laid down a mark and saw many age-appropriate contemporaries come to the station. It seemed, by the 1990s, Radio 1 was becoming what people wanted all along: a station with younger D.J.s who played music that definitely did not stray anywhere near the middle of the road. As the station went into the 2010s; things changed even more:

“The licence-fee funding of Radio 1, alongside Radio 2, is often criticised by the commercial sector. In the first quarter of 2011 Radio 1 was part of an efficiency review conducted by John Myers.[12] His role, according to Andrew Harrison, the chief executive of RadioCentre, was "to identify both areas of best practice and possible savings."[12]

The controller of Radio 1 and sister station 1Xtra changed to Ben Cooper on 28 October 2011, following the departure of Andy Parfitt. Ben Cooper answers to the Director of BBC Audio and Music, Tim Davie.[13]

On 7 December 2011, Ben Cooper's first major changes to the station were announced. Skream & Benga, Toddla T, Charlie Sloth and Friction replaced Judge Jules, Gilles Peterson, Kissy Sell Out and Fabio & Grooverider. A number of shows were shuffled to incorporate the new line up.[14] On 28 February 2012, further changes were announced. Greg James and Scott Mills swapped shows and Jameela Jamil, Gemma Cairney and Danny Howard joined the station. The new line up of DJs for In New DJs We Trust was also announced with B.Traits, Mosca, Jordan Suckley and Julio Bashmore hosting shows on a four weekly rotation.[15] This new schedule took effect on Monday, 2 April 2012.

 IN THIS PHOTO: Jameela Jamil

In September 2012, Nick Grimshaw replaced Chris Moyles as host of "Radio 1's Breakfast Show". Grimshaw previously hosted Mon-Thurs 10pm-Midnight, Weekend Breakfast and Sunday evenings alongside Annie Mac. Grimshaw was replaced by Phil Taggart and Alice Levine on the 10pm-Midnight show.

In November 2012, another series of changes were announced. This included the departure of Reggie Yates and Vernon Kay. Jameela Jamil was announced as the new presenter of The Official Chart. Matt Edmondson will host a weekend morning show and Tom Deacon will return to present a Wednesday night show. Dan Howell and Phil Lester, famous YouTubers also joined the station. The changes took effect in January 2013.[16]

Former breakfast presenter Sara Cox hosted her last show on Radio 1 in February 2014 before moving to Radio 2. In March 2014, Gemma Cairney left the weekend breakfast show to host the weekday early breakfast slot, swapping shows with Dev.

In September 2014, Radio 1 operated a series of changes to their output which saw many notable presenters leave the station – including Edith Bowman, Nihal and Rob da Bank. Huw Stephens gained a new show hosting 10pm-1am Mon-Wed with Alice Levine presenting weekends 1pm-4pm. Radio 1's Residency also expanded with Skream joining the rotational line-up on Thursday nights 10pm-1am.

From December 2014 to April 2016, Radio 1 included a weekly late night show presented by a well known Internet personality called The Internet Takeover. Shows have been presented by various YouTubers such as Jim Chapman and Hannah Witton.[17]

In January 2015, Clara Amfo replaced Jameela Jamil as host of The Official Chart on Sundays (4pm-7pm) and in March, Zane Lowe left Radio 1 and was replaced by Annie Mac on the new music evening show.

In May 2015, Fearne Cotton left the station after almost 10 years. Her weekday morning show was taken over by Clara Amfo. Adele Roberts also joined the weekday schedule line-up, hosting the Early Breakfast show.

In July 2015, The Official Chart moved to a Friday from 4pm-5.45pm, hosted by Greg James. The move took place in order to take into account the changes to the release dates of music globally. Cel Spellman joined Radio 1 to host Sunday evenings 4pm-7pm”.

IN THIS PHOTO: Clara Amfo

Radio 2 has experienced such shifts but is truer to its original roots than Radio 1. It has maintained its more mature sound and has always appealed to a slightly older target audience. That sounds like a jab but if there were two stations exactly like Radio 1 then there would be no point. Both plays mainstream songs but from different ends of the spectrum. Both stations, between them, have inspired other stations to form and remain the most popular brands in British radio. Against all the turbulence and change over the past five decades – Radio 1 and 2 have launched artists and helped break careers (in the good sense). It is debatable how far the influence stretches but newer stations like BBC Radio 6 Music stemmed from Radio 1 and 2; smaller stations have taken their cue from them and, in fact, most of the new mainstream radio stations would have been influenced and compelled by Radio 1 and 2. One cannot truly underestimate the legacy and continued effectiveness of BBC’s best and biggest stations. Things have changed since the early days. There are a lot more female D.J.s – like Sara Cox and Jo Whiley; Clara Amfo and Fearne Cotton – on the air and demographics have shifted. There are more black and Asian D.J.s and a mixture of the older, established legends and the new breed. It is exciting seeing the continued evolution of Radio 1 and the sturdy establishment of Radio 2. Radio 3 and 4 came later (than 1967) and offer something different – less popular music but a more intellectual and news/factual-driven show with features and discussion shows. Radio 6 Music is, perhaps, the natural offspring of Radio 1 and 2. It seems to splice the two and provide a broader palette.

I will end this by, first, bringing in a list of fifty facts about the stations:

1. The first voice on Radio 1 was Tony Blackburn, right? Wrong. Shortly after 5:30am on 30 September, broadcaster Paul Hollingdale was at the helm, with his Breakfast Special show broadcast simultaneously on both stations.

2. The opening announcement was not what you'd call dynamic...

3. The two stations split at 7:00am. After a five-second countdown, Tony Blackburn officially launched Radio 1 with a jingle promising "too much fun" and the sound of a barking dog.

4. The first song played on Radio 1 was Flowers In The Rain by The Move. Over on Radio 2, it was Julie Andrews singing The Sound Of Music.

5. George Martin's Theme One, however, was technically the first piece of music on Radio 1. Blackburn also played Johnny Dankworth's Beefeaters under his opening link.

6. Blackburn later revealed that the famous film footage of the launch was recorded the night before, and he had to write down the words, so he could replicate them when the station went live.

7. Many of Radio 1's presenters were drawn from the ranks of pirate radio - but they found the BBC a lot more strait-laced. "I was yelled at when a 10-second link lasted 11 seconds," recalled Keith Skues. "'You cannot just ignore Greenwich Mean Time, Skues!'"

8. Weather presenter Rosie O'Day received 12 complaints in the opening weeks of Radio 1 and 2. Why? Because she had the audacity to be a woman. "Please, please spare us from Rosie O'Day reading the weather forecast," complained one. "It sounds more like a children's fairy story. I'm sure she is a charming girl, but let us stick to a man for the weather news!"

9. Radio 2's Ken Bruce has a licence to drive Routemaster double-decker buses, and owns six of them, which he hires out for weddings and funerals.

10. Before his Radio 1 debut, Dave Lee Travis stole the microphone he'd used on Radio Caroline. "The very first pirate broadcasts were made on it, and I thought, 'I have spent so much of my time on this ship, I'm having a souvenir,'" he said. "I just went and got a pair of scissors and cut the cable."

IN THIS PHOTO: BBC Radio 2's Ken Bruce

11. Radio 1 launched half a decade after The Beatles' debut single, a fact that did not go unnoticed by the music industry. Trade magazine Record Retailer accused the BBC of "trailing years behind public taste" and warned "the new station must swing if it is to be effective".

12. Radio 2's own soap opera, Waggoners Walk, launched in 1969. Set in Hampstead, it was often controversial, covering story-lines like contraception and homosexuality.

13. The show was cancelled at short notice in 1980. Some of the cast heard the news on the radio, and the writers responded by having aliens invade Hampstead Heath.

14. Terry Wogan made his Radio 2 debut in 1967, presenting show Late Night Extra - "on the beat with music and news [and] off the record with pop".

15. The Radio 1 Roadshow began in July 1973 with a Land Rover pulling a converted caravan around British holiday resorts. It's now morphed into the Big Weekend, with up to 100,000 fans watching acts like Jay-Z, Foo Fighters and Madonna playing unlikely towns like Swindon, Dundee and Norwich.

16. Between 1967 and 2004, John Peel brought more than 2,000 artists into the BBC to record one of his fabled Peel Sessions. First up were psychedelic rock band Tomorrow, with the likes of Led Zeppelin, Pink Floyd, Jimi Hendrix, Bob Marley, The Smiths, Nirvana, Pulp and The White Stripes coming after.

17. But it was The Fall who recorded the most Peel sessions - 32 in all.

18. These days, DJs are expected to know everything about music - but no-one can be right all the time. Revealing the Radio 1 Top 40 in March 1981, Tony Blackburn announced a new entry by pop newcomers "Duhran Duhran". After several phone calls, he corrected the mistake, saying: "None of us are too big to apologise."

IN THIS PHOTO: Kenny Everett

19. Kenny Everett recorded several interviews with The Beatles for Radio 1 and 2 - but he also helped inspire one of their lyrics after taking an acid trip with John Lennon on the Weybridge golf course (of all places).

"A couple of months after my psychedelic round of golf with John I was in the Abbey Road recording studios where the Beatles were recording I Am The Walrus," wrote Everett in his autobiography. "When he got to the line about getting a tan from standing in the English rain, he stopped and said to me: 'Reminds me of that day on the Weybridge golf course, eh Ken?' to which I replied: 'What'?' I'm sure he thought I was a complete lemon... or was it a bird?"

20. Chris Evans has presented both the Radio 1 and Radio 2 Breakfast Shows - but he got his start in radio as Timmy Mallet's assistant on Manchester's Radio Piccadilly, playing a character called Nobby No Level, whose catchphrase was: "What I don't know - I don't know!"

21. To celebrate its fifth birthday in 1972, Radio 1 released hundreds of balloons from the top of Broadcasting House. Attached to each balloon was a form on which the finder could write their favourite record title and return it to their favourite DJ, who would play it on air.

22. In 2015, Elaine Paige helped Pieter - a regular listener to her Radio 2 show - propose to his boyfriend live on air.

23. Derek Jameson, who presented Radio 2's Breakfast Show from 1986 - 1991, became a broadcaster late in life as a consequence of suing the BBC. The former newspaper editor accused Radio 4's Week Ending of libel for saying he was "so ignorant he thought erudite was a type of glue". He lost the case and was ordered to pay £75,000 in costs - forcing him to accept a job with the corporation he had sued.

24. Many songs have been "banned" by BBC Radio over the years - but one of the first to be censored by Radio 1 was Pink Floyd's It Would Be So Nice. A reference to the Evening Standard newspaper in the opening verse was enough to breach the BBC's strict no-advertising policy.

25. DJ Mike Read got the blame for banning Relax - but he says the decision wasn't in his power. "I didn't ban Relax," he said, "the BBC banned it. I was just a BBC employee." Defending the decision, he added: "The video did have that big fat Buddha bloke urinating from the balcony into somebody's mouth. Even now, that's not terribly good."

26. Read later made up with the band and provided a voice-over on the TV advert for their debut album.

27. Jimi Hendrix, Madness and The Who have all recorded jingles for Radio 1 and 2.

28. On December 6, 1980 Radio 1's Andy Peebles interviewed John Lennon and Yoko Ono in New York, just two days before John was assassinated.

29. In 1976, Tony Blackburn fell to pieces on air, after his wife Tessa Wyatt, star of hit sitcom Robin's Nest, left him. With millions listening, he played Chicago's If You Leave Me Now over and over again, begging for Tessa to return. He has called this his "one big broadcasting mistake".

30. In 1991, Radio 1 managed to persuade Whitney Houston to cover for Simon Bates while he was on holiday.

31. Nowadays, almost every show has some sort of interactive element, but Annie Nightingale's Sunday Night Request Show was Radio 1's first request show. It ran for 12 years from 1975.

32. Taping songs off the radio was a rite of passage days before streaming. It was illegal, of course, but Annie used it to her advantage. "I used to say: 'In a few minutes, I'll be playing Is That All There Is by Cristina,' so it gave people a chance to set up their tape recorders," she laughs.

IN THIS PHOTO: John Peel and Annie Nightingale

33. Nigel Ogden, the host of Radio 2's big organ bonanza, The Organist Entertains, first featured on the show as a player in his teens, before taking over as a presenter in 1980.

34. "Hi there, pop pickers". "Quack Quack, Oops". "Stop!.... Carry on". "One Year Out". "It's Another True Storeeee!" "Not 'Arf".

35. After a Christmas Party got out of hand in 1995, Chris Evans "phoned in sick" for the following day's Breakfast show. He was duly docked a day's pay - reportedly in the region of £7,000. The following morning, he was back on the airwaves, telling listeners: "I feel like I've had a holiday in Bermuda - although it was more expensive than a week in Bermuda, obviously."

36. Simon Bates' first job at the BBC was as a Radio 4 continuity announcer. "I was very bad at it too," he told The Independent. "I never mastered the art of saying 'Radio 4' between the end of one programme and the start of the next. If you try it, it's really very difficult."

37. Early DJs were hired for their skills as presenters, rather than an interest in music. John Peel, the one exception, remembered attending a party at Dave Lee Travis's house when he "suddenly realised that DLT didn't own any records". He asked him about it and Travis replied, "Oh no, it's too much trouble... Anything I really like I've copied on tape. I've got quite a lot of tapes and I play them in the car, you see."

38. Chris Moyles opened his first Radio 1 Breakfast Show in 2004 with a five-minute song crammed with clips of his predecessors. The song concluded with the prescient declaration: "From now until they fire his ass, the saviour of Radio 1 is here".

39. Moyles clocked up eight years in the hot seat before bowing out in 2012 - making him Radio 1's longest-serving Breakfast presenter.

IN THIS PHOTO: Current Radio 1 Breakfast Show host Nick Grimshaw with its former host, Chris Moyles

40. Terry Wogan managed 27 years on Radio 2's Breakfast show, before bowing out in 2009. Bidding farewell, he said: "Thank you for being my friend," before cueing up The Party's Over by Anthony Newley, which features the lyrics: "Now you must wake up, all dreams must end."

41. In 1976, Noel Edmonds presented the Radio 1 Breakfast show live from a flight from London to Aberdeen. During take-off, he played Fifth Dimension's Up & Away In My Beautiful Balloon, the needle on the record skipping as the plane's wheels left the ground.

42. Except they didn't... the whole programme was an elaborate hoax for April Fool's Day.

43. Jeff Young pioneered Radio 1's first dance music programme with his "Big Beat" show in 1987. Pete Tong and Dave Pearce picked up the mantle with Dance Anthems and the weekend Recovery Session - a breakfast show for clubbers - in the 1990s.

44. Amy Winehouse's Live Lounge cover of Valerie by The Zutons was so popular it was later turned into a single in its own right, produced by Mark Ronson. It became one of her biggest hits, charting at number two (higher than the original, which peaked at nine).

45. Emma Freud once introduced a song by an artist she called "PJ and Harvey" - raising the enticing prospect of indie queen PJ Harvey duetting with Ant and Dec's alter-egos PJ and Duncan.

46. Laura Sayers, a former Radio 1 producer, met her husband through a feature on the Scott Mills show, which she was working on at the time. One Night With Laura saw Scott and the team scour the country to find a listener to be her new boyfriend. After trying to impress a panel of judges, the contestants were whittled down to a final four, before an eventual winner was chosen. However, Laura actually ended up marrying one of the runners-up, James Busson.

47. In 1992, a poll conducted by Radio 1 saw listeners vote Stars by Simply Red as their favourite album.

48. The most popular video on Radio 1's YouTube channel is Miley Cyrus's cover of Lana Del Rey's Summertime Sadness - which has more than 35 million views.

49. In 2011, Radio 1 entered the Guinness World Records when Chris Moyles and his then-sidekick Comedy Dave presented the longest music radio show by a DJ team or duo, clocking in at more than 51 hours. Their record has since been broken and is currently held by Belgian DJs Eva Daeleman and Peter van De Veire, who broadcast non-stop for a staggering 100 hours in 2015.

50. When it was first launched, the Radio 1 website had a considerably longer URL than it does now, as Pete Tong found out when he attempted to read it out on air.

The second piece is a list of the greatest BBC D.J.s of the past fifty years:

Sir Terry Wogan has been named the greatest BBC radio presenter of the last 50 years in a Radio Times poll of broadcasting experts.

Sir Terry presented Radio 2's breakfast show for a total of 28 years.

John Peel, who discovered dozens of new bands during his long BBC career, was in second place.

The top 10 includes four women - Woman's Hour presenters Jane Garvey and Jenni Murray, its former presenter Sue MacGregor and DJ Annie Nightingale.

IN THIS PHOTO: Sir Terry Wogan

1.       Sir Terry Wogan

2.       John Peel

3.       Sue MacGregor

4.       Annie Nightingale

5.       Alistair Cooke

6.       Kenny Everett

7.       Jane Garvey

8.       Humphrey Lyttelton

9.       Eddie Mair

10.   Jenni Murray

11.   Brian Redhead

12.   Kirsty Young

13.   John Humphrys

14.   Melvin Bragg

15.   Danny Baker

16.   James Naughtie

17.   Fi Glover

18.   Linda Smith

19.   Nick Clarke

20.   Tony Blackburn

I hope that gives an insight into BBC Radio 1 – and its sister station, 2 – and why its fiftieth anniversary is such a big deal. It has helped shape radio and music and remains and remains one of the world’s biggest brands and a go-to for serious music listeners. It is a time/weekend to celebrate and congratulate a fantastic milestone. Let’s hope the next fifty years since BBC create new stations and secure its existing foundations. We all take Radio 1 and 2 for granted but few of us would have any idea they could have survived when pirate stations like Radio Caroline were sunk. Those first (rather brave) words by Tony Blackburn welcomed in a new era and, with it…

IN THIS PHOTO: The D.J.s that launched BBC Radio 1 on 30th September, 1967

A radio revolution.

TRACK REVIEW: DIDI - Back Off

TRACK REVIEW:

 

DIDI

 PHOTO CREDIT: CK Goldiing 

Back Off

9.4/10

 Back Off is available via:

https://soundcloud.com/iamdidimusic/didi-back-off

GENRE:

Pop-Punk

ORIGIN:

Hertfordshire, U.K.

RELEASE DATE:

28th August, 2017

PRODUCER:

Rhiannon Mair 

MASTERED BY:

Katie Tavini

___________

THERE is a bit of a split in this review….

PHOTO CREDIT: CK Goldiing

when I look at DIDI. I want to address a number of things before I come to look at the young songwriter’s latest track. Lauren Deakin Davies is the woman behind the moniker so wanted to address artists who are producers – Deakin Davies is a successful, award-winning producer. She has worked with some of the biggest names in modern music and is someone who helps guide and tutor young artists to making stronger music. Aside from her producer work; I want to look at female producers in general and how few there are – and why those we have are among the very best out there – and, looking at DIDI specifically, music both raw and nuanced. DIDI creates tracks that have a lo-fi edge to them but there is a lot of depth and layers to her work. I have just reviewed Wolf Alice’s latest album, Visions of a Life, and was mesmerised by the way the band mixed full-on, snarling tracks with something lighter and more compassionate. I will also talk about artists in the modern climate and competition; acts based out of London and, with it being fifty years since Radio 1 (and the first BBC stations) took to the air – why radio promotion is as vital as it ever was. DIDI is the alter ego of Lauren Deakin Davies: one of the finest producers we have in the country at the moment. I have been following her work for a while now and amazed at the work she has helped create. I recently reviewed Kate Dimbleby and her album, Songbirds. That record was a study in vocal excellence and the power of the voice. There was scant accompaniment and it was an album inspired by, in part, artists such as Bobby McFerrin. I was amazed by the record and many would say it’d be quite easy to produce an album with so few instruments and elements: it is harder because you have to focus on the voice and its beauty without undercooking it or making it sound too overproduced.

PHOTO CREDIT: Helen Meissner

It is a hard balance but one Deakin Davies got right. I am reluctant to take credit away from Dimbleby herself but the production on that album is incredible. In addition – one can look at her official website (link is at the bottom of the review) for all the releases – Deakin Davies has captured music from Kelly Oliver and Roxanne de Bastion; Laura Marling and Alexa Mullins. If one looks down her credits and there are a lot of female artists on the list. That is not an exclusive policy but the fact she knows how undervalued many female artists are – in an industry that is still male-heavy. I will come to that later but it is worth mentioning that, at the NMG Awards, Deakin Davies won the Producer of the Year prize. It might have been a surprise to her but for those who hear her work – that sense of shock is resigned to fact that she should win a lot more awards. One of the reasons I like the connection between Lauren Deakin Davies and DIDI is the fact they are very different people. The creative side of both is interlinked but there are distinctions between the producer and songwriter. The reason I wanted to mention producing is because many artists are working on their own stuff. It can be expensive getting songs produced and a day at a studio can cost an extraordinary amount. I worry many artists are being priced out of the market and unable to record tracks. In an age where technology makes it easy to make your own music; that is the option many songwriters are choosing. Maybe that method lack a certain professionalism and quality but the D.I.Y. method is becoming popular. At the very least, it gives artists the chance to produce and understand what it takes to make their own music. I can imagine Deakin Davies started modestly and built her way to where she is now. The fact she helms her own studio and is an award-winning producer has not come overnight. The talent and skills she has acquired means, as DIDI, she can guide her own work and does not need loads of other voices controlling it.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

I find this is a great reason to become a producer and learn the craft: one can have a say in their music and make it the way they want to! I know there are terrific female producers out there but they get less credit than the guys. I wrote a piece on it a few weeks back – I shall not include it here; let’s concentrate on the review – but the idea behind it was to expose the issues many women face when they try and become a producer. There is that boys’ culture and the sense the studio has a very particular mood to it. Women are making their way into the bigger studios but, if you look at any studio right now, the majority will have men at the controls. It is sad to think there is a gender imbalance in studios but things are starting to change…slowly. Lauren Deakin Davies is a pioneer and will inspire many women to come into the studio. Courses are available but there is that perception that there will be few job opportunities waiting for them – any that do will see them struggle to fit into the clique of a modern studio. I have been to a few and, whilst they are welcoming and open, it is hard to shake the sense they are not actively recruiting women and changing policies. After my feature came out; some contacted me to say their experience was not that bad – many women have been welcomed and not faced prejudice. There are many who have had bad experiences, mind, and the statistics speak for themselves. Look at the best albums of this year – or any, for that matter – and the top-ten songs in the charts and the majority would have been produced by men. This is not to say they are better but it shows there are clearly a lot more male producers than women. I feel things need to change and there should be a bigger drive to break barriers and ensure women are given exposure and spotlight.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

Lauren Deakin Davies has her own studio but I wonder what reception she would be afforded if she were coming into the industry – and had a placement at another studio. Maybe her experience has been smooth but I am glad she has been recognised for her terrific work. She, alongside awesome female producers such as Catherine Marks, is responsible for incredible, career-defining work. I am so pleased she has this great career and her story will give encouragement to women who want to become producers. One can say Lauren Deakin Davies and DIDI are two separate entities but they are, obviously, the same person. The fact DIDI’s latest track has a sense of personality, confidence and nuance is because of Lauren Deakin Davies and her production insight. She is a songwriter who knows how to create original and affecting songs but one listens to Back Off and knows Deakin Davies’ education and knowledge directly goes into the track. I want to talk about DIDI as someone the music industry really needs right now. I am looking at the new solo artists emerging and find so few of them stick in the memory. There is a faction who claims Rock and Punk are genres best left in the 1970s – that is when they peaked and have never been the same since. I agree Rock and Alternative sounds had a resurgence in the 1990s but there are few modern-day acts that match the quality and scope of those past days. I know there are plenty of great bands out there but it is the solo market that is seen as more popular and profitable nowadays. By that, I mean there are more musicians going out alone as opposed to setting up bands. The high-profile break-ups of The Maccabees and Wild Beasts make upcoming bands a bit nervous about their future and security. Those cases are exceptions and there are reasons why those bands have split. Regardless; one cannot argue there are tonnes of great bands inspiring the young to get into music.

PHOTO CREDIT: Jonathan Watts

The best music, largely, is coming from solo artists. When we accept that, we have to take a forensic approach to this side of music and whether, what is being said, is valuable and inspiring. I find there are a lot of great solo artists out there but there are relatively few who can produce great Pop-Punk and Rock. I find these genres, Pop-Punk especially, marries the tough and swagger of Punk with the accessibility and singalong quality of Pop. It is a hard blend to get right but, if someone does, you get a fantastic sound and music that hits all parts of the body. DIDI knows this and could easily have failed. It would have been easy for her to produce something generic and commercial – aiming to get the songs on the radio as quickly as possible. What I love about her music is the fact she eschews demands and expectations and creates songs that come from her heart. Sure, there are words of strain and oppression but she reflects what is happening around her and the life-experiences that mean a great deal. One hears shades of U.S. giants and modern-day bands in her music but, by and large, it is hard to compare DIDI with anyone else. I know she wants to be seen in her own right and not easily compared with another artist. In an industry where there is so much competition, one could forgive her for replicating another artist and trying to get to the top quite quickly. What comes out from her music is the raw and tough-cut sounds that we lack in the mainstream. There is an emerging wave of promising Punk/Indie artists but there are few creating influence in the prominent parts of the market. I am not sure why this is but I feel those who do try and make something great, and fail, are obsessed by commercialism and do not spend adequate time creating music that has any original voice and depth. This is a shame but it might speak to the way we want music consistently – not allowing an artist to cultivate and explore. DIDI is someone who knows the pressures of the industry but will not be rushed and defined.

PHOTO CREDIT: Helen Meissner

DIDI, effortlessly, seems to bring together the heroines and heroes of 1970s Punk and modernised that sound. There is a bit of U.S. Power-Pop from the 1990s and the latest cuts from the current time. It is an intriguing blend and one that would have been shaped by her music upbringing. I can only imagine the artists that she discovered as a youngster. Gathering those legends of the 1960s and 1970s with the 1990s’ brightest – hearing the best of the past two decades and joining them all together. Whilst it is easy to compare artists to their influences; that is not the case with DIDI. She seems to have crafted something true to her that does not lead someone to link it to existing musicians. There is that lo-fi sound to the music but plenty of layers and fascination. It is interesting comparing her to the best artists around – including our very own Wolf Alice. I want to mention the London band, not because I have just reviewed them, but highlight them as a band who are making a real mark. In an industry where there are few prominent female-led acts and properly solid bands. Their album, Visions of a Life, has moments of real heart and emotion – from a band one would not associate with being tender and delicate. Contrasting this are songs that spike, spit and slam. One would expect that from Wolf Alice but they never do it in a facile and overly-crude way. There are swears and aggression but that is married with incredible musicianship and exceptional lyrics. I wanted to link Wolf Alice and DIDI because, I feel, the latter has the opportunity to follow the trajectory of Wolf Alice. She is making music that carries the same rebelliousness and youthful vivaciousness but there is an air of introspection and fragility. Whether DIDI is planning something similar to Visions of a Life, I am not so sure – I would not be surprised to see an album as strong come from her!

IN THIS PHOTO: (Left to right) Shiva, Laura Marling; Lauren Deakin Davies and Rhiannon Mair

What DIDI does is provide music with a glimpse of its former best. I noted how there are some terrific artists coming to the mainstream (which there are) but the so-called best and brightest out there are still too Pop-lite and shallow. Few artists really stand out and there is that need for music that does not tax the brain. DIDI’s creator knows what it takes to succeed in music and how hard it can be for truly credible and talented artists to get noticed these days. DIDI is not going to compromise or pen music that sounds good on the charts and appeals to a set demographic. The music world is a competitive and capricious one so we cannot be naïve enough to suggest there is no place for chart acts and those who do not expend a lot of effort. Everyone is entitled to their own tastes but the only way music is going to evolve and transcend is to look at the music it proffers and augments. I feel the artists that have something to say – and are pushing boundaries – have to work a lot harder than those who have a commercial appeal. This is wrong and is causing a lot of musicians to compromise their ethics. DIDI wants success and attention but is not going to dumb her work down or ensure it is palatable to delicate ears. One gets a real sense of identity and personality when hearing her music. This is rarer than you might think which is why she warrants a lot more acclaim. I will look at some of the attention and honour afforded to DIDI later but, before investigating Back Off; I wanted to look at artists based outside of London and what Radio 1’s fiftieth anniversary means to modern music. DIDI is Hertfordshire-based but has that proximity to London. I wonder whether Lauren Deakin Davies’ musical moniker would sound the same was she based in the capital.

PHOTO CREDIT: Helen Meissner

What I feel is acts that have that easy access to London – but not actually based in the city – are producing the best music. The stress and competition in London mean it is becoming harder to distinguish the genuinely good and worthy. So much focus is being paid to London and that means it is tough discovering artists from any other part of the U.K. DIDI is turning heads and I feel the reason her songs sound and fresh and good as they are is because she is not tussling with the London competition and surrounded by people and never-ending rush. She is free to create music the way she wants without being crowded and pressurised. Maybe that theory is flawed but, at the very least, it is worth celebrating genuinely fantastic artists not based in London – we need to get over the assumption all the best music comes from the capital. I feel northern areas are overlooked and, rather worryingly, artists that are not based in London are labelled as London acts – because that is the only way people will listen to them and be able to relate. I love London, obviously, but feel there is too much focus put on the city. I realise there is a world of wonderful music out there that does not really get a look in. Hertfordshire is a county that houses some of our best young talent and some wonderful venues. I can understand why DIDI is based there. She has that closeness to London but is free to enjoy the local splendour and benefits of Hertfordshire. I have not got the time to list all the great acts in Hertfordshire but I recommend everyone investigate it further and check out the fantastic spots artists can play. I want to end the introduction but urging everyone to get involved with the celebrations surrounding BBC Radio 1’s fiftieth anniversary. Radio 2 is also included but Radio 1 is at the forefront of the commemorations because it was the first station we heard fifty years ago – D.J. Tony Blackburn welcoming people to the airwaves.

PHOTO CREDIT: CK Goldiing

The station took over from the pirate options of the time and brought radio from the offshore illegality to the mainstream. It was a nervous time – not sure whether there would be the same sense of independence and quality as the pirate stations – and how long these new brands would exist. The fact they are prominent fifty years down the line shows what affection and need there is for radio. I am a fan of digital promotion/releases but feel radio is even more influential now than it was decades ago. For new artists; they cannot solely rely on music-streaming sites to promote their music and find new fans. Radio is the natural tune-in for true music lovers. I listen to BBC Radio 6 Music to discover the hottest new artists but realise stations like Radio 1 and 2 are vital. These big stations have always been at the forefront and are not going to relinquish their influence anytime soon. DIDI is someone who balances the benefits of digital promotion and radio exposure. To her, surely, hearing her music on the airwaves is more satisfying than getting who-knows-how-many Spotify streams?! There are few bigger thrills than hearing your music projected over the air and reaching thousands of listeners.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

A reason I bring up radio – aside from the big anniversary this weekend – is the fact artists like DIDI make perfect radio music. What I mean by this is (sounds like hers) are best enjoyed through the radio. One hears a track like Back Off and gets a different experience when hearing it digitally – not quite as expressive and potent as it is when listening on the radio. I know Lauren Deakin Davies would have grown up listening to the radio and she creates songs that seem born for the medium. It is hard to explain but I have heard her music on stations like BBC Radio 6 Music and it sounds wonderful. You get the full expressionism of the music and hear it in full bloom. Her Power-Pop/Pop-Punk blends are suited for big speakers and the lure of radio. In addition to the sound and dynamic of her music; DIDI realises getting played on radio is as influential and important as digital means. I find sites like Spotify are only effective if people share music from there. It can be easy for artists to put their music on the site and not find it promoted by others. Unless you are a big name; it is tough getting a lot of streams and your music to the masses. Radio crashes through barriers and makes it easy to get to all sorts of listeners. It is instant and hugely effective. Rather than having to rely on social media and hoping people discover your music; the song goes across the airwaves and straight into the ears.

Following previous singles Sorry and Awkward; we have the wonderful, Back Off. The song has already been received a lot of praise from some big names. The stomp and twirl of the introduction is quite unexpected. It is a funky and danceable sound that has shades of, oddly, Rockabilly to it. One gets a sense of jive to the introduction but there is plenty of granite and electricity working away. An intriguing and fiery opening to a song that looks at an anti-hero who is getting in the face. The man is telling the girl what to do and getting really aggressive. His face is turning blue and there is that air of violence and control. Maybe the woman has been having her own thoughts and trying to live her own life – such values cannot be tolerated by the man! He is unhappy she has independence or any sort of mind. We can all imagine the sort of bully and ogre that would have these kind of ideals. He does not want his girl being who she is: follow what he says and make sure she is under the thumb. This is not something that sits well with DIDI who is aggrieved and off put by the callousness and boorish manner of the man. Maybe this is someone who has impacted her life but it seems like she is watching from the outside. Previous DIDI songs have tackled deeper and less-talked-about themes – she wrote an L.G.B.T.Q. anthem in Awkward. Here, I am not suggesting there is domestic abuse at play but something unsettling and dominating comes to the mind. The man is someone who does not want anyone disobeying his orders and arguing with him. DIDI is someone who recognises the danger but does not suffocate the song or make the situation worse. We will do “fine without you”, it is said, and the boy has to leave. The man thinks he is in control and can do better with him.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

The chorus argues against this and urges him to back off. There is no need for him to be around and that urge to expel him from their lives is paramount. I wonder whether DIDI is involved in this melee and whether she is stepping in for a friend. As the lyrics go on; I was looking at other interpretations and whether it was relationship-based. Maybe the song is about men in general and those who promote sexist and abusive ideals. Perhaps that sexism is about the industry or issues faced by musicians today. Whatever the early truth; the chorus delivers plenty of fire and kick. It is a sassy coda that benefits from multi-tracked vocals and catchiness – few other songs this year boast such a dominant and memorable chorus. The syncopated rush of the choruses gives the song an urgency and rush but the lyrics are never buried and scrabbled. It is testament to the production and mixing – in addition to the performance – that everything hangs together and sounds crisp. Despite the fact it is a song that has polish and clarity; it relies on a lo-fi sound that gets into the head and compels the body to move. As the second chorus comes out; DIDI brings herself into the song more and, it appears, there is a lot of personal relevance. The boy would rather stick knives in his eyes than spend more time with her. That is not a reflection on her personality and appeal but the impatience and attitude of the man. He is angry and someone who will not take ‘no’ for an answer. The heroine tells him to give her space and get out. It is fascinating discovering where the song came from and whether it is a look at clingy and controlling lovers or a commentary on men who belittle women.

PHOTO CREDIT: RedMoonStudio

One gets a real sense of magic and potency in the chorus. The vocals shout and project but there are lovely little touches that elevate it. That can be said of the chorus, too. DIDI does not lazily repeat lines and make everything sound the same. She adds a real voice and personality to every lyric. Keen to get people chanting the track and remember each line – Back Off is a hugely memorable song that is afforded a lot of attention and dedication. DIDI’s guitar playing is excellent and the entire track has a great drive and rush. If anything, I would think making it even rawer and snarling would heighten and highlight the song’s messages. I have mentioned Wolf Alice and why they are so successful at the moment. They play in a slightly different way but consider the animal bite and grungy vibes of their music. Maybe Back Off would be even more digging and direct were it to be afforded the same treatment and dynamic. One of the reasons Back Off sounds like it does it to keep it light and accessible enough for everyone. It is never too aggressive and has enough melody and charm to hook younger listeners. A thing I love about DIDI’s music is the fact she does not limit herself to certain people. Each number is intended to be appreciated by large demographic. The chorus is the big selling point and the mantra that will be repeated by gig-goers every time they hear it. Back Off hits you instantly and will lodge itself into the head. It differs from songs like Sorry but retains that unique DIDI edge. I am excited to see where she goes from here and whether Back Off is a potential E.P. inclusion. Each song sees the young songwriter grow stronger and more intent.

PHOTO CREDIT: RedMoonStudio

I will end this piece here but wanted to congratulate DIDI on her success so far. Lauren Deakin Davies is an award-winning producer and is one of the brightest young producers we have right now. Her alter ego, DIDI, is getting a lot of love from big D.J.s such as Chris Hawkins (BBC Radio 6 Music). He played her other single, Awkward (twice in April and June I know Back Off was played on his show on 16th of this month – he is not someone who plays any old crap! DIDI is being taken to heart and resonating with local and national radio – she was featured on Amazing Radio, too. This would be an honour for an established artist but DIDI is a relatively new artist. It is incredible seeing her do so well this soon but not a surprise. There is something intuitively addictive in her music. One hears a blast of Back Off and is flooded with memories and visions. I was drawn to my childhood and some of the artists I grew up on - acts from the present days and a real concoction of sounds. Who knows how far she can go but I do know there is a big future for DIDI. I wonder whether next year will see an album come from her - I have been told an E.P. is likely before an album. It is interesting to speculate, for a number of reasons. She has a couple of great songs under her belt and, surely, will be planning more. This can only spike her mind and make her think about a full release. As a producer who has worked with a range of artists; Lauren Deakin Davies has the chance to collaborate with others. It would be an interesting experience if, say, DIDI united with Kate Dimbleby for a song – that would be an exciting clash that could lead to something wonderful. The same could be said if DIDI played with Kelly Oliver – or another artist she has produced. Maybe she wants to remain solo but there are creative options for the young songwriter.

PHOTO CREDIT: Howard Key

It would be good to see DIDI perform around the country and I am sure she has ideas of where she wants to play. London would be a natural base but there are great venues around Hertfordshire. DIDI’s music suits big cities so I can see her play in places like Manchester and Glasgow. Maybe that will come further down the line but her 2018 will be a huge one. DIDI has played at Balstock Festival a few weeks back but has visions of playing other events in the coming weeks. I will try and catch her perform very soon because I know DIDI is a terrific live act. Combined with a brilliant songwriting ability and rare sound; she is someone we need to see and hear more of next year. Back Off is a wonderful cut that has, rightfully, been getting a lot of praise. I am excited seeing where DIDI will head and what is next for her. There are a lot of bodies in the music scene but, with powerful acts like Wolf Alice scoring huge reviews, there is demand for musicians that bring Indie/Punk sounds into the modern age. There are still too many vague and listless examples who are one-dimensional and commercial. Wolf Alice show what is possible when you push away from convention and do not follow the tribe. DIDI is another artist who works on the periphery and is not beholden to latest trends and chart rules. She will have a wonderful future and songs like Back Off highlight what an incredible force she is. Make sure you get involved with her latest track and follow her on social media (links are below). DIDI’s year has been productive so far – she has achieved a lot – and a lot of ground covered. The arrival of Back Off proves DIDI is born for great things and one of those rare artists who possesses…

IN THIS PHOTO: (Right to left) Alexa Mullins, Kaity Rae (Lauren) and Minnie Birch

A real bang!

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Follow DIDI

Official:

http://www.didimusic.co.uk/

Twitter:

https://twitter.com/IamDIDImusic

Facebook:

https://www.facebook.com/IamDIDImusic/

Instagram:

https://www.instagram.com/iamdidimusic/

Spotify:

https://open.spotify.com/artist/5cQQ9FJMLv9nUwuqsn9njR

SoundCloud:

https://soundcloud.com/iamdidimusic

YouTube:

https://www.youtube.com/channel/UCAUdNcYRi1URpIvb-OVnySw