FEATURE: 36 Against 52: The Ongoing Issue of Racism in London’s Bars and Clubs

FEATURE:

 

36 Against 52

IN THIS PHOTO: Park Lane's Drama nightclub/PHOTO CREDIT: Joe Plimmer for The Guardian  

The Ongoing Issue of Racism in London’s Bars and Clubs

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I have been hearing great things…

PHOTO CREDIT: Unsplash

about the new Whitney Houston biography, Whitney. The film is packed with revelations honesty from the much-missed star. Looking at an article that has just been published highlights one concern Houston voiced: not being seen as ‘black enough’ in the industry:

“Sometimes it gets down to ‘You’re not black enough for them. You’re not R&B enough. You’re very pop. The white audience has taken you away from them.’” This was Whitney Houston, reflecting on the first significant setback of her career, when she was booed at the 1989 Soul Train Awards. By that stage, she had already won 11 American Music Awards, two Grammys, achieved the biggest-selling debut album by a female artist in history and a record-breaking seven consecutive US No 1 singles. But, despite all this success, some black radio stations refused to play her records, and opponents, including the Rev Al Sharpton, labelled her “Whitey” Houston. For some, she was simply Not Black Enough”.

Maybe things have come on a long way – to an extent where black artists do not feel their life is in danger and they can survive in music: I do not feel we have come that far where there is equality and proper respect of minority artists. The article goes on to look at the differences in the industry today:

“Today’s black artists operate with the freedom Houston dreamed of, but they are never immune from scrutiny. Witness Beyoncé, whose stance in the early 2000s was seen as carefully apolitical by critics, but who suddenly rediscovered her blackness in the Black Lives Matter era and came out celebrating hot sauce and “Jackson 5 nostrils” in 2016’s Formation. Beyoncé had sung her own, Houston-influenced Star-Spangled Banner to the Super Bowl audience in 2004; when she returned for the 2016 half-time show, she practically gave them a Black Power military drill”.

PHOTO CREDIT: Unsplash

I do not think we have come so far where black artists have real freedom and get the same attention as their white peers. If we are struggling to see racial equality and balance in the music industry; that seems to be reflected in society as a whole. I have heard from a lot of black and minority club-goers about the policy on the door. It happens in many big cities but London still seems to foster a rather worrying racial profiling. I keep hearing of Hip-Hop and R&B clubs (and Grime) alienating its true, black clientele and gentrifying it. The loyal punters have to move to areas outside of London because they do not fit the ethos and ‘class’ of the joints. Spaces that were once awash with life and authentic energy have been replaced by a largely-white populous who see the music/spaces as fashionable – not vibing to the music and aware of its foundations. This marginalisation is not limited to Urban clubs in South London: areas like Mayfair, as this article shows are imposing racist and despicable policies:

“It is black women, critics say, who are the net losers in the current Mayfair club game. Fashion blogger Fisayo Longe recently described her experience at Libertine, writing that she was denied entry and was told it was: “Maybe because you’re black,” and “… probably because you’re not good looking enough”. The nightclub has denied this, saying the records from their ID scanner prove they have a varied demographic. “We can categorically state that we do not have a door policy that is based on the colour of people’s skin.”

…The near absence of any ethnic group from a social space in London is unusual enough for a city with a 40% non-white population. But it is all the more surprising in nightclubs that – as Drama and many other high-end Mayfair establishments do – play almost entirely black music. Those who claim black people are being deliberately excluded are becoming harder to ignore.

In 2015, the nightclub DSTRKT refused entry to a group of black women who say they were told they were “too dark” and “overweight”. The nightclub denied this and says the club was full. The same year, Cirque le Soir rejected a group of New Orleans Saints NFL players, despite the fact that they had reservations. The players reported being told it was because they were “six big guys” (none was over 6ft) and “too urban”. The nightclub denied this, saying the men were refused entry because they were in an all-male group”.

It is not as though those being turned away and discriminated against are bringing trouble with them and causing any distress. The black population who want to attend these clubs are either not seen as good enough or likely to cause some sort of unrest. Owners and staff at certain clubs claim it is not racism at work: it is about spending patterns and imagery. They see black patrons as having less disposable income and unable to afford the drinks on offer.

PHOTO CREDIT: Unsplash

Maybe the white women (and men) finely dressed and, with their cash flowing, are better for the club than black attendees who, they see, as less well-off and ideal. Can one realistically feel black club and pub-goers are being denied entry because they are a little lighter in the wallet department?!  It seems there are literal divisions between white and black patrons: cordons placed so the wealthier white in attendance can revel whilst black club-goers, if they are let in, are kept separate. This club-segregation is not a new trend: many people recall getting shoddy treatment and attitude over a decade ago. Those with lighter complexions – mixed-race patrons – are not as unfairly judged and turned away as the black population. There is a large and visible black population in London. Some areas have fewer black inhabitants but, largely, you see a mix of black, white and Asian people. Maybe there is tension in some areas – and forms of racism in every corner of London – but the black population give so much to the capital. If we feel there is more balance and fairness in the music industry regarding race – I debate that assumption – then one cannot claim there a reflection in the club and bar scene. Looking at the Mayfair club, Drama, and there are cases of discrimination and racism:

“A woman has claimed her daughter went to a London nightclub where black women were charged a higher entrance fee than white women.

Nadine Marsh-Edwards tweeted about her daughter's experience at the Drama, Park Lane nightclub in Mayfair, London.

She wrote: "My daughter went to a club in the West End last night. Black girls got charged £20 entrance fee - white girls £10... London life right now."

PHOTO CREDIT: Unsplash

Her post was shared multiple times and picked up by Labour councillor for Mayfair, Soho & Fitzrovia Pancho Lewis who said he will "make sure the council looks into it".

You might argue I am singling out a particular club and exposing their policies. To be fair, the West End as a whole is under scrutiny because of its practices and ignorance. Black woman, especially, are seen, by some, as ‘too urban’ and not quite fashionable enough to fit in with the image of the club they attend. Others have reported being turned away at the door for having the wrong image or not enough money in their purse. Last year, I read the following article that put another club, DSTRKT, and some unsettling reports:

“On the night of the 26th of September, four women arrived at DSTRKT nightclub in London's West End. They had been invited by one of the promoters and had been assured space on the guestlist. West End clubs are dressy, and the group were ready for a night out—pre-drink selfies had been taken in tight polo-necks with clutch bags. However, when they got there, two of the women, Reshia McFarlane-Tapping, 27, and Tasha Campbell, 28, were asked to stand across the road so a manager could see them. According to the women, the manager told them they were "too dark" and "overweight" to be allowed into the club. None of the women went in...

...In the following days, another member of the group, Lin Mei, posted screenshots of conversations she'd had with one of the club's promoters after they'd been refused entry. The promoter told her the club "only wanna let to mixed raced girls in they said [sic]." When questioned further, he said, "I really care about the white crowd," and "the black crowd is the concern".

I know a lot of people who live in South and East London and it seems, with gentrification and new developments; the tone and calibration of clubs/bars means there is a definite ‘black quota’: a set number that is seen as ‘just right’ as not to offend white eyes and bring the good name of that space into disrepute. This is nothing new but, as the areas become more white and wealthy; social media is alive with angry and emotional testimony of black people turned away and told they are not what the club is looking for. Given a spate of knife-related deaths in the capital; there seems to be additional attitude and exclusion at many clubs - assuming black patrons are going to stir trouble and the young men will bring violence to the doors. It seems, alongside racism, is a rather sexist policy: more black women face issues and discrimination than men. There are D.J.s and bar owners who have a great relationship with West Indian, Caribbean and African men/women who bring them great music and are welcomed in. Whilst there is a great relationship and no issues in many London spaces; it seems, more and more, we are hearing about racial ignorance. Social media has made the issue more visible and brought stories to the people. One can argue a lot of cases of racial discrimination, before social media, went unchronicled and viewed.

There are a number of reasons why black patrons, women especially, are being turned away. Alongside the image profiling of many clubs around London; size and figure come into the debate. Many see this ‘ideal’ woman with a slender figure and a fashionable appearance. With many black women boasting fuller figures and more confidence (than their white peers); clubs see this as unideal and not what they are looking for. Money, sex and colour seem to be important than togetherness, music and sociability. I have seen an article from 2015 written by Frances Acquaah that documented her experiences:

“…And it’s not just a central London problem. A few months ago I was turned away from a club in south London, a venue notoriously known among black, Asian and minority ethnic ravers as racist. Though they were not as candid about the reason we were not gaining entry, they were happy to let the white women that followed behind me through their doors, as I stared in astonishment across the road.

Many wrongly assume that because there are some minority ethnic people inside partying, a club cannot be racist. It is a reasonable theory on the surface, and I suppose it is easier to believe than to admit that a city which boasts so much diversity – in London alone we speak more than 300 different languages – could be rife with issues that mirror life before the civil rights movement.

Let me assure you that tokenism is a thing. Unfortunately for me, the club had filled their black quota that night. Club managers have no problem letting black people in, but only if the ratio is right. Had I spent less time trying to take the perfect selfie, maybe it would have been someone else standing outside”.

West London is under the spotlight but a lot of clubs in all parts of the capital are being investigated. There are fewer areas where the loyal and long-serving black population are being given the same rights and access they enjoyed years ago. Working-class estates are being replaced and the high-street is a vastly different place – it feels less authentic, vibrant and mixed than ever. I walk around London and do see a cheerful and friendly black population. There are fewer black faces in the centre of London and, when going out at night, many of the clubs that used to have quite a balanced makeup are, now, largely white. Many of London’s black population are being priced-out and moving to the edges of the city; those who want to go on a night out risk facing stern bouncers and (are being asked) for I.D. – have we really come a long way and is the city fairer and more eclectic than the past?! So many clubs/bars that catered to the black population – from Afro-Caribbean bars to Grime clubs – are being rebranded and I wonder how clubs/bars justify their policies. Call it sexism, sizeism or a snobbishness regarding earning power and income. The fact that it is the black population being denied leads me to believe it all boils down to…

IMAGE CREDIT: Lea Clarin

UNAPOLOGETIC and unforgivable racism.

INTERVIEW: Arliston

INTERVIEW:

Arliston

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THEIR new single, Enough, is out in the world…

so I have been speaking with Arliston about the song’s background and what we can expect from their upcoming E.P. - I discover when the band got together and how a windowless, noisy apartment was (and still is) a particular source of ‘inspiration’ for them.

I ask how the band spend time away from music and which new artists we need to get behind; if there are gigs coming up anytime soon; which artists the guys took to heart at a young age – I discover how important London is to their music and whether it drives their ambitions.

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

Good, thanks! Hectic, but good. We have quite a low stimulation threshold having been cooped up in our basement for the last year or so; so, all of this attention is quite bewildering.

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

We are a three-piece band - myself (Jack), Jordi and George - making Alternative/Ambient Indie music, inspired by the likes of Bon Iver, James Blake; Vancouver Sleep Clinic, Matt Corby and the National. We’ve been working together to build a collection of songs that we love and we’ll be sprinkling them throughout your 2018 so stay tuned!

Enough is your latest single. What is the tale behind the song? Did it come together easily?

Enough came together after Chris (Engineer & Co-Producer) had arranged some vocal samples in this wonderful looping, repeating; snake-eating-its-own-tail kind of way. As soon as I heard it, I got fairly excited and put a vocal on it as quickly as I could. That first take actually ended up being the one we used for the final track. I guess sometimes you can’t recreate the excitement of that first ‘eureka!’ moment.

You have an E.P. coming up. Can you tell me about the themes and ideas that inspired the music?

I usually (ok, fine: always) lean towards more melancholic music and lyrics. That’s been my centre of gravity for as long as I can remember writing music. But, lately, I’ve started to inject small moments of optimism into the lyrics which has had the unexpected effect of making them sadder. There’s something wallowing and self-indulgent about unrelenting melancholia and, actually, if you introduce even tiny crack of optimism it can heighten the tragedy of it; I guess it just makes it seem real. Not just a mawkish cartoon of a bleak horizon.

I believe the band started life in a windowless apartment in early-2017! Do you miss those heady and romantic days? Was the traffic noise a bit of a bugger?!

Haha. Yes, it was! I mean, we’re still working there so I should really say is. But, the important thing is we’re not living there any more. I think that was the key ingredient in our insanity back then - and I don’t mean ‘insanity’ in a good way: more in the ‘nothing means anything anymore and I feel like eating my own trousers’ sort of a way. I wouldn’t trade those formative years for anything, though, no matter how many pairs of trousers we went through.

Do you remember the moment the band came together and clicked? What was it about each other that meant you were going to play music?

I first met George back in early-2017 and, initially, he came in to help set up the live side of things. I remember thinking he was perfect for the project: he could play virtually every instrument to a very high level and instantly appreciated what we/the project was trying to do. Further down the line, we had a bit of a hiatus and our original drummer left the band. At this point, I was really expecting George to leave too as things were frankly stagnating at the time.

But, actually, he was the one who kept me going and despite a second drummer leaving we pushed forward and finally found Jordi, who is a phenomenal drummer, and everything just locked into place after that!

Is London a constant influence for you? Is it hard to exist and flourish as a band?

London is great. It all at once smothers and energises you. It’s the best place to be if you’re having a good day but can be a little destructive on the bad days. But, of course, for gigging and collaboration opportunities there’s nowhere like it.

Which artists did you all aspire to be at a young age? Did you grow up around a lot of music?

I loved people like Bob Dylan, Suzanne Vega; Joan Armatrading and Damien Rice when I was younger and was even super-hard-line about hating the electric guitar - for what I thought (very wrongly) at the time was unattractive, meaningless music. But, eventually, I realised that with the help of guitar pedals you could create enormous sonic worlds that forcefully took you somewhere unexpected every time you plugged the thing in. Jordi comes from a Metal background. At first, we thought this might be a problem, but it meant he approaches things from a very different angle and so has actually been invaluable in the songwriting process.

George comes from an acoustic guitar background, too, but also is a classically trained pianist; so can apply a level of theory to the music that has allowed us to reach places we wouldn’t have gone otherwise.

Where are you heading on tour? Where can we catch you?

I’m glad you asked! We’re actually playing a show later tonight to celebrate the single release at The Fiddler's Elbow in Camden. After that, we’re finishing off with a bang at Zigfrid von Underbelly at Camden on the 11th July. That’ll be the big one!

What do you hope to achieve in 2018?

We’d like to get our first E.P. out; have a good-sized tour and just keep writing and doing what we’re doing!

Have you got a favourite memory from your time in music – the one that sticks in the mind?

I’d say wayy back in time would be the fondest memories I have; living down in the basement and spending long days and nights there with Chris Blakey, Toby Horton; Jordi, George; Jazzi and everyone who has been involved in the project up until this point.

If you could support any musician alive today, and choose your own rider, what would that entail?

Bon Iver, probably. They are ridiculously good live.

Hmm; the rider would entail mountains of tabasco sauce. We have a little bit of a problem with it. There’s a collection of empty bottles lining the writing room wall and, so far, it has taken twenty-four bottles to get to where we are. I’d say (we’d list) least a small bath of it on the rider.

What advice would you give to new artists coming through?

Just keep going. What you’re doing now may not always inspire you but, as long as you’re doing something, anything, creative then you will grow and progress as an artist. If you can keep doing it the world will have to give in at some point.

IN THIS PHOTO: Temptress

Are there any new artists you recommend we check out?

Lately, we’ve been working a lot with the guys from Temptress. They’re fantastic. Definitely, check them out. Also, we’ve worked a lot with Jazzi Bobbi in the past. She’s super-talented too!

IN THIS PHOTO: Jazzi Bobbi

Do you get much time to chill away from music? How do you unwind?

We try and see friends whenever we’re out of the studio - I think that’s probably psychologically recommended too. George does watercolours in his spare time and actually was the one that painted the beautiful watercolour artwork for Enough. Jordi is currently doing a Pro Tools course (hardly a break from music) but we’re looking forward to him having ‘mad skills’ when he finishes. Also; huge fans of Always Sunny in Philadelphia - very excited for the next season.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Thanks!

George: O Mer - Now I’m Alive

Jordi: alt-J – Tessellate

Jack: Phoria – Evolve

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Follow Arliston

Official:

https://www.arliston.com/

Facebook:

https://www.facebook.com/officialarliston/

SoundCloud:

https://soundcloud.com/arlistonmusic

Spotify:

https://open.spotify.com/artist/1zdjZcUSe5thcIAIU5NRYh

YouTube:

https://www.youtube.com/channel/UCgTqIelyfvc-NdnqErYReyQ

INTERVIEW: Phogg

INTERVIEW:

Phogg

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IT has been a great experience…

learning more about Phogg and what makes them tick. Saman and Gustav have been telling me about the band’s album, Slices, and the themes that inspire it; the story behind the single, Get Away (Secret Dream), and how the guys got together.

I ask what Phogg hope to achieve before the end of the year and if there are tour dates; some upcoming artists we should be attuned to; why the Swedish band think the nation keeps producing great artists – they end the interview by selecting some excellent tracks.

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

Saman: Hey! We're in the midst of rehearsing for the shows we have set up; our album is out in a few days and Gustav is working with our upcoming music video. In the midst of all of this, Jens is also getting married - so we're all really broke but happy. Also, we had one day of tropical weather in Stockholm which was really nice.

Gustav: Good! We had a wild and fun weekend and now we're preparing for a show tomorrow.

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

Saman: We're four guys from Sweden who really like music and we try to create music which we think is special for ourselves and, hopefully, someone will like it along the way.

Gustav: We are four boys from Sweden who play progressive Psych-Pop.

Your debut album, Slices, is out. What can you tell me about the record and the themes that informed it?

Saman: Slices was initially meant to be a second E.P. and we were planning on releasing it soon after our first E.P., Zun, Stein & Graaf. I think it was supposed to consist of four-five songs - all of them are on the record except for a song we call Three Shirts, which we now have recorded for a future album. Many of the songs have changed a lot during the course of recording and are completely different.

Time is Wild is an example of a song that's very different from how it sounded before. The songs that were written before we started recording come from a different place than the songs that came to during the recording process.

When we started recording, we were kind of riding a wave of things going relatively well within the band. This changed after about a week as our drummer and friend suddenly jumped ship and moved to another town. This left us kind of disoriented for about a month and forced us to rethink the process and the E.P. itself. We started hanging out at the studio, trying out a lot of ideas and started writing in the studio as well. We were all kind of going through some personal stuff at some level and were at the same time happy to be playing music and that our first E.P. was doing relatively well.

The record has a kind of maniacally happy feeling because of the duelling themes of thankfulness and despair that were prevalent in and around the band at the time. It's like a friend who tells you he's fine and smiles at you while he's in a total existential crisis on the inside…

Get Away (Secret Dream) is the latest single from the album. Is there a story behind the song?

Gustav: It started as a hidden little riff from the recordings of Zun, Stein & Graaf that Saman discovered sometime during the mixing process I think.

Saman: Get Away was born during the recording sessions for Zun, Stein & Graaf. We were drunk and were goofing around in the studio and recorded some of the things we did. When we listened to the recordings the day after; most of it was s*it but one song stood out. It kind of had a Brian Jonestown Massacre vibe and sounded pretty happy and jovial. We called it Santa's Coming Over and we didn't know what to do with it for a long time. When we were choosing songs to record, Jens and Alex really didn't want to record it but me and Gustav fought for it. It was finished during the process of recording and now everyone likes it.

We tried a lot of different techniques when we were writing lyrics for the songs. I think we were doing some sort of free-writing thing with Get Away and a metaphorical dark hymn about addiction kind of came out of it. We thought it suited the happy vibe of the song.

Regarding the songs on the album; are they culled from various period in your career – or did many come together in the studio?

That's one of the main creative themes of this album. It's very mixed. That's sort of where the name ‘Slices’ comes from. It's different slices from our time together as a band up until now. The mix and juxtaposition of songs from different timelines is essentially what became Slices. Time Is Wild, for example, is from about when we started playing together.

It was a mellow Acoustic-Psych song for a long time until we decided to take it in another direction. There's a track on the album called Rod's Goodbye which was an idea from before which we completely changed in the studio and made a completely new track out of. The story the narrator is telling is something me and Gustav found online on the World Wide Web.

Gustav: When we started playing together, we usually met up and wrote songs together through jamming. At that stage, it was just the instrumental parts and a lot of it has been altered and doesn’t sound like it did back then - but some of the tracks from Slices are from that period. Some of the stuff is from later stages and some of the other stuff was completely made up in the studio.

How did Phogg get together? When did you start playing together?

I joined Phogg, before it was Phogg, by answering an ad. This was in early-summer 2016 and, by then, the others had been playing for a couple of months. The others knew each other in some way or other since before and had been playing together in various constellations.

Saman: Me, Jens and our first drummer Alex knew each other from before. Me and Alex had played in bands together for about eight years prior and all three of us grew up in the same sh*tty Stockholm suburb. Alex and Jens had a tiny practice space close to where they both worked and I used to go over there and play with them after they got off work. It was really loose goose at first and we were just playing our asses off for a few hours every other day. But, it soon got pretty good and we decided to take it to second base.

Someone, I think it was Jens, found Gustav online and it was an incredibly easy fit. We wrote a lot of songs during the first year-and-a-half and we've kind of lived of off that song bank up until now. After Alex skidaddled to another town I contacted Joen whom I've known for many years and who I've wanted to play with since I was about eighteen-years-old.

Which artists would you all count as influences and idols?

We are all very different and listen to a lot of different kinds of music but we definitely have a lot of common ground as well. When we first started playing with Gustav, he wore a Dungen T-shirt and that's how we knew he was cool. We all have different cornerstones of inspiration and influence that shape our own individual voices. Lately, I've been very inspired by a Swedish band called Tape, Parquet Court's latest album and Mark Kozelek. But, it changes often...

The other day, Gustav fell in love with Shadows Collide with People by John Frusciante which is a record and an artist that formed me personally and musically almost more than anyone or anything. That record also happens to be the record me and Joen bonded over. It meant a lot to him during the time his first kid was born. We always talk about new music and bands we've discovered amongst ourselves.

Gustav: MGMT, Radiohead; King Gizzard (& the Lizard Wizard), Dungen, Pink Floyd; Spritualized, Ariel Pink; The Beatles, John Frusciante and CAN

There are a lot of great bands coming out of Sweden. Is there a secret or reason why the Swedes make such diverse and original sounds?

Saman: I don't know. I guess standards run pretty high here. But, I don't know how it is in other countries. People often say it's a mix of the access youths have to communal music schools from an early age and the melodic language of Swedish Folk music.

I grew up with a mixture of this and my parents’ pre-revolutionary Iranian music. Swedish Folk music has, through the ages, had a strong connection to melancholic themes and melodies. The cultural sadness, in combination with our relatively high social security here, makes for very good music but very sad people.

Where are you heading on tour? Where can we catch you?

Gustav: All of our planned shows right now are in Sweden but we're working on it! If you want to see us, send us a tip or come to Sweden.

Do you reckon you’ll come to the U.K. and perform this year?

Saman: We would really love to. Invite us and we'll come. We're shy guys.

Gustav: That would be great.

What do you hope to achieve in 2018?

Playing shows and continuing to work on the songs for our next album.

Saman: We would love to tour around Europe. It would be pretty neat if Slices got a few good reviews but mostly I hope that we manage to finish our next record before the love and energy for it dies out. I would also love to make some money so I can pay for some nice golden pants.

Have you each got a favourite memory from your time in music – the one that sticks in the mind?

Our first gig together we were playing a small place outside of Stockholm; almost no one we knew was there. As soon as we started playing, everything just connected and we all just totally went with it. I remember looking up and seeing two guys we didn't know singing along to our songs. It was really surreal and it made me happy.

If you could support any musician alive today, and choose your own rider, what would that entail?

Maybe, Parquet Courts. I think it would be a good fit. I would love to eat some Vietnamese summer rolls and drink some wine with Parquet Courts.

What advice would you give to new artists coming through?

Gustav: Try not to think about what others think. Believe in yourself: you are beautiful.

Saman: Play as much as you can. Record yourselves on your phone and listen back to it at home and imagine things with your head.

IN THIS PHOTO: Boogarins/PHOTO CREDIT: Beatr

Are there any new artists you recommend we check out?

Saman: Boogarins and Harm Reduction.

Do you get much time to chill away from music? How do you unwind?

I have periods where I paint a lot instead of playing music or as a counter point to the guitar. It's really interesting as you get to apply the same ‘creative rules’ but you're playing with space instead of time. I also like to read and watch movies with my daughter.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Saman: Extremely Bad Man by Shintaro Sakamoto

Gustav: They Cannot Let It Expand - Midlake

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Follow Phogg

 Facebook:

https://www.facebook.com/phoggband/

SoundCloud:

https://soundcloud.com/phogg-band

Instagram:

https://www.instagram.com/phoggmusic/

Spotify:

https://open.spotify.com/artist/3YqUKOiwbzwB0gajg1sh9Y

Bandcamp:

https://phogg.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCOpuNIFkOy1I9qydOQdXuqQ

FEATURE: The July Playlist: Vol. 1: If She Says It Doesn’t Matter…

FEATURE:

 

The July Playlist

 IN THIS IMAGE: Christine and the Queens 

Vol. 1: If She Says It Doesn’t Matter…

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THE heat shows no sign of abating…

IN THIS PHOTO: RAYE

so we might as well stay in and listen to some music! I have been hunkering down and doing my best to stay cool. If you are need of similar refreshment; have a look at a selection of songs from artists such as Christine and the Queens, Anna Meredith; Tom Grennan and RAYE – Years & Years and Self Esteem are in there to add their own candour and colour.

It is another intense, packed and varied playlist that should keep you entertained and keep you occupied during the hot days. A fantastic and alluring concoction of new tunes that is sure to stay in the head for a long time to come!

ALL PHOTOS (unless credited otherwise): Getty Images/Press

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Christine and the Queens – Doesn’t Matter

PHOTO CREDIT: Kate Bones

Anna Meredith – Anna / Four Seasons: Stoop - Spring

Fiona Apple - I Walk a little faster (underwater)

Dirty Projectors - That's a Lifestyle

YUNGBLUD - Medication

Self Esteem – Wrestling

IN THIS PHOTO: Caroline Polachek/PHOTO CREDIT: Tom Newton

felicita (ft. Caroline Polachek) - marzipan

Boniface – Dear Megan

Menace Beach (ft. Brix Smith) – Black Rainbow Sound

Gulp – I Dream of Your Song

PHOTO CREDIT: Neelam Khan Vela

Her’s – Harvey

PHOTO CREDIT: Danny Brooks

Francobollo - We're Dead

Iggy Azalea – Tokyo Snow Trip

RAYE – Friends

Bugzy Malone – Drama

Tom Grennan – Lighting Matches

Forest Blakk – Tread Lightly

Years & Years – Preacher

Francis and the Lights – Try Tho We Might To

Justin Timberlake – SoulMate

Mac Miller – Small Worlds

 

PHOTO CREDIT: Kelly Levacher

Tebi Rex – Peggy’s Bus

Kiran Leonard – Paralysed Force

Orchards – Age of You

PHOTO CREDIT: Justin Bettman

Jason Mraz – Might As Well Dance

Sunset Sons – Love Lights

CAGGIE – Here We Go Again

Jax Jones, Mabel (ft. Rich the Kid) - Ring Ring 

Ward Thomas – Lie Like Me

Maeve – Martyr

Benny Benassi & Sofi Tukker - Everybody Needs a Kiss

Zernell Fontaine – The Wave

TRACK REVIEW: Stephanie O - Woman Oh

TRACK REVIEW:

 

Stephanie O

Woman Oh

9.5/10

The track, Woman Oh, is available via:

https://open.spotify.com/album/59WFmQWItP7d4MuaI2sAOu

GENRES:

Pop; Jazz

ORIGIN:

Paris, France/London, U.K.

RELEASE DATE:

21st June, 2018

_________

ON this occasion…

PHOTO CREDIT: Sam Copeland

I am talking about Stephanie O and her beautiful music. Before I get to her latest single, Woman Oh; I want to address a few things. There is a lot to investigate but I want to study female artists and, again, why I think we need to pay more attention and create some parity. I will look at vintage strands and those who look at the past. I’ll go on to talk about artists with curiosity and an ambition that brings colour and texture into things; Paris and, in fact relocation – ending by speaking a little regarding Stephanie O’s future and possibilities. There are a lot of Pop artists out there and people who produce emotive and revealing work. I am looking around the mainstream and I rarely find myself dipping in and out that often. That goes through waves: sometimes, I am engrossed by an artist but, right now, there are few I am interested in. Maybe it is the Pop core that leaves me a little bored. Those established, quality-laden artists are the ones I am more interested in. I feel we need to shake things up a bit – as I always say – and an artist like Stephanie O provides a new angle. I am always concerned we are not putting enough emphasis on female artists and, whilst this is not a fight that needs to be championed on this occasion; I feel the disparity and the scales shifting towards male artists. The rumour mill for Glastonbury is cranking and there is speculation the likes of Paul McCartney and Madonna could be featured – maybe Fleetwood Mac and Taylor Swift. Whilst the headliners might, finally, mix male and female; I wonder whether festivals, really, are starting to equalise (in terms of gender). The reason I bring up the gender subject is the sense of passion and depth you get with female artists. Maybe it is the way they approach music or a different set of emotions they unleash. In any case; I tend to get something more engaging and long-lasting when I hear a female artist play.

PHOTO CREDIT: Lily Rault

In terms of Stephanie O’s music; she digs deep into the soul and projects something quite fantastic. You get heart and spirit; there is urgency but time for gentleness and a softer touch. A mixture of sounds and sensations goes into her music. I am not suggesting male artists could not create this impression – a lot of them do – but I feel inadequate credit is being given to female artists. That will all change, in time, and I know artists like Stephanie O will get their just reward. The songwriter has worked hard and achieved quite a lot in a short time. She has performed alongside names such as Carole King and Cindy Lauper; there is that love of strong and pioneering heroines who have paved the way and opened doors for the next generations. One of the things that bug me about the modern industry is a real unwillingness to look beyond the commercial and radio-friendly Pop music that seems to ‘tick all the boxes’. More diversity is coming onto the scene but there is still that reliance on the easy and uncomplicated. Maybe I have spoken about this too much but I get annoyed by the lack of real progress. Look at artists like Stephanie O and you are getting something different and more intriguing. I will talk about the flexibility of her music but, when listening to Woman Oh; it is a song that deserves a lot of praise and focus. I know there will be moves to create a more ‘equal’ music industry but I think there are a lot of problems that could be fixed quite quickly. Rather than labour over gender and inequality; let’s turn our attention to a fantastic young artist who is producing incredible music. Stephanie O is a perfect example of the modern artists and someone who is turning heads – an exceptional talent who has her sights set and is concocting an original and compelling sound.

One of the pre-requisites regarding my blog is, for interviews, having a fair few images free. Many artists have particular images for various campaigns whereas some have very few available. In the case of Stephanie O; she has some great shots available right now. To my mind, she is someone who has the potential to really shine and stun. She has the looks and demeanour of a classic star and Hollywood idol; a sophistication and strength that radiates. Her love of the vintage and romantic could lead to some great new shoots. Maybe a Paris-set photoshoot or something that engages with a vintage setting. There are possibilities but I think, if she were to hook with a trusted and brilliant photographer; the two of them could work some magic and come up with some awesome snaps. I am not sure if that is around the corner but, from what we can see; you get an impression of who Stephanie O is by looking at her photos. That love of the vintage and classic seems to dictate how she goes about things. Her music mixes the new and vintage – thus, creating something original – but it is great hearing someone inject modern Pop with bygone Swing and Jazz. I know Stephanie O established her own Swing group, The Puppini Sisters, and has affection for Doris Day and Peggy Lee. When you listen to an artist, and try to figure their sound out, you ask them about influences. I have interviewed hundreds and you start to see some common names. To be honest; I have heard of very few who go that far back in music and have the same influences of Stephanie O. Rather than crib from modern artists and what is being played on, say, BBC Radio 1; Stephanie O looks back and sources from a more alluring and sophisticated treasure chest. It is fascinating hearing that blend of the older-days and modern production.

Vintage and classic sounds/looks are always good to see in music. I feel there is too much emphasis on the modern and ultra-fast. We are moving at such a pace and it seems there is little time to move and breathe. Whilst some artists throw in some classic threads into their own music; there are relatively few who have that true appreciation and knowledge of music from far back. I feel too many modern artists name-check legends and older music but rarely source from it. If they do, then you get rather obvious and over-used names. Listen to Stephanie O and you get that sensuous Jazz edge combined with something rather unexpected. She has brewed her own sound and takes you directly into the song. Listening to Woman Oh is like sitting alongside her as she creates music. When you do hear the voice/music play; one instantly gets images of a dreamy and filmic-looking Parisian flat; the heroine in her chic and vintage clothing – the world going by and the sun beaming through the windows. The songwriter has that immersive and physical quality that arrests the senses and makes you conspire. I fear a lot of modern music is soulless because (the artists) feel people want something instant and uncomplicated. Rather than write something meaningful to them that has sophistication; they would much rather provide rather simple and samey music. It is great seeing an artist who goes against the predictable and commercial sounds of the mainstream and, instead, creates music that has a unique and smoky sound. You listen to Stephanie O perform and can hear how much music means to her. You know it means everything to her and she is not just in the business for quick success – she wants to remain and inspire generations to come. There is a long way to go but I can tell, even now, there will be a lot more coming from her.

Another thing that strikes me about Stephanie O is the colour and vivacity she brings to the music. Rather than release something rather plain and unengaging; you get music that brings you into the moment and compels the mind. It is like, as I said, walking in the song and being there with the writer. Maybe that ability comes from the likes of Day and Lee – those who could do the same thing to their audience – but I think it is the way Stephanie O writes and imagines. Rather than take lyrics from cliché and diary pages; her process is a lot more interesting and detailed. You get a sense of where the track was written and the sounds (and sights) outside her window. I will come to look at Paris in a bit but, in a way, there is a little bit of the city running through the veins. I am looking for music that goes beyond the routine and actually moves you. I listen to Woman Oh and can speculate what inspired it and what was happening when it came together. I imagine the songwriter sat in a rather calm setting, watching the world go by and a sense of tranquillity wash over her. With embers of legends in her mind and personal memories in mind; it is a fantastic thing to hear the song and watch it unfold. I guess every songwriter has their own method and writes their own way: Stephanie O brings a lot more to the plate and does a lot more. The artist does not want music to be simply sounds that get into the head and do something in the short-term. Stephanie O wants the listener to get involved with the song and it remains in the head for a long time. She wants the words and melodies to keep coming back and the embers of the track to remain in the eyes for as long as possible. She is not someone who writes quickly to fill the market and so something temporary.

PHOTO CREDIT: Sam Copeland

Stephanie O originally hails from London and she formed the Swing-Pop harmony group, The Puppini Sisters, before leaving to strike out on her own. Moving to Pairs, in a way, was when things started. The artist was inspired by the world outside the dressing room and curious about the world at large. She was not willing to simply do the same thing over and over – the desire to do more and embrace the world was always in her heart. I have talked about the colours and emotions one gets from Stephanie O’s music. What amazes me is the clash of geography and scenery. I know Woman Oh is not about Paris but, when you listen, you do get images of the city come through. That may sound strange and it might be something to do with the elegance, passion and prowess one hears in the song. It is an extraordinary thing that has its body and feet in the U.K. but has a heart, soul and spirit in Paris. I have never been to the French capital myself but it is somewhere I will need to visit before too long. I can understand that urge to move and experience somewhere new. Paris is not too far from London – so Stephanie O has that easy access – and you have a different way of life there. Rather than get buried in the rush of London and experience the music we have here; Paris has a different vibe and is a whole new world. There is similar music to that of London but Paris offers its own dynamic and depth. You have Jazz clubs and great Blues artists; there is that retained history and the ghost of legends past. I can imagine walking through Paris does all sorts of magical things to the mind. The scenery and chatter; the shops and busy cafes – that is enough to get the hands twitching, excited by the prospect of a new song.

Splitting her time between Paris and London; Stephanie O is busy and, working with producer Peter Lyons, she is looking ahead and what can be. I hope the songwriter spends more time in Paris and does not feel the need to settle her feet in London. That may sound odd but I feel songwriters need to take chances and open their minds to new places. Travel broadens the mind, as we know, so it can do wonders for an artist. If you live somewhere as entrancing and stunning as Paris; I can only imagine what words come to mind and how the imagination works. I am seeing a lot of artists relocate and take chances. Maybe it is the stagnation of where they are and the need to find fresh impetus. I, myself, am moving and there are many others who need to take that leap. I am not saying a move to another city will lead to songwriting revelation but it is a great way of changing style and getting something fresh in the mind. Stephanie O has not abandoned her early sounds – Swing and Jazz – but she has mixed it together with Pop and more-modern elements. I feel many are moving because they want to find new opportunities and get their music to new audiences. I know there is a very strong live scene in Paris and the French crowds are very receptive and attentive. There might not be the same breadth and variation as in London but it is (Paris) a great city to play in. I feel like Stephanie O has found new lease and love by moving where she is. You get a less-harried and stressed style of music; a soothe and sense of movement one would not experience in London. Radio personalities like Gaby Roslin have already paid tribute to the beautiful music; others are noting how the time is not and how (Stephanie O) is primed for something big.

PHOTO CREDIT: Sam Copeland

One gets a rather rousing and soft entrance from Stephanie O on Woman Oh. There is a sense of jump and delight that gets the feet tapping and smiles broadening. Acoustic guitar races and skips as the heroine comes to the microphone and lets her voice play and tease. You get that instant beauty and gratification from her tones – a pleasing and alluring sound that casts the mind back to the 1950s and 1960s and the musical heroines of old. I love the production sound and that sense of the vintage. It sounds like the song was recorded using an older microphone as it has a slight echo and sound that is wonderfully raw and classical. Rather than polish the production and evaporate any soul from it; you have a very real and live-sounding song that puts the vocal right at the top. You are under Stephanie O’s spell and following her as she dances and wonders. The syncopated, restless words look at the heroine hop a train to Paris and meet with a love. They got “drunk and dizzy” and spent hours on the streets; helpless in their abandon and surrendering to the beauty of their surroundings. Whether this relates to a physical relationship or a friendship (at first); you can tell how meaningful and instrumental these moments have been. I love the instrumentation and how it complements the vocal. The guitar work is almost Country-like whilst the percussion patters and has that Jazz inspiration. It is amazing discovering a song that steps away from the ultra-modern Pop and has that pleasing, vintage smile. The pace and flow of the words is the biggest selling point. That addictive and insatiable dance gets the listener singing along and moving their body. The enraptured duo has no money but, as the heroine says, there are free things in life they can abandon. You get a sense of two sweethearts who are from a different time. One can imagine the heroine in a fashionable dress – maybe striped or hopped – and the hero unfamiliar and charmed by a new city.

PHOTO CREDIT: Lily Rault

They are moving through Paris and looking for adventures. They have little coinage to show but their hearts are full and they are open-eyed to the wonder around them. Romance and tenderness is part of the deal (free, of course), but the sheer delights and eye-catching splendour of the city itself is keeping them amused and hooked. Our heroine is, as she says, the man’s woman; he, in turn, is her sweetheart and that bond is established. She wants to be held and caressed under the yellow sky and feel the intimacy of the moment. Rather than tease the words and build the mood; Stephanie O has that immediacy and rush at her feet. She is never resting and affected by the urgency of the bond. It is almost child-like in its excitement and wonder. You can hear her smile and I can imagine, when writing the song, she was reflecting on a glorious time when anything was possible and there was the fresh bloom of love. The chorus – where our heroine declares her affection and realises something special is here – sticks in the heart and will make you come back to the song. The song becomes instrumental at the half-way stage and allows the listener to imagine what is happening and how the lovers are moving. You jump into the city and wander alongside the dancing lovers. The simplicity of the composition is one of the biggest strength. The guitar-and-percussion combination skips, scratches and hops and never becomes too heavy and intrusive. Stephanie O unleashes some wordless vocals and hums; she breezes and lets her voice sway. The song goes from a racing and rampant thing and dies down; it comes back up and a new lease of life is found. That unexpected (and brief) fade down-fade up shows how nimble and unpredictable the song is. The final words see the heroine in Jazz/Soul territory and singing in a more romantic and softer way. It is a final kiss that perfectly brings the song down. Woman Oh is a track that will keep you coming back and gets into the brain. It is catchy and instantly memorable but has so much nuance and depth. A fantastic offering that will keep people interested and wonder where Stephanie O goes from here. I am excited by the prospect of future material and whether Paris will be in the mind; whether the style will be the same (as Woman Oh) and what we will get.

Going forward, and I feel there are real opportunities before the songwriter. She is splitting her time between London and Paris and is busy working on a new release. We will see an E.P. later in the year and that will be, I am sure, accompanied by performances. I hope, when she does progress and release more material, we see some cool new snaps come through. With Paris at her feet; a classic/1950s-style shoot or something that sees Stephanie O surrounded by splendour and beauty would add something to her social media profiles. There are a lot of possible fans waiting on Twitter and new markets she could conquer. Woman Oh is a cracking song that has gained plaudits and brought in new fans. I am not sure whether there is a Twitter profile for Stephanie O but I feel this is a market she could exploit and do well in. There are loads of radio stations and venues that would love to support her music; other artists she could hook up with and fresh possibilities. I am excited to see where she can go and what the future holds for Stephanie O. I have been following her music for a little while and know how far she has come. It is always hard finding unique and original artists who do something you have not heard before. Stephanie O goes beyond the usual Pop fare and fuses Jazz and Soul sounds together to provide a fresh and fantastic thing. Looking ahead and I feel like London could come back into her mind. There are some great venues here and it would be great to see the songwriter embark on a tour. I know many people would love to see her perform and it is only a matter of time before her music gets to the masses. Festivals are coming up and, whilst it may be too late to hit the big ones now; next year is a real possibility that could see her take to some prominent stages.

IN THIS PHOTO: Sam Copeland

I opened by talking about female artists and how little attention, compared to men, they get. It is sad to think we still live in a time where there is inequality and an imbalance. I am seeing small changes but that sense of evolution is not happening fast enough. Rather than dwell on the problems and divisions; celebrating artists who have something important to say is much more rewarding. I know Stephanie O has been working hard and dedicating a lot of time to fresh music. I am not sure what form her upcoming E.P. will take but I am sure there will be other gems like Woman Oh on it. The market is so busy and varied right now. It can be hard deciding which artists are going a long way and those who are going to be around for a short time. It is early days for Stephanie O but I know she will be around for a lot longer and progress as an artist. Her love of artists we do not really talk about much these days – like Peggy Lee – sets her apart from the crowd. Influences are important and they can have a big say regarding your own music. The talented artist takes a lot from the present-day but it is the music she grew up around that gives her that extra edge. Let’s hope a lot more eyes turn the way of Stephanie O. She is a wonderful and hungry artist who knows what it takes to succeed and is determined to get as far as possible. If you are unfamiliar with the beauty of Woman Oh and have not given it a proper listen; get your ears around it and make sure you share it on social media. I have heard many artists this year and all sorts of music. Many will stay in the mind for a bit and disappear: a select few bounce around the brain and keep me curious for longer than expected. Stephanie O is definitely one of those artists who get into the head and, when you least expect it, come back and…

SPRINKLE magic in the ears.  

___________

Follow Stephanie O

Official:

https://www.stephanieomusic.com/

Facebook:

https://www.facebook.com/StephanieOmusic

Instagram:

https://www.instagram.com/seestephanieo/

SoundCloud:

https://soundcloud.com/stephanieomusic

Spotify:

https://open.spotify.com/artist/0hkGIli1Z8cfLlYuVAv05V?si=87UnjPUkQvCMxQCpygGcKA

YouTube:

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

INTERVIEW: Georgia Meek

INTERVIEW:

Georgia Meek

___________

THE exceptional and unique Georgia Meek…

has been talking about her new single, SWIM, and how it came together; what it was like recording her E.P., Womanhood; the musicians she is inspired by – I ask how important London and its people are regards her sound and energy.

Meek recommends some new tracks/artists to catch; the advice she would give to upcoming artists; if she ever gets time to chill away from music; what she wants to achieve before the end of this year – Meek ends the interview by selecting an awesome song.

___________

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

Hey! Busy, busy, busy. Recording lots of new music and making some cool new things to show you all.

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

I'm a Londoner who makes ultra-feminist, over-dramatic Electronic-Power-Pop.

SWIM is your new track. What is the background and influence behind the song?

SWIM explores female sexuality and gender fluidity. In other words, K. (Katie) Mac (who features on the track) and I f*** with some girl-on-girl…

We wrote it together back in the summer of 2017. She was over here from Nashville to find writers and I was looking for other inspiring women to collaborate with.

I believe you have an E.P., Womanhood, arriving. What was it like recording it?

Crazy. Stressful. Exhausting, but so worth it! I've actually still been tweaking things on the last couple of tracks whilst releasing SWIM and Bare. I can tell you that I'll be announcing the next release date in the coming week.

How much do issues like gender fluidity and sexuality come into things? Do you think more artists should be addressing these themes?

I think artists should be addressing things that they believe in and feel they need to speak out on. Music is a great release for all of us, listener and writer alike. If we could all put a little more into what we want to achieve the world would be a faster, forward-moving place. 

How important are London and its diversity regarding your music?

I moved to London when I was eighteen and it was only then that I really started to discover who I was as a person. I spent the early years of my independent life in and around the L.B.G.T.Q.+ community which helped shape who I am now in so many ways - including the way I write music. 

Can you recall which musicians influenced you when you were young? What motivated your decision to get into music?

There was never really any one thing that spurred me on to create music: it's just something I've always known and loved since I can remember. I do remember the big inspirations, though. I was always listening to my idols as a kid and the variety was wide and random.

There are so many but honourable mentions have to go to P!nk, Christina Aguilera; Dido, Cher; Chemical Brothers, Groove Armada; Nero, Deadmau5; Sub Focus, Primal Scream...I want to go on but we could be here all day.

What do you hope to achieve in 2018?

By the end of this year, you'll have all heard my new E.P., Womanhood, in full, and, hopefully, some of you might find some healing in its inner-workings. I've got a couple of big shows to announce yet, along with a few more surprises. Stay tuned!

Have you got a favourite memory from your time in music – the one that sticks in the mind?

That’s a super-tricky question! I have so many amazing memories I could share. My first Sofar performance last year is a big one for me. It was the first time I proved to myself that I could really connect to people through being honest with my music. If you haven't been to Sofar (Sounds) before, I'd really recommend it - such an incredible experience for everyone in the room.

If you could support any musician alive today, and choose your own rider, what would that entail?

Again; this is a tricky one but I'm gonna go ahead and bat for the independent team by saying Femme. I love what she represents; not only as an artist but as a businesswoman.

The rider would be several joints, some feminist literature and a fu*k-load of sushi. 

What advice would you give to new artists coming through?

Trust your own sound and don't let any idiots tell you that you need to change or 'define' it. I was confused for a long time because people would say things like: “I don't really get what genre you are writing in” or: “Who is this music for?” Let your answer always be: “For me and anyone else who fuc*ing well likes it”. Individuality is dying - remember that the next time someone questions who you are. 

IN THIS PHOTO: dwilly

Are there any new artists you recommend we check out?

SO. MANY. In fact, here are five tracks I have recently discovered on Spotify and I am OBSESSING over them. Go and add them to your summer playlists if it's the last thing you do today...

Money - Leikeli47

ADD - dwilly (ft Emilia Ali)

Falling - Animal Feelings (ft. Thief)

6 Letters - Daktyl, Aquilo 

Clean Break - SIBA

IN THIS PHOTO: Aquilo

Do you get much time to chill away from music? How do you unwind?

Listening to other people’s music. Haha. Music is, quite literally, my oxygen. If I'm not around it, I’m not having fun.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

YES. This song is an absolute vibe. Ideal listening environment: in the bath, headphones on with a joint. If that’s not your style, simply listen whilst on your morning commute whilst watching the world go by.

BENDMA - I Wanna Be Loved by You 

_____________

Follow Georgia Meek

Facebook:

https://www.facebook.com/GeorgiaMeekOfficial/

Twitter:

https://twitter.com/iamgeorgiameek

Instagram:

https://www.instagram.com/iamgeorgiameek/

SoundCloud:

https://soundcloud.com/georgiameekofficial

Spotify:

https://open.spotify.com/artist/2SdZ3VbhjVRXo11kPxVCTS

FEATURE: Platinum Bond: Seventy Years of the NHS: For Musicians; For Everyone…

FEATURE:

 

Platinum Bond: Seventy Years of the NHS

For Musicians; For Everyone…

__________

WE keep hearing about the NHS…

PHOTO CREDIT: Unsplash

and how perilously underfunded it is. This is true, indeed, but I wonder if there are solutions and whether, alarmingly, the National Health Service will survive in its current state: a free enterprise that has helped millions and has done immeasurable good for Britain! Budgets are getting tighter and workers are being stretched to their limits. It is the seventieth anniversary of the NHS and, whilst we celebrate; one cannot help look at the financial burdens and how little the Government are doing right now. Plans have been mooted to freeze duty on alcohol and fuel to allow some extra money to go the way of the NHS. Looking at this article and it seems like an important debate will bubble tonight:

“That will be the question tonight, when on the eve of the 70th anniversary of the NHS, Sky News hosts a live debate about the system's future from Guy's Hospital in central London.

Sean Worth, a former health adviser to David Cameron when he was prime minister, and Sonia Sodha, a policy adviser to Ed Miliband when he was Labour leader, will present two different arguments for how the NHS should be funded.

We give you an outline of the case each of them will make during tonight's debate.

Sean Worth will argue:

"The NHS is under unbearable pressure, with staffing shortages, financial deficits and over 2,000 operations cancelled every week.

"The service is doing a great job, but is constantly pressured to do more for an ever-growing and ageing population.

"We can keep pouring more money in, but it will never be enough.

PHOTO CREDIT: Getty Images

"The big change we need is to allow more outside experts in to deliver more NHS services, including from the private sector.

"There is so much extra capacity, innovation and amazing technology there, but only 7% of NHS services are delivered through outside organisations.

"The trade unions' rage against the private sector delivering NHS services is preposterous - especially as many of their senior NHS members are moonlighting for private firms on the side”.

PHOTO CREDIT: Unsplash

Other reports suggest the Prime Minister, Theresa May, is ready to inject financial support into the marrow of the NHS:

“Theresa May has decided to give the beleaguered NHS a “significant increase” in its budget to coincide with the service’s 70th birthday in July, the health secretary Jeremy Hunt has revealed.

The prime minister intends to ramp up spending in order to show that the Conservatives can be trusted to run the NHS and because it needs extra cash to tackle chronic understaffing, cope with the ageing population and improve care, Hunt said.

May will fulfil her pledge of a “long-term plan” for NHS funding by ditching the austerity-era 1% annual rises it has received since 2010, the health and social care secretary told the Guardian in an exclusive interview.

“She is unbelievably committed. You should not underestimate how committed she is to the NHS. So she is absolutely 100% behind getting this right,” Hunt said”.

Whilst these words might balm and soothe the furrowed brows of those deemed with guiding the NHS forward; it will provide small consolation to those NHS workers who have committed so much of their lives to the jobs they love. I wonder why it has taken so long for the Government to find money to put the way of the NHS. I am sure education and other areas have been funded. The thing is this: nothing is important as the health service and the NHS’ survival. If you cannot live, operate and go about your day then you cannot teach or be educated. The NHS supersedes everything and is at the top, one would hope, funding totem pole! This article argues why the money promised by the Government might not be enough. We hear about aims to support those with mental-health issues: the reality is not enough is being done and there is a long way to go. I wonder how the NHS will change when Brexit finally happens; will certain people have to pay and will others be excluded?! Labour leader Jeremy Corbyn has been urged to think his position on the NHS when outlining the party’s Brexit plans. Labour are, as he says, the party of the NHS: the interests of those who rely upon our healthcare system is top of his focus.

PHOTO CREDIT: Unsplash

If we get a hard-Brexit then the fate of the NHS could be different were we to have a soft-Brexit. It seems, even though the P.M. has pledged £135bn by 2023-2024, a £20bn increase on this year’s budget, and equivalent to an average annual increase of 3.4% - maybe that is only going to keep the NHS afloat as opposed expanding and improving it. There is a lot of stress and uncertainty when it comes to the amount given to the NHS; whether social care and healthcare will be on a level footing – so people are not pushed from one to another – and how Brexit will affect plans going forward. When Welsh Labour minister Aneurin Bevan created the NHS on this day in 1948; he would have no idea what it would do and how many people it would help. From those who have worked/work in hospitals to those who have had their lives saved – the importance of the NHS cannot be understated.

IMAGE CREDIT: Gruff Rhys

Musicians are celebrating the seventieth anniversary in their own way. Gruff Rhys (Super Furry Animals) has released a song, No Profit in Pain, to mark the anniversary; pay tribute to the NHS and show why we need to keep it alive and accessible-for-all. He was writing in The Guardian and explaining why he, and many people he knows, have come to rely on the NHS’ great work.

“The NHS is something that we can too easily take for granted. I’ve twice toured with musicians in America when they’ve had broken limbs and not been able to afford treatment. Each time, they had to continue touring in pain in cramped vans, using homemade splints and slings. It’s a precarious way to live if you don’t have insurance.

The NHS has been there for me throughout my life and has saved many of my family members’ lives. It means more than anything I could ever hope to convey in a melodramatic synth-pop power ballad. For the song (recorded with Kliph Scurlock on drums and Llion Robertson producing), I focused on the battle to keep the NHS as a free service in public ownership. There’s loads of swearing in it”.

I have been lucky (touch wood) enough not to have to rely too heavily on the NHS but, looking around, and one cannot quantify the number of musicians who have been saved and helped by the NHS. I know so many people with mental-health problems and psychological issues who have been for counselling and been hospitalised. Receiving that care and attention has not only kept them alive but has led them to create music and turn their lives around. Many other musicians suffer strains and muscular distress; some injury themselves whilst performing and others incur pain during their careers. Whether it is something as minor as a cut face or a broken leg; the fact they can go to hospital, be seen and fixed is vital. It means they can continue to play/earn and do not have to break the bank. We all know there is a mental-health epidemic that means more musicians are self-harming and depressed; many suffer psychological illnesses and it is worrying to see.

PHOTO CREDIT: Unsplash

Waiting lists are increasing – to see a counsellor or psychiatrist – and those available do a sterling job. It is the psychological side of the musician’s life that makes me feel the NHS needs more money to do what it does. The number of people seeing mental-health professionals is at all all-time high. Throw into the mix all the physical risks of being a musician – back and neck problems to injuries and falls – and the value of the NHS cannot be measured. I guess Gruff Rhys will not be the only musician paying tribute to the NHS today. There are gigs around the country and today provides a chance for people to think about the NHS’ longevity and changes and pay thanks. It is not only musicians/creatives who have benefited from the NHS: families, friends and those we rely on have also had their lives saved/prolonged. If the NHS did not exist, or was to privatised, then there is a concern some would not be able to afford it or there would be alterations that would negatively impact the way it is run and operates. We have a committed body of professionals who put in extraordinary hours and energy to enrich and preserve the lives of millions in the country. Musicians rely upon the NHS as much as anyone else out there.

We are all very lucky to live in the U.K. – in respect of our healthcare – when you look at the U.S. Whilst Gruff Rhys has revealed why the free health service is valuable to him; fortunes are not as bright and stable in the U.S. – as this article from 2010 shows:

“Josh Homme has a pertinent piece of advice for any musician hoping for help from the American medical system. "If you want to live," says the leader of Queens of the Stone Age, "you better be rich."

Two years ago, Homme's Queens bandmate Natasha Shneider died from cancer, aged just 52. She was put on chemotherapy pills – two a day at $500 a time. Schneider had health insurance that split the cost, but that still left her paying $500 a day for essential treatment. Now Brian O'Connor, the bassist in one of Homme's other bands, Eagles of Death Metal, has been diagnosed with stage-four colon and lung cancer as well as tumours on his bones.

"This was a 6'3" guy," Homme says. "He went from 230lb to 180lb in six months. None of us could understand it. It's just heartbreaking. I'm 37 now and I've been beating myself up my whole life, but I'm insured, I know the status of my own health. Brian is only 44 and his insurance is sorted now, but even when you're insured you still get slow-rolled. The bureaucracy of insurance has become its own problem. Brian's cancer is incredibly aggressive. He needed surgery immediately, so we paid for four days in hospital with a brilliant anaesthetist and one of the best surgeons in America. That was $25,000…”.

IN THIS PHOTO: Queens of the Stone Age's Josh Homme/PHOTO CREDIT: Getty Images

Many are looking forward to another seventy years (and more) of the NHS and what it can become. There is one part of the mind that worries whether enough money will be allocated to ensure services can continue and the NHS can be sustained, expanded and strengthened. Those who work tirelessly are doing their best but we are all aware how much they sacrifice – it is unfair we should ask so much of mere mortals. Every person alive has exposure and experience of the NHS and the good work that is being carried out every day. Musicians, as I said, would not be able to create and continue were it not for the NHS. It has been a long and hard road for the nation’s most-loved service and a shining example for the rest of the world. I hope my fears around funding and long-term survival are unfounded and premature. It would be upsetting to see the foundations crumble or people suffer because there is not enough resourcing or staff. Rather than dwell on the bad; let’s all, as we have been today, celebrate and mark a wonderful anniversary. Seventy years strong and the NHS continues to patch up and help those who need them. From musicians struggling with mental-health issues and the inevitable gig injuries; musicians are as grateful and full of respect for a platinum-gold service…

PHOTO CREDIT: Getty Images

WE all rely on and cherish.  

FEATURE: Bring It Back: The Artists Who Continue to Make Incredible Music – Yet Seem to Be Defined by Their Biggest Hits

FEATURE:

 

Bring It Back

IN THIS PHOTO: Róisín Murphy/ALL PHOTOS/IMAGES: Getty Images

The Artists Who Continue to Make Incredible Music – Yet Seem to Be Defined by Their Biggest Hits

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I have been reading the Twitter feed of Róisín Murphy…

and am troubled by what I read! The Irish singer-songwriter has been emotional and is fighting against those who cannot see past her work with Moloko. Some, when reviewing her recent work, recognise Murphy is as potent as ever - they give her proper kudos and see she is an ever-changing artist. I admit: I am one of those people who followed Murphy and (Mark) Brydon during the 1990s/2000s. I loved the albums, I Am Not a Doctor (1998), and Things to Make and Do (2000). That decade (millennium)-spanning brilliance from the duo spawned singles such as Sing It Back and The Time Is Now. I even loved an album that got less critical love than those two: the brilliant, underrated Statues. The brilliant, lead-off single is one of my very favourites: Familiar Feeling is Moloko at their sassiest and most addictive. In musical-journalism-chess-terms; this might be a discovered attack or en passant play: in any case; I am reacting to an article that highlighted Moloko’s best-known hit, Bring It Back. The article is, as Murphy states, brilliant and very passionate. The first standout quote/segment from the article distils the song’s energy and what it was all about:

“Wilfully idiosyncratic, gloriously arty and fiercely protective of what Moloko stood for, Sing It Back represents a strange anomaly in their career; both their defining moment for many, but also not entirely their baby. Its gestation involves tantrums, label arguments, hanging out with Mel C and furniture reupholstering”.

Another extract – the piece is a conversation with Murphy as she explores the song’s oirigns and impact – looks at Sing It Back and what it meant to her:

“It still feels like a victory, honestly. Actually, it still feels like a lesson more than a victory, in that you should trust your instincts. The best thing about Sing It Back and Time Is Now, is that it took us to festivals all over the world, to play in front of thousands and thousands and people. That was the best thing that came out of it. I also got to perform it on Top of the Pops just as I'd imagined it after I put the CD on in Sheffield months before. Who else was on the show? Sporty Spice was there with the Canadian fella... Bryan Adams! Or was that with The Time Is Now? I forget. I do know a lot of these young popstars were watching me and going 'hm, it is possible to be cool and popular at the same time”.

I was sixteen when Sing It Back was released (15th March, 1999) and recall the playground chatter and the way we took the song, and Moloko, to heart. It was an incredible time and one that opened my eyes to a different form of music!

I was growing up around chart music and the rise-fall of Britpop: Moloko’s candid, colourful and inventive music did something staggering and changed mine and a lot of people’s lives. Whilst the article from i-D pays tribute to a decade-scoring gem; there seems to be the insinuation that Róisín Murphy is the sum of that one song. Maybe there is an irony in The Time Is Now: we are not looking at the work she has produced post-Moloko and where she is in her career to this day. One of my best moments from music journalism was reviewing Murphy’s Take Her Up to Monto. I was writing for The Metropolist (now defunct - not my fault!) and gave it a hearty four-star thumbs-up. My words suggested, however, something akin to a golden five-star review. I tagged Murphy on Twitter and she, with a wink, asked how the rating system worked over there – why was she not getting top marks?! I worried I’d peed her off and should have given it five stars as the album was worthy of it – the actual fact is sites/papers are reluctant to dish out too many five-star reviews as a whole. In any case; I was amazed by the album and how it differed from her Moloko work. Lip Service, Ten Miles High and Romantic Comedy are two of the finest songs Murphy has penned (she co-wrote the album with Eddie Stevens). Critics gave the 2016-released album a load of love and recognised what a sensational effort it was.

Track back to 2015’s Hairless Toys, with Stevens’ co-writing, and you have another brilliant creation. There are eight tracks but (the songs) take longer to unwind and are more explorative. From the sharper and more instant songs of Moloko to a woman now building new foundations and creating a new musical empire. The Guardian assessed Hairless Toys thus:

“…From the glasslike Gone Fishing to its Italo-disco and house mutations and unusual country diversions, it draws from the past but adds a crisp, modern polish; and unlike other revivalists, there’s a depth to Murphy’s vocals, as if she has experienced the freaks and fantasy of Studio 54 firsthand. Hairless Toys is pure, evocative elegance, her performance as flamboyant and fragile as the subculture she celebrates”.

Hairless Toys arrived eight years after the amazing Overpowered. That album employed more songwriters and was more Disco-influenced. The label, EMI, provided a bigger budget and, as such, Overpowered feels like a more expansive, explosive and full work – compared to what was around the mainstream at the time. Murphy is, and always has been, a maximalist who puts every corner of her heart, soul and blood into every ounce she produces. Even on Ruby Blue, her 2005 solo debut; critics were on board and knew Róisín Murphy was entering a new creative phase. This AllMusic review sums up the transition – and why people should not live in the past:

 “As brilliant as Moloko could be -- on both their most eccentric and most conventionally pop moments -- their albums never quite jelled into something as uniformly great as Roisin Murphy's solo debut, Ruby Blue. By teaming up with producer Matthew Herbert, who remixed Moloko's "Sing It Back" back in the I Am Not a Doctor days, Murphy keeps the alluring sensuality and unpredictable quirks that made Moloko unique, without sounding like she's rehashing where she's already been. Both Murphy and Herbert are artists who are equally at home with the wildest and most accessible sounds (and especially when they bring those extremes together), so their reunion on Ruby Blue feels very natural, and gives the album a smoother, more organic sound than might be expected from a debut”.

I am reading what Murphy is putting out there and the struggle to get people to listen hard; get a bigger budget and have her endless hard work rewarded. She posted a video that showed, as she said, the challenge to get people engaging with genuine art and intelligent content is draining. She, like many artists, have to move on from the perception of the past and how people see them. The fact many hear the name ‘Róisín Murphy’ and instantly spring to Sing It Back/The Time Is Now shows we are either stubbornly nostalgic or less attentive in today’s market. Back in the 1990s; perhaps there were budgetary constraints and issues – one feels there were more people listening in and the scene, in many ways, has weakened. Murphy has been producing top-quality music for twenty-five years and still has to campaign to get her videos properly funded and people talking about them. With her latest video, Plaything, out there; I wonder how many of the journalists who backed and celebrated her career during the Moloko regency are throwing love and deserved plaudit her way?! The video’s story and imagery are thought-provoking and engaging; the song is classic Murphy: fulsome, nuanced movements and striking vocals; part-youthful and part-mature…the perfect song for a music scene crying out for proper depth and substance!

I hate to throw the word ‘ageism’ about but have we, in a way, become too obsessed by what we perceive as the young and trendy? Look around the music scene and every icon has to tackle that barrier. It is not only Róisín Murphy who has to face being labelled with her former moniker – so many other artists are defined by one song/album. Paul McCartney is always seen as a Beatle. That is not a bad thing but he has produced incredible solo music and did brilliant work with Wings. Look at other female artists like Tracey Thorn (formerly of Everything But the Girl) and Shirley Manson (who gave her support to Murphy following her disbelief and anger). These musicians used to be in one phase of their career, when they were part of that ‘young and cool’ demographic. I wonder, now, whether they are seen as vital and needed as they were years ago. Maybe, then, the question shouldn’t be around a single song/album: maybe artists who have been around for years/decades are being dispensed with and seen as ‘past their prime’. Record labels are less willing to part with cash; magazines and journalists are fickle and move on to the new breed – is there loyalty and trust in artists who have helped shape music and break barriers?!

I have interviewed so many artists who have been influenced by Róisín Murphy and have got where they are because of her music. The irony is, the source of that inspiration gains less affection and respect than those who are fresh and untested. Look at artists from the 1980s and 1990s – or before then – and see where they are now. To survive and have a fanbase after so many years is a feat in itself given the capricious and busy nature of modern music. So many new Popstars last only a few years, and yet, they are loaded and can do anything with music videos; every critic around features them and radio stations are scrambling over themselves to support them. Although it is not only women who face this ignorance and ageism; I was reading an article about Madonna (published in April) where she provided her experiences – and why, in her fifties, she is not allowed to be confident and sexually bold:

“The icon told The Cut in an interview about her MDNA Skin line that she "got so much flak for using sexuality as part of my creativity" and was labelled a "sexual provocateur" in the beginning of her career.

She now thinks that the challenges she endured 20 years ago are now "ludicrous."

 IN THIS PHOTO: Madonna

"Why should only men be allowed to be adventurous, sexual, curious, and get to have all the fun until the day they leave this earth?" she asks.

"What I am going through now is ageism, with people putting me down or giving me a hard time because I date younger men or do things that are considered to be only the domain of younger women," explains Madonna.

The 59-year-old musician plans to keep fighting against ageism.

"Ten to 20 years from now, it's going to be normal," Madonna says of how she lives her life. "People are going to shut up."

The singer says that "by standing up to men" it's only a matter of time until certain behaviours won't be dubbed "ageist".

I am indebted to those exceptional musicians who changed my life and fostered an insatiable appetite for sound and colour. I have not abandoned them or feel they are less worthy than when they started out. Every artist, who has been around for years, that fights needlessly hard for acclaim gets my sympathy. In the case of Murphy, Madonna; McCartney (whose new album, Egypt Station, is out on 7th September) and their like; why must they have to work so hard to get people invested and stay among the chasing pack?! I wonder whether social media and modern journalism have changed music for the worse?! There is so much being thrown at us these days; perhaps we are consuming music too fast and not looking for anything healthy, healing and beneficial – too busy swallowing the tasty, easy and sweet.

It is a complicated argument but I feel the stalwarts of music should not be diminished or (be seen as) less relevant because they are not as trendy and ‘commercial’ as they once were. The reason the long-lasting artists remain is that they evolve and make endlessly arresting and impressive music – you’d think they’d have a blank cheque from labels and not have to get so frustrated. I am seeing so many musicians, established and new, who have to be their own bosses and campaign managers. They are doing endless admin and working themselves half to death to even get themselves heard. There is still the obsession for the young Popstars and what is seen as ‘cool’. I grant there are plenty of established artists who get acclaim and pomp – not as much as they should and, when you think about it; do they get as much gleeful and proud press as when they first started?! Music should be less about commercial and profit and more a meritocracy: supporting those who have lasted longer and are producing the best work. I hope the likes of Róisín Murphy are given more credibility and respect. They have earned it and I worry labels and the press are unwilling to move on from the past and back an artist once they move on and grow older. I will leave you with another exert from the i-D article: it shows Murphy talking about the Bring It Back remix and fighting the label:

“…So then I rang the label. This was all me pushing for this, by the way. Just this young bird from Sheffield that people don't necessarily listen to. Anyway, I was like 'we've got the remix, it's going to be a hit'. The record company were like 'no, we've got to do the Todd Terry version because we paid a fortune for it'. I was like 'just because it was free, doesn't mean you should ignore it'. They just wouldn't listen and I had arguments with them where I was literally lying on the ground crying going 'please!'. I was almost pulling the carpet up. They weren't having it and it was a fight that I lost. They put [the Todd Terry remix] out and it entered in the lower reaches of the top 40. So that was a disappointment, because back then you got your best shot in the charts in the first week...”.

To those labels, publishing companies and assorted others who overlook wise decisions and artists who have worked their socks off for years; realise that, if you want them to keep inspiring musicians and adding their (precious) work to the scene then…

IN THIS IMAGE: The cover of Róisín Murphy's 2007 album, Overpowered

GIVE them the passage and resources they richly deserve!  

INTERVIEW: Janie Bay

INTERVIEW:

Janie Bay

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IT has been great speaking with Janie Bay…

and finding out about her musical progression. She talks about her latest album, Miscellany, and whether there are tour dates coming up in the future – I ask her if we might see her in the U.K. at any point and whether she is a fan of the music we are producing.

Bay discusses the music scene in South Africa and reveals the artists who inspired her growing up; which memories from her time in music stand out; some great new artists we should get involved with; how she spends time away from music – the talented songwriter tells me the ambitions she wants to fulfil before the end of this year.

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

I’m good. Thanks, Sam! My week has been pretty productive so far. Just hustlin’ - as we do here in South Africa.

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

I am a singer-songwriter from Cape Town, South Africa (residing in Pretoria) and I have been doing music full-time for almost ten years.

I Remember, your first solo effort, gained huge acclaim. Do you look back at that time fondly? How have you grown as a musician since then?

The songs on my first (independent) album were some of the first songs I ever wrote and recorded properly. I started writing when I was fourteen but we never really recorded anything back then. I had to get a lot of stuff out; from childhood experiences to losing my dad to writing about how amazing my brother is and how I have looked up to him my whole life. So, yes, I do look back at it in a fond way because I learnt so much and I was happy with it as a very first effort.

Might there be a single/E.P. coming soon? What are you working on?

We are still releasing singles from my current album, Miscellany. I have just released my first ballad from this sophomore album called Can’t Be the One. We might still release one more single from this album before moving onto new projects.

Which artists do you count as idols? What sort of music did you grow up around?

My brother and I grew up listening to a lot of the bands and artists my mom and dad used to listen to in the '60s. So, we grew up listening to some of the best music ever written (thanks mom and dad). A lil later, Elton John, Whitney Houston and Michael Jackson played in our house a lot. We also grew up watching a sh*t-load of movies, so soundtracks played a huge role in our music-loving-forming years.

Later on, in my teens, Alanis Morissette’s Jagged Little Pill was probably the album that influenced me most and got me through quite a bit of teenage angst. Metallica was also in the mix; as were Nirvana, Foo Fighters and Green Day. Then, I went through a major Punk phase with NOFX, No Use for a Name; Goldfinger and those bands - and then I rolled over to a lot of Folk like Ben Howard, Boy & Bear; Ed Sheeran and Mumford & Sons. So; my influences stretched quite far, which I believe also stretched me as an artist and writer, for the better.

You moved from Cape Town to Pretoria. How important is where you live and the people to your music? Do you get a lot of inspiration from the surroundings?

Cape Town is certainly better for the creative juices to flow but Johannesburg (Pretoria is close by) definitely has more opportunities in terms of shows and venues: I wouldn’t have been able to pursue my career in Cape Town. Most industries are bigger up here, so I didn’t really have a choice. I miss Cape Town but, unless you are very established, you have to be up here in my opinion.

PHOTO CREDIT: Lampost People

Is the South African music scene quite strong? Do you find it a natural space for you to perform and create in?

To be honest, South African-English ‘Pop’ is one of the least supported genres in our country. If you are an Urban artist or an Afrikaans Pop artist, you will have a lot of support both financially and fan-wise. Our country’s economy is also struggling currently but my heart is to write in English and I am a singer-songwriter at heart; so I will carry on doing my thing. I am, of course, very thankful for all the support I have had up until now.

What do you hope to achieve in 2018?

I suppose, to get my music out there more. Also, to hopefully successfully plan a tour abroad.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

There have been quite a few. My favourite two shows so far have been (one) at a festival called White Mountain Festival a few years back. Not a very big festival - about 1500 people but the crowd was on fire and the whole gig felt like one song/journey for forty-five. Everything felt so smooth.

Then (two), a very small gig; about thirty people. It was a theatre-like performance about two months ago. The sound was perfect and you could drop a pin on the stage; it was so quiet. Everyone was listening to each song intently. It was just very special and intimate.

PHOTO CREDIT: @imthecarpenter

If you could support any musician alive today, and choose your own rider, what would that entail?

I would love to support James Bay and, to perform one song with him, would be a dream. Ed Sheeran is coming to South Africa in March 2019. We are both at Warner Music, so…you never know!

Is it true you are coming to the U.K. to play? Are you a fan of the British music scene?

Myself and my label are talking about the possibility of it. Hold thumbs that we can make it happen! Please send me suggestions for British acts to listen to. I would love to learn more about it!

You have played around the world and seen many different audiences. How important is touring and getting your music out there?

I have travelled quite a bit but haven’t seen many bands abroad. We have had quite a few international bands/acts over here. My absolutely favourite must have been Paolo Nutini. What a performer! What a musician! What a band! I was blown away! He really took me to another place for an hour and a half. I believe it is absolutely vital to see international acts perform in order for us to up our own game.

What advice would you give to new artists coming through?

To play as many gigs as you can; wherever you can, whenever you can. To be gig-fit is one of the best things you can have. Always be ready to play a song to anyone. Do warm-ups before a show, always. Stay humble, no matter where life may take you. Be thankful for every small or big victory. Remember those you have helped you along the way. Work hard. Keep writing.

IN THIS PHOTO: Werner Bekker

Are there any new artists you recommend we check out?

I would love to recommend some South African artists. Check out Werner Bekker and Roan Ash. Also; Elandré. He sings in Afrikaans but his music is amazing.

IN THIS PHOTO: Roan Ash

Do you get much time to chill away from music? How do you unwind?

I love fitness. So, going to the gym makes me feel amazing. I also love films and cinematography (I am very much involved with my own music videos from start to finish).

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

I am bias, but also not. Please check out Werner Bekker’s brand new single and music video for I’m With You. He is amazing; a true singer-songwriter and this is a beautiful song. My boyfriend and his partner produced this song. It is very Damien Rice. So good

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Follow Janie Bay

Official:

http://janiebay.com/

Facebook:

https://www.facebook.com/janiebay/

Twitter:

https://twitter.com/janiebay

Instagram:

https://www.instagram.com/janiebay/

SoundCloud:

https://soundcloud.com/janiebay

YouTube:

https://www.youtube.com/channel/UCtpcyjDSvS8YQClKnI0kH1w

Spotify:

https://open.spotify.com/artist/0VSXm0RbmbovOLT6ADgovM

INTERVIEW: Eshtar

INTERVIEW:

Eshtar

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THE amazing Eshtar…

has been talking with about her mini-album, Sound of World, and the themes/colours that go into it. She discusses working with Tomash Lukach on the project and all the sounds she incorporates into the music – she talks about moving from Iraq to Ukraine and what the music scene is like where she is.

Eshtar talks about early childhood musical tastes and whether she will tour soon; if a stop in the U.K. is a possibility; a new artist we should get behind; whether she gets time to chill away from music – ending the interview by selecting a great track!

___________

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

Hello. I’m great! It’s been a busy week. I’ve had a lot of work. I’m writing new music, lyrics; doing some interviews. It’s always a process. Thanks for asking.

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

My name is Eshtar. If you want to find out about me, you can listen to my new mini-album, Sound of World, and maybe you will find the answers that are bothering you...

Sound of World is your mini-album. What sort of themes and ideas influenced the songs?

I love vocals, many vocals; I love to use it like an instrument in songs. Vocal packs are inspiring. Makes me feel like I have my own individual tool to creatе music. I'm obsessed with brass - my lovely influence from some Trap compositions. Deep, low basses; sounds - all that I need to create something interesting. The spirit of mysticism, protest; love, war; a strong character, savagery; passion and simplicity - everything is here. It’s the sound of the world. It catches you and makes you think about it.

BANKS, Kimbra; Jack Garratt, Kwabs; FKA twigs, Stromae and Sevdaliza inspired me regards writing.

There are a variety of genres playing alongside one another – including Trap and Pop. Was it hard putting them all together – or does it reflect your music tastes and the sort of music you usually listen to?

These songs were written in different periods. Now, there a lot of diverse music and genres - and you cannot listen to one thing all the time. Every day you like something different, something new. You find new artists, like the way they do, with new instruments, sounds and melodies.

I remember that moment when I fell in love with Trap. I saw the movie called Suicide Squad with unreal soundtracks. That (song) Purple Lamborghini by Rick Ross and Skrillex was mad. It completely conveyed my mood and I could no longer do without this genre.

What was it like working alongside Tomash Lukach on the project?

Most of the time, I work alone. I just go to my favorite coffee shop, start the Logic Pro and the work begins. None of the songs was written in the studio (i need my special places. Hahah); always different places – basically, where I can connect to the power socket. When I have all the vocals and most of the arrangements, I come to my friend’s (Tomash Lukach’s) studio to bring it together. He feels my music: he’s addicted to his JOB.

He wants my music to be COMPLETE! I can see he is interested in the process the same, as I am, and this is very very important to me! We do the rest of the magic with him. Sometimes, its just a small replacement of a bass drum and then mixing and mastering – and, sometimes, we sit like for hours just to pick right hats and samples or re-bounce some vocal parts. That makes a song (so) unique.

You were born in Iraq but moved to Ukraine. What was the reason for this? Is there a strong music scene in Ukraine?

My father is Arabian (he’s from Iraq). He moved to Kyiv to study at university where he met my mom in some city cafe. My mother is Ukrainian and they got married shortly after they met...and my father stayed in Kyiv. That’s how I was born in Ukraine.

Now, it's time for new music in Ukraine. There's a new wave of fresh sounds, interesting ideas and new artists. Everything is changing and it’s just beginning here.

Do you recall the sort of music you were raised on? Which musicians inspired you at a young age?

It was Whitney Huston, Michel Jackson; The Beatles, Backstreet Boys. During my school years, I preferred Avril Lavigne, Red Hot Chili Peppers, Gorillaz; Linkin Park, Arctic Monkeys; Evanescence and Stevie Wonder. In high-school, I played in a band so there were a lot of artists and genres that I listened to.

What do you hope to achieve in 2018?

I want to show my music to the world. I wanna be known as an artist that makes music; have some concerts, meet interesting artists; do some collaborations. Who knows where it can all go…

Have you got a favourite memory from your time in music – the one that sticks in the mind?

Every memory associated with live performances of favorite artists is a favorite memory for me. When you’re there, something unbelievable happens with you and your emotions. It always changes you in a better way. It gives you power, hope, true happiness and that superhero feeling of invincibility. How they perform, how the musicians play; how everything works on the stage...it gets you thinking a lot after live performances:’How did they do it. Incredible!’

What advice would you give to new artists coming through?

Never give up and don’t listen to anyone. Your life, your decisions.

Might we see you tour very soon?

Oh. I want it so bad. We are already preparing for some live performances so everything is possible. I have huge plans, so we will see.

Do you think you’ll come to the U.K. and play?

I have loved the U.K. very much since my childhood and always wanted to go there. I hope, one day, this dream will come true

IN THIS PHOTO: Loïc Nottet

Are there any new artists you recommend we check out?

I love to listen and watch the popular artists because that’s where most of the teamwork’s been done. I don’t think that I know an artist that you haven’t heard of. In winter, I found out about one Belgian singer, Loïc Nottet. He’s not the new one but he is so talented. He writes his own songs, has a great and interesting voice; amazing dancer, acting like a professional actor. I wanna be like him.

Do you get much time to chill away from music? How do you unwind?

I’m twenty-seven and I’ve never chill away from music. I don’t even know if it’s good or bad but I know that you have to work. Don’t stop if something goes wrong. You need good results, improve your skills daily. It’s my passion. I get new information every single day. That’s how the character is brought up; that’s how dream works

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Great. I choose LSD (ft. Labrinth, Sia and Diplo) – Audio. Genius

_____________

Follow Eshtar

Official:

http://www.eshtarmusic.com/

Facebook:

https://www.facebook.com/eshtarofficial/

Twitter:

https://twitter.com/eshtarofficial

Instagram:

https://www.instagram.com/eshtarmusic/

SoundCloud:

https://soundcloud.com/eshtar

YouTube:

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

Spotify:

https://open.spotify.com/artist/1hjX0GKNBaBmSsdvqgGvNH

INTERVIEW: Million Miles

INTERVIEW:

Million Miles

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WITH a brilliant single out…

there are more eyes and ears pointing the way of Million Miles. I have been talking with her about If Only and writing it alongside Bruno Major. The songwriter tells me about a precious musical memory and reveals some new artists to look out for – she talks about spending time in the U.S. and how important that was.

Million Miles looks ahead to tour dates and reveals her musical inspirations; how she spends time when there is a chance to chill; the advice she would give to upcoming artists – she ends the interview by selecting a rather good song.

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Hi, Million Miles. How are you? How has your week been?

Hello, there. The week has been fabulous. We’ve had brilliant summer weather in London lately and it was also the first week back at home after a couple of weeks in the U.S. - so, perfect timing.

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

I’m a singer-songwriter with a deep love for Soul music and extensive experience in heartbreak.

If Only is your new single. Can you talk about its background and inspiration?

If Only is about timing: never quite nailing emotional availability. You may be ready to be with someone who might not be and vice versa. In a world that is overwhelmed with possibilities and a very short attention span, I feel it’s something people may have experienced a lot and I wanted to talk about it.

It was written alongside Bruno Major. What was it like working with him?!

I’ve been a fan of Bruno ever since I heard his live E.P. - before A Song for Every Moon started. It goes without saying - you can hear it just watching him play any of his songs - that he’s an amazing musician and songwriter. It was a delight working with him; very inspiring. 

Do you think there will be more material later in the year?

Absolutely. I’ll be releasing a new E.P. in the fall and I’m really, really excited about it. Stay tuned!

How did you get into music? Were there particular artists and albums that inspired your choice?

I fell into it when I was born…

Always been around it. I come from a musician’s family with a strong love for Blues and Soul music. I started playing the piano from a young age. All those elements naturally led me to constantly think music and make music. The records typically playing at home would be '70s Soul records. Later, I discovered Jazz and Blues and that had a massive influence on me. So many albums, though…Stevie Wonder’s Fulfillingness is one I can think of at the minute.

You were born in Paris but spent time in America. How important was that time in the U.S. regarding your development and aspiration?

It was absolutely crucial for me because I was a music student then and it’s actually while in the States that I got into Jazz and Blues, the Great American Songbook as well as artists like Carole King, Joni Mitchell and James Taylor. I was around so many amazing musicians; it made me want to up my game and really dig this singing thing - I hadn’t been singing for long when I got there; it was fairly new to me.

Where are you heading on tour? Where can we catch you?

I just came back from a U.S. tour. I will play some shows in the fall in Europe and probably in the U.S. as well. It’s all in the works but dates aren’t confirmed yet but. You’ll be the first informed as soon as it’s all in place. But, in a less-distant-future, I’ll be playing Camden Assembly on 26th July in London for War Child UK.

Is the stage the place you feel strongest and most free? How important is it being up there and performing to the crowd?

To me, it’s vital because that’s really when the songs come alive and when I can fully enjoy the audience’s reaction to my music It’s the best. It’s also a great opportunity for improv and I love improv.

What do you hope to achieve in 2018?

I would really love to keep working with some amazing people all-round and writing songs; recording and releasing more music. I love the feeling of having finished a song you think is your best yet…and lots of shows.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

I went to see Ray Charles play as a kid. That was the best show I’ve ever been to. I was dancing on my chair. One of the musicians noticed me, went to talk to Ray Charles and asked him to sign a card for me. I must have been blushing loads. I was ecstatic.

If you could support any musician alive today, and choose your own rider, what would that entail?

It has to be Bill Withers.

Hopefully, he’d let me kit-share his Wurlitzer and I’d happily do that for a packet of crisps and a couple of anecdotes from Bill. 

What advice would you give to new artists coming through?

Do your thing. It’s a hard road so you might as well do what you want to do.

IN THIS PHOTO: Blanco White/PHOTO CREDIT: Sequoia Ziff

Are there any new artists you recommend we check out?

Loads. Jordan Mackampa, Blanco White; Jade Bird, Sharky; Courtney Marie Andrew, Jacob Jeffries - and I’ve just come across this girl, Rina Mushonga, who is awesome!  

IN THIS PHOTO: Courtney Marie Andrews/PHOTO CREDIT: Laura E. Partain

Do you get much time to chill away from music? How do you unwind?

I’m a dab hand with some watercolours and pencils - it’s a great way to spend a day off.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Rina Mushonga – AtalantA

_____________

Follow Million Miles

Official:

https://www.millionmilesmusic.com/

Facebook:

https://www.facebook.com/milmilesmusic/

Twitter:

https://twitter.com/MilMilesMusic

Instagram:

https://www.instagram.com/milmilesmusic/

SoundCloud:

https://soundcloud.com/milmilesmusic

YouTube:

https://www.youtube.com/c/millionmiles/

Spotify:

https://open.spotify.com/artist/3exZi47Gf3ZlXjKbvLp5Wm

INTERVIEW: Kalpee

INTERVIEW:

Kalpee

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HIS latest video bursts with colour…

and vivid intensity. I have been speaking with Kalpee about his track, Colourful, and putting it together. He talks about Calypso music and his life in Trinidad and Tobago; what we can expect in terms of his future steps; a new artist we should follow closely – he tells me what he hopes to achieve before the end of this year.

Kalpee reveals how he is feeling about playing The Color Run and gives advice to upcoming artists; which artists he grew up around; if there are going to be any tour dates soon – he ends the interview by picking a song that means a lot to him.

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

Heyy. I’m good; thanks for asking. I’ve been in Sweden working in the studio for the entire week, so my mind is in that creative mode right now and I’m loving it. Got to chill with some friends I haven’t seen in a while as well, which was really refreshing, so I had a great week (smiles). Just by the way the sun doesn’t really set in Sweden during the summer, that blew my mind - just thought you might like to know (laughs).

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

Hey, hey. I’m Kalpee and I’m an artist out of Trinidad and Tobago. I’m really in love with music and I think it’s one of the most powerful tools we have. My sound is a really big mix of genres: it’s like a mix of Pop, R&B; Calypso, Reggae and maybe even Rock. It’s all just a vybe (sic.) for me; wherever the sound wants to go it goes I guess.

I don’t really like boxing off the ideas: it’s way more interesting when we mix it up a bit. Nonetheless, I really hope you enjoy my sound and, if you do, you should let me know (smiles).

Colourful is your new track. What is the story behind the song?

Colourful is about difference and the fact that difference is beauty. We live in a world full of boundaries that limit who we truly are and tell us who we should be. I honestly believe in self-expression and think it’s really important for society. We need to love ourselves some more and we need to be proud of ourselves - cause there is absolutely no one like you out there, so own it. 

It is Pop with a twist. Do you think it is important to keep things fresh and not follow the pack?

Definitely. The thing is, I just create what feels good to me. Keeping things fresh and doing my own thing isn’t intentional - I just make music. I’m from Trinidad and Tobago and a big part of my musical life as a kid was in Calypso music. The coolest thing is that I feel like I’m now able to merge what I learnt from Calypso and even Soca music with Pop music and I just think it’s such an interesting sound.

I honestly can’t wait to hear everyone else’s opinion but, for now, I’m happy with how the sound is growing. A true artist has their sound, vybe and message and I guess that’s what makes music fresh. When the sound becomes a personality, no one can copy you; I hope my sound grows into a personality.

 

The video lives up to the song’s name! What was it like filming it?

It was incredible but so much work (but that’s part of it). It took us a while to put the entire video together, maybe a week filming with the guys in Trinidad and then three days in L.A. shooting everything else. We actually went out to the desert to do the performance shot and it was sick; had an amazing team out there who made the entire thing possible. Major blessings to them (smiles).

Will there be more material later in the year?

Of course. You have no idea how eager I am to put out more music, but all in good time. You know I got your back...

You have been invited to perform at The Color Run. Are you looking forward to that?!

Most definitely.

I’m so excited. Can’t wait to feel Color Run’s energy but, not gonna lie; I’m a bit nervous as well cause I really want this performance to be perfect. I know it’ll be an amazing experience nonetheless.

Give me an impression regarding the artists that inspired you growing up. Who do you count as idols?

Bob Marley, for sure; Miguel and Chronixx. Super-inspired by those guys. When you call yourself an artist, you take on the responsibility of having a voice of reason. You almost become a politician to some extent and I feel like all of the above have and are representing in such a positive way. Their music is full of energy, love and substance and I admire that so much.

I’m a huge fan of Chronixx. I think his music is extremely powerful and groundbreaking; there’s a vybe to it that’s difficult to explain but that’s the beauty of it I guess.

Where are you heading on tour? Where can we catch you?

Got excited reading this question (laughs).

The tour, I’d say, is definitely in the works. The team has been working extremely hard on putting this all together. Colourful made the viral charts in countries such as the Philippines, Malaysia and Singapore and has been gaining some nice traction in Europe and the U.K…so, I guess I’m gonna be doing a good bit of travelling in the near-future; looking forward to seeing you all (smiles).

What do you hope to achieve in 2018?

I really, really want to just put out all the music I’ve been working on. It’s hard having all these songs and I’m the only person who can listen - so I hope I get the opportunity to put out an album and then go on tour. That’ll be amazing.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

That’s a hard question, to be honest. My favourite memory isn’t anything extravagant but, around the time of No One - those were the days in Trinidad with my bros - we were testing the waters to see if we were any good at making music. Turns out we weren’t that bad (laughs). We had a couple of studios, Tano’s (producer) bedroom; my living room and my mom’s kitchen, which was mostly used for mixing and mastering. Hahaha; just kidding, obviously, but it’s so nice being able to look back at those days and seeing the growth from then to now. 

If you could support any musician alive today, and choose your own rider, what would that entail?

Probably Chronixx.

In terms of a rider; I’m a pretty simple guy so I’d say room temperature water; a kettle, fresh fruit and, if I had to be fancy, some red wine for after the performance. Hahah.

What advice would you give to new artists coming through?

Be open to growth, be patient and always be picky; set the bar. Make an impact, be a leader; be a good example: we have young ones watching.

IN THIS PHOTO: Jimmy October

Are there any new artists you recommend we check out?

Jimmy October. Thank me later

Do you get much time to chill away from music? How do you unwind?

Umm, not really. Haha. But, I don’t mind. Most of the time I’m using music to unwind - I guess that’s why I love my job.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Chronixx - Loneliness 

Gosh, I love that song

_____________

Follow Kalpee

Facebook:

https://www.facebook.com/kalpeeofficial/

Twitter:

https://twitter.com/kalpeeofficial

Instagram:

https://www.instagram.com/kalpeeofficial/

SoundCloud:

https://soundcloud.com/kalpee

YouTube:

https://www.youtube.com/channel/UC_MzMDrCpB5bFmzx3DFbF9g

Spotify:

https://open.spotify.com/artist/1nXDduJ1GdtMchWBMdnFiH?si=3TfIulSPQs-xzS-GIEJWPA

INTERVIEW: Eleanor Nelly

INTERVIEW:

 Eleanor Nelly

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SPEAKING with artists making their first motions…

PHOTO CREDIT: @georgiaflynncreative

into the music world is very interesting. You get that fleck of excitement and the slight nerves; the hunger and open-eyed desire. Eleanor Nelly has been talking about her debut single, Polaroid, and how it developed (sorry!); what it was like filming the song’s video; whether there is more material coming this year – she reveals some upcoming artists to investigate.

I ask her which musicians have influenced her and whether she has a favourite memory from her career; the three albums that mean the most to her; if we can catch her on tour this year  - the songwriter ends the interview by selecting a classic Folk track.

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

Hey! Ah; it's been good - just lounging in the sun trying to catch any kind of tan I can get before the weather goes miserable again, really. Haha.

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

I'm Eleanor Nelly; an eighteen-year-old singer/songwriter telling my stories through my music; letting people into my little world using my guitar.

Polaroid is your debut track. What is the story behind it?

This was one of the songs I wrote on my trip to Nashville last year! It was the last day of the trip and I couldn't stop thinking about how gutted I was to be going home. Haha. So, I took that into the session and told Andrew DeRoberts, who I wrote the song with, about how I didn't want to go home and (how we) face problems with our government in the U.K.

But, then, I knew the issues in America with Trump were bad too. It was just about wanting everyone to stop for a minute and (just) focus on the world and how beautiful it can be without us ruining it...just like looking at a polaroid!

The video looks like it was fun to film. Where was it shot? Was it a good experience?

I loved filming the video for Polaroid! We filmed it in the ‘Bombed Our Church’ in Liverpool, on a freezing cold day. Haha. I was so nervous because I've never done a music video before; so, I was so worried about how it was gonna look watching myself back but it such a good video! It was so much fun - even just spending the day in the church and learning things - and seeing things I'd never known even living in the city and walking past it every day.

It seems you have been busy the past year or so! Are we going to see more songs later in the year? What have you been working on?

It's been a crazy year. I've got some more songs on their way very, very soon and an E.P. to be expected soon, too! I spent a lot of this year collecting, writing and recording the songs for this E.P. - so I'm really excited for everyone to hear what's been going on!

Do you get a buzz from songwriting? Does it make you feel safer and more alive?

Songwriting, for me, is so therapeutic. Back when I was in a really bad place in my life, songwriting always allowed me to put them feelings somewhere; somewhere safe. (It was) Just a way I could tell people what was happening and what I was going through without actually having to tell anyone.

Which artists inspired you growing up? Did you always have that love of music?

I always loved being creative; I’ve done acting, dancing and then, eventually, music and writing! Growing up, I always had music around me and I can't really imagine life any other way. I grew up in a city where music is the heart of everything!

My first inspiration was Sandi Thom - and my reason for getting into music! She was the first gig I went to when I was eight and she took me under her wing really!

Liverpool is where you are based. What is the city likes in terms of music and energy?

Liverpool's music scene is special. It's such a supportive network with soooooo many talented people! Some of my favourite bands and artists of all time are local and I love it. Especially, watching local musicians getting so far with music - it makes the city so proud always.

Will there be any live dates coming up? Where can we see you play?

There are a few dates coming up more towards the end of the year! I'm playing a local festival called Shout About It festival next month in Liverpool which is to support local bands as well as photographers wanting to gain experience!

PHOTO CREDIT: @roosvelting

Then, in September, I'll be supporting one of my longest friends at his headline gig - also in Liverpool! More dates always pop up so I always tell people to keep an eye out because I'm always somewhere playing. Haha

Do you have any ambitions to fulfil before the end of the year?

Before the end of the year…hmm; I'm not sure! Honestly, I have done most of the things I have always wanted to do so the rest of the things are all possibly next year's goals or goals for the next five years - like release an album, get back to Nashville; play Glasto!

Have you got a favourite memory from your time in music – the one that sticks in the mind?

Ahhh; I have so many memories. My favourite one has got to be my first gig. I was like twelve or thirteen and went down to this pub in Liverpool called The Albert. I turned up and literally had to play one song because they were worried about me being in there because I was so young…so I got up and played Valerie. People played along with me and sang with me - and it was just the start and I didn't even know it! It always gives me such a warm feeling thinking about it.

Which three albums mean the most to you, would you say?

My three fave albums would probably have to be Kacey Musgraves' newest album called Golden Hour; Joni Mitchell’s Blue and, probably, John Martyn’s Solid Air.

For me; they always remind me of certain points in my life and I can connect with almost every song on each album. It's all about connecting with music to me!

What advice would you give to new artists coming through?

To any new artist coming through, I'd say keep at it. If you love it, do it. If you want it, get it. If it feels right for you, go with it! I can't stress enough how important it is to keep going and keep being you - being original and you is so important. Do what your heart wants and everything along the way will fall into place.

Master your craft and grow with your music! At the end of the day, your music is your art and no-one else can change that or take it away from you so own it!

IN THIS PHOTO: XamVolo/PHOTO CREDIT: Robin Clewley 

Are there any new artists you recommend we check out?

So many artists I love that are up and coming! A band called Stillia (are ones I love). They are smashing it at the moment. Thom Morecroft is one of my favourite local musicians who just blows me away with his songs every time.

XamVolo is just a super talent - there are no words for how unreal that man is. Robbie Cavanagh is such a dream with his music. Also, Callum Beattie is one of my new faves. So many: I could give you books and books of artists to listen to...

IN THIS PHOTO: Robbie Cavanagh

Do you get much time to chill away from music? How do you unwind?

When I need time I take time, but music for me is my chill. When the rest of the world gets too much, then music helps me but, sometimes, I like to just sit and have quiet time. But, honestly; I don't do anything else apart from music: I wake up and play my guitar and do up until I fall asleep.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Oooo; I'd love it if you could play Sweet Little Mystery by John Martyn - one of my fave songs and artists!

_____________

Follow Eleanor Nelly

Facebook:

https://www.facebook.com/EleanorNellyMusic/

Twitter:

https://twitter.com/eleanor_nelly

Instagram:

https://www.instagram.com/eleanor_nelly/

SoundCloud:

https://soundcloud.com/eleanornelly

YouTube:

https://www.youtube.com/channel/UC9jVPKip_7VTS5kxl_V9gIg

INTERVIEW: Ryan Keen

INTERVIEW:

Ryan Keen

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NOT many people can claim…

they have Ed Sheeran as a friend! I have been talking with Ryan Keen about Sheeran and their bond; what the story behind the new track, Never Let You Down, is; if there is more material coming down the line – Keen recommends some upcoming artists to get involved with.

The songwriter talks about an accident that almost cost him the use of one of his hands; how important being up on stage is; whether he gets time to unwind outside of music – Keen ends the interview by selecting a top tune.

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

It’s been great, thanks. Finally, summer has hit London!

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

Sure. I’m a singer/songwriter from Devon. I’ve been playing the guitar all my life (originally, flamenco) but my sound has a mix of influences on it. I used to be a session player and composer but, when I was twenty-one, I decided to make a go of being a solo artist.

Never Let You Down is your current track. What is the story behind the song?

I wrote the song for my girlfriend at the time. I was planning to move to L.A. and it was just my way of saying that she has nothing to worry about - that I’d make it work.

Is more material coming this year? Are you working on other songs?

Yes! I’ve written so much over the past year I have a lot of songs ready to release. I’m always writing; both for myself and for others – there is lots more in the pipeline.

You suffered an accident which almost took away your guitar-playing hand. Was that a moment you felt would end your music career?!

The accident was bad. I’d severed the tendons and nerves and had lost movement in my thumb. I didn’t think it was going to end my career though. I was completely determined to keep playing with whatever movement that I could get back. Thankfully, I made a good recovery - it's not the same but I’ve managed to practice enough to play as well as I used to with my thumbs slightly altered shape.

Which artists are important to you? I guess, being Ed Sheeran’s protégé, you rank him highly?!

Yeah; he’s amazing. I have nothing but good things to say about Ed. My musical taste is very eclectic, though; spanning pretty much all genres and over several decades.

There are a lot of good singer-songwriters emerging and remaining. Why do you think we prefer them over bands at the moment?

I think that there’s always going to be a place for singer-songwriters. Production is continuously evolving and different sounds and trends come and go but there’s something great about the stripped-back sound of a voice and a live instrument. It shows the true strength of the song.

Where are you heading on tour? Where can we catch you?

My next gig is supporting Gavin James in Limerick in July.

Is the stage the place you feel strongest and most free? How important is it being up there and performing to the crowd?

I used to get really nervous when I first starting performing as a solo artist but now I love it. My style of guitar playing (percussive finger-style) is a very visual one that people seem to like.

What do you hope to achieve in 2018?

To just keep writing, releasing and touring.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

There’s a lot...

I’ve travelled a lot with my music and I’ve been lucky enough to play at some amazing venues. I think standouts would be the Royal Albert Hall and the Sydney Opera House.

If you could support any musician alive today, and choose your own rider, what would that entail?

I would love to support John Mayer. His early albums were very influential on me so that would be incredible.

My riders are always pretty simple. So long as there is some whisky and some tasty food then I’m happy.

What advice would you give to new artists coming through?

I don’t have the answers, but it’s definitely true that there is no substitute for hard work

 IN THIS PHOTO: Corey Harper/PHOTO CREDIT: @valentinaaa

Are there any new artists you recommend we check out?

Corey Harper and Noah Kahan are both worth checking out.

 IN THIS PHOTO: Noah Kahan

Do you get much time to chill away from music? How do you unwind?

I try and surf as and when I can. With music, I go to L.A., Australia; S.W. France etc. - so, I get some time then, normally. I also run a lot and meditate regularly – they both help me unwind.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

As I’ve just mentioned him; let’s go with Noah Kahan – Young Blood

_____________

Follow Ryan Keen

Official:

http://www.ryankeen.co.uk/

Facebook:

https://www.facebook.com/ryankeenuk

Twitter:

https://twitter.com/ryankeen

Instagram:

https://www.instagram.com/ryankeen/

SoundCloud:

https://soundcloud.com/ryan-keen

Spotify:

https://open.spotify.com/artist/7LLZkvAZN3jH7srfTQ7woi

YouTube:

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

INTERVIEW: Wildeor

INTERVIEW:

Wildeor

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THIS job affords plenty of variety…

and musical nourishment. I have not met anyone or anything quite like Wildeor. I have been talking with the Alternative-Folk band about their mix of sounds and the inspiration behind their debut single, The Devil Makes Three – they chat about their eponymous E.P. and the stories behind the songs.

The guys talk about the combination of influences in the camp and how they take from Los Angeles and its vibes; how they got together and started making music; which new artists they recommend we get involved with – Wildeor reveal whether they are coming to the U.K.

___________

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

Great, thank you! No complaints.

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

We are an Alternative-Folk band from Los Angeles, California. We combine a mixture of Folk, Rock; Classical and Celtic influences in our music.

The Devil Makes Three is your debut single. Can you reveal the story behind the song?

This song is inspired, in part, by my life growing up in Northern California - there are a lot of references to the wildness of the land that represents the sense of abandon and freedom in the song. Ultimately, it’s about letting go; being a little reckless and embracing the risks you take as part of an adventure you’re meant to have.

I drew inspiration for this from periods in my life when I felt like maybe I was heading in the wrong direction or making mistakes - and wanted to recapture a kind of devil-may-care feeling; focusing on embracing the experiences I was having instead of worrying about where they would lead.

How did Wildeor get together? When did you find one another?

We came together in summer of 2016; so we’re coming up on two years as a band. I met Mark one day when I was sitting outside the music building at UCLA talking to a friend. Mark knew the person I was talking to and stopped to say ‘hi’. I mentioned that I was starting to put a band together and he said: “Well; if you ever need a cellist…!”.

As for Caleb; I reached out to a friend in the UCLA music department who put me in touch with a percussion teacher who put me in touch with some of her students…one of whom was Caleb. We all started playing music together and became good friends pretty quickly. Over time, the band gelled and became more serious.

Tell me about Wildeor's eponymous E.P. and the themes explored.

It’s an eclectic mix of songs and themes. Northern County Line and The Devil Makes Three are both adventure-themed songs but Northern County Line is tinged with sorrow and nostalgia for the past and The Devil Makes Three is more about breaking free - and has more of a sense of danger, thematically.

Rain on the Moon is a good-old heartbreak song about being betrayed by someone you care for. Come Down explores the hopefulness of possibility and desperation for change. Slow Moving Water digs into depression and despair - that song is all about catharsis and expressing a kind of darkness that just takes over. It’s probably the most powerful song that we have and certainly the most emotionally intense for me as a singer and writer.

Being based out of Los Angeles; do you take a lot from the city and its history? What is it like recording there?

I came here from far Northern California - California is quite a long state so, when I moved here, it was basically like moving from another state. Or another planet. The topography, culture etc. is radically different. I actually draw more creatively from the wilderness I grew up with: the forests, rivers; mountains, etc. But, over the years, I have started to draw on the L.A.-area deserts and cityscapes as well.

Some of the music has been inspired by feeling out of place in a city that is so different from what I knew and who I was. To some extent, it still is. Recording here is pretty great although it can be expensive as well. But, there are a lot of options to choose from depending on where you are in your career, what your budget is and so on. 

What sort of music did you all grow up around? Do you share tastes?

We all have a Classical background. I grew up around Classical musicians and my parents played a lot of Folk music from the '60s and '70s. I started singing Classical music at thirteen and then Opera in my teenage years, so that was a pretty profound influence on my singing and writing. Caleb and Mark both started in Classical music at an early age as well. Mark started playing the cello when he was eight and Caleb started playing the drums in middle-school.

Where are you heading on tour? Where can we catch you?

At the moment, we are doing regional tours so you can catch us throughout Southern California. But, we are hoping to branch out and explore the East Coast as well.

Do you reckon you’ll come to the U.K. and perform this year?

That would be amazing. I have a real fondness for the U.K. and I think we’d all love to do that. We don’t have plans for that currently but, if an opportunity came our way, we would definitely take it.

What do you hope to achieve in 2018?

We are working on new music and our next recording project. We are working on a new single at the moment and hoping to release an album in the next year (also planning to produce a music video).

Have you each got a favourite memory from your time in music – the one that sticks in the mind?

Our show at Hotel Cafe to promote our new E.P. was definitely a highlight. That was a great night. Definitely, it was a triumph for us and we had a great time - really, anytime we’ve been out playing together and celebrating music, our friendship and life in general.

If you could support any musician alive today, and choose your own rider, what would that entail?

Tough choice. Probably Florence + the Machine or Lord Huron. As Indie musicians, we are quite used to traveling and playing in all sorts of conditions so we’re not too fussy. It would be great to have access to bigger stages that give us more freedom in our performances.

What advice would you give to new artists coming through?

Find your own, unique artistic truth and stick with it. Stay focused. Learn as much as you can but don’t be distracted by what everyone or anyone else is doing. Always follow up and follow through. Talent only gets you so far - the rest is hard work and perseverance.

IN THIS PHOTO: Elephant Revival/PHOTO CREDIT: Athena Delene Photography

Are there any new artists you recommend we check out?

Elephant Revival. They aren’t necessarily new but they’re very Indie. They combine an awesome mix of Folk, Bluegrass and Celtic influences.

Do you get much time to chill away from music? How do you unwind?

We are all pretty immersed in music most of the time. Fortunately, music is as therapeutic as it is demanding. But, we also often do things unrelated to music - going to events in L.A., getting other groups of friends together; board game nights etc.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Megan: Remembering a Beginning - Elephant Revival

Mark: Spanish Flea - Herb Alpert & the Tijuana Brass

Caleb: Ludwig van Beethoven - Symphony No. 9 in D Minor Op.125: Ill Molto Vivace

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Follow Wildeor

Official:

http://wildeormusic.com/

Facebook:

https://www.facebook.com/wildeormusic/

Instagram:

https://www.instagram.com/wildeormusic/

SoundCloud:

https://soundcloud.com/wildeor_music

Spotify:

https://open.spotify.com/artist/0LEjAz445lYe88dFozRMiV?si=iUUR0cEXRoqiCzfE_76dPg

INTERVIEW: Stalagmites

INTERVIEW:

Stalagmites

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I have just got back from Manchester…

so I was very excited to speak with the Manchester-based band Stalagmites. The guys talk about the scene there and give me the skinny regarding their latest track, Projectile Dysfunction. I ask how the band got together and whether they share tastes in music – they recommend some upcoming acts to investigate.

The chaps reveal whether more music is coming; what their favourite memory from music has been; whether they have any gigs booked in the diary – they provide some useful advice for fellow artists.

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

Great, thank you very much. The week has been glorious as the weather has been cracking and lots of people have been saying nice things about the single - including Steve Lamacq and Robin Murray to name a few!

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

Bradley Lynch on the bass guitar and the vocals; Daniel Jones on the drums and Alex Hardman on the guitar.

How did Stalagmites get together? When did you start jamming?

It was the year 2010 or '11. Brad started off songwriting and Alex thought he'd like to get involved with that and so we set off writing tunes in the style of our favourite bands. One Gumtree post and a quick practice later and Dan joins the band.

The end.

Projectile Dysfunction is your latest work. Is there a background to the song?

It's about the journey that you go on being in a band in the modern age: trying to keep a band together amidst an ever-changing landscape and navigating the treacherous music industry.

It sounds like the song gelled naturally in the studio. Was it an interesting track to write?

The bare bones of the track came together fairly quickly and relatively pain-free but then the real magic happened in VIBE Recording Studio (as it usually does!).

Will there be more material later in the year?

Yes. We have another single ready to go and potentially an E.P. If the E.P. isn't this year, then it's early-2019!

Is Manchester a great city to make music in? Are you inspired by the history and current quality coming through?

It is a great city to make music in as there is always something going on. You can walk down the street and find inspiration. It's great.

What sort of music did you all grow up around? Do you share tastes?

I'd say that we don’t all share the same taste in music but we're all open-minded enough to listen to what we are each playing that week - from Echo and the Bunnymen to Kanye West; from Aphex Twin to The Carpenters. All tastes!

Where are you heading on tour? Where can we catch you?

We're sticking to the studio for now with the odd show in and around Manchester to test out some new material. Keep an eye out on socials.

What do you hope to achieve in 2018?

We’re quite simple in our goals. We just love making music so, if we can continue to get the same feeling after writing each song that we have gotten for the last two singles (Binary and Projectile Dysfunction), then we are winning.

Even better if all these wonderful blogs keep writing about us.

Have you each got a favourite memory from your time in music – the one that sticks in the mind?

I think, for all of us, it would have to be being played on BBC Radio 6 Music by Steve Lamacq, and then, Tom Robinson. We're all big fans of Radio 6, so to be picked up was a real high for us all.

If you could support any musician alive today, and choose your own rider, what would that entail?

To support, it would have to be Radiohead…

The rider would be simple: a few beers; a load of tasty bread like what you get when you go to a market in a village in the South of France or something (and a packet of dry-roasted).

What advice would you give to new artists coming through?

Just enjoy the whole process - whether you’re lugging your gear across the country to play a show or you’re just chilling in the practice room. Also; try to be different. If somebody says you sound exactly like another band then change it up…unless that's what you’re going for then it’s all good!

IN THIS PHOTO: Cavana/PHOTO CREDIT: Trust A Fox Photography 

Are there any new artists you recommend we check out?

TYPES, Cavana and Dirty Freud. They are all next level!

 IN THIS PHOTO: Dirty Freud

Do you get much time to chill away from music? How do you unwind?

Bit of gardening; the odd bike ride and a few pints every now and then. Manchester isn't short of great microbreweries, so we get out to these when we can!

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Brad: Gruff Rhys - Shark Ridden Waters

Dan: Purity Ring - Lofticries

Al: Gaz Coombes - Walk the Walk

_____________

Follow Stalagmites

Facebook:

https://www.facebook.com/Stalagmites/

Twitter:

https://twitter.com/stalagmitesband

SoundCloud:

https://soundcloud.com/stalagmites

Spotify:

https://open.spotify.com/artist/5ayYhptJxEXnQ4sWThJhtu

YouTube:

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

FEATURE: Spotlight: Georgia Anne Muldrow

FEATURE:

 

Spotlight

ALL PHOTOS/IMAGES: Getty Images/Artist 

Georgia Anne Muldrow

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WHAT with the music industry swelling and expanding…

it gets harder to detect and identify the musicians worth sticking with. You have the flash-in-a-pan artists that seem interesting and then fade without a trace. There are some that look promising but they falter and you wonder why. Music is a tough and competitive stable that packs a lot of promise but little longevity. When you look at Georgia Anne Muldrow, you realise there is a natural-born star who is ready to add her voice to the musical history books. She was born in Los Angeles to the acclaimed Jazz musician, Ronald Muldrow, and was exposed to music at a young age. It was not only Jazz that was rattling around the mind of the impressionable Muldrow: spirituality and religion played as much a part as local vibes and dishes. Muldrow graduated in L.A. and soon moved to New York for the New School’s Jazz program – where she met fellow students Robert Glasper and Bilal. Whilst immersed in the N.Y.C. scene; she was hooked by the eclectic artists and the myriad opportunities around her. The devastating effects of the World Trade Center attacks led her to move back to L.A. Muldrow was on the Subway, underneath the attack, when it happened; it was to have a profound effect and shook her badly.

Since 2001, the songwriter has produced a range of albums; from Olesi: Fragments of an Earth (2006) to 2009’s Early; through to Owed to Mama Rickie (2011) and 2015’s A Thoughtiverse Unmarred. Listening to Muldrow and you get a combination of classic Soul/Hip-Hop artists and something unique. Rapper Mos Def, when trying to distil her essence, threw in name likes Roberta Flack and Nina Simone; Ella Fitzgerald…I could add Billie Holiday and Lauryn Hill. The way she expresses herself is unlike anything out there. There is the Hip-Hop expressionism and rhythmic cadence; a physicality and poetic candour that none of her peers possesses. One gets flavours of Amy Winehouse but, to be fair, comparing Georgia Anne Muldrow to others too firmly would do her a disservice. You have this individual who wants to put her aura and magic into the world. Over the past twelve years or so; she has raised her profile and brought her music to a mass of hungry and stunned faces. Eyes and ears are turning her way. A new single, Overload, is out and already gaining a lot of love. Pitchfork have already had their say:

“Muldrow finds peace in comfortable places: She cozies up to the kind of sumptuous and psychedelic R&B beat she forged with Madlib on 2012’s Seeds and offers gratitude for an all-consuming romantic love. “I’m on overload and overdrive/I’m overwhelmed,” she sings in the chorus, her voice punching through the syllables until she stretches into a final declaration of solidarity: “I built this lifetime trust up in you…

…The giddiness of that romance is palpable. Anxious gusts of hi-hats blow through, a reminder of how draining love can be. But they’re outmatched by a warm keyboard line that wraps itself around her voice in the same way two people wrap themselves around one another after a long day. Here, she can give while she receives; “I’m there for you like air,” she coos near the song’s end. It’s a tender exchange that mirrors the political unity that’s sure to follow; after all, waking up is always easier when you do it in someone else’s arms”.

It is impossible to know how far Muldrow can go and what she can do to music. There is a lot of talk about gender imbalance and racial bias in the industry. We are in a tense time where there is imbalance and a lot of problems present. Muldrow, in a way, seems like a guiding voice and, when you are at your most stressed, relaxed the bones and opens the mind. You cannot listen to the woman sing and remain passive and unmoved. Her songs are a transcendent and life-altering experience. Before I end this feature; I will bring in an interview from a few years ago that explored Georgia Anne Muldrow and what makes her tick. I wonder how far she can go and what the future holds for her.

Muldrow is one of those artists who has a loyal fanbase but has not been given the mainstream pass she deserves. We are looking for heroines and heroes that can change the scene and make genuine progress in the industry. Muldrow seems like one of those talents who can inspire the next generation and remain in the public consciousness for many years to come. I am excited to see whether a new album is due; what she has planned regards touring and where she is headed. Let me take you to that Afropunk interview (from 2015) and a couple of questions that popped out:

How has your family influenced you?

“It was ingrained in me to never commit to an instrument that my parents did. It was the sense of rebellion and not wanting to commit to anything personally. However not wanting to disappoint them was something I had to break through, it brought a lot of pain. My parents showed me Coltrane and it changed me forever”.

How have you faced any issues because of your image?

“There have been a lot of things, people saying that I need an image consultant, people saying we are too revolutionary. I’m just saying what people are thinking in the streets. I think it’s that kind of thing. Being told I’m too black for TV. The distancing from people feeling like people are scared of me sometimes, it’s not us it’s what we represent”.

It is an exciting and great time for Georgia Anne Muldrow. Overload is upon us and people in the U.K. have been stunned and hooked. It is getting a lot of praise in the U.S. and, before long, it will spread around the world. Muldrow has been influenced by her parents but has chosen her own path; she has defied those who say she is too black for T.V. and not what they (producers and production companies) are looking for. Her defiance and incredible talent speak louder than the limitations placed before her. The discrimination and ignorance that comes from T.V. companies remind me of the days of MTV and Michael Jackson’s struggle. He faced issues getting his videos on the station and faced racism and ignorance. The passion and energy he put into defying the odds led him to be crowned the King of Pop. Although the situation is different for Muldrow; she has come against those who feel she is not ‘ideal’ and ‘perfect’ – she will have the last laugh and rise to the top of the music tree. If you are not familiar with Georgia Anne Muldrow; make sure you get behind her music and discover a truly wonderful artist. Her new single, and its title, gives impressions of excess and a need for some restraints. When it comes to this U.S. treasure; it is simply impossible to have too much…

OF such an incredible force of nature.  

FEATURE: A Pride of Lions? Is the Music Industry Becoming More Accepting of L.G.B.T.Q.I.A. Artists?

FEATURE:

 

A Pride of Lions?

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

Is the Music Industry Becoming More Accepting of L.G.B.T.Q.I.A. Artists?

__________

ONE might read that headline…

IMAGE CREDIT: Getty Images

and take issue with a couple of different points. I shall address the ignored elephant in the room, then. I am not suggesting, for one minute, the music industry is homophobic or sees artists who do not identify themselves in binary teams as outcasts and oddities. I am suggesting, perhaps, we are less keen to shine a light on those L.G.B.T.Q.I.A. acts and their vivid, entrancing and incredible stories. They are still not as conventional and ‘accepted’ as some and, I guess, some people feel uncomfortable. I have used the term ‘L.G.B.T.Q.I.A.’ – rather than ‘L.G.B.T.Q.’ – as it is more inclusive, and, actually, would identify myself somewhere in that acronym.

We all know what the traditional five-letter acronym stands for: the ‘I’ is for ‘Intersex’; the ‘A’ is for ‘Asexual’. I guess, by virtue of not having sex at the moment (going through a patience-testing dry spell) I cannot claim to be celibate or ‘holding out’ – I guess, though, there are normal desires that are not being met and I cannot seem to slake. I am confusing things already but that kind of raises an interesting point. Do we have a great understanding, then, of L.G.B.T.Q.I.A. and what the rainbow encompasses? Sexuality is anything but binary: widening horizons and parameters means we do not exclude those who do not class themselves as lesbian, gay; bisexual, transsexual or queer.

I am going to liberally source from a New York Times article that, before we traverse further, explains the altering lexicon of sexuality and how one need not identify in simple and limited territories:

“Take, for example, the addition of “Q” that became increasingly popular as the 20th century turned into the 21st. Some insisted this stood for “questioning,” representing people who were uncertain of their sexual orientations or gender identities. Others declared it was for “queer,” a catchall term that has shed its derogatory origins and is gaining acceptance.

Now there’s also I, for intersex; A, for ally (or asexual, depending on whom you’re talking to); and often a plus sign meant to cover anyone else who’s not included: L.G.B.T.Q.I.A.+.

That’s not all, however — that’s just the beginning.

What follows is a by-no-means inclusive list of vocabulary.

GAY AND LESBIAN It’s important to start with the basics, and “gay” and “lesbian” are as basic as it gets. As “homosexual” began to feel clinical and pejorative, gay became the de rigueur mainstream term to refer to same-sex attraction in the late 1960s and early ’70s. Gradually, as what was then called the gay liberation movement gained steam, the phrase “gay and lesbian” became more popular as a way to highlight the similar-yet-separate issues faced by women in the fight for tolerance.

Gay is still sometimes used as an umbrella term, but these days, it also refers specifically to men, as in “gay men and lesbians.”

BISEXUAL Someone who is attracted to people of their gender or other genders. It is not a way station from straight to gay, as it had once been described.

 PHOTO CREDIT: Get Images/Pride in London

The stereotypes around bisexuality — that it’s a transitional stage or a cover for promiscuity — have been at the center of fraught conversation within L.G.B.T.Q. circles for years. The musical television show “Crazy Ex-Girlfriend,” which features a bisexual male character, had an entire song refuting this.

As advocates speak out more about what they see as “bisexual erasure” — the persistent questioning or negation of bisexual identity — the term has become resurgent. But some people also argue that the prefix “bi” reinforces a male/female gender binary that isn’t inclusive enough.

PANSEXUAL Someone who is attracted to people of all gender identities. Or someone who is attracted to a person’s qualities regardless of their gender identity.

Once a more niche term used by academics, pansexual has entered the mainstream, pushed in part by celebrities bringing it visibility. The singer Miley Cyrus identified as pansexual in 2015. In April, after the singer Janelle Monàe came out as pansexual in a “Rolling Stone” article, searches for the word on Merriam-Webster’s website rose 11,000 percent, according to the dictionary.

ASEXUAL Or “ace.” Someone who experiences little to no sexual attraction. They are not to be confused with “aromantic people,” who experience little or no romantic attraction. Asexual people do not always identify as aromantic; aromantic people do not always identify as asexual.

 PHOTO CREDIT: Get Images/Pride in London

CISGENDER Someone whose gender identity matches the sex they were assigned at birth.

TRANSGENDER A wide-ranging term for people whose gender identity or gender expression differs from the biological sex they were assigned at birth.

TRANSGENDERED Not a word. Often used as one.

TRANS* OR TRANS+ Two umbrella terms for non-cisgender identities

GENDER NONCONFORMING, OR G.N.C. One who expresses gender outside traditional norms associated with masculinity or femininity. Not all gender-nonconforming people are transgender, and some transgender people express gender in conventionally masculine or feminine ways.

NONBINARY A person who identifies as neither male nor female and sees themselves outside the gender binary. This is sometimes shortened to N.B. or enby. One notable example: Taylor Mason, a financial analyst on the show “Billions,” who is believed to be the first gender nonbinary character on television and is played by the nonbinary actor Asia Kate Dillon.

GENDERQUEER Another term often used to describe someone whose gender identity is outside the strict male/female binary. They may exhibit both traditionally masculine and feminine qualities or neither.

GENDER FLUID A term used by people whose identity shifts or fluctuates. Sometimes these individuals may identify or express themselves as more masculine on some days, and more feminine on others.

GENDER-NEUTRAL Someone who prefers not to be described by a specific gender, but prefers “they” as a singular pronoun (the American Dialect Society’s 2015 Word of the Year) or the honorific “Mx.,” a substitute for “Mr.” or “Ms.” that entered the Oxford English Dictionary in 2015.

M.A.A.B./F.A.A.B./U.A.A.B. Male-assigned at birth/female-assigned at birth/unassigned at birth.

INTERSEX A term for someone born with biological sex characteristics that aren’t traditionally associated with male or female bodies. Intersexuality does not refer to sexual orientation or gender identity”.

 PHOTO CREDIT: Get Images/Pride in London

Even in that rather lengthy and emphatic piece; you can see why some people would be confused, in music, as to whether we are fully acceptant and all-inclusive. Few articles in the mainstream media address sexuality in music and whether we have evolved through the decades. When I was growing up, a lot of the artists I listened to had a ‘camp’ demeanour or, from a young child’s perspective, a sense of theatricality that spoke to me. As a heterosexual male; I was always, as I grew up, drawn to female songwriters and artists – none, to my mind, identified themselves as gay or bisexual. George Michael was one of the artists I listened to when I was a child. His struggle coming out meant he risked facing commercial failure and judgment; the fact early Wham! videos portrayed Michael as a straight and woman-chasing chap was not who he was about.

It was a brave decision, coming out, and one that was not always met with acceptance and happiness. As a journalist, I have interviewed and featured artists who identify themselves as gender-fluid or gender-non-specific. There are those who proudly identify themselves as bisexual and gay; others who are asexual and some are pansexual – most are very proud and open but there has been stigma and judgement placed at their feet. Look at the mainstream through the decades and there have been very few non-heterosexual artists celebrated at the forefront. Some artists have possessed a kitsch and camp vibe; many others, fearful of coming out, have hidden their sexual preference.

We keep reading how hard it is being a woman in the modern-day music industry: the fate and life of those who identify themselves as L.G.B.T.Q.I.A. is just as hard, I would say. The fact it was illegal to be homosexual as recently as 1967. The decriminalisation of homosexuality was seen through my parents’ eyes: if we still lived in a world where it was illegal to be homosexual (in some countries, it still is!) then there would be mass protest and disgust. Whilst we have made some strides; I wonder whether there are artists a little hesitant to fly the flag and fully embrace who they are. It seems, to a degree, there is still the need to be clandestine and cloistered.

That is never the fault of the artist themselves: without a unified and fraternal clatch at the forefront; there is that fear of ostracism and alienation. Maybe there is no barrier that is consciously excluding artists on the sexuality spectrum. Maybe, as I fear, the marketing men and labels are too rigid with the sort of artists they place at the forefront. The young, sexy and commercial artists are put forward and we never really question things. In fact, when an artist like Selena Gomez is seen with a female friend; the magazines and journalists start the rumour mill – is she gay, perhaps?! Life & Style, back in March, wrote this:

“It's only been a couple of weeks since Selena Gomez and Justin Bieber seemingly decided to take a break from their hot and heavy rekindled romance, but does that mean she's already in a relationship? Not exactly. The "Bad Liar" singer is currently in Australia for a Hillsong Church conference and without Bieber in sight, she got super cuddly on social media with a woman, prompting gay rumors.

IN THIS PHOTO: Selena Gomez 

The singer took to Instagram to promote body positivity in a video montage that featured her and a few friends on a yacht. But the way she rested her head, cuddled, and cozied up to a female friend in the footage got some attention. Fans commented on Selena's post with rainbow emojis — which is a universal symbol that represents the LGBTQ community — and different colored heart emojis”.

Do pieces like this add pressure on the shoulders of an artist or open the way for them, if they are gay, to reveal that to the world?! I am not sure whether Gomez is gay – it is not unusual for a woman to be seen close to another woman; think it is called ‘friendship’ – but I do wonder whether the article is much-raking and sensationalism – rather than support and opening channels when it comes to discussing sexuality! Whilst there are some artists in/near the mainstream who identify as gay or bisexual; I feel it is not a subject being given enough oxygen and respect. The reason this article is timely is the approaching Pride celebrations in London. The celebrations began last month but the parade happens this Saturday. Look at the official website and you can remain informed of all the photos, events and happenings. Quite rightly; artists and music-lovers have been taking to social media and throwing their support behind Pride. It is that strange time of year when London becomes a unified and sociable part of the world; colour floods the street and people actual smile! I may be exaggerating but, against the bustle, anxiety and commuter woe; the capital transforms into a beacon of conversation, delight and wonder.

I am seeing artists – some I know and others I do not – proudly back the event and pledge their support. It is great to see and hear sexuality discussed and shine a spotlight on people who, until fairly recently, would not have been allowed to celebrate their sexuality. I feel we are a more informed and educated people in many ways: sexuality is no longer black-and-white and we are more aware of the complexity and variation of the spectrum. I am also seeing many female bands identify as gender-neutral and not be defined: others bands have bisexual and homosexual members; the band addresses and tackles their sexualities and brings it to the people. As many of us open our eyes, minds and hearts; I am concerned there is uneasiness, largely, to actively encourage talk of sexuality in the mainstream.

The artists I have reviewed and featured are unsigned or away from the limelight. The only way events like Pride can spill into music – a bespoke and music-specific day/week – is to de-stigmatise artists who are fearful of coming out; others who are asexual or transgender and are not sure how to broach the subject. We are hearing in the news, today, the Government is cracking down on conversion therapy: where gay people are ‘taught’ not to be gay or have their sexuality taken away (through methods that are medieval and humiliating). The fact such a Stone Age and despicable practice remains still shows we have not completely discarded past disgrace and narrow-mindedness.

One could argue there are not that many artists in music that are homosexual or pansexual, let’s say. Not only is that untrue – there are many more than you know! – but there are so many who are confused and not been given proper support. Not that we are told heterosexuality is the norm but I feel there is still that pressure for people to confirm and fit into holes – anyone who falls outside of the diagram has to struggle and fight harder. Pride will bring awareness and help promote true evolution. I will end the piece by highlighting artists who are L.G.B.T. – Billboard not opening up their keyboard to include a few extra letters! – but I wanted to talk about testimonies and stories I have heard from artists. I know quite a few artists who are gay or see themselves as pansexual. Rather than tell that to a label or inject that into their music; they are reserved and feel people would not understand and it would not be played on the radio. Others want to explore stories of love and sex through their own eyes: women want to talk about dating women; men want to talk about dating men or being attracted to both sexes. I am hearing some artists, big and smaller, who are being bold and open. Many others, for various reasons, are talking about their experiences in neutral terms and not attaching genders to their lyrics; others are talking about drunken flirtation and titillation (regarding the same sex, for instance) rather than singing about passionate relationships and love.

I am seeing some improvements and developments but I wonder how far away complete assimilation, inclusion and community is. These small steps – events and artists talking about their sexuality – are inspiring others but there need to be more active, targeted and regular events; bigger artists taking gambles and showing their true colours. Maybe commercial depreciation is a reason for hesitancy: Can we really keep going as we are and making artists comply with what others see as ‘normal’?! This report shows the proliferation of depression and anxiety in young and older members of the L.G.B.T. community:

“The Gay, Lesbian & Straight Education Network (GLSEN) released a report in 2013 on LGBT youth that states the following:

·         Fifty-five percent of LGBT youth feel unsafe at school because of their sexual orientation, and 37 percent feel unsafe because of their gender expression.

·         Seventy-four percent of LGBT youth were verbally harassed because of their sexual orientation, and 55 percent were verbally harassed because of their gender expression.

Sixteen percent were physically assaulted, either punched, kicked, or injured with a weapon, because of their sexual orientation, and 11 percent of them experienced this type of assault because of their gender expression.

This study suggests that lesbian, gay, and bisexual adults also have higher rates of mood and anxiety disorders and are at a higher risk for suicidal behavior than heterosexual adults. Depression in lesbian, gay, and bisexual adults is usually rooted in discrimination and victimization from childhood and adolescence. Research on transgender people is still lacking.

Some research aims to study depression in older gay men. It examines cognitive behavioral therapy, its benefits, and how effective it is for gay men over the age of 60”.

I am going to select five artists from this piece that was published on 1st June – it highlighted some great L.G.B.T.Q. artists who should garner more attention and backing:

Dizzy Fae

PHOTO CREDIT: Brad Ogbonna

Dizzy Fae’s debut project Free Form is a wonderland of experimental R&B with bonkers production and pop sensibility. “What I loved about labeling my first project as a ‘mixtape’ is that it created room for me to grow any direction,” she explains. “Whichever way that is, you know it’s ya girl, Diz.”

Shea Diamond

PHOTO CREDIT: Greer Inez

Songwriting juggernaut Justin Tranter serendipitously discovered Shea Diamond when he saw a YouTube clip of her singing an original song at a #TransLivesMatter event. The soul singer is an open book -- and given her ten year stint in men’s prison, she’s got a story to tell.

Bronze Avery

PHOTO CREDIT: Justin Gilber

Orlando-based pop singer Bronze Avery realized how important Pride celebrations were when his hometown felt the devastation of the 2016 Pulse nightclub massacre: “It's surreal to see an entire community rally together. It's important to instill this culture of love and acceptance down to future generations so that Pride can continue to be a safe haven for us.”

REYNA

PHOTO CREDIT: Katia Temkin

Indie-pop sister duo REYNA grew up in a religious Mexican-American household. Comprised of sisters Victoriah and Hannah Gabriela Banuelos, the former -- who is openly gay -- describes her first Pride as an awakening: “I found people that were going through the same struggles I was and I became more comfortable with myself.”

Michael Blume

PHOTO CREDIT: Shervin Lainez

NYC-based indie artist Michael Blume blends gospel, hip-hop and electronica, but it’s the message behind his music that truly sets him apart. Through his tracks, Blume explores themes like identity, self-expression, queerness and social justice.

Lauren Sanderson

PHOTO CREDIT: Cameron Postforoosh

Lauren Sanderson is the definition of DIY. Last year, she saw her self-released EPSpaces top the iTunes R&B albums chart without traditional promotion and she independently routed and booked an 18-city tour. The Indiana-native is known for penning handwritten letters to her 200K+ social media followers.

There are some terrific L.G.B.T.Q.(I.A.) artists out there who are gathering fans and unafraid to shine and strike. I wonder how long it will be until every artist who is non-heterosexual – apologies to word it like that but it is less wordy – feels like they will get full support and acclaim if they write about their experiences…rather than camouflage their identity or mask their sexual/romantic experiences through byzantine and cliché terms. Changes will come, and greater integration will occur, but I feel we are not as far ahead as we should be. There are some great L.G.B.T.I.A. artists emerging and inspiring others. Whilst they are in the minority I hope, soon enough, we can be in a position where artists, who are much more interesting, deep and original get the acclaim and pulpit they deserve. Whether that is just around the corner, or might be many years away, is really…

ANYONE’S guess.  

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. VI)

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: Purple Ferdinand/PHOTO CREDIT: Olivia Rose 

An All-Female, Summer-Ready Playlist (Vol. VI)

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I swore the last instalment…

IN THIS PHOTO: Jade Bird

would not be followed up but, as music has always shown; fantastic new talent comes around when you least expect! Because of that; I am extending my feature and have collated some incredible female talent who are producing brilliant moments. Whether fizzing, sun-seeking bombs or something cooler and more chilled; this is a playlist that will get the listener uplifted and inspired. It is an assortment of fantastic tunes that can, at once, raise the body temperature and…

SETTLE the body.  

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Artist

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Liz Huett – Responsible

PHOTO CREDIT: @ecclesinephoto

Maty Noyes – Spiralling Down

PHOTO CREDIT: Quinn Wilson

Your Smith – The Spot

Rosey Cale – Whiskey Than Wine

Meg Myers – Jealous Sea

LIEZA – Yellow Roses

PHOTO CREDIT: Rosie Hardy

Emma Moore – Good Girl

McKenna Bray – The Way I Loved You

Zolita – Come Home with Me

Purple Ferdinand – Left to Fight

Janie Bay – Can’t Be the One

Facing West – Confession

Bisola – Come Alive

Liv Dawson – Talk

PHOTO CREDIT: John Londono

Kandle – Bender

PHOTO CREDIT: Adam Custins

Princess Chelsea – I Love My Boyfriend

NIKI – Warpaint

Calpurnia – Greyhound

Talitha Rise – River

HARRY – Accessory

Jade Bird – Furious

Marie Dahlstrom – Bring Me Back

Vic Allen – Quit

Mairead Furlong – Pinocchio

INTERVIEW: Jareth

INTERVIEW:

Jareth

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ONE definitely experiences something…

spiritual, unique and entrancing when encountering Jareth. The London-based songwriter has been discussing the remix of her song, Bit by Bit, and working with Saltwives; how important London is regarding her drive and personality; if there is more material coming later this year – she picks a couple of new acts we need to follow.

Jareth picks three albums that mean a lot to her and reveals how she spends time away from music; I ask if there are any tour dates coming up and whether she always wanted to be a songwriter – she ends the interview by picking a rather epic cut.

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

I’m good (smiles). Thanks for asking. My week has been really pleasant; mostly because the weather has been so lovely.

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

Hi. I’m Jareth. I am a 'real deal', an all-round genuine artist - not to be confused with David Bowie’s character in Labyrinth. I am no Goblin King.

,

There is a remix of Bit by Bit out now. How did you come to work with Saltwives?

It's simple: I have an amazing team of pioneers that do wonderful things behind my back when I am busy being Jareth. In short, my people did their thing and connected my voice with the right musical wizards.

Knowing about the artists they have worked with; was it quite daunting working with one another?!

That is the great thing about being me: I was too busy living in my alternate universe; I basically had no idea.

What is the story behind Bit by Bit? Does it hold personal weight?

Everything I write holds weight. I am emotionally obese and music is my physical personal gym. I imagine everyone I know must be secretly haunted by my cathartic, artistic expressions because I am heavily influenced by my real-life experiences. I’m like a musical reality T.V. show.

Is there going to be more material coming from you later this year?

Most definitely. I have the Moonchild E.P. en route and it’s going to reveal more of me, emotionally, which I am so excited about.

London is where you are based. How important is the city in regard to your music and sound?

London is so important to me. I see this city as my actual astral house. I’m so fully involved in its fluid fabric. I am the type of citizen that bins trash that isn’t my own just because I want the city to look cute. 

Did you always know you wanted to be a songwriter? Was there ever a moment of doubt?

Well. The thing is, when I look at my bank account, I don’t be getting no Adele vibes, which distresses me to no end - but I am semi-over it. I feel like I have to get to Adele’s level to answer this question honestly because, until I am there, I am no more a songwriter than the seagulls that wake me up in the morning.

Will there be any live dates coming up? Where can we catch you perform?

Catching me live will be a treat for everybody involved (mostly me). I like to live my life as a series of constant surprises; so, let the mystery of my live dates be a surprise for everyone involved.

Do you have any ambitions to fulfil before the end of the year? 

I just want to get as much of my art out there for people to access. It’s very important for me to share my seemingly mundane experiences with other unicorns.

ARTWORK: Russell Cobb

Have you got a favourite memory from your time in music – the one that sticks in your mind?

There was this time in Miami for Ultra Music Festival a few years ago when I was with my friend, Fran Lobo (another singer-songwriter). We were on a big yacht thing of a boat having so many cute moments at the floating bar with the captain.

We shared many London-style jokes; bringing our fellow Americans into London road culture and, obviously, took formidable selfies. I get that it doesn’t make for a good story but, you know what, you had to be there; it was very girl power, female boss - and it was so fabulous.

Which three albums mean the most to you, would you say?

Spiceworld by the Spice Girls connected me with my inner-Geri: just because I am black doesn’t mean I am automatically ‘Scary’.

The Writing's on the Wall by Destiny’s Child confirmed to me I am actually Kelly Rowland secretly being Beyoncé.

Back to Black by Amy Winehouse awakened me to my inner-dark side.

What advice would you give to new artists coming through? 

Until I see my bank account at level-Adele, I actually need to be quiet; take several seats and not advise any up-and-comings. In short; I need to be a real-life household name before I guide any artists anywhere. I’m fabulously lost.

IN THIS PHOTO: Martyna Bake

Are there any new artists you recommend we check out? 

Martyna Baker and Purple Ferdinand. They are very real and so easy on the ear; extremely soft on the soul…especially if you have been through some tough times.

 IN THIS PHOTO: Purple Ferdinand/PHOTO CREDIT: Olivia Rose

Do you get much time to chill away from music? How do you unwind?

I chill out every time I close my eyes (this includes blinking). I am addicted to most, if not all forms, of meditation. Like the trees, I take the business of successful breathing very seriously.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Kano's (ft. Benga) Forefather is great for zen meditation and (just) general filtering out of imaginary haters who are totally and secretly obsessed with your being. It’s super-good purge music (smiles).

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Follow Jareth

Facebook:

https://www.facebook.com/JarethMusicOfficial/

Twitter:

https://twitter.com/JarethMusic

Instagram:

https://www.instagram.com/jarethofficial/

SoundCloud:

https://soundcloud.com/jarethmusic

YouTube:

https://www.youtube.com/jarethmusic