TRACK REVIEW: Clare Bowen - Let It Rain

TRACK REVIEW:

 

Clare Bowen

Let It Rain

9.5/10

The track, Let It Rain, is available via:

https://www.youtube.com/watch?v=146DT8ShGHY

GENRE:

Country

ORIGIN:

Nashville, U.S.A.

RELEASE DATE:

4th May, 2018

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THERE is quite a lot to cover…

in this review, so I better get down to things. Before I look at Clare Bowen and her latest track; I wanted to speak about a few things. I will talk about Country music and its variation (including a bit about Bob Harris); female icons and artists who stand in the mind; a start in music that deserves time on the screen; a mix of acting and music (and how that can aid songwriting); activism and artists who take a greater stand outside of what they record; a little bit about Nashville and why that made an impact on Bowen – I will end by speaking about her career and where she might head. One has a lot to unpack with regards Clare Bowen and what she is all about. I am a fan of Country music and know it gets a bad rap with many people. There have been accusations the genre is not as diverse as it should be, in terms of race, but the music itself is among the most compelling out there. Whether pure Country or a mixture Pop and Country – listen to artists like Kacey Musgraves... – and you have plenty of diversity and colour. I grew up around artists like Hank Williams, Dolly Parton and Glen Campbell and listened to what they were offering the world. I have not dipped into modern Country too much but I do know there is a U.S./U.K. divide. Here, it is a growing genre but we do not have the stars and artists like Florida Georgia Line, Carrie Underworld and Jess Williamson. There is a hot breed coming through and you have cities like Nashville, which I will come to later, that continues to produce these wonders. In Britain, we do not really have the same degree of artists but there is a bubbling Country scene emerging – we do not have the scenery and cities that are set up to accommodate the genre.

I listen to Clare Bowen and she seems to define new Country music: you can hear the roots showing but there is a blend of other genres and sounds working away. We get it into our heads that Country is all about a certain wardrobe – the big hats, boots and spurs – and the songs are going to be all twanging guitars and something a little cheesy. There is Country music like that but most of it, especially now, is a lot more engaging, appealing and nuanced than you’d realise. Bowen is an artist who has been on the scene for a little bit and has grown in stature. Her voice has that mix of lustrous and vivacious; there are so many different emotions working away and you feel a real connection with her. The music is indelible and incredible and, with an album due at the end of this month, Bowen will gain a lot of new requests and interests. I will nod to the album in the conclusion but I wanted to highlight Bowen as someone who is keeping the bones of Country alive but is modernising its sounds and reaching new audiences. One of the reasons why Country music is getting acclaim and recognition in this country is because of Bob Harris. He is a fan of Clare Bowen and has featured her music on his Bob Harris Country show – lauding her talents and recommending we keep a watch out for her. Harris is a champion of the best new Country music from the U.S. and U.K. I have listened to his show and his warmth and affection – that legendary voice makes everything sound essential! – and get to witness so many eclectic Country artists speak and perform. It is illuminating hearing them discuss their career and background and what goes into their music. I discovered Clare Bowen through that show and, after that, was compelled to find out more. Harris’ patronage of the genre and bringing it to the masses means, in the U.K., there is a lot more visibility and attention given to Country.

Every time I review a female artist; I get a chance to talk about the scene and how female artists are being perceived. I have just witnessed a documentary, last night, on Aretha Franklin and, whilst I have mentioned her a lot the past few days, it is worth bringing her back to the fold. One reason why that documentary fascinated me – it was a reaction to her death and a narrative of her story – is because of the footage of Franklin performing and the goosebumps elicited; the way she campaigned for civil rights development and gave a voice to so many who didn’t have one. At a time when we all need some guidance and answers; Franklin’s voice and soul – in many ways and definitions – will be a comforting and inspiring tool. She gave a greater voice for female artists and broke down a lot of barriers. Now, in an industry that is open and competitive as ever; I wonder whether people are spending time around an artist and truly getting to know them. I am spotlighting Clare Bowen because she is one of those strong female artists who has that multifaceted appeal and dynamic. She is an activist and has a kind soul; a story and progression into music that compels imagery and imagination; sounds that are exciting yet deep; a rise and popularity that can only see her ascend to the mainstream unchallenged – so many different reasons why she will go a very long way. We have a lot of songwriters out there who are interesting and strong but there are few genuine artists who you want to cherish and follow. Bowen is a performer whose live shows have stunned audiences and gained praise; her recorded music sits in the heart and stays in the mind for a long time after you hear it. She is very striking to behold and has a sense of style and confidence that fuses with unique songwriting and a staggering voice.

Maybe she will not reach the heights of Aretha Franklin but I can recognise a true star that has a lot to say and can influence a lot of people. There is something about the female voice and the music being made that ensures and resonates harder and longer than that of the men. Maybe it is a natural compassion or a different lyrical approach – a more stirring and distinguished music that is not getting the passion and kudos it warrants. Clare Bowen is a standout among a busy Country scene because she has a sound that is not easy to define and categorise. Inspired by artists like Loretta Lynn and Johnny Cash; the young songwriter grew up around icons and splices Country and Folk together. The Australian-born, American-based artist releases her much-anticipated debut album on 31st August and the single, Let It Rain, was debuted on Bob Harris’ show to incredible reaction – so many people getting in touch and saying how much it touched them! You can always tell when an artist is primed for great things and the fact they have that natural and easy ability. Bowen is born to an artist and seems to channel her every being and iota of emotion into every sinew and note. That is what struck me about the Aretha Franklin documentary: she was described, by commentators and fans, as someone who brought the church and religion into every single song. The slightly shy woman became an icon and powerhouse when she came to the stage. I get a feeling that Bowen has a similar attachment to music and its meaning. It is not merely a career to her but a calling and addiction she has been working towards for her entire life. Listen to her music and watch her play and you can sense that desire for connection with the audience and the need to be heard. You, as a result, shiver and sigh at the music and all the power it holds.

PHOTO CREDIT: @clarembee

The story of Clare Bowen is one that is destined for some sort of T.V. drama. She was struck by music and Country when listening to the Grand Old Opry on the wireless in her grandad’s kitchen. Maybe it was that show that did it but there was a Country lilt to the artist and a curious soul who felt an affinity with a certain voice and type of music. Clearly, right there, she had that love of music that possessed a beguiling beauty and human touch. Her voice coach noted that Country intonation and encouraged it to come through. It was a little while before she worked with heavyweights such as T Bone Burnett and Buddy Miller; a tour of the U.S. and a big role on the American T.V. show, Nashville. I will look at her acting career in a bit but it is those early experiences and the love she felt for older Country stars that drew her to Nashville and what it stands for. The city is a community that recognises its history and is, quite rightly, considered to be the centre of music in the country. It is ironic, talking about Aretha Franklin, that I speak of Nashville and its starring role. Detroit, where Franklin hailed from, was always seen as the epicentre of musical innovation – Motown and Soul through to Garage-Rock that arrived in the 1980s and 1990s. That crown shifted and now, in 2018, one needs to head to Nashville if they want to discover all the best music in the U.S. Residents of New York and Los Angeles might argue against that assumption but Bowen felt a sense of belonging there and has negotiated scary and hard times to get where she is. It has been an interesting life with ups and downs that, according to Bowen, she would not change for the world. It seems like she has found her home and everything is slotting into place. Looking at the way she has come into music and blossomed compels visions of a big T.V. show and biopic.

I am always fascinated by artists who come from quite ordinary and humble backgrounds and take big leaps. It is brave and scary following your heart and taking on a challenge that could go wrong. Bowen, since those early experiences to Country, has evolved and grown into a true star. It is the acting work and what that has done for her acting career that gets to me. Bowen gained acclaimed for her role in the controversial Australian film, The Combination, and as the lead role in the Sydney Theatre Company’s musical production of Spring Awakening. Around this time, Bowen took the advice of Cate Blanchett and bought a one-way ticket to L.A. In 2012, with a few roles under her belt, she arrived in America and took a bus – not right away – to audition for Nashville. Bowen won the role of a poet-turned-songwriter and found her calling. Bowen struggled with cancer at the age of four and it is a disease that impacted her hugely and the role in Nashville, in many ways, hit home – the relief and delight at getting a role in that show must have been a memorable and evocative time for the songwriter. Playing Scarlet O’Connor in the show, she was required to sing hundreds of songs and play countless instruments. Bowen overcame her fear of microphones and bloomed as a performer. She was once asked if she could play the banjo – ‘probably’ was her response – and drew from her childhood when writing. There are musicians who act as well and I always find they are disciplines that weave inside one another. In the case of Clare Bowen; the once-shy artist gained that role and strengthened as an artist. She has played in the U.K. with her Nashville co-stars and sold out the Royal Albert Hall wowed crowds up and down the country. Bowen has been in Nashville for six years and has stepped away from the role to record her album and ensure it is as good as possible.

I have reviewed artists who combine performing with acting and feel you can learn so much from acting and bring it to music. Bowen learned disciplines and performance skills she has brought to the live setting and grown in confidence. The fact she has performed hundreds of songs has brought so many emotions from her voice and solidified her foundations. That instrumental talent means the music Bowen plays has more variety and depth than most. She can bring different elements to what she plays and that voice has benefited from acting. The two are natural companions and she can also bring experiences on the road to her acting work. Bowen plays shows between shoots and tours the U.S. with her fellow Nashville actor Charles Esten and her singer-songwriter husband, Brandon Robert Young. I feel the reason Nashville has impacted Bowen’s music is because of the sense of characterisation and narrative. Bowen brings that drama, story and characterisation into the music. She can not only write about herself in new ways – having grown since appearing on the screen and blossoming – but write about other people and characters. The protagonist, whether personal or fictional, has more body, life and meaning. She has learned a lot from her acting roles and sprinkles those skills and memories into the music. In turn, she can bring all the touring experience back to acting and take on new roles. I wonder whether Bowen will embark on more acting and balance the two careers. It is a busy time for her so I can forgive the need to concentrate on music but it seems she will do both. The fact she came to America to pursue acting means one will see her on the screen for a while to come. She was living in rural Australia a year before she came to America and those worlds clashing must have been startling.

To transition from the detached and quiet lifestyle in Australia and arrived somewhere bustling, busy and moving must have taken its toll. It seems Bowen has embraced the possibilities and opportunities of the U.S. and seems like she has found her place in life. Bowen’s activism and kind spirit is another facet that intrigues me. She is an advocate for kindness and better understanding in the world. Bowen has said she cannot solve all problems and change the world alone but she is determined to take a stand and bring love to the people. That desire for kindness is an impressive and fantastic plaudit that stands her out from her peers. In 2015, she cut her hair and adopted a new image to encourage people to look past the physical. Although Bowen is a stunningly beautiful woman; she wants people to focus on the music and what comes from inside. That act of cutting her hair went viral and gained an enormous reaction. Bowen was startled by it and could hardly get down from the ceiling – an unexpected reaction and moment that has given her so much joy and fresh impetus. There is so much to love about Clare Bowen and so many interesting shades. She is that actor who has enjoyed a varied and successful career. Bowen has performed countless times and toured around the world; she is an activist and natural star that wants to make the world better – an icon that we can hold up at a time when so many artists are bland and ordinary. I am looking forward to seeing the reaction to Bowen’s debut album (it is self-titled) and how it fares. I am sure critics will love it and there will be a lot of interest from fans here – I expect Bob Harris to play a couple of cuts. It is a great time for Bowen and seems like everything in life has been leading to this moment.

Let It Rain starts with a clap of percussive thunder and a definite sense of meaning. The percussion rolls and claps whilst the heroine comes in with a voice that is sweet and alarming. You have this alluring, sensual and incredibly crystal voice that juxtaposes the hardness of the background and environment. The composition acts as weather and that sense of wet and windy. Our heroine is going to let it rain and see the tears fall down her face. I wonder, at once, what has compelled the emotion and where the story has stemmed from. There is heartache and pain in her heart and it seems like something has impacted her soul. Maybe a relationship has ended and there have been some cross words but the state of the world, and all the pains and horrors we see, have got to her. Look at the song’s video and you’ll see the heroine in the outdoors, curled up and fighting the tears. She heads to a bar and solemnly orders a drink and is letting the emotion wash over her. The percussion gets calmer and employs great rhythm; it accompanies her as she assesses the scenes and tries to piece things together. You get beautiful Country twangs but there is that core of Folk that balances a stern and determined spirit with something more emotive and open. Bowen is going to let those tears come and not fight things. It seems like life in general has poured too much on her lap. She knows things are in a bad place but holding it all back and bottling things is not healthy. The heroine cradles a drink (in the video) and wonders where she heads now. At this stage, I have already drunk in so much and projected my own impressions. I get the feeling there is a romance in her heart; one that has ended and those memories keep coming back to haunt her.

PHOTO CREDIT: TGMoments

One gets philosophy and pragmatic determination from Bowen. She knows you cannot experience highs without the lows; the levee needs to break and Bowen has got to a point where the pains and bad times have made her a stronger person. Rather than let them get her down, we see someone who is moving on and determined to embrace fresh horizons. Even though the heroine is strong and moving on; there is that pain working away and eliciting some serious revelation. It is rare to see a songwriter so open and positive given what she is facing. The initial percussive storm has mutated into a different beast that mixes with guitars and tenderly supports the heroine. It is firm and strident sound but one that holds a lot of compassion and love. Bowen, in the song’s video, is watching people play poker and is in the bar. She is emotional but watching people express their own emotions and pains. Compassion and positivity come out of everything. In the video, we see the bar’s tip jar is full of dollars – a woman who was playing poker has given her winnings and that, in turn, brings joy to the proprietors. It seems like that moment of light and kindness can make everything different. We see people comfort one another and the more downbeat and teary mood changes to something positive. Bowen takes from those around her and is keen to transition from the heartache and find a more peaceful plateau. Our heroine is not afraid anymore and is letting the rain and water wash over her. She will embrace it and knows there is light and hope ahead of her. Let It Rain is a mandate that projects strength against the tide. It is for anyone who has felt the pressure of life build up and not been able to see a way through. Many of us can relate to what is being sung and where Bowen is coming from. The heroine’s immaculate and emotive performance ensures the song gets into the mind and compels you to keep coming back. There is a distinct Country sound to the song but more of the modern breed – not the stereotyped view we have of Country and what it incorporates. There are few songwriters as strong and engaging as Clare Bowen. She seems to speak for everyone out there and can make the listener feel more positive and hopeful with songs like Let It Rain. If the track is an indication of what the album, Clare Bowen, will sound like; I know there will be a lot of new ears and fans heading her way.

PHOTO CREDIT: Maarten De Boer for Hulu

From a challenging childhood to embarking on a trip to America and settling into a role in Nashville; it has been a whirlwind of a life that is getting better and better. The Australian-born artist is bringing Country music to new people and making it more accessible. That sounds rather dismissive but there are some who are uninitiated and ignorant to the pleasures of the genre. Bowen mixes Folk into the palette and has gained a lot of skills as an actor. That physicality, discipline and sense of fiction add a beautiful aspect to her music. The fact Bowen has grown in confidence and come out of herself means the writing is a lot more emotive and bold; her stories are much more vivid and deep. You get involved with the music and not only listen to the words and picture what is happening but think of Clare Bowen and how her life has changed. I know there are a lot of great artists out there but Bowen has managed to achieve so much and create such heat – someone who stands aside and is much more fascinating than most of the artists out there. From battling cancer and moving from Australia to being a big T.V. star and launching her eponymous debut; it has been a time of strength, realisation and success. Bowen brings love to people and wants us all to be kinder. She looks out at the world and knows we have a long way to go before there is harmony and grace. Her music, personality and words are helping make things better and getting into many hearts. I am a new convert and am stunned by everything I learn about her. Make sure you get Bowen’s album when it arrives and follow her career. Nashville has given so much to her and seems like somewhere she is drawn to. Maybe those memories of listening to her granddad’s wireless and experiencing those stars booming out – it sparked something inside her and compelled her to follow in their footsteps. Already a big name in the U.S.; I know she has a huge fanbase in the U.K. and will be back here soon. Follow her social media for all the dates but I know Bowen is playing back in Australia and will be there very soon – getting back home and bringing her fresh material to the people. If you have not experienced Clare Bowen and all she holds, make sure you check her out and fall in love…

WITH a spectacular human.

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Follow Clare Bowen

Official:

https://www.clarebowenofficial.com/

Twitter:

https://twitter.com/clarembee

Facebook:

https://www.facebook.com/clarembee/

Instagram:

https://www.instagram.com/clarembee/

Spotify:

https://open.spotify.com/artist/1LBeAxaCAHECiK355bwtlW

YouTube:

https://www.youtube.com/channel/UCKfg-6A38O62dakqCACopew

FEATURE: The #WHPowerList: Bringing the Influence of Women to the Next Generation

FEATURE:

 

 

The #WHPowerList

IMAGE CREDIT: BBC

Bringing the Influence of Women to the Next Generation

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I am never too far from the subject of women in music…

IN THIS PHOTO: Woman's Hour's Jane Garvey (who has interviewed various female artists/musical figures about their experiences)/PHOTO CREDIT: BBC

and ensuring I do all I can to promote their fine work. Not only do I publish regular all-female playlists and scathing looks at sexism in music – I am committed to being one of few male journalists tackling the subject regularly and asking what more can be done. It seems to me, a lot of the time, men are not talking with other men about the gulfs and issues that have plagued the music industry since time began! The exposure and availability of social media mean we are all aware of problems around gender rights but I wonder whether enough is being done (by men) to ask why attitudes pervade and, for no reason whatsoever, all the fantastic female talent across the music industry has to fight harder than the men. Maybe it is an ingrained attitude that suggests music and the arts is really a ‘man’s domain’. I have been compelled by Woman’s Hour’s Power List 2018 that seeks to define and highlight the most important and powerful women in music. Whether you feel artists like Florence Welch or D.J.s Jo Whiley are the most influential; producers like Catherine Marks or great female journalists in the mainstream – it is a chance to have your say and get involved. What, then, is the concrete and foundations of the Power List?

“The Woman’s Hour 2018 Power List will recognise the Top 40 most successful women having an impact on the music we’re all listening to – whether that’s on radio, vinyl or streaming services.

 IMAGE CREDIT: BBC

This won’t be a list of who’s sold the most records, or who’s making the most money. We're seeking out women who are demonstrating power in the industry, innovators and ground-breakers supporting and championing the work of other women or changing the industry from within – making it more equal, diverse and creative and an even more exciting business to work in”.

It is impressive and overdue such a commemoration and time for activism has come about. I hope the results and build-up around the Power List will prick some ears and, as ever, highlight the sexism and divides in music. I am always writing about the topic but feel my (meagre) voice is not capable of projecting real gravitas and impetus. The women judging this year’s Power List include columnist Jasmine Dotiwala and producer Catherine Marks; singer-songwriter Kate Nash and radio presenter Tina Daheley. It is an exciting and expert panel who will be able to look through the nominations and pick the most influential and powerful women in music. Power, essentially, does not have to mean business acumen and financial stock: a political voice or constantly intrepid songwriter is just as striking; producers and journalists who champion women’s music or muscle alongside the men in the industry are worthy of nomination. It is amazing that, in 2018, we are still four years off music festivals pledging a fifty-fifty gender split in terms of performers.

I will come onto festivals later but there have been a couple of changes. This year’s events like the Cambridge Folk Festival have given larger spotlight for women; in America, the 2018 Philadelphia Folk Fest has become the first to provide that desired balance:

“Keychange, led by the PRS Foundation and supported by the Creative Europe program of the European Union, is an international campaign which invests in emerging female talent by encouraging music festivals to sign up to a 50/50 gender balance pledge by 2022.

Nordell said the Philadelphia Folksong Society sort of bent the pledge’s rules for this year’s festival — by going over the 50/50 margin. The lineup is made up of 55 percent women acts, and all of the headliners (Patty Griffin, Valerie June and Wynonna Judd), are women.

“The Philadelphia Folk Festival is all about coming together and appreciating music and one another,” Nordell  (Justin Nordell, executive director of the Philadelphia Folksong Society) said. “It is open to anyone of any particular race, creed, beliefs or what have you”.

It is amazing to think we have to highlight festivals when they provide equal footing for men and women – given the sheer scope and ability of women in the industry. There are a number of reasons why I feel the Woman’s Hour Power List needs greater oxygen...

IN THIS IMAGE: The judges for the Power List 2018/IMAGE CREDIT: BBC

I still think there are those gender divides: women are fighting and promoting rights for women but how many men are getting involved and joining the fight?! I do not think there is deliberate segregation; a time for actual unity and productive discussion is paramount. When talking about the Power List; BBC Radio 3 presenter Suzy Klein had her say:

“Music is pretty far behind lots of other businesses and industries. I think less than half of people in the music business work in a place where there’s any kind of equality drive, which is far lower than other sectors.” She added: “I think progress has been happening but at a slightly Jurassic pace. Some of the things, like Marin Alsop conducting The Last Night of the Proms obviously helps. It shouldn’t be a big deal…but for that to have only happened in the 21st century! Come on!”

For me, personally, the reason I am keen to undress the debate and reveal the women making a big impact in music is because of the past and current influence they have on me. I am a big radio fan and can see the imbalance that seems inexplicable. I am a listener of BBC Radio 6 Music and see, aside from a racial imbalance, there is a big majority of men on the station. The women on the station, including Lauren Laverne and Mary Anne Hobbs, are among the most passionate voices. They are keen to promote new musicians, have that deep love for what they do and, if anything, are more striking and resonant than their male peers – the fact there are no female drivetime presenters on the station is worrying.

IN THIS PHOTO: BBC Radio 1 D.J. Annie Mac/PHOTO CREDIT: Getty Images

The same goes for BBC Radio 2. I love the likes of Claudia Winkleman and Sara Cox and, the latter, especially, gives me such a buzz and sense of warmth. Cox is the only reason I really tune into the station. She presents a 1980s music show and always leaves a much greater impression than anyone on the station – her bonhomie, witty and connection with the listener leads me to believe she would be perfect for primetime BBC Radio 2. I am a massive fan of Annie Mac and have been listening to her for years. In terms of sheer passion and the knowledge she has…there is nobody like her. I cannot think of a more skilled and essential D.J. in music right now. I have voted for her in the Woman’s Hour poll and know Mac speaks out against sexism and the role of women in music. Jo Whiley, when talking about the Woman’s Power List had her views where we need to make improvements:

“Education is where it should all start really, that message should be put out there straight away. If girls want to work in any different area of the music industry, they should be told which colleges to go to, to start really young and be tenacious.” She is hopeful the Power List will achieve some change in this direction. She says: “I want my daughter to think she could head up a record label sometime or she could be a music producer in the studio. That’s what I want young girls to aspire to, not just to be on Pop Idol”.

I think education, or lack thereof, is a big issue. A lot of musical education involves paying for tuition and something that happens a little later in life. We ingrain useless information into children and give them lessons they are not going to carry through life. I feel sex education needs to be modernised and a little bolder; a General Studies course that talks about racism, politics and everyday subjects – music definitely needs to be a mandatory core.

The fact we have just celebrated Madonna’s sixtieth birthday and mourned the loss of Aretha Franklin shows how much respect those women hold. Both are very different but they are icons who have shaped music. I feel children coming through school need to know about them and their peers; producers and D.J.s who have changed the game; businesswomen and spokespeople who have asked for change and are electioneering on a daily basis. I would not be as interested in music and its awe-inspiring power were it not for women. Kate Bush is an idol and someone I am endlessly fascinated by; Björk is one of those musicians who continues to change music and innovate over twenty years after her debut album. I can rattle off countless names (of female artists) who have inspired me and the current flock who warrant great respect. The same goes for women in every corner of the industry – not only recording artists and those we see on stage. We go through our days and listen to music but do we really think about what happens behind the scenes and the gap between male and female artists? Mabel, daughter of Neneh Cherry and Cameron McVey feels a safe space for female artists is the business is a good step:

“I would love to start some kind of safe space where females can collaborate, like a studio, where you can do what you want and experiment.” She described it as a “liberating moment” when she realised another woman’s success did not mean her downfall”.

IN THIS PHOTO: Musician and songwriter Jorja Smith/PHOTO CREDIT: Getty Images

We never really celebrate women in music the same way as we do with men. We all know about the rich, stadium-filling male artists who get admiration and are seen as the biggest in the game. They have all the money and they get the majority of the press attention. The access of online music sites means we are seeing more female-made songs and news articles getting out there. Internet radio stations are spreading the love and, as great as that is, is it translating into industry change and genuine pledges?! A lot of female-fronted bands, like Wolf Alice and Chvrches, find interviewers treat them differently (to their male support) and see them as a curiosity. Look a festival floors and line-ups and it is still male-heavy. I am happy there are small changes happening and greater discussion happening. I think a lot of the mandates and promises are far too weak and insincere. Festivals, here, have pledged to create a gender balance by 2022 – why does it take four years to do something so simple?! The talent is out there waiting to go and I am baffled why these changes cannot happen next year! Rising British talent like Stefflon Don and Jorja Smith have talked about finding confidence and what it is like being a woman in music. Look at the way a woman writes and how she articulates her emotions compared to that of a man. I get something very primal, pure and long-lasting regarding female songwriting. We know most of the chart hits out there today are written and produced by men – this is something that needs to change.

IMAGE CREDIT: Getty Images

There is a lot more to talk about but we all know the truth: there is a huge way to go before there was equality and parity. I have written extensively on the subject of gender rights and would like nothing more than celebrate women’s rights and music on Woman’s Hour or a similar format. I feel there are not enough men coming through and do struggle to figure out why. The Power List is a rare chance to put women in the spotlight and look at the vast array of inspiring and strong creatives who are relatively unsung and making an enormous contribution. Head over to https://www.bbc.co.uk/programmes/p0695d4c and have a look and listen to all the great videos and article about the Power List 2018. I am eager to hear the results and what happens once they are out there in the ether. I hope there is a rolling of the ball that leads to genuine change and greater involvement from men – not hiding away and assuming they do not need to alter their attitudes. Radio 1Xtra’s Jasmin Evans is among the selection of women who are giving their experiences and calling for greater understanding. It seems strange for a bloke to wade in so heavily but music is not one of those industries that is about gender and we are unsure how to integrate women in.

IN THIS PHOTO: BBC Radio 2 D.J.Jo Whiley/PHOTO CREDIT: Getty Images

I often think of the army and how many women are held back from the frontline. The musical trenches and frontline are full of women striking and shooting hard and showing immense strength. If we deny their voices or assume it is the men who hold the most power and prestige then that will do irrevocable damage. Look at the Power List page and there are email addresses and Twitter handles where you can cast your voice and vote and talk about the women in music you want to see honoured. We have a long way to go but, if we have yearly polls and events like this, it will make a big difference and pass positive messages to the next generation. The lack of education regarding music and gender roles is something I hope is overturned and addressed. I have a (very) long list of the women, through time, that has led me to where I am now. We would all be so much poorer and emptier were it not for the women in music and all they have given – and all they continue to do. From behind mixing desks and inside studios; D.J.s and producers pushing great music to hungry ears to those artists campaigning and delighting the masses…we need to bring these stories and humans to the forefront. Maybe a fifty-fifty music society is a way off – if we can ever achieve that – but I am confident, with great vocalisation and intent, we can all help to create a fairer and more even business. Let’s get that ball rolling and let’s get it…

IN THIS PHOTO: BBC Radio 1Xtra D.J. Yasmin Evans/PHOTO CREDIT: Getty Images

ROLLING now!

FEATURE: Minority Retort: Why Stormzy’s Humble Gesture Has Brought the Issue of Racial Imbalance in Music to My Mind

FEATURE:

 

 

Minority Retort

IN THIS PHOTO: Stormzy/PHOTO CREDIT: Rankin for HUNGER

Why Stormzy’s Humble Gesture Has Brought the Issue of Racial Imbalance in Music to My Mind

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IT may seem like a weak link…

PHOTO CREDIT: Getty Images

but there is a connection between Grime artist Stormzy funding two scholarships for two black British students going to Cambridge University and the subject of race in music. I have discussed racism in music before but it seems the subject is not going anywhere. Before I move on; here is an overview of Stormzy’s generous gesture:

“Stormzy has announced that he is funding two scholarships for black British students to go to Cambridge University.

The grime artist will pay the students’ tuition fees as well as a maintenance grant for up to four years of an undergraduate course.

Speaking on Thursday at his former school, the Harris City Academy in Croydon, south London, where A-level students were opening their results, Stormzy told BBC Breakfast: “If you’re academically brilliant don’t think because you come from a certain community that studying at one of the highest education institutions in the world isn’t possible.”

The 25-year-old, who won best album at this year’s Ivor Novello awards, has previously been praised for tackling social injustice, including advocating on behalf of victims of the Grenfell Tower fire. He is funding two places this year and two next year.

The move comes amid concerns about lack of diversity at the Oxbridge universities. Figures published in June showed some Cambridge colleges admitted no black students or accepted as few as one a year between 2012 and 2016”.

IN THIS PHOTO: A Cambridge University college/PHOTO CREDIT: Vadim/Getty Images

It is amazing to think that, after doing such a thing, some are labelling him racist – why not do the same for struggling white students? The issue with universities likes Cambridge is the lack of diversity. Stormzy is not trying to attack Cambridge or give black students a boost over everyone else. The university has said they are committed to reversing the racial imbalance and, whilst there is not a bias, I wonder whether black students from poorer backgrounds are being overlooked. If they are brilliant and academically gifted; they are, often, not able to afford tuition and survive there. There are white students in the same position but look at the lack of black faces at Cambridge and one has to ask why that is. It is certainly not anything to do with a lack of academic prowess or any sort of imbalance in schools. Stormzy has made this gesture but I hope the big universities do a lot more and make it more affordable for students from less-well-off backgrounds to go to the top universities. It is typical to see people talk of racism when a black artist does something good. Stormzy is not excluding anyone or favouring black students over anyone else – he wants more parity and equality in the education system. I listened to all the reactions and news stories around this and got to thinking about music and race.

I am going to be addressing women in music and the need for change later but, looking out at the world, and I wonder whether a lack of attention for black students is mirrored by a disadvantage and sense of discrimination in music. Racism in music is no new things: you only need to look at the MTV days when artists like Michael Jackson were being denied access because of the colour of their skin. Many might argue him changing his skin colour was a reaction to being blocked and denied. Things have come far in music but I still get the sense the industry is white and set up for those from a wealthier background. The mainstream is filled with artists who are either middle-class or white (or both). We are seeing fewer faces from working-class backgrounds and minority artists are marginalised. The old term ‘urban’ seems to be a lazy word for any music made by a black artist. Do we need to get out of the headspace that there is such thing as ‘black music’. In the same way female-made music is a gender and not a genre; black music is diverse, exceptional and as strong as anything else. Music T.V. has essentially vanished but I feel there is that need to put white faces on magazines and screens. Look at artists like Stormzy and I think of the Grime and Rap scene here and how it is diminishing.

IN THIS PHOTO: Nicki Minaj/PHOTO CREDIT: Frazer Harrison/Getty Images

Maybe there isn’t the talent out there but I feel radio is still too geared towards the Pop and Rock markets. Hollywood is always having to answer accusations of racism – and rightly so! – but music is not being given the same kicking and demand for change. Look at music videos or which artists get the most say and there is a definite racial divide. This article, written two years ago, boils things down:

“To put it simply: When Britney Spears got naked and covered herself in sequins for Toxic, she was nominated for Best Music Video. When Emily Ratajkowski got naked next to Robin Thicke in Blurred Lines, he was nominated for Best Music Video. When Miley Cyrus stripped off and broke a million health and safety rules by riding a piece of construction equipment, she wasn’t just nominated for Best Music Video of the Year – she won it. All of the above videos have been controversial, but they were acknowledged by the industry for their impact nevertheless.

But as soon as Nicki Minaj – whose black body deviates from Caucasian beauty standards – dares to own her own culture and dance in a similarly provocative fashion, it’s glossed over and relegated to sideline categories of ‘female’ and ‘hip hop’. Meanwhile, white artists who adopt black culture as their own continue to reap professional awards. And it’s time to stop pretending that that’s OK”.

There is that assumption there is a distinct sound associated with black artists. Look at Kendrick Lamar and Anderson .Paak. Check out Kamasi Washington and Beyoncé. Listen to Cardi B and Rihanna; listen to Stormzy and Dizzee Rascal and then have a flick through Childish Gambino and Leon Bridges. Can you say there is anything familiar or similar between those artists?! Although there are fewer black artists in certain genres – Country and Rock, for example – that is the fault of the industry and old attitudes. Not enough is being done to promote black artists and shake this idealised view of the mainstream/what is desirable. Although there are some names from black music being given props and attention in the mainstream – the likes of Kendrick Lamar and Beyoncé – that would ignore wider truths. How many music awards do you see being handed to black artists? How many of the end-of-year best albums are from black musicians? One could say that is a simple case of lacking talent (in the case of black artists) but I look at award ceremonies and see how it geared towards celebrating white artists. This article charts the last few years and how few opportunities are being given the black artists:

“As many know, 2013 marked an interesting year for the Music Industry, as it was the first time in the history of the US Billboard 100 Chart that no Black Artist landed a №1 Single as Lead Artist. And with the U.S. being the World Leader in terms of Music Market Share, it was a no brainer that that statistic was also reflective of the state of Black Music by Black Artists internationally in various ways, and has been for quite some time (particularly in the UK, 1 of the World’s Top 4 Music Markets).

IN THIS PHOTO: Rhiannon Giddens - one of very few black Bluegrass players - performing at the Boston Pops Fireworks Spectacular/PHOTO CREDIT: Michael Dwyer/AP

“…Three years following that, along comes the #BritsSoWhite “controversy”, which came after it was announced that no Black British Artists were nominated for a 2016 BRIT Award, despite the commercial success many of them achieved between the 2014–2015 Eligibility Period (e.g. Krept & Konan — Top 10 Single and #2 Debut Album, Fleur East — Top 10 Debut Single, Skepta — Top 40 Single, Stormzy — Two Top 20 Singles, Kwabs — Top 40 Debut Album).

Moving on to the bottom line of this all, the reality of the Music Business today is that Black Artists are tired of “asking” to be accepted into the Mainstream arena. They are tired of the fact that we are still living in an era where their accolades are celebrated as being “the first Black Artist to achieve xyz”, whilst their White counterparts continue to accomplish the same achievements on a constant basis. They are tired of being completely overshadowed by Artists of other Cultures who have built their success off of performing Urban Music. For example, in 2015 60% of the Top 10 Best Selling Artists globally for that year are widely considered either Soul or Urban, yet only 2 of them were ‘of colour’ (unsurprisingly landing 9th and 10th place). See anything wrong with this picture?”

Labels and big record companies are full of white faces; music festivals are placing white artists in headline slots and many are ignoring the sheer volume of fantastic music from black artists.

I am hearing of black artists tempted into a music career afraid they will be shunned and given little focus if they attempt it. Look out at the mainstream now and you there are divides. Whilst Cardi B, Nicki Minaj and Kendrick Lamar and giving voice to black musicians and showing what weight they have; they are a minority against the bland and endless sea of white artists. You go to major music venues and look at the music media. The same way there is a majority share for men (against women); there are far more white employees and faces. Even when you look at national averages – the number of black people in a nation compared to other races – and there is a lot to answer for. Small improvements are coming in but it is not down to the artists themselves to push things forward and fight. The sheer talent of black faces in the mainstream is impressive but think of the artists in the underground; those wanting to go into journalism and recording studios and are things necessarily better than years ago?! A lot of journalists are not familiar with the culture and background of genres like R&B and Rap; there is that dogged desire to stick to worn and fatigued genres like Pop and Rock – will we ever get to a time when black artists are put on the same footing as everyone else?

I grew up listened to amazing black artists like Aretha Franklin, Michael Jackson; Nina Simone and Public Enemy. I was a big fan of musicians like Stevie Wonder and De La Soul and the girl groups like Destiny’s Child and En Vogue. Some of the most political, eye-opening and immediate albums of the past few years have been made by black artists. Priscilla Renea has attacked clear racism in Country music; Kendrick Lamar has lobbied for greater respect of black Rap artists and showing them proper respect; the Grammy Awards have been accused, almost every year, of ignoring black artists when it comes to the major prizes. Maybe the use of the N-word in Rap is turning some off and causing controversy/censorship but it a minor barrier that blocks a larger ill. By studying black music and the traditions being kept alive by artists; we are not only experiencing wonderful songs but learning about different cultures and experiences that few of us talk about. I am a big fan of Hip-Hop and Rap and, through its pioneers, can chart the struggle black artists have faced and how civil rights have played a big role in the rise and vitality of the genre. The voice and reality of a black artist like Nicki Minaj is vastly different to that of someone like Taylor Swift. That may be a simple argument but, if we place divides and do not address racism then the music industry will stay as it is now – artists and fans promoting black music rather than those in the industry.

IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Getty Images

Stormzy was interviewed last year and talked about race and how certain genres have been poisoned by stereotypes and misconceptions:

 “Of course, he knows more than he’s letting on, and his observation – of labels not understanding underground scenes and not knowing what to do with black artists – makes his position political by its very existence. British police and politics have been continually distant from underground black music scenes, and particularly grime throughout the mid-2000s, which saw symbols of “urban menace” like hoodies and tracksuits increasingly demonised. (Hoodies were famously banned in Kent’s Bluewater shopping centre in 2005.)  Now when you see artists like Stormzy appearing on front covers in full tracksuits, it takes on a renewed politics. He talks about a story that gained huge momentum last year after he tweeted about it – a London nightclub, DSTRKT, turning away women who were deemed too “dark-skinned” to enter. It gets a mention on the album on “First Things First” (“Fuck DSTRKT”) atop clipped basslines and eerie productions as he spits, “If it weren’t me you wouldn’t let my ni**as in the club”.

There are a lot of successful and pioneering black artists ready to come through and shake the music scene up. One sees endless talent and possibility but one wonders how long it will take until there is genuine equality and open-mindedness. From big award ceremonies and mainstream marketing to the artists celebrated and highlighted for praise – we have a long way to go before things are as balanced as they should be. Stormzy and other black artists know the problems in music and, with resilience, determination and pure intent they are ready to…

MAKE big changes.

INTERVIEW: The Slumdogs

INTERVIEW:

The Slumdogs

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I have been finding out about The Slumdogs…

and what inspired their latest track, Cut the Conversation Short. They tell me how they came together and started making music; what the music scene is like in Blackpool; if there are any gigs coming up – they highlight some new artists to watch.

I ask what sort of music they grew up around and whether they ever get time to chill; the advice they would give to artists emerging; which act they would support given the chance – the guys end the interview by selecting a song each.

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

We’re all good! Been busy preparing for shows, releases and all that jazz.

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

We’re The Slumdogs; a raw Indie-Punk four-piece from sunny Blackpool; coming to a town near you.

How did The Slumdogs get together? When did it all start?

I (Bobby) knew Elliot previously from a band we were in and met Cam and Will through a band they were in a few years ago. Those bands fell apart and The Slumdogs was born.

Cut the Conversation Short is your new single. Can you reveal the story behind it?

Musically, we just wanted to write something that sounds explosive and you can jump to. The lyrics are somewhat of a social commentary on modern life - but without being political at all.

How did The Slumdogs hook up with Gary Powell’s 25 Hour Convenience Store?

We sent them our debut single (Nightmare) and invited them to a London show we had at Nambucca. The show went well and here we are!

Is there going to be more material from the band soon?

Yes. We’ve a single out on the 17th August and much more planned before the end of the year release-wise. Stay tuned.

What sort of music did you all grow up around? Who are your musical idols?

When it comes to songwriting; John Lennon is the main man. Lyrically, Bob Dylan is up there too. We all love Funk, Punk and anything that makes you move.

You are based between Blackpool and Leeds. I have not heard many bands come out of Blackpool. What is the scene like there now?

Blackpool is actually a lot better than people think! it just doesn’t get the media attention of a Manchester or Liverpool but there’s bands such as Strange Bones and Nana White Pepper, amongst others, who are doing really good things at the moment. Leeds is craz-good; a very D.I.Y. scene with incredible bands, venues and events in every corner.

Do you think there will be touring dates? Can we catch you play?

Definitely. We have a big hometown show at Bootleg Social on 25th August with Proletariat and The Brookes. After that, there’ll be announcements about shows further afield. Keep an eye on our Facebook for details of where and when.

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

Bobby: John Lennon - Walls and Bridges

Cam: Queen - A Night at the Opera

Will: Noel Gallagher’s High Flying Birds’ debut album (Noel Gallagher’s High Flying Birds)

Elliot: The Beatles - Abbey Road

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

When IDLES came to Blackpool, the energy in the room was insane. They sold out Bootleg Social. They’re a band that speaks about important topics and to have them sell out our local venue was inspiring.

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

It would have to be The Rolling Stones, wouldn’t it? I can’t imagine they have a low budget for a rider… I’d be asking for new guitars, amps; champagne…the lot!

What advice would you give to artists coming through?

Write constantly and get out there and meet people. Stay true to yourself and, most importantly, don’t be a ****!

IN THIS PHOTO: BlackWaters/PHOTO CREDIT: Future Nation Sounds 

Are there any new artists you recommend we check out?

BlackWaters, The Surrenders; Dream Wife, Calva Louise and IDLES.

IN THIS PHOTO: Dream Wife

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

By going to the Pleasure Beach and eating Blackpool rock.

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).

W: Hey Heartbreaker by Dream Wife

E: Arms & Legs by Horsey

C: Arms of Pleonexia by Cabbage

B: L'Etat C'est Moi by The Blinders

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Follow The Slumdogs

Facebook:

https://www.facebook.com/theslumdogs

Twitter:

https://twitter.com/theslumdogs

Instagram:

https://www.instagram.com/theslumdogs/

SoundCloud:

https://soundcloud.com/theslumdogs

INTERVIEW: Natasha Hardy

INTERVIEW:

Natasha Hardy

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THERE are some great Classical crossover artists emerging…

that are breaking new ground and introducing people to a new type of sound. Natasha Hardy tells me about her latest track, Mi Ritiro, and what its inspiration is. She reveals how she got into music and whether Classical is coming into the mainstream more – she recommends a rising artist to look out for.

Hardy shares some favourite musical memories and tells me about her album, Lost in Love; where she sources inspiration for writing; what she is planning going forward – Hardy selects a few albums that are important to her.

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

Hi. Very good thank you. I’ve been busy - getting ready to release my new single - but have managed to enjoy a bit of the lovely English summer we have been having…so, all good.

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

Hi there. My name is Natasha Hardy; I am a Classical crossover singer and I write my own songs. I sound like a cross between Enya, Sarah Brightman and Amy Moody from Evanescence - or so I have been told! I was once reviewed as being “Not quite classical” which is very true; it’s a perfect description and I actually use that at my tagline now!

Mi Ritiro is your new single. What can you reveal about its story and creation?

Mi Ritiro is a bitter-sweet love song that I wrote. It’s essentially the story about falling for someone and then realising that person is not who you thought they were and having to admit that to yourself. I wrote it in Italian as being classically trained some of my favourite arias that I sing are in Italian and the call to write in the original language of love (even though I am not fluent in Italian, I had some help with the correct grammar!) seemed appropriate.

I had written the lyrics and most of the melody when I teamed up with my good friend and wonderful pianist Stefano Marzanni. He helped write the harmony and arrange the piano part in a way that sounded classical yet simple. I wanted the song to sound like something between an aria from a modern opera and a song from a soundtrack of an old Italian movie. Once it was written, I worked closely with my amazing producer Tom E. Morrison, who worked tirelessly to bring my vision to life.  

Stefano leads the instrumentation with the beautiful original piano arrangement alongside the string section. On violin, I have award-winning violinist Dermot Crehan (Lord of the Rings, Andrea Bocelli, Annie Lennox; I am so blessed to have him on my track. Then I have Alice Sophie on cello, Alexander Verster on double bass; Graham Pike on brass and Tom E. Morrison playing keyboard. Oh, and myself as the vocalist of course. I am really pleased with the end result. Everyone worked really hard to give an amazing performance for me and Tom’s pristine production is the icing on the cake.  Graham actually played the trumpet part that you hear in one take. I was blown away when we were in the studio; I had goosebumps all over and knew instantly that would be the one to stay.

It is from the album, Lost in Love. Are there distinct themes and personal experiences you bring into the music?

Yes. I would say the album as a whole is based on the theme of love: wanting it, finding it or losing it. The album is a collection of self-penned love songs inspired by my passions, heartaches and the fairy-tale fantasies that falling in love can bring. All of the songs were written from personal experience on some level. 

As well as being a crossover artist, I am also blending different genres in my music. I tried to really capture my vocals with their vulnerable yet powerful quality to compliment the Celtic, operatic and orchestral elements. I have put my heart and soul into this album so I am hoping, with the cinematic styled arrangements and my heartfelt lyrics, people will connect to the songs.

You are a Classical crossover artist. Do you think Classical music is coming into the mainstream more? Would you like to see Classical music come to the fore a bit more?!

Oh, yes. It’s definitely more mainstream than it ever has been I think with acts like Lindsey Stirling and 2 Cellos doing extremely well - who are also writing original material. With shows like the sold-out Classical Hacienda and the Blue Planet score winning awards, there is a real appetite for this genre.

I think, for it to come to the forefront even more, music should be a compulsory subject in school and there should be many more government-funded musical initiatives. I believe that Classical music is constantly evolving and growing as it blends with different genres and it would be great for upcoming artists to have affordable access to venues that have ready-made audiences to try out their ideas.

How do you get inspiration for songs/ideas? How important are old films and recordings regarding your viewpoint/aesthetic?

I think my inspiration comes from a simple observation: I observe my thoughts and feelings and then zone into whichever emotion is dominant. The trigger can be from a photograph, a movie; from watching someone else that reminds me of something that I have been through or from something that I desire. I then keep a note of that and then the work begins - when I write a song about it.

With regards to my aesthetics, I think art and illustration are more important to me than film. I am definitely influenced by my favourite artists such as Vermeer, Degas; Cézanne, Klimt; illustrators Edmund Dulac, Susan Seddon Boulet and Arthur Rackham to name a few. However, I do love scrolling through YouTube watching old film operas, listening to old recordings of Opera singers and old recordings of traditional songs. A combination of all of the above is important as long as it inspires me to be creative. My viewpoint is always my own.

Can you reveal which artists played a role in your early life? How did you get into the industry?

As a child, my parents used to play Harry Belafonte, Doris Day; Shirley Bassey, Simon & Garfunkel; The Shadows, Rod Stewart and Crystal Gayle. Yes, I know; pretty eclectic! It doesn’t end there though. I used to share a room with my older sister so I had to listen to all of her R&B music and I have two brothers who both play guitar: one plays electric and one plays acoustic. So, I was forced to listen to Joe Satriani and Cat Stevens simultaneously - which I think scarred me for life; that’s probably why you don’t hear any guitar in my music!

I had my first piano lessons at the age of nine and my music teacher introduced me to Chopin and Beethoven. But, when I discovered music for myself that I loved, I used to listen to Enya, Enigma; Joni Mitchell, Fleetwood Mac; George Michael and Prince. It wasn’t really until my early-twenties that I discovered Classical music and Opera through taking classical singing lessons and that opened a whole new world for me. That’s when I fell in love with Puccini, Rachmaninov and Debussy.

I got into the industry because when I was younger I thought I wanted to be an actress, so I decided to take singing lessons to add a feather to my bow so to speak. Through my singing lessons, I discovered my true calling as singing just felt so good. I didn’t realise the amazing journey it would take me on and I am still discovering new things about myself every day.

What do you hope to achieve by the end of 2018?

I hope my album is well received, that my live performance dates get lined up and that I go on holiday as, since I started my album, it has pretty much taken over my life for the last two and a half years.

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

Hmm. I have so many! Can I have two?! My favourite recent memory is that of signing my first licensing agreement for one of my songs from my album to be on a film soundtrack. It features in the independent film titled Of Gods and Warriors featuring Terence Stamp. That was a dream come true and is a memory to treasure.

A much older memory; this is from when I used to sing a lot in the care community for people with Alzheimers’ disease. I remember singing to a gentleman with a severe case and I held his hand and looked into his eyes as I sang one particular song. As I was singing, he lifted his head and he came to life right in front of me. He had tears streaming down his face and when I had finished the song he just started talking about his wife during the War and how he used to take her to dances and how that was their favourite song. He hadn’t spoken to anyone for years and we (the staff and I) were all in tears. It’s such a beautiful feeling to be able to touch someone like that. That’s why I sing: because I want to touch souls.

Which three albums mean the most to you would you say (and why)?

A Day Without Rain by Enya

She is one of my huge influences and it put me in a trance the first time I listened to it. I can still completely lose myself in her music.

Reverence by Faithless

Captivating. Reminds me of long nights of dancing and the power that music has on the body. It was also the first time I had really been touched by operatic music. The track, Drifting Away, opens with an excerpt of Margherita’s aria, L’altra notte in fondo al mare, from the opera Mefistofele; composed by Arrigo Boito. I think it also planted the seed that it is possible to cross different genres in a song if the production is good.

The film soundtrack to Betty Blue by Gabriel Yared – it brings back memories of great times with someone who is no longer with us. The music is just beautiful: fun, intense; delicate, heart-breaking.

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

There are a few artists currently that I would love to have the honour to support but, if I had to choose just one, I would love to support Andrea Bocelli. Not only do I love his voice, but he is also such an amazing humanitarian - he does so much through his charitable foundation.

For a rider, hmmm; just a nice clean dressing room with a power point and full-length mirror; bottled water and bananas - lots of bananas! Not too green, not too spotty either!

Can we see you on tour soon? What dates are coming up?

Definitely. I am planning a tour in 2019. Dates are to be confirmed and will be announced on my website soon.

What advice would you give to new artists coming through?

Believe in yourself. Don’t be afraid to ask for help. Practice, practice, practice!

IN THIS PHOTO: Freya Ridings

Are there any new artists you recommend we check out?

I haven’t had time to listen to loads of new music recently but I do love Freya Ridings. I love her voice and songs check out her song Ultraviolet. It’s gorgeous. Her newest single, Lost Without You, was featured in the Love Island U.K. T.V. series.

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

Music is part of my everyday life so to give my ears a rest I love to reconnect with nature. As I live in North London, one of my favourite places to go is Kenwood and Hampstead Heath with my beloved toy poodle and I love to go ice-skating when I get time. I also love a good movie and a pizza (Vegetarian Hot, please).

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).

Maria Callas - La Mamma Morta

Thank you for having me and thank you for asking such brilliant questions!

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Follow Natasha Hardy

Official:

http://www.natashahardy.com/

Facebook:

https://www.facebook.com/natashahardymusic/

Twitter:

https://twitter.com/natashasoprano

Instagram:

https://www.instagram.com/natashahardymusic/

YouTube:

https://www.youtube.com/channel/UCyqUaJ8wcKuAWxoQ0l6Ds2Q

FEATURE: The August Playlist: Vol. 3: (Everything I Do) I Do It Fuh You

FEATURE:

 

The August Playlist

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: MJ Kim  

Vol. 3: (Everything I Do) I Do It Fuh You

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THIS is one of those busy…

IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Getty Images

and rich weeks where all sorts of brilliant music is out! Not only has Paul McCartney released another single from his forthcoming record, Egypt Station; we have cuts from IDLES, Maggie Rogers and Stefflon Don – I have included a song from the late, great Aretha Franklin.

It has been a big and emotional week in music where we have celebrated and mourned. I hope this week’s hot new releases raise the spirits and get you in a good frame of mind to attack the approaching week.

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

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Paul McCartney – Fuh You

IDLES – Great

PHOTO CREDIT: Atlantic Records

Aretha Franklin – Respect

Cat Power (ft. Lana Del Rey) – Woman

Drenge – Outside

Stefflon Don – Jellio

PHOTO CREDIT: Bernhard Wimmer

Petrol Girls – Sister

White Denim – Fine Slime

The Lemon Twigs – The Fire

Pale Waves – Black

whenyoung – Dreams

Eliza Shaddad – This Is My Cue

Maggie Rogers – Give a Little

Nicki Minaj – Ganja Burn

PHOTO CREDIT: Matt Salacuse

The 1975 – TOOTIMETOOTIMETOOTIME

PHOTO CREDIT: Michael Schmelling

6LACK – Nonchalant

Ailbhe Reddy – Shame

Bishop Briggs – Baby

Christine and the Queens – 5 Dollars

Jess Glynne – All I Am

The Kooks – Chicken Bone

MNEK – Crazy World

Rina Sawayama – Cherry

Sabrina Claudio – Creation

Tash Sultana – Free Mind

Tom Speight – Want You

PHOTO CREDIT: Ryan Saradjola

YONAKA – Teach Me to Fight

Ariana Grande – R.E.M

PHOTO CREDIT: Eliot Lee Hazel

Death Cab for Cutie – Autumn Love

Mitski – Remember My Name

Slaves – Photo Opportunity

TRACK REVIEW: D.A.N - Think About Me

TRACK REVIEW:

 

D.A.N

Think About Me

9.3/10

The track, Think About Me, is available via:

https://www.youtube.com/watch?v=FFDRgTRhVt8

GENRE:

Electronic

ORIGIN:

Derry, Northern Ireland/London, U.K.

RELEASE DATE:

27th July, 2018

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IN this outing…

I will look at icons in music and how we need to breed personalities and those that stand out. I will get on to songs about love and relationships and putting a new spin on the format; artists from Northern Ireland why it is a part of the world we should investigate more; getting songs played on the radio and having that widespread and national acclaim; putting something new into the fold and creating compositions that get into the heart; a look at where D.A.N might go and what his future holds. It has been a complex and interesting week for music where we have seen the death of a music icon and the birthday of another one. A lot of mixed emotions have been swirling around and I wonder whether we are going to see a week in music where we have felt that contrast. I am looking at the modern industry and searching around for something that fills the gap or gives guidance. It would be unfair to place all that pressure on D.A.N and ask him to be this big icon and create a legacy right now – that might happen but it is a long way off! I am listening to all the music swirling around and asking if we will see any legends and big names from the current breed. It may seem like an odd point to start on but I wanted to look at music now and how it has changed since decades past. D.A.N is one of those people who brings a lot of emotion and personality to his music. I think there has been something lacking in music lately and I do ask where that next breed of standouts is going to come from. D.A.N is someone who injects so much colour and depth into his sounds. I am not suggesting artists like him will match the heady icons we have noted this week but he is part of a revival and wave of new artists are standing aside.

It can be rather boring listening to artists who stay the same and have very little innovation. I get into that mindset of hearing the same sort of thing rattling around and it can get a bit weary. Although I maintain modern music can never reach the levels of the older stuff and the artists who have come; there are so many interesting and promising musicians who are spiking my imagination. One of the reasons I am drawn to D.A.N is because he brings the listener into the music and it is a completely immersive experience. Too many tracks are quite cold and sterile and you never feel like you are part of the process. The songwriter has gravitas and passion and you can hear that in every note. Whether he is singing about something heartbreaking or not; you never feel like you are being pushed away and left out. D.A.N is a different force and really gets under the skin. His songs about relationships come from his heart but you never feel like there is cliché and the ordinary coming through. I am a bit weary of those relationship songs that deal with tropes and copy everything out there. D.A.N’s new one, Think About Me, is a hopeful song that looks at the dislocation of a relationship but has positive results. The hero is trying to make himself stronger and find independence after having his heart broken. A lot of love songs work with the negative and you can feel a bit buried and suffocated by what is being said. I like those songs that provide something spirited and stronger when they are being performed. Rather than get sorrowful and down; a track that has that lifted heart and finds something hopeful is a lot better. What you get from Think About Me is a story of facing disappointment and change but using it as an opportunity for betterment and reflection. It is inspiring hearing his latest track and the fact he is not going to let the end of a relationship get the better of him.

Having that positive approach and being a bit more optimistic given the end of love is a rarity in modern music. I hope D.A.N, following his latest track, finds a new bond and can rebuild from it. It is strange how love forms so much of the creative mindset and how important it is to music. Some of the greatest songs ever written have been about relationships but, for the most part, it is the failure and bleak that forms the majority – how often do we hear about something more rousing and redemptive when it comes to splits?! I will move on now but come back to relationships a bit later down the line. D.A.N is based in London now but is from Derry. It seems odd to focus on Northern Ireland but I feel we overlook parts of the world and often assume everything great comes from the capital. Although I am always keen to champion London music; I am much more interested focusing on other parts of the world and what is happening there. Northern Ireland has been part of the musical landscape for decades now. The Undertones are from Derry and there are a lot of interesting new artists coming from that part of Northern Ireland. I know Hannah Peel has moved to Northern Ireland and it seems there is something about the nation that is attracting artists. London is still a big draw for musicians and provides endless opportunities but, as things get more expensive and city living is not affordable; people are moving away and finding something beneficial elsewhere. Derry is a great part of a nation that has some fantastic venues and local acts. You have The Glassworks and Never Centre and there is a lot of love about the city. Northern Ireland is a fantastic country for music and you cannot ignore what is coming from there. I feel D.A.N moved because he wants to get bigger acclaim and see his music spread but I am interested to see where he comes from.

Do we spend time looking at music away from London and big cities and find what sort of variety there is available? I have been compelled to investigate Derry but there are other parts of Northern Ireland, including Belfast, with a great scene. Maybe E.I.R.E is a bit more active regarding music but Northern Ireland has so many great artists and venues to investigate. I hope more and more of us take the initiative and look at music from all around the world. As part of my daily activity; I get to discover music from all over the world but I seem to see a pattern emerging. A lot of submissions still come from obvious places and I wonder whether artists from smaller cities and towns get a look in. If D.A.N gets some love for Derry and makes me look over there; I am curious how many other artists there are that are not getting acclaim because the media is obsessed with bigger areas. I will come to a new subject in a second but I would urge everyone to take some time out and investigate the world of music – rather than what is happening in London or obvious places. That may seem like an impossible task but a bit more open-minded approach and study will broaden our horizons and make us all richer. I have seen D.A.N progress from the turmoil of insomnia and emotional worry on 0300 (Human) and arrive at a new avenue. The songwriter progresses with each release and I am excited to see where he goes from here. Think About Me is a much brighter and more vivacious song that sees him work with producer Dave Okumu and mixer Dan Parry. Between them, they have worked with the likes of Jessie Ware and Loyle Carner. That sort of pedigree is nothing to be sniffed at. It shows how much D.A.N’s music is resonating – he can attract that sort of talent and make his songs stronger for it.

Another good reason why the songwriter is important is because of the acclaim he gets from radio. A lot of artists get airplay on big stations and it is something to be proud of. There is limited space and chance for artists to get their music exposed so, if you can, make something of it. I am one of those people who is keen to get artists publicised and see if I can get them to radio stations. It is a big step if you can get to national radio and the possibilities are endless. If you can have your music featured on local radio then that is important and is a great first step. I am always listening to stations like BBC Radio 1 and BBC Radio 6 Music and seeing what is coming through. D.A.N is an artist who has struck the imagination of radio producers and, as such, his music has spread far and wide. There is nothing to say, years from now, he cannot get to big stations in the U.S. and get a lot of tour dates over there. You have to have those ambitions and the fact he has managed to get onto big British radio stations is a huge step. I am excited to see how far he can go and what comes next. I know D.A.N is working on new material and there will be new releases very soon. I am going to keep an eye out and see what happens but I expect more and more radio stations to turn his way and play the music. If you can get your music played on radio and get reaction from it; that is a good way of getting gigs booked and having venue take note. I have heard so many artists get bookings directly from promoters and venue owners hearing their songs on the radio. D.A.N’s latest track has that summertime sound and, whilst it might be too late to have festivals lined up and get involved with that side; I am sure more gigs will come and people will be reacting to his music.

I am looking ahead for D.A.N myself and wonder whether his music has been put in the hands of American producers and radio stations. I feel his music has such a great sound and would resonate there. Radio is a hugely powerful medium and cannot be underestimated. T.V. is a potent force but how many music shows have we got right now? It is rather sad there is nothing specifically set up for modern musicians. Many have to perform on cooking shows and non-music outlets and radio, in so many ways, is the only place to hear artists. I wonder whether we will see a music T.V. show come through and whether anything will change in that regard. My point is how important radio is and its power. I am pleased D.A.N’s music has struck the ear of stations and he is gaining a lot of new fans. He has seen his music played on T.V. shows like Made in Chelsea and BBC Radio 1 and BBC Radio 6 Music have spun his material. It is great seeing the Northern Ireland artist getting acclaim on T.V. and radio. Where does he go from here in terms of ambition? I will speak more about that in the conclusion but I feel D.A.N can go a very long way. Not only does the songwriter have a popularity and base on radio but his evolution marks him out as an artist with endurance. I have been speaking about icons and how few modern artists can match their brilliance but the industry is so much harder now. Artists like D.A.N have exceptional qualities and I feel he is someone who will remain for many years to come. I keep mentioning icons and classic music is because of the shifts in music and how we view it. I love modern music but so many artists are not putting effort in regarding composition and depth. D.A.N expends so much of himself into every track and you get a window into a unique musician who wants to inspire the next generation.

It would be easy for D.A.N to repeat himself and not stretch his ambitions between releases. I have seen many artists discover a popular sound and then not expand from there. What we get is a rather samey and predictable career where you cannot really distinguish songs from one another. D.A.N can talk about love and its complexities but is always engaging and new. I loved when he sung about insomnia and emotional turmoil – not in a cruel way – because he managed to splice a striking core with a beautiful and soulful sound. Now, when recounting a break-up and coming out the other side more positive and bright; he injects something a lot more rousing and sparkling into the mix. It is a leap from 0300 (Human) but still sounds like him. What I am noticing from his music is how much confidence is coming in. I am not saying his early sounds and timid but it seems, with every new release, that spirit is raising and he is getting bolder. I mentioned how he is working on other material and I am excited to see what form that takes. Whether there is an album or E.P. arriving; whether he has summery tunes or a mix of emotions…it is going to be interesting discovering what comes from him. Not many artists are able to achieve such leaps and evolutions between releases and keep their identity intact. The songwriter is vibing from the attention and acclaim and providing the music world with some brilliant sounds. Let me look at Think About Me and a current release that is already turning heads and getting some big love.

The hero starts the song by looking at the same old streets and investigating those old haunts. There is a patter of drums and something brooding working away. The composition is quite minimal and things are fairly tense to start with. The hero is looking at the immediate split and is walking through a street of memories. He gave the heroine space and time and it seems, regardless of how open he was, things were not going to last. I am already in the corner of D.A.N and wondering whether he will recover quickly. The early stages see the hero look at the old sights and places he used to visit with her. It has been a touch split and it is inevitable he would go back to where the two of them used to visit. You get vivid scenes and sights come through in his vocals. The composition is fairly light and that minimal approach allows the listener to paint their own thoughts. You are in the song itself and walking alongside D.A.N. Although there is that initial sense of remembrance and looking back; he is pining forward and what is coming next. The hero knows the girl is thinking of him and is still searching for answers. It would be unhealthy transitioning from a relationship and not wanting to know where things went wrong. As opposed those who wallow and let break-up eat them and haunt their mind; this is a more productive and pragmatic reaction to a bond that had been showing cracks for a bit. You get words where the author is talking to his heroine – she must think of him and knows there is something in her heart – but the music elevates and shines. The beats get brighter and lighter and electronics fuse in. It is a galloping and summery jam that gets into the heart and makes it beat faster.

PHOTO CREDIT: Cora Hamilton

Even if the early moments are a bit more downbeat and mournful; that soon changes to a more dynamic and spirited thing. Think About You is a feeling the spark is still there and everything is not lost. You can imagine the two of them going their own way and still holding on to the great times. I am not sure what caused them to end but it seems like everything is not lost. The hero is not yearning or begging for another chance: his mind is looking to rebuild and look at life in the future. Getting catchier and picking up rhythm; you are immersed in the song and captured by its hooks and flair. I wonder whether the song is taken from two sides of the conversation. It is obvious our hero is still fascinated by the heroine and does not want to completely lose sight of her. Those good times are in his mind and it is vital he keeps hold of them. You do not get the sense the songwriter is holding onto a raft and looking for salvation. He is determined to move through and find something positive on the other side. It is impossible to forget about the song and get it out of the head. You are stunned by the sunny notes and big chorus; the way the hero projects a positive outlook and is not letting things getting him down. In the midst of everything; I am thinking about the way he is holding onto the relationship and those memories. Maybe it is hard to completely forget and relinquish that grasp. You feel for him and wonder whether there is any chance of reconciliation. Rather than try and repair something that is struggling; I feel the hero is moving on and looking to find something on the other side.

Many songwriters want to move on after love ends and that can be a really hard thing. The hero has accepted the best times are done but there seem to be no regrets and blame. It is easy to bond with a song like Think About Me because it puts you in a better frame of mind and gets your body moving. I predict it will be a big hit for him and prove popular with T.V. producers and radio stations. Many people are reacting to it already and there is every evidence to suggest he will have a big smash on his hands. You do not get many songwriters who can create very different songs and keep their own identity solid and clear. D.A.N does not want to repeat himself and be seen as a formulaic artist. He is making big waves and pushing himself with every track. I am excited to see other material and get a sense of where he is now. It is hard to get a real sense of which songwriters are worth a shout and who can remain the course. Such is the mass of artists available online, it is hard working through them all and making predictions. I am sure D.A.N will last for many more years and continue to do great things. The Derry artist is on a hot streak right now and seems to have his sights firmly set. Make sure you hear Think About Me and get involved with a brilliant creative revelation. There are not many artists out there like D.A.N. He gets into every part of the body and mind and makes you think and feel more deeply. In an age where there is so much meagre and predictable music; it is nice finding artists who go much further and have much more substance.

I have investigated D.A.N before and am always blown away by his talent and instinct. He is an artist that seems to speak for everyone but does not have any likeminded peers. He can address love and its perils but add something hopeful and positive to the plate. I think he has a bright future and can go on to create a lot more great songs. I have been talking about icons and modern music vs. the past for a while – there is a point behind it. Whilst it is true it is near-impossible to see any of the new breed rise to iconic levels and stay in our hearts for decades; the climate has changed and things are very different. Competition is fierce and, rather than look for idols and icons; I feel applauding those who can survive and continue to find focus is much more helpful. D.A.N is a modern artist who can rank alongside the most promising of the mainstream. He is a multi-talented writer and musician and seems get stronger with everything he brings out. I am not sure when further material is out but you will have to keep an eye out for his social media channels. He will keep fans abreast and it will be excited where he heads next. There is nothing to suggest D.A.N cannot release a series of albums that will get into the critical mind and inspire new musicians. He stands aside from what is out there and wants to endure and remain. One gets something deep, engrossing and fascinating with Think About Me. The track, on paper, seems like an average and everyday workout regarding moving on from broken love and finding hope. When you hear the song come alive; there is so much working away that you are taken somewhere special. I have been a bit down regarding new artists and what they are about but there are some fantastic musicians who are showing great endeavour. D.A.N’s new music makes me think of Derry and Northern Ireland as a whole. It is a fabulous nation that is housing some remarkable new talent. Although the artist has located to London and is finding chances here; I hear his home running through the musical blood and it makes me want to investigate the music of Northern Ireland a lot more. If you have not discovered D.A.N and feel he is going to be your normal and predictable songwriter then give his sounds a spin and discover something wonderful. I shall end this here but I want people to investigate the rising star and find out why so many radio stations and media sources are promoting his music. Even if a bad relationship has influenced his latest track; it is the positives and possibilities that come from that fuelling his mind. The young artist is not getting down and letting things get on top of him. I am sure there are many more years (maybe decades) in the tank for D.A.N. He has that desire and heart that many songwriters do not possess. Follow the fantastic songwriter and see where he heads next. 2018 has been a great year for him but I feel next year will…

TAKE him to a new level.

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Follow D.A.N

Official:

https://www.danmusic.co.uk/

Twitter:

https://twitter.com/dan_online

Facebook:

https://www.facebook.com/danonline95/

Instagram:

https://www.instagram.com/dan_online/

SoundCloud:

https://soundcloud.com/dan_online

Spotify:

https://open.spotify.com/artist/6CtWl0QypaiAQ0XbMe3CMa?si=-0Bo8XFmTl6vCS6e53IYWA

YouTube:

https://www.youtube.com/channel/UCv_O5b-VxuGEb54Pn5xUblw

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Stefflon Don/PHOTO CREDIT: Gareth Cattermole/MTV EMAs 2017/Getty Images for MTV

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

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I wanted to follow the last instalment of this feature…

IN THIS PHOTO: Bishop Briggs/PHOTO CREDIT: Jabari Jacobs

fairly quickly so that there is a bumper of female-led music to get you into the weekend. There are some brand-new releases alongside some songs that have been out a little while. It is a mix of Pop, R&B; some Rap and a few other genres sprinkled in there. Hopefully, there will be something in there that will take your fancy and show music from women right now is not a genre – it’s a gender. We are all aware there is sexism and less attention paid to female artists so it is good to be able to celebrate them and show the wealth of talent around. Sit back and enjoy another rundown of female talent that should get you prepped and pumped…

IN THIS PHOTO: Jess Glynne

FOR the weekend.

ALL PHOTOS/IMAGES (unless credited otherwise): Gettt Images/Artists

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Yummy Pearl – GoodNite

Tana Mongeau – W

Aadae – Just Found Out

Bishop Briggs – Baby

Ellie Schmidly - Blossom & Bone

PHOTO CREDIT: Elliot Kennedy for CRACK

Stefflon Don – Precious Heavy

PHOTO CREDIT: Michael Vallera

Circuit Des Yeux (ft. Moon Bros.) – Souer de Race

Sarah Reeves – Always Been You

PHOTO CREDIT: Louise Thomas for The Line of Best Fit

Annabel Allum – Fear Naught

Leanne Robinson - Last Time (Change Your Mind)

PHOTO CREDIT: George Ogilvie

Bess Atwell – Swimming Pool

Say Lou Lou – Golden Child

Josie Moon – Call Me

Na7halie Sade - Gravy

LeyeT - Let Me Know

Lucy Mason – High and Dry

Hannah Grace – Oh River

Kate Lomas – Drink 2 U

Jess Glynne – All I Am

Gabbie Hanna - Honestly

PHOTO CREDIT: Sara Laufer

Daisy the Great - Company

Jarina De Marco - Bilingual

Britty – Lovers Get Bored

Lele Pons - Celoso

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Red Velvet

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

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MY mind has shifted from looking at Aretha Franklin…

PHOTO CREDIT: Nonku Phiri

and her amazing legacy. I am not compelled to look at the best new female artists and songs that should bring back the sun and heat. There is a mixture of summer-tuned sizzlers and some cooler, more relaxing tracks that display the contrasts of the summer months. The autumn is almost upon us so, before I alter this feature; I felt it only right to put together another list of great female tracks/female-led offerings that will get your Friday kicking and get the weekend started earliest. Take a listen to the newest list of offerings and I hope they keep the spirit of summer…

IN THIS PHOTO: Emily Magpie

IN your blood.

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

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PHOTO CREDIT: @ro.creativ

Basement Revolver – Heavy Eyes

Natalie Evans – Empty Rooms & Aeroplanes

Georgia Fearn – Master of Jazz

Lauren Faith – Just a Little

Nonku Phiri - Sîfó  

Lil Debbie – Loaded

Powpig – Concerned

Birch – femme.two

Lady Sanity – Bullseye

PHOTO CREDIT: Thea Brooks Music

Vanessa Maria – Party Next Door

Vök- Autopilot

Leadley – Like I Did

Jaguar Jonze – You Got Left Behind

FADE – Fall in Love

Red Velvet – Mosquito

Amy Stroup – Thrill of It

PHOTO CREDIT: Lukas Gansterer

Mavi Phoenix – Ibiza

PHOTO CREDIT: Tor Hills

Natalie Williams – Extraordinary

Rebecca & Fiona – Need You

Stela Cole – Lucky Day

Emily Magpie – Last Train

PHOTO CREDIT: Carlos Avila

Neenah – Sun Tzu

Simi – I Dun Care

Saweetie - ANTI

FEATURE: The Soul Chronicles: Aretha Franklin and Her Incredible Legacy

FEATURE:

 

 

The Soul Chronicles

IN THIS PHOTO: Aretha  Franklin in 1987/PHOTO CREDIT: Norman Parkinson Archive/Iconic Images/Getty Images

Aretha Franklin and Her Incredible Legacy

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IT is axiomatic to say…

IN THIS PHOTO: Aretha Franklin in 1967/PHOTO CREDIT: Atlantic Records

Aretha Franklin influenced music and changed things – do we really know how far that influence spreads and how she managed to push things forward?! Many of us associate Franklin with one song, Respect. It has become her anthem and a song that seems to speak for women and black musicians around the world; people in their homes and those looking to get respect and attention. It transformed and transcended its roots and potential. Although she has an illustrious and stocked back catalogue; I have always drawn myself to that song and, I don’t know – it seems to hold a power that no other track does. Writing yesterday; The New York Times looked at the song and how it became an anthem:

“Ms. Franklin’s respect lasts for two minutes and 28 seconds. That’s all — basically a round of boxing. Nothing that’s over so soon should give you that much strength. But that was Aretha Franklin: a quick trip to the emotional gym. Obviously, she was far more than that. We’re never going to have an artist with a career as long, absurdly bountiful, nourishing and constantly surprising as hers. We’re unlikely to see another superstar as abundantly steeped in real self-confidence — at so many different stages of life, in as many musical genres.

That self-confidence wasn’t evident only in the purses and perms and headdresses and floor-length furs; the buckets and buckets of great recordings; the famous demand that she always be paid before a show, in cash; or the Queen of Soul business — the stuff that keeps her monotonously synonymous with “diva.” It was there in whatever kept her from stopping and continuing to knock us dead. To paraphrase one of Ms. Franklin’s many (many) musical progeny: She slayed. “Respect” became an anthem for us, because it seemed like an anthem for her”.

The article made a salient and interesting point: Do we see Aretha Franklin as a proper, album artist rather than the singer of a famous song like Respect?! Although that track has become a moment of wonder filled with spirituality and personal strength; I wonder how far we look back at Franklin and what she gave to music. I have been listening back at albums like Lady Soul (1968) and how that is almost a greatest hits album. Chain of Fools and (You Make Me Feel Like) A Natural Woman are terrific but Groovin’ and Come Back Baby are gems in their own right. In the same year as Lady Soul, we saw Aretha Now come forward: Think and I Say a Little Prayer are incredible highlights that have been scorched into the universal memory since their release. On every album, whether spectacular or merely promising; something stood out that other artists do not possess – whether it is an intuitive talent or something she acquired as she became more confident. The article I have just quoted looks at Franklin’s interpretive skills and her adaptability:

“It didn’t matter whether it was a Negro spiritual or something by the Beatles. It was all wet clay to her. The Supremes, Frank Sinatra, Leonard Cohen, Adele, Simon and Garfunkel, James Taylor, ? and the Mysterians, C & C Music Factory: She oversaw more gut renovations than a general contractor. In 1979, she took the occasion of B.B. King’s “The Thrill Is Gone” to allow her backing singer to exclaim that she (and they) were “free at last.” Toward the end of her funked-up, very fun version of Sam & Dave’s “Hold On, I’m Comin’,” from the 1981 album “Love All the Hurt Away,” she tossed in some “beep-beeps” and a couple of lines from “Little Jack Horner” because she knew she could make it work”.

I wonder whether we give her entire career enough adulation and oxygen. Sure, there are those supreme hits like Chain of Fools and Respect but, from her early Gospel recordings to her 1980s collaboration with George Michael (I Knew You Were Waiting (For Me) and you have so many different angles and shades. She could take any song and make it her own; fuse with another artist and naturally adapt and shine – how many artists can do that now?! Yesterday, I speculated whether we will ever see an artist who has that natural icon status and gives music so much. Franklin brought religion to her music and it was her spiritual side that gave her music its ethereal, transcendent and almighty force. Whether you believe in God or not; she believed he gave her the gift of that voice and she was not going to waste it. Every album – from 1966’s Soul Sister to 1998’s A Rose Is Still a Rose – uses that voice to its maximum. She was never your everyday warbler who belted songs without thought of nuance and dynamics; she phrased words beautifully to get the most from them. Leaving pauses between certain phrases and bringing in little sighs, laughs and imperious shrugs – touches that infused her music and gave it so special character. Above all, we had a personality who was able to elevate any song to heavenly heights and touch the masses. Almost, in a sense, Franklin was a pastor: an assigned representative of God who was channelling his love through her to the people.

Another New York Times article looks at that religious significance and how she managed a hard trick: mixing the spiritual with the sexual

“Aretha Franklin absorbed the entirety of the black American tradition as she moved from church singer to balladeer to the greatest voice in soul music. Yet she would go one sacrilegious step further, and in a thousand double entendres, throaty growls and shouts of ecstasy, inject sexual need into gospel music. In so doing, she made herself the forebear of everyone from Madonna and Beyoncé to Adele. (Ms. Franklin remade Adele’s “Rolling in the Deep,” I imagine, because the joining of gospel cadences with a cheating lover was surely irresistible to her.) Other musicians, like Ray Charles and Sam Cooke, had mixed the two, but no one blended the sacred and the sexual quite as Ms. Franklin did”.

IN THIS PHOTO: Aretha Franklin at Chicago’s Cook County jail in June 1972/PHOTO CREDIT: Robert Abbott Sengstacke/Getty Images

I wanted to focus on her soulfulness and preaching because, strangely, it is something we think of when looking at her music. Artists, now, are less willing to bring religion and faith into their work. Maybe they feel people will ignore them or they simply will not be able to do their god justice. Franklin used fluctuations in volume and pauses to build tension and then exploded into a huge crescendo. Having recorded her first Gospel album at the age of fourteen; she signed to Columbia Records and moved to New York as a teenager. The piano, alongside her voice, was her weapon that she used to make songs of praise ecstatic and tender; tracks of cheating men filled with vengeance, judgement and a sense of confidence – that she was going to be alright and stronger than him. Anything and everything she touched turned to gold. Many see Aretha Franklin as a simple singer; we do not realise her incredible musicianship and interpretative brilliance. This recent article in The Guardian highlights how she used phrasing and melisma to devastating effect in her music:

“When it is used most effectively, the melisma exudes sheer visceral power and can ignite existential catharsis. It suggests limitless emotional revelation and spiritual reckoning. Franklin took it to new heights. In her hands, form was also content that put a sly, critical twist on a song. If, lyrically, I Never Loved a Man (The Way I Love You) is at its core a lament about romantic abjection and, startlingly to some, about sexual submission as well (“You’re a no good heartbreaker / You’re a liar and you’re a cheat / And I don’t know why / I let you do these things to me …”), if Franklin sings a tale of love sickness as old as Mamie Smith’s Crazy Blues, the form – how she audibly attacks the song itself – was a pop revelation. Our heroine sounds out the agony of unquenchable desire and couples it with astounding assertiveness. Her labour, her movement, her action become the subject of the song. Drenched in glory, she triumphs over and through the oppressiveness of the lyrics. She made her labouring body a central character in her music”.

I will end by speaking of Franklin’s legacy and artists who have followed her lead. Alongside her unique music and vocal ability; she gave voice to black lives and pushed the civil rights music forward. In the same way as she used religion to heighten her music; Soul became a chronicle of black struggle and the need for freedom and evolution. She wanted love and equality but was not willing to temporise that anger and desire. During years (and decades) when the black vote and voice was being struck against and silenced; she brought her music to the mainstream and delivered a phenomenal rebuke. Rather than attack politicians and criticise; the sheer power and grace her voice possessed not only inspired fellow musicians – and many black artists coming through – but resonated with the people. At a time when there is racial imbalance in music and a long way to go; I feel Franklin’s incredible music and messages will be an essential slogan and accompaniment. From her early Gospel days to recording albums like Amazing Grace (the 1972 hit that is seen as one of her finest); through to her later collaborations and appearances – how can we calculate the worth and impact Franklin made?! In musical terms, she is much more than a song or two: her entire progression and catalogue tells a story and charts the rise and reign of a true queen. Her civil rights importance and musicianship are another aspect; she provided messages of confidence and hope for people out there who were vulnerable or doubtful - urging a sense of togetherness and love in everything she said or performed.

You only need to perform a brief Internet search to see the artists who have been influenced by Aretha Franklin. Her death will spark fresh interest and discovery; new artists finding her music and being struck by her immense gravitas and ability. I hope Franklin’s musicianship and vocal phrasing will resound with artists in the current day. We do not see many who have her affinity for language and projection; can do so much with their voice and make any song, whether Gospel or Soul, sound like their own. Few genuine idols and standout voices have arrived in the past couple of decades – aside from the odd genius like Amy Winehouse. From George Michael and Beyoncé through to the modern breed of Soul singers – it is impossible to say just how many modern artists take something from Franklin (whether it is vocal or political; spirituality or something completely personal).

Lady Gaga, Paul McCartney and Mariah Carey have paid tribute and given their thanks; Cher, Carole King and Justin Timberlake have expressed their gratitude, sadness and love. The affection and respect for Franklin are evident: modern music is so much richer for her presence and we are all the better for having had her in the world. If a soul never dies or dissipates; that means Franklin will always be with us and watching over us. Current artists like Jenifer Hudson, Mariah Carey and Kelly Clarkson have stated how Franklin is an idol they are moved by.

IN THIS PHOTO: Mariah Carey (photoed with Aretha Franklin) made a moving tribute on social media/PHOTO CREDIT: Jack Vartoogian/Getty Images

I shall wrap things up with a quote/snippet from an article on Pitchfork but feel, given her death; we all need to look back at Franklin’s life and everything she gave to music. There is so much we undervalue and overlook; albums and times of her career that warrant investigation and fresh eyes. She was and is a role model who inspired generations and got into all of our hearts. The fact she is so beloved and people mourn so vividly speaks to her legacy – an artist whose immense voice and soulful potency will never be equalled or bettered. Although she is peerless; I hope modern artists learn from her and recognise how much she has given to us all. Pitchfork assessed her voice and catalogue and distilled it thus:

“In listening to Aretha’s best songs—songs that innervate the nervous system and rattle us to our bones—we’re reminded of who we are at the spiritual level and how we are all deeply, and even maybe inconveniently, interconnected as souls. That’s what soul music is, that’s what soul music does—it illuminates the path to our mutual interdependence. Aretha’s feelingful back catalog remains a prescription for how we might find ways to how we might move away from the depressing atomization and fragmentation of modern life into soulful cooperation, getting togetherness, toward a funky “Soul Train” style dance with each other”.

Aretha Franklin’s music gave so much to so many people – each person has a different experience and reason for loving her. For her incredible, world-moving music and that incredible human behind it; the films, the albums and all the immense live performances; the highs and inspirational speeches; the grace, spirituality and immense power…we give thanks and, as many commentators have said when singing their pieces off…

SAY a little prayer.

INTERVIEW: Oriel Poole

INTERVIEW:

Oriel Poole

___________

I have been speaking with Oriel Poole…

PHOTO CREDIT: Galen Oakes Photography

about her new single, Brighter, and filming its incredible video. She tells me about moving from the U.K. to the U.S. and what she wants to accomplish going forward. I ask which rising artists are worth a shout and what advice she would give to artists emerging.

Poole reveals what she does away from music and her favourite memory from her career so far; how she got into music and kindled that passion; what it was like working with Julio (the L.G.B.T.Q. advocate) on her current video – she ends the interview with a great song.

____________

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

Good, thanks.

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

Bold, sensual and otherworldly. Genre-wise, I produce Trip-Hop; combining the sounds of R&B, Electronic; Soul and Experimental.

Brighter is your latest music video. Is there a personal story behind it? How did it come together?

The song is about recognizing my magic inside, the inner-flame, ready to expand into the world. It's the voice inside my head saying, ‘let me out, already!’.

From a visual standpoint, the director, S-hekh Shem Hetep, saw the hypnotic side of my music and me and used that to create a video that was both whimsical and seductive; highlighting my essence as an artist.

The music video seems like it was fun to film! Was it a good shoot? Did you have a lot of creative control regarding concept and theme?

The director took the lead on the creative concept for the video. Of course, I had my say; I also brought in friends such as Ostara who led up the styling and set dressing to support the overall vision. One of the most challenging parts for me in the process was allowing - having a creative background in production design I enjoy being hands-on and driving the creative process forward. But, in the making of this music video, it was important for me to focus on being solely the artist.

Did you enjoy working with L.G.B.T.Q. advocate Julio on the shoot?

Yes. Julio is amazing. Such a talented force - he really helped me come into my skin and portray the sensual woman that I am on camera.

Brighter is from your E.P., Sunday. Are you looking ahead at more material – or will there be more material released from the current E.P.?

I have another music video coming soon (for Foothills). I’m taking classes and working on a single right now while I save in preparation for the writing of the second E.P. I’m also pitching to labels in an effort to receive additional resources and support of the second E.P.

How did you get into music? Which artists compelled you growing up?

Music has always been in my blood. It was a matter of waking up to the desire to pursue it. I have a rather eclectic taste in music. Some of my influences growing up include Pink Floyd, Kavinsky; Björk, Enya; Jamiroquai, Erykah Badu; Zero Seven and Talking Heads.

I believe you were born in Britain but moved to the U.S. Was there a reason behind the move?!

My parents wanted to move to America - not completely sure why -; possibly for a chance at a different life. I was eight-years-old. It was hard letting go of everything I knew and loved that age but the experience did shape my perspective and provided me with a broader vision of the world.

What do you hope to achieve by the end of 2018?

Securing a label or investor - 100k to propel to the next level of my career so I can focus exclusively on the next E.P., continued education; new creative content (music videos!) and a national tour. I’m looking for a company or individual who sees my whole package and wants to help provide me with the resources to scale massively.

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

Performing at Red Rocks Amphitheatre with Lotus. That venue is legendary: an outdoor amphitheatre shaped by natural, red rock formations. It is an honour to have performed there.

Which albums mean the most to you would you say (and why)?

Pink Floyd - Another Brick in the Wall

Talking Heads - Stop Making Sense

Both albums changed the way I experienced music.

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

Based on my sound, I would be best-suited opening for Childish Gambino, Frank Ocean; Bonobo, Bob Moses; Rüfüs Du Sol, Tame Impala; Woodkid, Little Dragon; Anderson .Paak and STS9.

Rider? A candlelit dressing room and yerba mate, please.

Can we see you on tour soon? What dates are coming up?

None at the moment but I will keep you in the loop!

What advice would you give to new artists coming through?

I am breaking through so I can only speak from the perspective of my present experience. Success is a combination of talent and drive. If you have something people are responding to and you are committed to finding the way - doing whatever it takes to turn this passion into a career - then this is the path for you.

IN THIS PHOTO: Jamie Lidell/PHOTO CREDIT: Lindsey Rome

Are there any new artists you recommend we check out?

More recently, I have been really feeling Jamie Lidell, Nonku Phiri and Nao.

IN THIS PHOTO: Nonku Phiri

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

Yes. I find time to go unwind and feed my soul. I go out and dance, connect with friends; be active in my body, be in my joy. I also practice meditation and Theta Healing every day.

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! Go check out Dear by Pete Philly

____________

Follow Oriel Poole

Official:

https://www.orielpoole.com/

Facebook:

https://www.facebook.com/orielpoolemusic/

Twitter:

https://twitter.com/orielpoole

Instagram:

https://www.instagram.com/orielpoole/

YouTube:

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

SoundCloud:

https://soundcloud.com/orielpoole

Bandcamp:

https://orielpoole.bandcamp.com/releases

Spotify:

https://open.spotify.com/artist/4jvMMPV0sqRjQZaWS0JXhG

INTERVIEW: Choze

INTERVIEW:

PHOTO CREDIT: Josh Snaps

Choze

___________

WITH Nothing to Lose out there…

I have been speaking with Choze about the track and what inspired it. He discusses his upcoming plans and the influence of Clapham. I ask him which rising artists we need to look out for and the albums that have been instrumental to him – he tells me what it was like working with Skolz on his latest song.

Choze reflects on the past year and how it affected Nothing to Lose; what advice he would give artists coming through; if there is going to be more material coming up; if he gets moments to unwind away from music – he selects a good song to end the interview with.

____________

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

Hi. I’m good. My week HAS been like most weeks: very productive

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

I go by the artist name ‘Choze’ and I’m an Alternative artist that has been on the scene for a few years now.

Nothing to Lose is your latest single. Can you talk about the origins and how the song came together?

It basically came together about a year – one when London was going through tragic moments. Whether we lost hundreds of people due to the Grenfell Tower fire or the increase of gun and knife violence or Brexit; I just felt that it was time to speak on a few touchy subjects. I was brain-fried by the disappointment I was seeing and I wanted to address it.

What was it like working with Skolz on the track? What did he bring to the track?

I feel, when I work with Skolz, he brings out the best in me. His sound has his own stamp on it which I easily became a fan when he first started to play me his material. Nothing to Lose was one of the tracks he played to me and, at that moment, I knew I was going to record something deep on that record. The beat was just calling and telling me what I should say. He brought the edge that I needed to enhance my lyrics even more which is why I’m happy with what we’ve created together.

PHOTO CREDIT: Josh Snaps

It seems like 2017 impacted you. Looking at all the horror that occurred – including Trump’s election and the Brexit result – how do you see the year? Do you think the world has lost some of its mind?!

Honestly, I feel we’re living in the last days but also I’ll have to get back to you with an answer. It’s just too deep to respond...plus, we’ll be here all week if I do (laughs). 

Is there going to be more material coming later in the year do you reckon?

100%! I’ve got two more records to put out then the mini-album which I’m excited to share with the masses. Very personal record to me

PHOTO CREDIT: Josh Snaps

Who are the artists that inspire you and led you to get into songwriting?

Kendrick Lamar, the Paul Institute; Skepta, Plan B and Mike Skinner. There are a few more but, roughly, these artists push me to write chapters after chapters. I feel they help my storytelling but push me to create my own style with it.

How influential were your experiences in Clapham, and the scenes you witnessed there, to you regarding your path into music?

Clapham can be very embracive and multicultural: it can also be very problematic and difficult to live which helps me write songs to explain my experiences growing up in neighbourhoods such as Clapham. But, honestly, how the area has developed over the years; I wouldn’t change it for the world and it’s what made me the artist I am today.

PHOTO CREDIT: Josh Snaps

What do you hope to achieve by the end of 2018?

To get a wider audience; to follow see and support what ‘Choze’ the brand has in store.  Plain and simple.

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

My favourite memory is when I got a standing ovation to a packed crowd at Union Chapel in North London. That was a moment I’ll never forget. It made me feel that I’ve achieved my goal but motivated me to strive for more shows where I would work my best to receive more support from bigger crowds. It just made me a fiend for performance after that night.

Which three albums mean the most to you would you say (and why)?

I’ve got so many albums that are a big influence in my life but the three that comes to mind are Boy in da Corner by Dizzee Rascal; No More Idols by Chase & Status and 21 by Adele.

With Boy in da Corner; it was the album that described everything that was going on when I was in college/uni times. It made me believe that I could tell my story in my own narrative and believe that no one can take it away from because it’s MY TRUTH and nothing but MY TRUTH.

No More Idols showed me that you can collaborate with all different genres or artists but still make an album which people will say stood the test of time. It’s a classic.

21 was the most personal record for me. It’s showcasing a person’s emotions with no fabrication or dishonesty - which is why I believe Adele is the most important artist of our decade.  She put the transcript out to the music industry that ‘honest’ music always prevails no matter what.

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

I would love to support the Gorillaz - and my rider will be only water before the show and then a stiff Jack Daniels on the rocks after (laughs).

PHOTO CREDIT: Josh Snaps

Can we see you on tour soon? What dates are coming up?

We’re just organising the dates as we speak. Go to my Twitter/Facebook/Instagram for more info (@CHOZEofficial)

What advice would you give to new artists coming through?

Never compromise unless you honestly believe it’s beneficial to achieving your reality - not dream, reality! Also, never stop. This game can never be taken for granted. You fail when you quit, simple.

IN THIS PHOTO: Shai Sevin

Are there any new artists you recommend we check out?

Skolz, Shai Sevin, Lemzi; The Grime Violinist, the Paul Institute; Anjlee Desai, Obongjayar; Max Stone; DOGZ OR GODZ. Few more but I’ll get back to you.

IN THIS PHOTO: The Grime Violinist

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

I still read books or watch inspirational docs to keep me motivated. I need those tools because I listen to music way too much - so they’re my ‘chill out’ sessions.

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).

Jai Paul – jasmine (demo). It’s still the greatest record I swear (laughs)

____________

Follow Choze

PHOTO CREDIT: Josh Snaps

Facebook:

https://www.facebook.com/Chozeofficial/

Twitter:

https://twitter.com/chozeofficial

Instagram:

https://www.instagram.com/chozeofficial/

YouTube:

https://www.youtube.com/channel/UCLezzsgclAyQkWt9YjVV5-Q

FEATURE: The Queen of Soul Departs: Where Do We Go Now?! Can Modern Music Produce a True Icon?

FEATURE:

 

 

The Queen of Soul Departs: Where Do We Go Now?!

PHOTO CREDIT: Unsplash

Can Modern Music Produce a True Icon?

__________

WE started this music day…

bidding the Queen of Pop, Madonna, a happy sixtieth birthday but have ended it on a sad note: we have had to say goodbye to the Queen of Soul. Aretha Franklin’s passing has seen an outpouring of memories, upset and disbelief. When the news was announced she was gravely ill, a few days back, we were preparing for the worse. The seventy-six-year-old seemed to rally – friends and family said they’d hope she’d pull through – but it has been announced she has died of pancreatic cancer. I opened the day talking about ageism in music and how icons/older artists are given far less attention than new, young stars. Madonna’s sixtieth is a time for celebration and sharing memories of her but, in another way, it is a sure-fire excuse for radio stations not to play her music. We are all hoping more material comes from her but I wonder how many radio outlets will house her music and gives her the respect deserved. Looking at the life and music of Madonna and Aretha Franklin has given us all to look back at a music world that really doesn’t exist anymore. I felt this type of heavy heart when we lost Prince and David Bowie back in 2016. With each musical loss; we celebrate what that person gave but mourn the fact we will never see the like again...

IN THIS PHOTO: Madonna in 2014/PHOTO CREDIT: Mert Alas for Interview Magazine

It was wonderful casting my eyes back at Madonna’s life and my memories – the giddiness of discovering her in the 1990s and that evocative, media-courting star whose fashion, sexuality and incredible creative spirit has dominated music and changed the Pop scene as we know it. You get a personality with Madonna; a real spirit and unique human who strikes the heart and head in so many different ways. She has not merely got where she is by commercial success and doing the absolute minimum. You can smell the blood, sweat and tears in every music video, album and year of her musical life. Like Kate Bush and other Pop greats; they are compelling, ground-breaking and utterly beguiling. You are never bored and are torn between which songs are best; the fashion choices that stand aside; which controversial remark or wonderful event defines what makes that artist special. Madonna is still full of life but, with less radio play and ageism creating a lot of discrimination, I wonder whether the Queen of Pop will struggle to mix it with the new, critically-lauded breed. Aretha Franklin has departed us but we all look back at her incredible career and all she did. She was a big campaigner for civil rights and, in many ways, did so much to create equality, conversation and awareness. Her religion was a big part of her music and that immensely powerful voice scored some of the most evocative songs ever.

If Madonna changed Pop and spoke out against sexism, ageism and censorship; Aretha Franklin battled racism, hatred and brought so much love to people’s lives. She was and is that peerless icon who brought Soul into the mainstream and created some true anthems. Whether you prefer Think to Respect or like (You Make Me Feel Like) a Natural Woman and Chain of Fools best – there are so many gems to choose from! Her classic albums like Lady Soul and I Never Loved a Man the Way That I Loved You defined the 1960s and gave us so much brilliance. It is devastating she is no longer hear – for more than one reason. We will miss that music and the chance of hearing any new Franklin music but it is yet another musical icon that has left. Every time we say goodbye to a decades-surviving star who has enriched lives with the music, personality and memories; it seems like we are so much poorer and darker as a community. Look at the existing icons; everyone from Paul McCartney and The Rolling Stones to Joni Mitchell, Bob Dylan and Patti Smith. Although I am not wishing death on any of them, from Paul Simon and Neil Young through to Roger Daltrey (The Who) and Robert Plant; one thinks their time is always precious.

IN THIS PHOTO: Bob Dylan in Columbia Studios in 1961/PHOTO CREDIT: Getty Images

That sounds morbid but those artists are in their sixties and seventies and one feels we will all live through the days when they are all gone. There are younger icons in our midst but imagine a day when we have lost every one of those idols and artists who defined the very best music ever. It is tragic to think of a planet with Bob Dylan or Joni Mitchell; no Bruce Springsteen, Paul Simon or Madonna – how will we cope when we only have their music in the world and not their bodies?! The obvious solution is to foster the new breed of legends who can create new memories, make history and redefine music – we can have a new roster of heroes and heroines and foster them. I look around music and there is a clear divide between these pioneers and geniuses and a bunch of artists who vary from the average to the near-iconic status.  Maybe the likes of PJ Harvey, Damon Albarn and the Gallagher brothers (Liam and Noel of Oasis) will be around for a lot longer but I cannot name anyone like Madonna, Aretha Franklin and Paul Simon who has done so much for music. One can say that is unfair – you need to give music a chance and cannot compare the climate of now with the 1960s, 1970s and 1980s.

The world is different and developing in terms of innovation, breakthroughs and changes. Now, when so much has been done; how do artists push the game forward and go down in history?! We have lost legends like David Bowie and Aretha Franklin but their legacy and brilliance is being carried by the new generations. The voice and depressing realisation comes when we think of their uniqueness and how much more alluring they are to the current crop. Modern music is more about streaming, promotion and predictability as it is mavericks, game-changers and genuine personalities. One of the reasons I am sad Franklin has died is her warmth and compassion; the immense vocal power she possessed right until the end; the consistent popularity and how she tackled civil rights horrors and spoke out. Her work in The Blues Brothers (1980) is one of my earliest childhood memories (I saw the film a few years after it came out) and it is amazing to think how much she packed into her seven-and-a-bit decades of life! Same goes for your McCartney, Madonna and Mitchell types. They have transformed music, settled in our memories – their music has been passed through the ages and is popular and worthy now as it was when first released. So much modern music is seen as disposable and easily forgettable.

It is hard to stand out and, at a time when there are imbalances, issues and drawbacks in music; I wonder whether we need the young stars to speak out more; do something different or just distinguish themselves from the pack. We do not see anyone who has the quirk and chameleon-like nature of David Bowie; the incredible background and awesome force of Aretha Franklin or the back catalogue and evergreen popularity of the bands of the 1960s. Each time a stalwart and pillar of music history dies or retires, it makes me think: Is music so modern and changed we will see merely great artists but never a true icon?! Will we still be recalling greats bands of today in forty years or have that surviving and compelling musician that brings about universal mourning when they die?! Maybe, given the digitisation of music and the scene changes, it is hard to stand out and go back to a time when genuine personalities could be found in the scene. A couple of years ago, producer Tony Visconti bemoaned modern music and how boring it is:

“Guitar Star aims to unearth old fashioned, raw ability. I’m looking for virtuosos like Hendrix, Cobain and Bowie.”

He also took an indirect shot at the inferiority of modern TV talent shows, saying: “There’s no fluffy back story, there’s no ‘I lost my pet dog in 97 and that made me want to play’ nonsense… No one can mistake me for Simon Cowell. It’s the worst time ever in the music industry”.

There are so many wonderful artists now and sub-genres are being created; we are seeing epic albums and brilliant tracks come out all the time and it is very exciting. I want to get to a point, forty years from now, where I can keep hold of the existing icons but have a new photo album of modern-day artist who has lasted that long and stand aside alongside the greats - those I can share with relatives and friends and talk fondly. We see the ‘best albums ever’ lists and most of them pre-date the last decade. We think of a ‘music icon’ and our minds go back even further. There are some modern-day heroes but I think the 1990s was the last decade when we started to make and elevate genuine personalities. I long to see someone with the fashion sense and changes of Madonna or a great band that can challenge The Who or The Beatles and produce album-upon-album of brilliance that lasts the ages. The sad thing is we always look back for quality and reliability. I have to cover new music but am not as attached to artists now as I was when growing up. Look at all these icons and unique personalities and they were living through wars, economic recessions and huge political changes. The Beatles defined the Summer of Love and songwriters like Bob Dylan documented the threat of nuclear war and destruction; Paul Simon defied rules and performed with black South African musicians during apartheid; Joni Mitchell and Madonna reflected the times and either directly confronted them or created a persona and art that managed to distract our minds and create something wonderful.

IN THIS PHOTO: The Beatles in 1967/PHOTO CREDIT: Apple Music/Getty Images

I have been looking at this article and how it charts music’s changes through the decade; what bands of the past were writing about and how their social lives and relationships bled into the music:

“In comparison to today's music which is not to say bad, but relatable in a different manner. A manner centered around our social lives or the physical aspect of relationships; partying, drinking, smoking, other substances, sexual relationships, and making money. Classic Groups like The Beatles (the best), Led Zeppelin, The Who, Pink Floyd, all wrote music revolving around love, story telling, growing up/teenaged angst, and definitely drug undertones worthy of mentioning (IE, "Dark Side of The Moon" by Pink Floyd). For instance, clubs are constantly playing "I took a Pill in Ibiza" by Mike Posner. Does that song have any sentimental or actual value to it? Unless you dropped some very intense substance and actually "felt 10 years older," then you have no way to appreciate that song for more than the catchy EDM backing his adjusted vocals. No, I didn't take that damn Pill, and no I am not going to listen to you when I am depressed. We seek out the comfort of previously stated groups; Beatles, Jimi Hendrix, Santana, etc.”.

Some good changes have come in – less excess and sexual looseness; better morals and activation through social media – but I wonder whether the way artists promote their music and the role of technology has removed the soul of music and meant it is harder to forge identities, longevity and true spirit:

“The generation definitely started in a different way, but as technology came out we became wilder only because everyone posted about what we did. There were still new-age throwback groups like; The Killers, Franz Ferdinand, Foo, Ed Sheeran, but things became more wild with Future, Drake, Lana Del Rey, Fetty Wap, Kendrick, A$AP Ferg + Rocky”.

PHOTO CREDIT: Unsplash

 “… The soul is very absent from recent artists, and it's due to not having any common passion for everyone to relate to. So what'd we do? We embraced music to describe a lifestyle we want to live. It's not a bad thing because it creates new ways of finding friends and enjoying life, but it's just very different without any real backbone. I will be the first person to tell you that I listen to L$D by A$AP Rocky frequently because the meaning behind that song is very emotionally similar to the general idea discussed by the groups of previous generations. Rap is just fun too, along with EDM, and other not necessarily deep genres. The main passion of our peers is just one that isn't the same”.

I wonder whether our comparative lack of socialisation, community and interaction has affected how we view music and how artists are recording. If we are sitting behind screens and less connected with the outside world then it is not going to go into the music and, as such, resonate and affect people decades from now. It is a complex brew but I have that fear the last of the ‘icons’ – whoever that may be – will leave us and we will be sad.

PHOTO CREDIT: Unsplash

We will take to social media and provide sympathies and share all those great memories. The following days will be upsetting but, when we return to our normal lives, we will look around and see the new breed – all the legends have gone and one wonders how we will move from there. It is hard to swallow the possibility of a music scene with few greats like Aretha Franklin and Bob Dylan; a world where values have changed and longevity is not a possibility – just a series of great artists who are around for years but we never hold them to heart the same way as the musicians we grew up around. Maybe the answer is simple or the real answer is there is no way to counteract reality. In any case, there is extra sadness in my mind thinking about Aretha Franklin and how she is gone. Such a complex, extraordinary and incredible being whose legacy and reputation was forged around more than music – she was a genuine personality who spoke out and gave a voice to so many others; inspired generations and broke down walls. Social media is flooded with condolences for Franklin and, when reading each one of them, I wonder whether we will see any modern-day artist who matches her legacy and status. It is sad to think but, in years to come, we will lose all of the true personalities and legends of music. Can we create modern heroes that last for decades and create such an impact as the icons of old? Thinking about it and I feel that likelihood…

IN THIS PHOTO: Joni Mitchell (2015)/PHOTO CREDIT: Norman Jean Roy for New York Magazine

IS an impossibility.

FEATURE: “Hey Nineteen, That’s ‘Retha Franklin….” Remembering the Queen of Soul

FEATURE:

 

 

“Hey Nineteen, That’s ‘Retha Franklin….”

IN THIS PHOTO: Aretha Franklin/PHOTO CREDIT: Getty Images

Remembering the Queen of Soul

__________

I starting typing this piece…

IMAGE CREDIT: Getty Images

when I heard the news that Aretha Franklin was gravely ill in Detroit. It seems fatalistic and a little insensitive but, sadly, one knows where such news leads. The seventy-six-year-old is one of the last true icons in the music world and, hearing the news she seriously ill, did not get me thinking of sadness and mortality: I was thinking about the lyric that inspired the title of this piece: Steely Dan’s Hey Nineteen from their album, Gaucho. In it, the middle-aged protagonist (Donald Fagen) is aghast that ‘Ninteen’ (a teenage suitor) does not know who Aretha Franklin is. Rather than argue and provide a concise history of Soul; by the chorus, he is yearning for her Cuervo Gold and “fine Colombian”. That was not the first time I had heard Franklin’s name being mentioned through song, either directly or indirectly. That Steely Dan song came out in 1980: my discovery of the Queen of Soul must have happened sometime in the 1990s. The first thing that hit me was THAT voice. Her 1967 rendition of Respect (originally released by Otis Redding two years previous) blew away critics and led a rather green Redding to confess her version added new layers to his song. That is the song we associate with her and for good reason.

PHOTO CREDIT: Mark Seliger/STYLING: Yashua Simmons

It turns Redding’s tale of a desperate man who needs a lifeline and attention from a woman, in Franklin’s hands, is a mandate and anthem for respect and attention. In her version, she is in command and puts in a scintillating performance – transforming a somewhat piteous and defeatist lament of Redding. There are many other reasons why Aretha Franklin is the undisputed Queen of Soul. The album Respect was taken from, I Never Loved a Man the Way I Loved You, is a five-star classic that houses, among other gems, the title-track; Sam Cooke’s Good Times and A Change Is Gonna Come. The way she could turn songs like Think and (You Make Me Feel Like) A Natural Woman and make them distinctly her own is incredible. Great singers, whether they are performed original material or covers/songs written by others inhabit the material and bring fresh perspective to it; they make it their own clothing and create something wonderful. Franklin is one of a small handful of singers, including Elvis Presley, who blows you away with their voice and sheer panache. Set aside the influence Franklin has and her incredible style; you have this powerhouse vocalist who could bring the house down and bring tears to the eyes. I recall watching a video of Franklin performing Carole King’s (You Make Me Feel Like) A Natural Woman at the Kennedy Center Honors in 2015 and moving an in-attendance King to tears. It received a standing ovation and showed, in her seventies, she still had that awesome power and command.

Last year, Franklin cancelled a series of gigs on doctor’s orders; she has had health problems through her career but has always managed to make it through. From removing a tumour in 2010 – doctors said it would add fifteen to twenty years to her life – to dropping a lot of weight during a crash diet in 1974; the tough and tenacious artist has always been drawn back to music and the desire to perform. Franklin’s last, proper studio album was 2014 Aretha Franklin Sings the Great Diva Classics received great reviews and saw her tackle songs from the likes of Dinah Washington and Adele. A Brand New Me, released last year, saw the Royal Philharmonic Orchestra add their qualities to existing Aretha Franklin vocals. Although the reviews were not particularly good; it was another case of people wanting to pay tribute to the Queen of Soul. That was her forty-second studio album and arrived an incredible fifty-eight years after her debut. During that incredible career, she received a star on the Hollywood Walk of Fame (1979); she was the first woman inducted into the Rock and Roll Hall of Fame in n 1987; the second woman inducted into the UK Music Hall of Fame in 2005 – so many honours and fantastic achievements! Many see Franklin as the voice of the civil rights movement and a symbol of black equality – at a time when there is still racial inequality around the world, that voice and memory are ever-important and crucial.

Jennifer Hudson is to play Franklin in an upcoming biopic and it will take on a sad tinge given the news we have received. It is hard to say how many singers, politicians and public figures she has inspired and made stronger. You can hear the influence of Franklin in everyone from Jennifer Hudson, Alicia Keys and Beyoncé; Adele and any number of female vocalists whose power and potency recalls the unbelievable spirit of Franklin. Popstars like Mariah Carey have been inspired by Franklin and, look around music, and you will identify so many who owe what they do to her. Soul is one of those genres that is always slightly away from the mainstream but always relevant. During Franklin’s reign, she managed to put it to the forefront and it, in her hands, had the same force and physicality as Punk and Rock. Now, decades after her golden era, I wonder whether artists need to take from her and bring Soul right back to the mainstream. It will not be easy but the fact Franklin captivated the world and affected such change has not been forgotten. I am a big Soul fan and always struggle with the fact it is never given the respect it warrants. R&B and Rap get plenty of focus but what of Soul?! Maybe there is nobody out there who can match Franklin but, following her passing, there will be stars and artists coming through who want to follow in her footsteps.

This article, published in Elle in 2016, looked at the legacy of Aretha Franklin’s Respect, some fifty years after its release. They spoke with various figures who gave their impressions on the song – and what Franklin’s music meant to them:

“And Gloria Steinem, a journalist edging toward the crusade that would define her life when "Respect" hit the radio, says, "I always felt that nothing too bad could happen in the world while I was listening to Aretha Franklin. Everything was good, including that I could dance with nobody around. True, there was a line in 'Respect' that made me anxious for both of us: something like, 'I'm about to give you all my money.' But I figured Aretha knew what she was doing, and nobody was going to mess with her. With us".

The interviewer sat with Franklin and asked her about feminism and race relations in the U.S. now (2015):

“Franklin thinks feminism is working. "The president of the Kennedy Center is a woman. Women are moving into fabulous positions," she says. The women she's met and admired are a diverse lot: Coretta Scott King, Steinem, Oprah, Barbara Jordan. As for young female singer-songwriters, she's a fan of Alicia Keys, Adele, and Jennifer Hudson; she calls Judy Garland "one of the greatest singers there was."

When I ask Franklin about the presidential race and the current state of race relations, she seems reluctant to offer an opinion, saying instead, rather wistfully, "People are not as nice as they used to be. There used to be a time when we conversed. You don't get a lot of real responses now. They used to be more polite and well-mannered people, generally. It's minimal now." She pauses, and then: "I think it would be a far greater world if people were kinder and more respectful to each other." Respect: There's that word again”.

One of the most poignant interview quotes from recent times is in 2016 when People interviewed her. Franklin was asked which of the current singers should inherit the title of the Queen of Soul. They projected a few names but the reply from Franklin was to-the-point and expected:

“Thus, we asked reigning Queen of Soul Aretha Franklin to weigh in on the new school of musical royalty, from Beyonce to Adele to Lady Gaga.

“There’s a lot of great singers out here,” Franklin tells PEOPLE diplomatically while celebrating her 74th birthday at the Ritz Carlton in New York City on Thursday, joined by Clive Davis, Rev. Jesse Jackson and Tamron Hall.

But when asked who she’d want to pass the diva torch to, Franklin’s answer was simply, no one. “I’m here!” she said with a smile. “I’m not going anywhere. This is what I do”.

That may provoke a tear or a wry smile because, however you look at things, her music is always in the world and her brilliance cannot be topped. I do not think there will be anyone who will dare challenge her title and can get anywhere near. Rather than try to equal Aretha Franklin or copy what she does; the legacy and influence will pass through the ages and, as the playlist at the bottom of this feature shows, she has managed to achieve so much brilliance during her six-decade recording career (more if you count the songs she was recording as a child). It is always heartbreaking losing an icon who has followed all of us and enriched our lives. Aretha Franklin was one of the last, great Soul performers and one of those artists who has managed to change music and society. There will be tributes played and sadness but, as Franklin said in that 2014 interview: “I’m here!”. Although she is not with us anymore, that quote above really sticks in the mind. It is true that, no matter how much times passes…

PHOTO CREDIT: Getty Images

SHE is not going anywhere!   

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Shygirl/PHOTO CREDIT: Samuel Ibram

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

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IT may be ironic…

IN THIS PHOTO: Dolls/PHOTO CREDIT: Gabrielle Hall

branding something ‘summer-ready’ when the weather is less than summer-like! The rain here is pissing down and those hot and sweaty days seem far behind us. In the same way that some people do a rain dance; I am hoping these blistering songs from some of the best female artists/female-led bands (from this year or last) in new music banish the bad weather and bring something much more pleasing to our shores. Whatever your tastes and musical preferences; I am sure you will be able to find something suitably arresting, pleasing and satisfying to ensure summer comes back…

IN THIS PHOTO: Emotional Oranges

IN next to no time.

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

_________________

Eirini Devitt – Marry Me

PHOTO CREDIT: Tilly May Photography

Yama Warashi – Kofun No Uta

PHOTO CREDIT: Isha Shah

Petrol Girls – Sister

PHOTO CREDIT: Rosie Mackay

Saltwater Sun – Hot Mess

PHOTO CREDIT: Keira-Anee Photography

Dolls – She Don’t Use Jelly

 PHOTO CREDIT: DIY

Dama Scout – Milky Milk

Maya Wolff (ft. Fulgurant) – What If We Can

Bully – Guess There

Wyldest – Island Gardens

Alex Winston – Tourist

whenyoung – Dreams

PHOTO CREDIT: Yiskid

Shygirl – Gush

The Kut – Love in the Rush Hour

Emotional Oranges – Personal

Bella McKendree - Water

PHOTO CREDIT: Paige Nelson Photography

The Little Miss – Red, White & True

PHOTO CREDIT: Hayley Stewart

Parallels – Catch

Maddie & Tae – Friends Don’t

Stephanie Quayle - Selfish

Callaghan – Summer Days

Dorcha – Bruiser

Adwaith - Gartref

Confidence Man – Out the Window

Natalie Evans – In Trees

LUCIA - Summertime

 

After London - Dreams

FEATURE: Dorain Gray in Headphones: Ageism in the Music Industry – and Why Artists of a ‘Certain Age’ Are Essential

FEATURE:

 

 

Dorain Gray in Headphones

IN THIS IMAGE: Madonna/IMAGE CREDIT: Meltendo

Ageism in the Music Industry – and Why Artists of a ‘Certain Age’ Are Essential

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THIS is the last piece I will write…

Its important to stop and smell the Roses 🌹🌹🌹🤡 #mertalas pic.twitter.com/TlBNC6kUi6

— Madonna (@Madonna) August 8, 2018

relating to Madonna but, as she is celebrating her sixtieth birthday today; I have been thinking about age and how still, this far down the line, it is an obsession in society! Growing older is a process we all have to face and it is nothing to be fearful of. One of the reasons why Madonna springs to mind is because she is embracing her years and finding vim and vigour in her sixties – she is already embracing the new milestone and determined not to be silenced and overlooked! This piece from The Independent looks at some of the stars that are still rocking and rolling in their sixties and seventies:

“But there is one area where the older woman is suddenly and somewhat unexpectedly thriving – rock music. Madonna celebrates her 60th birthday on Saturday. Kate Bush has just celebrated hers. In fact, they are the spring chickens. Suzi Quatro, 68, and Patti Smith, 71, are not just still rocking, they are still snarling. Cher at 72 pops up with a delightful cameo in the Mamma Mia! movie. The queen of soul, Aretha Franklin, is still recording at 76.

Who’d have thought it? Look back to the 1960s and there were precious few women at all in pop music, let alone older ones. In the UK, Sandie Shaw, Dusty Springfield, Marianne Faithfull and a handful of others carried the fight to the mass of male groups (the word boyband had yet to be invented)”.

It seems amazing that there are segregations and partitions depending on your age and stage of life. Radio stations, especially, brand to particular audiences. If you are a young, trendy chart star then you can go to BBC Radio 1 and all the youthful stations in the capital; you might have a better time of things, age-wise, if you are on BBC Radio 6 Music but BBC Radio 2 is for a more mature listener/musician – those who have been ignored by the younger brands. There are very few stations broad enough to play music based on merit and reputation. I wonder, when Madonna’s new album comes out, she will be in the mind of stations that cater to teens and adolescents. It seems shocking she would be sidelined and turned away because she does not fit into the demographic of a particular station – regardless of the fact she has been cranking out gold for over thirty-five years. Look at icons like Paul McCartney, Cher and Kate Bush. The first two are releasing new material very soon and you know they will be resigned to stations where their feel and tones are more comfortable with a set audience. In other words, they are not hip and cutting enough to nestle with the ‘cool’ listeners. Kate Bush, especially, has shown how one can have stamina and huge gravitas the older you get.

IN THIS PHOTO: Kate Bush during her Before the Dawn show (2014)/PHOTO CREDIT: Getty Images

Her twenty-two date-run of concerts a few years back showed she has the energy and ambition of much younger artists. People were not concerned how she looked or how old she was: the reason they went was to listen to those hits and see her do what she does best! We are becoming mired in this ageist mentality where there is a distinct shelf-life of popularity and relevance. Artists do not become spent and archaic once they pass fifty, say. Madonna is launching new material soon and you can bet the material will be as edgy, raucous and sexy as anything out there. Her videos are likely to be as controversial and eye-catching as the likes of Human Nature, Erotica and Like a Prayer. It is very rare, when looking at the music press and stations, you see those more mature and middle-aged artists adorning features. Unless they are a huge name – and even then it is not a guarantee! – you struggle to see anyone past their thirties. Why do we associate the good and desired with young faces and an irrelevant coolness?! It is complex when you transition from the studio to the stage because there is a definite need for stamina and energy. A lot of ageing artists mix chat with music but there are those who have incredible endurance – as able to produce a captivating and energised show as any young artist.

IN THIS PHOTO: Madonna/PHOTO CREDIT: @Madonna

The Independent’s article looked at women and how, because they live longer than men, there is that additional staying power in music:

“Jonathan Morrish, a long-time senior executive at Sony record company, and now a music industry PR consultant, says: “Women generally live longer than men, so it should come as no surprise that so many as they get older seem to flourish creatively with their music and on stage. None of this is easy. I know from the many artists that I have worked with you need tenacity. So perhaps it’s the staying power they had to show at the beginning of their careers, perhaps a savvy emotional intelligence – whatever it is, I admire and welcome it. And applaud them”.

Is the issue and sense of discrimination confined to female artists?! We associate the ageing men with something laddish, legendary and cheeky. We all still lust after The Rolling Stones; love a bit of Macca swagger and go nuts for the old legends who can still give us attitude, Rock and rebellion. Women, on the other hand, are subject to the critique of those who feel, when they acquire wrinkles and lines, they are destined for the scrapheap! Madonna, as many are noting, is as fresh and relevant now as she was in her twenties. She is maturing in many ways but is as feisty and creatively primal as her beginnings.

In fact, in this article from earlier in the year, she tackled ageism head-on:

"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".

Does society still place double standards when it comes to men and women? Maybe beauty magazines and that ideal of ‘perfection’ (being young) clouds and poisons how we perceive women of a certain age. Lola Blanc, writing back in 2015 proved how many women, even in their twenties, are fearing ageism and being marginalised :

“There's a part of me that's terrified to write this. I'm a singer and a songwriter, and as a female who's not yet a household name, I can't help but feel the familiar, deep-seated fear that being open about this fact will lead to my professional demise. I'm fighting it. Here goes: I'm 27.

I've felt a sense of urgency since I can remember. I can feel it now, I could feel it ten years ago, and I felt it even as a kid. It looms just ahead at every moment, threatening me with its sinister little whisper: You are getting older”.

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: MJ Kim

I am in my thirties but feel, career-wise, there is a distinct cut-off point where one has to accept they might not be able to achieve their dreams. The media seems to idealise the young and look for the fresh-faced and infused. Madonna and her peers are fighting against those who view the older man/woman as culturally irrelevant and dusty. I write about ageism last year but am compelled to revise the subject given the fact, at sixty, Madonna is flying a flag for the mature woman who is as vibrant and essential as any artist out there. Everyone from P!nk, Sheryl Crow and Kylie Minogue have spoken up recently and said the same thing: they have faced ageism and judgement but they are golden as popular as ever. I feel we devalue artists who get to a certain point in their career. They are more essential than the new breed because they have proved their staying power. The business is unpredictable and it gets harder and harder to forge a long and enduring career. You need talent and strength but it takes personality and resilience to endure as long as the likes of Madonna, Paul McCartney and Joni Mitchell. There is a definite split between male and female artists but I wonder whether there is another divide between new and established artists.

IN THIS PHOTO: Sheryl Crow/PHOTO CREDIT: Getty Images

Those epic stars that are still in the public eye have proved their worth and survived market trends, changes and mortality to emerge hungry and inventive. Rather than limit these artists to certain radio stations and feel they are ‘too old’ to be seen as beautiful and fashionable; learning from them and embracing their longevity should happen. The fact their new music might not be as cutting, iconic and unexpected as their classic hits is no reason to relegate them and feel they are resigned to a rather early grave. Big artists are feeling the pinch but I rarely get submissions from middle-aged and older acts. X Factor judge Nicole Scherzinger spoke of ageism and suggesting streaming is a viable outlet for artists struggling to get their music played on the radio:

“…However, while she did say that she feels it’s “harder with age” to get your songs played on the radio, she does think streaming services have offered a second chance to pop stars.

Nicole claimed: “What’s so great is that we have streaming. That is awesome because once you have a hit, streaming breaks all the boundaries of appearance and age”.

I wonder whether artists starting out in the fifties and sixties feel they are never going to be taken seriously and struggle against younger competition. The industry has always been more attracted to those bands who can kick and smash for a couple of hours; new acts who can sit on a magazine cover and have that radio-wide appeal – what happens to those who are a bit more ‘mature’?

Back to the mainstream and this article, written in 2016, brought in facts and figures to illustrate the ageism and restrictions of the charts:

“This week Sia became the first woman aged over 40 to top the US charts since Madonna achieved the feat 16 years ago.

With her hit Cheap Thrills, Adelaide’s Sia is breaking the glass ceiling for women over 40 (she turns 41 in December) as radio and the pop charts are dominated by females in their teens or 20s.

Artists over 40, especially women, face difficulties trying to compete on today’s pop charts and commercial radio playlists.

A look at the 100 most played songs on Australian radio last year is a sobering indication of this ageism against women.

Paul McCartney, now 74, was the oldest act by far, but he merely performed on the number one hit Four Five Seconds, with Kanye West and Rihanna handling the vocals.

The next oldest was French dance producer David Guetta, 47, when his song Hey Mama was a hit last year, but again the vocals came from Nicki Minaj.

The most-played oldest acts on Australian radio last year were all men: rapper Nelly (41), Robin Thicke (39), Kanye West (39), John Legend (37), Diplo (37) and Maroon 5’s Adam Levine (37) joining him.

The most-played women on Australian radio last year? Taylor Swift (26), Ellie Goulding (29), Rihanna (28), Meghan Trainor (22), Selena Gomez (24) and Adele (28), and, of course, Sia (40)”.

Tina Arena, in the same article, reacted to Madonna’s assumptions regarding music and radio – when you are out of your twenties then you are passed aside and replaced:

“Madonna is absolutely right. Totally,” Arena told News Corp last year. “It affects a lot of women. It shouldn’t just be young women on radio. Women in their 40s have philosophical things to say that need to be heard.

“The music industry or radio doesn’t see it as viable and I think that’s a huge mistake. I think there’s a real generation of people that are ignored. I’m just doing what a 40-plus woman in the music industry would be doing. I’m doing my job. My job is to write a record that hopefully women of my age and younger will be bothered to listen to.

“I still believe people like to listen to new music, no matter their age, especially if it talks to them and their lives”.

There is a lot of pressure around body image and a certain sexiness. Is a man or woman in their fifties going to be viewed as desirable and cover-worthy?! Many music videos are using sex and youth to sell; younger generations are spending less time with the established pioneers and obsessed with what is funky and trending. Those icons like Madonna have opened doors and changed the industry. They have managed to push music as far as it has come and has added so much through the years. The fact these stars have contributed so much does not guarantee them continued success and celebration. Many say the middle-aged and older stars are not producing music as good and inspiring as when they were young. That is a subject measure and I feel artists need to not only embrace their age but accept that a certain sound is not suitable at a certain point. The Pop legends of old cannot keep that same sound as they did in the 1970s and 1980s – they need to move with the times but that does not mean they are bad or inferior. Artists coming through, of a particular age, are scared of being ignored right from the off. If there is more pressure and discrimination placed on the shoulder of women; it seems new artists, regardless of age, have to work so much harder (than younger peers) to get heard. Streaming services go some way but artists depend on radio, journalists and fans to get their work out there.

Age is such a stupid barrier that needs to come down. We are not seeing music as an equal market and judging people in terms of merit. More and more, artists past the age of twenty or thirty have to accept that they are going to be consigned to a certain radio station or seen as past-it. These attitudes are killing careers and causing divisions. If the iconic artists we all grew up around prove anything is they have more endurance and meaning than any young artist on the current scene. These newcomers are unlikely to survive for years and have that same allure and memorability. It is probably wise to look at the sixty-year-old Madonna as proof of a star who is ageing but does not see age as a barrier – she is filling Instagram with birthday snaps and is determined to kick against those who query her contemporary value. In this article; Madonna shared her opinions regarding age as a ‘sin’:

“I mean, who made those rules? Who says? I’m going to keep fighting it,” she said.

“10 to 20 years from now, it’s going to be normal. People are going to shut up”.

The Pop Queen is still on the throne thirty-six years after her debut single and will continue to rule for decades to come – even death cannot dethrone her! We need to get out of the ageism trap and stop putting people into certain brackets. Women, especially, in music have a hard time getting focus and respect when they start to age. If we keep pushing wonderful artists aside based on their age then we risk making the industry a much poorer, divided…

IN THIS PHOTO: Madonna/PHOTO CREDIT: Getty Images

AND depressing place.

INTERVIEW: Miranda Arieh

INTERVIEW:

Miranda Arieh

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MY attention turns to Miranda Arieh…

who has been talking about her latest single, Impossible. I speak with the Leeds-based artist about her upbringing; she reveals what we can expect from her upcoming album, Ferine; whether, as a champion of women’s rights, there is a change happening in music regarding gender inequality.

Arieh speaks about her tough youth and how she has managed to use music as a tool for improvement and personal growth; whether there are going to be tour dates coming up; some great artists we all need to investigate – she selects some albums that are especially important to her.

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

Great, thank you! I've played two gorgeous shows this weekend and got a festival coming up this coming one, so feelin’ content! 

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

I'm Miranda Arieh; a singer-songwriter from Leeds!

 

Impossible is your new single. Can you talk about its background and story?

I wrote Impossible, essentially, about my adoration for songwriting and the comfort that it brings me; in this situation, it was helping with my letting go of things I could not change in the past and staying mindful. No matter what I'm going through, I can always turn to writing a song in order to express myself and help me “settle down in an old sweet song”.

I wrote it after a conversation one night with a female sex worker who was also saying how music helped her stay mindful (but for her listening to it). She's the woman I'm talking about in the song- she was an incredibly powerful and inspiring woman. I was going through a really tough patch, emotionally, at the time and dealing with feelings of intense regret. I went straight home and wrote impossible. It really helped. 

Your music tackles women's rights and mental-health concerns. Is it important to you to ensure changes come in society and we address these problems?! 

Absolutely! I think that music is a fantastic place to do this. Music is a language that crosses all borders.

Do you think there are changes regarding gender equality? How do you feel, as a woman in music, about the current imbalance?!

Gender inequality in the music industry has started to be highlighted in the mainstream which is brilliant and has given birth to many great campaigns and schemes such as Both Sides Now, Women Make Music and Loud Women etc. However, there is still a lot of work to be done. Google the writer of many modern-day Pop songs fronted/sung by a woman and you find the songwriter is a man. It's not enough to just have the women singing the song if they're managed by a man, written for by a man and told what to wear by a man…I wanna hear women's voices and what they have to say.

I also wanna hear older women's voices. Ageism needs to be tackled in the media mainstream for women. Men's lines are defined and even, maybe, increased on the cover of a magazine and he is seen to ripen with age like a fine wine whereas women's lines are bleached and ironed and filtered out. There is a huge fear of age in this society and it is poured out and fed through music and media mainstream. I wanna see age; I wanna hear age and I wanna have more older women role models in the music industry mainstream.

Ageing is the one thing that we are all guaranteed to do it would be nice to see more older women coming through the market. I saw Patti Smith a couple of months ago. She's in her seventies and was PHENOMENAL, ridiculously good. However, it's very sad to think that, in the modern day, if she released her songs now as an EMERGING musician starting out at this age she may go ignored or unheard due to her age/looks. This needs to change. 

Ferine is your forthcoming album. What sort of themes and stories inspired the music on the record? What was it like making the album? 

Wow. So many different topics and themes and emotions. I tend to write from feeling rather than thought. Themes are as varied and range from empowerment to the end of the world; to ageism, being silenced/speaking out as a woman; mental illness, letting go of regret and creating a false self…! Whereas some songs - such as the first track on the album, Hold On - is a story I wrote about talking to an invented lover in a bunker in a trench of a battlefield surrounded by incoming troops…it starts with stripped-back, emotive solo piano and ends with a samba outro...! We have a real range on there.

I adored the process of recording it and building up the tracks with instruments; so many different and varied instruments used - it's a real Chamber-Pop field day.

How did you get into music? Which artists compelled you growing up?

I always wrote songs from being a tiny girl on our piano in our house. I taught myself. Although, my mum was a concert pianist so I heard her play which defo had an impact. I first picked up a guitar when sectioned into an adolescent psychiatric unit as a teen. It was there I really got into 'proper' songwriting and lyric-writing. I had been self-harming and overdosing a lot and was in a dreadful trauma state emotionally, so I felt like I had found some real therapy finally in writing songs. Artists that influenced me are No Doubt, Nirvana; Hole, the Pixies; Symposium, Bob Dylan; Joanna Newsom and loads of '90s chart Pop.

I was also into loads of Punk bands growing up such as NOFX, Pennywise; Lagwagon and Less Than Jake. System of a Down certainly had an influence even though they're a Heavy-Metal band! The way Serj Tankian uses his voice always resonated deeply with me - the sheer theatrics in it. I used to listen to them on-repeat. I was a right mosher. I even had a huge, heavy black chain hanging off my baggy, rain-soaked jeans...

What do you hope to achieve by the end of 2018? 

I would like to be even closer to making my music fully sustainable and be doing even more of what I love the most

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

Winning the People's Choice Award at the Leeds Music Video Awards for the second year in a row was pretty special and emotional. I think it was a point where I woke up and felt so supported and encouraged and realised people must be really enjoying what I do with my videos, which is such a wonderful feeling to give enjoyment to people through what I love creating the most.

It was a HUGE turning point for me to push the boundaries further with my music videos and put my all into them. They are my fave thing to make. I adore the writing of the songs, I adore the recording of the songs; I adore the performing live of the songs but then the music video is just the icing on the cake for me: I get to perform the song I wrote and recorded and now act the part of the character I wrote it as and really experiment with visuals (and reinvention of myself as an artist each and every time).

For me, it feels like it’s a vessel to bring my song to life and communicate it to the world. I just love doing it more than anything. I get such a high from filming music videos. I'm just in my element! I've worked with such a beautiful team on my last few. I feel so grateful to them all for helping me bring the vision and song to life. I am also so grateful to all the people who are continuing to support and encourage me with what I love to do. After what feels like a lifetime of negative self-talk and anxiety, it has sincerely meant the world to me.

Which three albums mean the most to you would you say (and why)?

Pixies – Bossanova

Got me through all my rough times such as that first night in Leeds safehouse after running away from home; the first night in foster care; the first night in an adolescent mental hospital at fourteen.

Joanna Newsom – Ys

It got me through the first stages of labour with my daughter! I was very young and very afraid and it soothed me a lot! I really respect her songwriting - her lyrics are absolute weaving genius. 

No Doubt - No Doubt

Another classic for me growing up. It meant a lot to me as it reminds me of good times where I was heavily getting into music and playing bass and started getting obsessed with writing songs. Gwen Stefani is so hugely talented vocally. It's insane.

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

I'd support Patti Smith. She's an absolute legend and my rider would consist of loads of vegan food including chips, cake, falafel and a nice coffee. I don't drink alcohol anymore or take drugs as they just used to affect my mental-health too much so nowt head-mashing. I'd be up wild all night on the chips and adrenaline instead. Rock ‘n’ Roll. 

Can we see you on tour soon? What dates are coming up?

An album will be released later this year and we will be doing a debut full band launch show in Leeds to go with it so look out for that! So excited to recreate the album live as I'm currently performing solo but it's gonna be a whole new world performing with my band 

What advice would you give to new artists coming through? 

Be yourself. Never see anything or anyone as competition. Competition stifles creativity. Compare yourself to no one and let go of the fear of other people's judgements. Life's too short to worry about what other people think of you. Have integrity but don't be afraid to take risks. 

IN THIS PHOTO: Pariss Elektra

Are there any new artists you recommend we check out?

I love so many I have decided to choose only local Leeds female artists for this one! Pariss Elektra (I've chosen one of her tracks for you to play below); all my Sisterhood Music Collective consisting of Fran Wyburn, Astraluna and Fuzzy Jones. My Pink Moon secret gigs house show collective consisting of Jenni Noyes, Keeper of Bees and LeeSun. Also, I’m currently loving Muriel & Blazquez, Park Fires and Kelly Boyle. All of the above are wonderful, independent local female artists!

IN THIS PHOTO: Jenni Noyes

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

Well. I unwind by chilling WITH music! I love songwriting to unwind. I love writing lyrics and writing new riffs. I play more piano than guitar nowadays. I also love to meditate and I've been drawing a lot recently too. I adore listening to non-fiction audiobooks and talks to learn more about healing and self-development. My fave authors are Eckhart Tolle, Gabrielle Bernstein; Brene Brown, Deepak Chopra; Pema Chodron and Kristin Neff. I have learnt SO MUCH over the past couple of years since I discovered audiobooks!

I also love spending time with my wonderful daughter Robin who is eleven. She's an amazing person and turning into the most fabulous young woman. Also, my friends and partner Tom. He's a songwriter too and we've started writing music together recently. We started a lil project called Cair Paravel and we've just started recording also. 

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). 

Ooh; this is such a difficult choice but I'd like to choose Pariss Elektra. The track I'd like to choose is called Awake and it is off her First Love E.P. She's a brilliant local independent artist. I love her music as it's so conscious; incredible vibe and she is truly a force of nature live. A huge, huge talent. 

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Follow Miranda Arieh

Official:

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INTERVIEW: Caiti Baker

INTERVIEW:

Caiti Baker

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THE brilliant Caiti Baker has been discussing…

her album, ZINC, and the sort of themes that inspired it. Although it is not released in the U.K. until 24th August, it has been getting great reception in Australia. Baker talks about that and where she heads now in terms of material and touring.

I ask her what it is like writing ZINC with chronic fatigue syndrome; how she got into songwriting to start with; the albums that are most important to her; some upcoming artists to look out for; whether she gets time to unwind away from music – Baker ends the interview with a fantastic song.

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

I’m great, thank you! My week has been fun and hectic. The Darwin Festival is currently on and I’m also moving house. So, I’m doing a lot of socialising, seeing shows at the festival and packing up a house!

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

My name is Caiti Baker. I’m a singer, songwriter and performer. I’m from Darwin (NT), Australia and I’m either at home writing and recording music or touring the country!

The album, ZINC, is out on 24th August (in the U.K.). Can you talk about the sort of themes that inspired the record?

Having had chronic fatigue syndrome and bipolar disorder for six years, I was either in a state of inflammation (depressed, manic or moody) or I was asleep. I wasn’t ‘absorbing’ life. For those six years, I don’t remember a whole lot – I didn’t feel like me. So, in healing these conditions, I was essentially having a rebirth and that’s a songwriting gold mine! A lot of what I wrote about on ZINC was inspired by finding my identity and all the aspects of life; love and conflict that come along with that. 

I believe you were battling chronic fatigue syndrome before and during its creation. What sort of impact did that have on your mindset and output?!

I healed myself halfway through the writing process for ZINC. So, as mentioned before, I was writing a lot about identity, love; conflict and the experience of transitioning from one state of existence to another. It was therapeutic and cathartic to be able to create art out of a challenging and troubling situation, so I’d say the experience on a whole was positive.

I also find that sometimes I write with my subconscious. Songs will pour out that don’t make much sense until a much later time. There’ll be a moment when it hits me and something settles - an inner-calmness, like I’ve solved something internally and my brain has just caught up. There are a few songs on the album where that was the case!

ZINC has been out in Australia a little while – gaining great reviews. Is it a relief to know something you have worked hard on has hit a chord and resonated?!

Absolutely! Even if I wasn’t fortunate enough to have the support to get my music out there, I’d still be creating. So, just knowing that there are people out there discovering my music every day and being affected by it in one way or another is a combination of many emotions (!): happiness, humility and excitement. Sometimes, it’s overwhelming but it’s all positive! I love reading reviews and hearing the interpretations of the songs; it’s interesting to me. 

Which artists have been most influential to you? Who do you count as idols?

I was fortunate to be born (because of and) into a household of music. Blues music, to be more specific! I have so many influences because of my upbringing so I’ll keep the list as short as possible! Big Mama Thornton, Ray Charles; Little Walter, Etta James; Aretha Franklin, Sweet Honey in the Rock; Bobby ‘Blue’ Bland…Aaliyah, Fiona Apple; Missy Elliott, Timbaland; The Neptunes, Lauryn Hill; Jay-Z, Wu-Tang Clan; Erykah Badu, Jill Scott; Leela James, TLC; SWV, Destiny’s Child; Wyclef Jean, Brandy; Faith Evans…the list goes on and on!

I see idols in a lot of different people for different reasons. For their sheer powerhouse abilities, Beyoncé is an idol. For their singing, songwriting and arrangement skills, I count Fiona Apple and Frank Ocean as Idols… 

How did you get into songwriting? Was there a moment you knew that is what you had to do?!

Just being surrounded by music and having that genetic ability - I think it was predetermined that I’d be a writer, singer and performer. I don’t remember the moment it started; I just remember doing it. My dad got a digital 8-track recorder when I was twelve and he couldn’t work out how to use it, so I did. I started recording what I had written then. That’s how I began stacking vocal harmonies and writing over Hip-Hop instrumentals. 

What do you hope to achieve by the end of 2018?

I’m gonna have a bunch of new songs written, recorded and produced by the end of 2018! I’ll have completed a national tour, released two more songs (the last of the songs from the Zinc chapter) and play a few festivals.  

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

I’m lucky to have so many; I wouldn’t know where to start! Playing WOMADelaide (a renowned World music festival) in 2017 and the Byron Bay Bluesfest this year have been two incredible experiences that I’ll never forget! Touring with and supporting the late Dr G Yunupingu on a national tour was special and unforgettable. I’d say that releasing new music into the world and hearing people’s reactions is one of my favourite things.

Which three albums mean the most to you would you say (and why)? 

This is just straight-up-difficult so I’m gonna have to make it easier for myself! I get immersed in albums for the entire experience and I become obsessed. So, I can listen to one album every day, a number of times for days, weeks and months on end - it depends on what’s going on in my life at the time. So, life experiences and emotions get attached to albums and therefore have a significant impact on me. I’m gonna give you a list of ten!

Aretha Franklin - Queen of Soul: The Very Best Of Aretha Franklin

Twenty-four songs of Aretha Greatness. Collectively, her sound, dynamic; instrumentation and arrangements are timeless and have been a massive influence on me.

Aaliyah - One in a Million

Aaliyah revolutionised R&B with Missy Elliott and Timbaland. I love every track on this album. I still think it’s a classic.

Angel Haze - Back to the Woods

This album is potent, dynamic; full of soul and will not age. Angel Haze (A.K.A. Roes) is an amazing rapper and Incredible singer. She’s an inspiring artist to me.

Frank Ocean - Channel Orange

This album has a lot of emotion attached to it for me as I was obsessed with it over an interesting time during my fatigue. I don’t remember much but I’ll listen to this album and I’m taken back to places I was when I was obsessed with it and I’ll start to remember things. It’s just a beautifully written body of work.

Jay Rock - Redemption

The latest album I’ve been obsessing over. It’s just a strong Hip-Hop album that knocks and he’s one of my favourite rappers who is amazingly musical and creative in every project he creates.

Missy Elliott – Supa Dupa Fly

It’s hard to fault Missy. Her debut studio album, created with her equally groundbreaking collaborator Timbaland; Supa Dupa Fly just hit me in the soul as a kid. I loved everything about this album and it’s been a very big influence on my sound.

Rihanna – Anti

This album is just a straight-up banger. Great R&B, Soul and Pop songs produced amazingly and executed incredibly by Rihanna. I love every song on this album.

Fiona Apple - Extraordinary Machine

Fiona is unapologetic, wild; thrilling and bold. Her voice is liquid gold and her songs are so interesting. I love the production and arrangements on this album. 

Run the Jewels – RTJ3

I love everything these guys do but I smashed RTJ3 in 2017. I spent a big chunk of time listening to this album and being energised by it on so many levels. El P’s production is wild; Killa Mike is one of my favourite rappers and I love what they both stand for. 

Lianne La Havas - Is Your Love Big Enough?

What a wonderful experience this album is. Sonically and emotionally, it melts right through me. 

That’s ten! But, I can add three Jay-Z albums, two Kendrick Lamar albums; an Irma Thomas album, Redman and Method Man; Rah Digga, Solange; Beyoncé, TLC, Leela James; Anthony Hamilton…the list goes on and on and on and on!

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

Oh, this is tough! Wow. I’d love to support Jacob Banks. As for (hospitality?) rider - I’d be ok with what I tend to have – what my band likes to drink, some food; white towels, gum…I don’t need much!

Can we see you on tour soon? What dates are coming up?

I am doing a National Australian Tour in September/October. Dates are on my website.

What advice would you give to new artists coming through?

Be you. Don’t be a jerk. Follow your gut instincts; understand your own and your band’s expectations and surround yourself with good people.

IN THIS PHOTO: Emily Wurramara

Are there any new artists you recommend we check out?

Alice Skye, Emily Wurramara; Stevie Jean (I’m taking her on tour with me!), Serina Pech and Tasman Keith.

IN THIS PHOTO: Stevie Jean/PHOTO CREDIT: Elle Wickens

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

Nope! Haha. It’s a 24/7 life but I love it. Periodically, I’ll take a trip to the mountains; turn the Internet off and reset everything. I’ll be doing that again in late October. To unwind on a daily basis…I watch comedy, listen to podcasts and immerse myself in good T.V. I love going out for a dance, too. That’s a good way to unwind…or down to one of the beaches to walk in the sand.

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). 

Aw; this is so tough! Ummmm. Let’s go with Criminal by Fiona Apple!

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Follow Caiti Baker

Official:

http://caitibaker.com/

Facebook:

https://www.facebook.com/caitibakermusic/

Twitter:

https://twitter.com/caitibakermusic

Instagram:

https://www.instagram.com/caitibakermusic/

Spotify:

https://open.spotify.com/artist/05eqfIcVnnc9zywXVdHv1P

SoundCloud:

https://soundcloud.com/caiti-baker

YouTube:

https://www.youtube.com/channel/UCF9AQydCdpcC7GqcX69mb9A

INTERVIEW: Ella Hooper

INTERVIEW:

 Ella Hooper

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I have been chatting with the fabulous Ella Hooper…

about her new track, To the Bone, and what its story is. She reveals whether there is more material coming up; how solo life compares to being part of Killing Heidi; which artists inspire her – Hooper reveals how she is feeling about heading to the BIGSOUND Festival this year.

I ask the songwriter which artists and albums are important to her; if there are new artists we need to keep an eye out for; what her favourite career memory is; what she hopes to achieve before the end of this year – she ends the interview by selecting a classic cut.

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

Great thanks, love. Busy, busy, BUSY but I can handle it. As long as it's creative, I love it. Just don't ask me to do my tax - which, I actually have to do soon. But, I'm ignoring that and having a ball bringing this new single out instead!

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

Hellooooo! I'm a frontwoman, singer-songwriter; media person, lover of smart, well-made Pop and Rock and, actually, any and all other genres (I have made a Country record) and I'm embarking on (another) new phase where I fully step into my solo artist potential after years in bands (some very successful) and I'm feeling AMAZING about it. 

To the Bone is your new single. Can you talk about the background of the song?

Well, for me it's a bit of a battle cry; the war being with myself (always!), trying to gee myself up to break away from or break down old structures and limitations that no longer serve…to step up and out into the world in a different way. A more empowered way. Even if less people 'like' you, who cares? Don't they say it's better to be respected than liked? That's how I'm feeling. Time to ruffle some feathers. 

Is there more material coming later in the year? What are you working on?

Yes! I have two more tracks finished and ready to go. They're slightly rockier, with more distinct guitars -and two more bubbling up after that. I'll try and get another single out before years-end and then we will see! I can't wait to release this new material. It feels like my best work, but singers always say that don't we?

How does life creating as a solo artist compare to being part of Killing Heidi?

It's brilliant for the responsibility and creative freedom it brings. Making decisions on your own is very liberating but can, at times, be challenging. No one to bounce off to make the final call: it's all on you, all the time! Eek. I miss the camaraderie of a band at times, but it seems that forms pretty quickly in my backing bands too. Before you know it, it feels like a band and people are farting and burping in the van...ahhh, lovely. 

I am really enjoying having both acts active at the moment; it's like the best of both worlds. My teen self revels in K.H.'s high-contrast Pop-Rock simplicity and my adult self feels fully expressed through (I think) the more complex songwriting and themes of my solo stuff. 

Are you still involved with Killing Heidi? What have you brought from your career there to life as a solo artist?

Yes! We are doing some reunion shows here and there that have been going amazingly well. It's a nice treat to bring it back after so many years on ice and be able to sell out shows and play big festivals with a band you broke up ten years ago. Crazy. It's definitely influenced my want for a more kinetic, rambunctious solo set.

The Killing Heidi energy is so good for getting the crowd going; the new Ella Hooper solo stuff doesn't sound like Killing Heidi but it does have a strong back-beat; slightly higher B.P.M. and aim to get the floor full and party started. Still angsty after all these years! 

I believe you are heading to the 2018 BIGSOUND Festival. How does that rank alongside your career highlights?!

It'll be good. Not sure if it will rank as a highlight but maybe more of a new beginning? It's something I've wanted to do as sometimes my career feels quite back to front. I'm keen to treat this next release as though I'm a new artist, hence doing showcases.  They've booked me some bloody massive rooms though, so obviously my reputation precedes me (haha).

Who are the artists that inspire you and led you to get into songwriting?

It's the classics, I hate to say! Beatles, Bob Dylan; Joni Mitchell, Neil Young. Then I came of age in the '90s and it was Smashing Pumpkins, Hole; Veruca Salt, Nirvana and then onto Liz Phair, Ryan Adams and PJ Harvey.

What do you hope to achieve by the end of 2018?

I'd love to put another single out, make a super-high production value live clip and finish recording the rest of the material for this 'batch'. Also, secure some OS travel plans for the New Year! I'm coming! Basically, prep for world domination next year. Haha. 

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

I've had some wild ones. Getting a birthday cake onstage at the Big Day Out (massive festival in Aus.). It was my seventeenth birthday, our song was number one in the charts and I was inviting Coldplay and the Red Hot Chili Peppers to my birthday party. What a trip. The funny thing is I totally dropped the ball and didn't tell them exactly where the party was and apparently they were looking all around Melbourne for it that night. You become fast friends on these tours. 

Which three albums mean the most to you would you say (and why)?

Bob Dylan - Another Side of Bob Dylan

I use this album to calm me down and take me back to childhood when it's all too much sometimes.

Smashing Pumpkins - Siamese Dream

Because I fell in love with intelligent Rock music to it.

Then it's a toss up between any Nina Simone, Astral Weeks by Van Morrison and Blue by Joni Mitchell

Because they all made genius-level albums by the bucket-load. HELP! 

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

Ladyhawke - and I would be a great fit I reckon. Her recent album, Wild Things, was really uplifting and I think that's brave and cool. We both love those '70s and '80s references too.

I'd have coconut water as always on the rider. The good stuff, not from concentrate. 

Can we see you on tour soon? What dates are coming up?

No dates to reveal as yet, but I’m hoping to lock some in soon. Stay tuned. I love touring. I'm made for it. 

What advice would you give to new artists coming through?

Protect your individuality. Your 'quirk' is what gives you an edge. 

 IN THIS PHOTO: Gena Rose Bruce/PHOTO CREDIT: Rhea Caldwell Photography

Are there any new artists you recommend we check out?

Yes! Gena Rose Bruce, Hannah Cameron; Alice Skye and Clio Renner are superb singer-songwriters coming up in Melbourne. For Rock bands, Miss Destiny and Tyrannamen are killing it. 

IN THIS PHOTO: Hannah Cameron

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

I get a bit! Not enough. I head to my hometown (a tiny little country town hours from the city) and hang with my mum or my old friends who have farms there now.

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).

Stand Back by Stevie Nicks. What a banger. 

____________

Follow Ella Hooper

Facebook:

https://www.facebook.com/EllaHooperOfficial/

Twitter:

https://twitter.com/Ella_Hooper

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https://www.instagram.com/ella_hooper/

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https://open.spotify.com/artist/0Fkkpc8GhsqoaSNoWC8XWc

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FEATURE: Express Yourself: Madonna at Sixty: Her Finest Songs

FEATURE:

 

 

Express Yourself

IN THIS PHOTO: Madonna on the T.V. programme, Saturday Show, in 1984/PHOTO CREDIT: Rex

Madonna at Sixty: Her Finest Songs

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THIS time tomorrow…

IN THIS PHOTO: Madonna in Desperately Seeking Susan (1985)/PHOTO CREDIT: Rex

will see the Queen of Pop enter her seventh decade of life and it will be a big moment! If she were unhappy about turning sixty – and not willing to make a fuss – then I would feel guilty for publishing so much. In contrast, she is looking forward and planning a big shindig. It will be great to see her embrace her birthday. The music industry places emphasis on age and being ‘mature’ – signals that, once you get to a certain point, you need to slow it all down and be a bit quiet. In honour of the Pop legend turning sixty; I have selected her very best songs. Have a look at these tracks and maybe you disagree with the selection; you might have some personal opinions or want to cast your own vote. It is hard to narrow down the brilliance of her music but I hope, in this piece, I have gone some way to…

IN THIS PHOTO: Madonna performing on the Blond Ambition Tour (1990) in Tokyo, Japan/PHOTO CREDIT: Rex

HIGHLIGHTING the cream of the crop.

SINGLE COVER ART: Getty Images

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Borderline

Released: 15th February, 1984

Album: Madonna (1983)

Trivia: The song became Madonna’s first top-ten in the U.S. on the Billboard Hot 100 and charted for thirty weeks. Borderline has been covered by the likes of The Flaming Lips and Duffy and the music video for the song is considered one of her finest and most enduring.

Like a Virgin

Released: 31st October, 1984

Album: Like a Virgin (1984)

Trivia: Like a Virgin was written by Billy Steinberg and Tom Kelly and was inspired by Steinberg’s time living in his father's Coachella Valley vineyard. Steinberg stated it was not intended for Madonna when he wrote it – it was based on his personal experiences. Producer Nile Rodgers did not want Madonna to record the song as he felt it was bubble-gum and there was no good hook (he grew to like the song!). Family organisations wanted the video and song banned because they felt Madonna was unsavoury and was promoting sex without marriage.  The song is listed in the Rock and Roll Hall of Fame’s list of 500 Songs That Shaped Rock and Roll – a satisfying middle-finger to those who snubbed and criticised the track!

Material Girl

Released: 23rd January, 1985

Album: Like a Virgin (1984)

Trivia: The music video was a mimicry of Marilyn Monroe’s performance of the song Diamonds Are a Girl’s Best Friend from the 1953 film, Gentlemen Prefer Blondes. Everyone from Britney Spears and Haylie Duff have covered the song and, despite it being considered one of her most iconic songs; Rikky Rooksby, in the book, The Complete Guide to the Music of Madonna, called it a “pungent satire on the Regan/Thatcher young-guns-go-for-it era” and stated that Pop music and irony do not mix!

Papa Don’t Preach

Released: 11th June, 1986

Album: True Blue (1986)

Trivia: The music video saw Madonna adopt a complete makeover. She got rid of the heavy jewellery and thrift store looks of previous shoots/videos and sported a more toned physique, cropped hair and a look that was described as a mixture of tomboy and Shirley MacLaine. The song hit the Billboard Hot 100 at number-forty-two and, within eight weeks of release, it had reached the top – making it Madonna’s fourth number-one single in the U.S.

La Isla Bonita

Released: 25th February, 1987

Album: True Blue (1986)

Trivia: Madonna co-wrote the song with Patrick Leonard. It was Madonna’s first single to incorporate Latino influences and the lyrics are a tribute to a beautiful island – Madonna has said it was a tribute to the beauty of Latinos. It became her fourth number-one in the U.K. and set the record for the most number-ones for a female artist. In the music video, Madonna plays two characters – a young, pious Catholic woman and a glamorous, passionate Latina.

Like a Prayer

Released: 3rd March, 1989

Album: Like a Prayer (1989)

Trivia: Although its video turned heads and caused some controversy, the song debuted the Billboard Hot 100 at number-thirty-eight and impressed critics who noted Madonna’s growing confidence and move from a more-simple Pop artist to someone able to fuse sweet-sounding elements with raw, sexual lyrics - a mixture of the sacred and profane. Like a Prayer has been featured during five of Madonna’s concert tours, most recently on the Rebel Heart Tour in 2015-2016.

Express Yourself

Released: 9th May, 1989

Album: Like a Prayer (1989)

Trivia: The video for the song was directed by David Fincher and was inspired by the Fritz Lang classic, Metropolis (1927). The video’s budget was $5 million which made it the most expensive video ever at that time – it is currently the third-mostexpensive of all time. Madonna’s inspiration behind the song was to express what you feel and not hiding it because, if you do not let it out, you will regret it. No matter how sexually confident you are in a relationship she said, there is that power struggle and compromise (that quote is attributed to the author Mick St. Michael).

Vogue

Released: 27th March, 1990

Album: I'm Breathless: Music from and Inspired by the Film Dick Tracy (1990)

Trivia: Vogue is considered, musically and stylistically, a career highlight. The song remains one of Madonna’s biggest international hits and has topped the charts in over thirty countries. It became the world’s best-selling single of 1990 and sold over six-million copies. The video was directed by David Fincher and takes stylistic inspiration from the 1920s and 1930s. The video won three gongs at the 1990 MTV Video Music Awards and is seen as one of the greatest music videos ever.

Justify My Love

Released: 30th October, 1990

Album: The Immaculate Collection (1990)/B-side of Express Yourself

Trivia: Musically, Justify My Love is a Trip-Hop-inspired track with mid-tempo settings and instrumentation. The lyrics look, primarily, at sex and romance. Critics were mixed when the song was released but Justify My Love has been seen by contemporary critics as one of her very best. The track became Madonna’s ninth number-one and reached the top-ten in several countries.

Erotica

Released: 29th September, 1992

Album: Erotica (1992)

Trivia: Like Justify My Love; Erotica experiments with Spoken Word and it (Erotica) is an ode to S&M – Madonna used the pseudonym, ‘Dita’.  In the song (and video), she asks her lover to be passive whilst making love to her and leads him to explore the boundaries of pleasure and pain.

Rain

Released: 5th August, 1993

Album: Erotica (1992)

Trivia: Rain was written and produced together by Madonna and Shep Pettibone. Madonna wanted the song for a musical adaptation of the 1939 film, Wuthering Heights, to be directed by Alek Keshishian. The video premiered on 21st June, 1993 on MTV and won two categories for Best Art Direction and Best Cinematography at the 1993 MTV Video Music Awards. It was ranked number-seventy on SLANT Magazine’s 100 Greatest Music Videos.

Take a Bow

Released: 6th December, 1994

Album: Bedtime Stories (1994)

Trivia: Produced by Madonna and Babyface; the song became Madonna’s eleventh number-one and received favourable reviews from critics – impressed by the poetic, soulful lyrics and mature sound. Take a Bow was backed by a full orchestra and it was the first time Babyface had worked with a live orchestra (per Madonna’s suggestion). The pentatonic strings give the song an impression of Chinese or Japanese Opera.

Human Nature

Released: 6th June, 1995

Album: Bedtime Stories (1994)

Trivia: A reaction to the pressure Madonna was getting regarding sexual content in her music; Human Nature is a shit against critics and their rather conservative attitude. It sees her at her most confident and brash as she counteracts fussy and ridiculous critisisms with an excepptional vocal peerforemance.

Frozen

Released: 23rd February, 1998

Album: Ray of Light (1998)

Trivia: The first single from the critically-celebrated album, Ray of Light; Frozen is seen as a huge creative leap and masterpiece by critics. The video was directed by Chris Cunningham in the Californian desert and (the video) portrayed Madonna as a witch-like figure who shapeshifts into a flock of birds and a black dog. The song has been covered by artists such as Talisman and Thy Disease.

Ray of Light

Released: 6th May, 1998

Album: Ray of Light (1998)

Trivia: Another track from the Ray of Light album that gained massive critical love; the music video was directed by Jonas Åkerlund – who had previously directed the controversial Smack My Bitch Up video (The Prodigy). Madonna insisted the video should be edited in Los Angeles as, during the Frozen video, she had a number of back-and-forths with director Chris Cunningham (who was in London during the process) – something she was not keen to repeat.

The Power of Good-Bye

Released: 22nd September, 1998

Album: Ray of Light (1998)

Trivia: The Power of Good-Bye received acclaim from critics who recognised the track as one of Ray of Light’s best cuts. They praised Madonna going in an instrumental and Electronic direction and praised the strong and nuanced vocals. The song attained commercial success across Europe and reached the top-ten in charts of over nine nations.

Music

Released: 21st August, 2000

Album: Music (2000)

Trivia:

Music was inspired by a Sting concert Madonna attended and was written and produced by her with Mirwais Ahmadzai. It is a Disco/Electro-Funk song in the static key of G minor and Madonna’s vocals are electronically manipulated in the track – the lyrics have political and social undertones. The video sees Madonna and her friends enjoying themselves in a limousine driven by Ali G. Critics noted the use of American image in the video – especially with Madonna’s cowboy imagery and clothing.

What It Feels Like for a Girl

Released: 17th April, 2001

Album: Music (2000)

Trivia: The song opens with a Spoken Word sample by actress Charlotte Gainsbourg – taken from the 1993 film, The Cement Garden. The music video was directed by her then-husband Guy Ritchie and premiered on 22nd March, 2001. It features Madonna on a reckless crime spree – causing MTV to ban the video before the 9.00 P.M. watershed.

Hung Up

Released: 17th October, 2005

Album: Confessions on a Dance Floor (2005)

Trivia: The famous ABBA (instrumental) sample we hear on Hung Up is from their hit, Gimme! Gimme! Gimme! (A Man After Midnight). Many critics felt Madonna has suffered a creative slump during her 2003 album, American Life, and were back on-board with this song. The music video is a tribute to John Travolta and his dancing films - whilst the song became Madonna’s thirty-sixth top-ten song.

Bitch I’m Madonna

Released: 15th June, 2015

Album: Rebel Heart (2015)

Trivia: Although the song sees a fair few co-writers in the mix (including SOPHIE and Maureen McDonald); Bitch I'm Madonna talks of Madonna having fun because of who she is – not really caring about age, limitations and opinions. Many critics were offended by the usage of the word ‘bitch’. Madonna shot back and was annoyed. She realised that word could be taken out of context and offensive but, in her song, it was a more affectionate and harmless term.