FEATURE: Colour Inside the Shading: Could Drag Queens Help Revitalise Pop Music?

FEATURE:

 

Colour Inside the Shading

IN THIS PHOTO: New York-based drag queen, Monét X Change/PHOTO CREDIT: @monetxchange    

Could Drag Queens Help Revitalise Pop Music?

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I realise drag queens have played a role...

 IN THIS PHOTO: Shangela LaQuifa Wadley, the breakaway drag queen from A Star Is Born/PHOTO CREDIT: Getty Images

in music over the past and, if you listen to Ariana Grande’s NASA and the prologue is delivered by Shangela Laquifa Wadley. Shangela appeared on the massively popular show, RuPaul’s Drag Race and that show has captured the imagination around the world – I know many people who have watched it and I have yet to tune in. It is not usually the type of show that I would watch but one cannot deny the sheer life and fun that it brings. If anything, it is a celebration of drag queens (or ‘artists’, as I should say) and an enormously popular format. I think a lot of people rave about it because of the colour and giddy fun; the fact we get to celebrate another culture and, aside from being entertained, actually learn something at the same time. RuPaul has been a public figure for decades now and is hugely inspiring. I wanted to write this piece as a sort of companion to an article I saw in The Guardian. It asked the question as to whether drag queens could be Popstars. An history of music will show you that, whilst there have been some flamboyant figures and true characters, it has been a rather safe and secure scene. There have been icons and explosions but, looking at Pop now, and things are very safe and predictable. Maybe Ariana Grande and some of her stronger peers are an exception but there are so many sound-alikes that are penning the song sort of songs.

 IN THIS PHOTO: Madonna in 2017 (she is including several drag queens in her upcoming music video, including Monét X Change)/PHOTO CREDIT: Carl Timpone/BFA/REX/Shutterstock

I believe, actually, Madonna has assembled a cast of drag queens for an upcoming music videos – I am not sure what her single is called but it looks like it will be cool. Artists like Madonna have always championed drag queens, members of the L.G.B.T.Q.+ community and those who do not get the same attention as everyone else. Maybe the mainstream has yet to fully embrace those in the L.G.B.T.Q.A.+ community and it still has ideals regarding type. That is not to say drag queens in music is anything new. They have been releasing singles for a long time and it has taken a while for music to adapt and allow that sort of passage. As The Guardian’s article explains, there are differences between the drag culture and modern Pop:

“That drag artists are becoming pop stars in their own right is both surprising and inevitable. The art of drag has historically been bound up with the ritualistic practice of lip-syncing, where queens mouth the words to songs by well-known female artists on stage. The simulation aspect – the fact that the songs were not original, but copies of those sung by cisgender women – was essential.

The lip-syncing was a key prism through which the drag queen, the figurehead of gay male oppositional culture, was able to refract gender and highlight its absurdities – the simulation was itself the radical act. The idea of drag queen as a conventional pop star, then, immediately jars – original music is divorced from drag’s historic function”.

It is not the case that all drag queens lip-synch and there have been evolutions. The idea of drag queens penning their own material, performing it live and taking it to the commercial peak seems like a big step. Maybe it will take a few years to assimilate fully but Pop music does need an injection and a change. Maybe it is that feeling that modern music either sounds too processed and fake otherwise it is becoming too downbeat. Many Pop artists, when they try for upbeat sound too machine-like or the songs lack true soul. I do think there are few Pop innovators who are creating fun and genuine Pop bangers that have real depth.

Even a lot of the new breed lack real bravery when it comes to pushing boundaries and being a bit more bold with their subject matter and sounds. Formats like RuPaul’s Drag Race have helped bring about discussion and change and done a lot to bring about awareness of drag in Pop music; the challenges faced by artists and how good the end result can sound. Michael Bronski, professor of gender and sexuality studies at Harvard University, talked about the changing face of drag in The Guardian’s article:

“As drag becomes more and more commercial, it moves further from its roots in gender parody, but as Bronski points out, this doesn’t necessarily mean it is no longer a critique of gender. “It uses drag in a different way,” he says of original music. “They are no longer hiding behind the drag – a copy of a copy – but rather embracing the idea of [fluid] gender. It is neither better nor worse, but profoundly different”.

 IN THIS PHOTO: Brazilian Popstar/drag queen, Pabllo Vittar/PHOTO CREDIT: Getty Images

Whilst drag queens’ popularity on a lot of streaming services still seems to revolve around comedy and entertainment, formats like RuPaul’s Drag Race have sort of prepared the new generation for the hurdles and realities of music. There is a big difference between the drag circuit and life there and the complexities and promotional duties of modern music. I do not think it is a big leap to imagine drag queens transitioning authentically and being able to bring their talents to Pop music. It is a cliché to suggest drag queens only want to make a particular kind of music. It is not the case that the music would be camp or jokey; many have perpetuated this notion of a drag queen and the fact that it is very niche and not suitable for the mainstream.

IN THIS PHOTO: Drag star and recording artist, Alaska Thunderfuck/PHOTO CREDIT: Getty Images

Drag queens do want to make Pop music and there is no reason to suggest the finest of the modern wave could not make the sort of music Ariana Grande, Cardi B or Kacey Musgraves are releasing. Before moving on, I want to bring another extract from The Guardian’s article: relating to homophobia in music and how many are not ready to accept drag queens coming into the forefront:

“As much as we think we’ve progressed, there is a lingering homophobic aversion to the sort of genderfuck that queens represent, and a significant percentage of pop consumers may not benignly embrace a drag persona the same way they did Beyoncé’s Sasha Fierce or Katy Perry’s Kathy Beth Terry. The only moderate success of relatively unthreatening stars such as Troye Sivan and Olly Alexander suggests their image is still discomfiting to many; Ariana Grande’s upcoming Manchester Pride appearance suggests we don’t have enough major LGBT stars to fill headline slots. Fully fledged drag queens are likely too much of a shock to the system...

 

To doubt the potential of drag queens as legitimate forces in music would be naive. Some queens are already able to pull in big-name collaborators: Violet Chachki’s Bettie was co-written by Mötley Crüe’s Tommy Lee and Monét X Change enlisted songwriter Eritza Laues (of Michael Jackson and Macklemore fame) for Soak It Up. And let’s not forget the Eurovision and Australian Idol success of Conchita Wurst and Courtney Act, respectively, who won the hearts of the public in full drag”.

There have been, as I said, examples of drag queens releasing music - but a lot of this music is not as widely promoted as heteronormative and traditional music. Perhaps it is more common for drag queens to appear in music videos of big artists rather than stepping into the spotlight themselves. Educate yourself regarding the history of drag queens in music and the role they have played. It is debatable whether the music industry is quite accepting and open-minded regarding encouraging drag queens in the mainstream. If Ariana Grande and Madonna have, recently, brought drag queens into their music, I wonder whether it will take more than that before doors are opened. I think perceptions lingering regarding what a drag act would involve. I know shows like RuPaul’s Drag Race are huge but it will not be too long before formats like this are no longer on the screen. One reason why I wanted to write about drag queens is because of the way music is going now.

 IN THIS IMAGE: The iconic and groundbreaking drag queen, Sylvester/IMAGE CREDIT: Getty Images

It is not about adding vitality and fun to music: we need to embrace different cultures and scenes more. Yesterday was International Women’s Day and many men were complaining about the celebration and asking why men do not get their own day – they do but that seems to have passed many by! We are still living in an age where gender-inequality rages and women have to fight for their rights. Again, like gender, race seems to be an issue still and black artists are afforded fewer opportunities than their white peers. There is an active L.G.B.T.Q.+ scene but it is not that visible in the mainstream. I feel a lot of artists are reluctant to embrace who they are and fear the industry is not going to stand behind them. I do feel like music is struggling to bring much fun and energy to the party. If they do then it can sound a little cold and forgettable. Drag queens can bring something new to music and, in a way, help bring about equality for others in music who are overlooked. This Entertainment Weekly piece comes back to the idea of misconception and whether we are willing to accept the traditional drag queen:

“While queer pop artists are just now breaking through publicly by way of Troye Sivan, Halsey, Sam Smith, and Janelle Monáe, the idea of a 6-foot drag queen with a deep male voice isn’t an easy sell to major labels. According to Keith Caulfield, Billboard’s senior director of charts, labels are typically evaluating talent via the standard pop-star mold. “We can maybe market someone who we found on YouTube who has the right look,” he says of the industry’s thinking on the topic, “but what do we do with a drag queen that may not have a really easily digestible Top 40 look?”

Drag queens bring this sense of performance and theatre; there is a vibe and sensation that is lacking from popular music. I do feel that, slowly, the mainstream will open up and start to give greater voice to women, black artists and L.G.B.T.Q.+ artists. It might be a long road but I feel drag queens could find a footing and not be restricted to niche playlists and tastes. Think about the music they have already released and what they bring to music videos and you cannot argue against real inclusion. A lot of modern drag queens want to play in genres like Pop and Rap and bust out of this preconception. They want to/and do address subjects such as gun violence and politics and it is not the case that every drag queen will sound the same. At a time when some of the most promising Pop artists are being maligned because they are not taking enough risks and playing things too safe, I feel drag queens, in many ways, could provide a real antidote. We are a little way from progress in that respect but few can overlook the fact that there are very few bright and interesting Pop moments. The same can be said of most genres: drag queens can bring new perspective and force. Music is at its best and most inspiring when it is eclectic, bold and brilliant and I think, if we change our perceptions regarding drag queens and allow greater assimilation, then we could well see a brave and exciting new...

 IN THIS PHOTO: Blair St. Claire was a contestant in the tenth season of RuPaul’s Drag Race/PHOTO CREDIT: Blair St. Clair/Getty Images

FORM of artist.

FEATURE: Before the New Builds and Gentrification: A Glorious Explosion: House Music in the Late-1980s and 1990s

FEATURE:

 

Before the New Builds and Gentrification

IMAGE CREDIT: Getty Images 

A Glorious Explosion: House Music in the Late-1980s and 1990s

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WE do not really have tribes and factions...

 IMAGE CREDIT: Getty Images

in modern music. By that, I mean there are no real standout genres and movements that can galvanise and lead to change. I am looking around modern music and wondering, in such a mass, whether it is possible to find focus and any sort of spark. Maybe there is a thread from modern Pop that can weave a tapestry; perhaps a Rap bang that can lead to explosion; a little sound from Dance that is looking to move to the mainstream. I do not know but, when thinking back, we were spoilt for choice. I wanted to concentrate on House and Trance – the former especially – because, sadly, we said goodbye to The Prodigy’s Keith Flint earlier in the week. It is tragic and desperately sad that we have lost such a big figure in music. I recall discovering the Prodigy, full, by the time their 1997 album, The Fat of the Land, came out. They had created gold up until that point but I felt the 1997 was a more accessible record because of Keith Flint’s vocals. It helped bring Trance to the mainstream and, alongside the usual bouquet of Prodigy sounds (courtesy of their mix-master Liam Howlett), that record has stayed with me. One reason why I am so obsessed with music that came from the late-1980s/early-1990s is because there was risk and dare. It is something I will nod to in a piece I am writing later but listen to the pioneers and big voices from the decade – the fact they still resonate and inspire to this day.

I was only six when the 1990s broke but I recall, vividly, being entranced by the House music that came out during the decade. I have included Spotify’s ultimate collection of 1990s House bangers and, when you scroll down, many of us will sigh fondly having experienced the songs first-hand. Rave and Trance featured into my passion and I think there is not a particularly thick line between them. Maybe Trance and Rave were a bit more club-based and raw whereas House could bring in other genres. There are articles that unearth lost treasures of 1990s House; others that argue there was one defining year: 1998. Jim Poe, in a piece for Junkee, argued the case:

“The larger point is that whole era was amazing and unforgettable, and any given year is part of the tapestry of the whole. Comparing the great records of one year with that of the next lets you see the evolution of the music. Also, going through old records and making lists is fun as hell, and I don’t really need much of an excuse to do the exercise all over again. So here we are.

What was going on in 1998? The New York sound represented by artists like Masters at Work and Kerri Chandler was still the epitome. The French house explosion was at its height and dominated dancefloors worldwide. Chicago and the UK were big as ever. But the global sounds of broken beat, Latin jazz, Afro-house were beginning to transform the music, as was the rapidly consolidating sound of tech and minimal house. In Detroit, Moodymann and Theo Parrish were kicking off their own revolution of raw, uncompromising soulful house”.

I think, because the late-1980s and 1990s was so flexible and open to new movements, we saw so many great tracks emerge. My favourite House track from that time must be Inner City’s Good Life: everything about the movement in one passionate spellbinding cut. I love everything about House and, when you have a look at the Trance music alongside it – both started before the 1990s but hit their peak, I feel, at this time – we had this glorious time for music. The Trance music that arrived from German Techno in the early-1990s incorporated genres like Chill, Pop and Ambient and gave the people something truly immersive and hypnotic. I prefer the House variety because I feel it was the perfect balance of club-bound and chart-friendly. I often associate clubs back in the 1980s/1990s being these places teeming with great House and Trance music; a cathedral for like-minded souls to be liberated and lost. Maybe I am over-romanticising the time – and was too young to be involved in the clubs – but the music from back then, today, still thrills and finds new ears. Whether you love the House of Frankie Knuckles and 808 State or plump for Trance classics from Underworld and ATB, it is music that, at the time, resonated and struck but remains timeless and fresh. I do wonder whether, in terms of progression and zeal, we have taken steps back and things have become too processed.

I know there are offshoots and progeny of House and Trance in modern music. The more electric and sweaty (if that is the right word?) Trance scene shone bright through the 1990s and even into the following decade. There are a few examples of Trance today but it is a very different sound; one that does not have the same thrill and impact of the first bloom. The same can be said of House. I do not even know whether there are any many House acts, let alone in the mainstream – I could name you anyone! I think there is some good stuff in the mainstream but, too often, manufactured Pop and commercial artists are praised and raised above those with a bit more insight and invention. Pop has mutated and evolved and there is, I know, some genuinely great music around. I miss the glory of House and Trance because, in their way, they gave freedom and this incredible expression. The music was so sophisticated in its way but its aim was simple: to provide joy and ecstasy. It definitely did that. I prefer House music myself because I think there is a bit more range and the songs are more accessible to those who are new to the genre. I love the squelchy electronics and the huge beats. Take a House classic such as Black Box’s Ride on Time and the sheer energy it throws out.

I think modern music has definite brilliance but we have become so closed-up and conservative. There is very little at the forefront that has that abandon and sense of sheer pleasure. It is not nostalgia at work here: generations who were a bit too old or young to embrace House in the late-1980s and 1990s love the music because it seems completely ageless. A lot of the best House music reworked material from the 1980s and updated them for the 1990s; some were instrumental whereas you had some anthems with truly incredible vocal performances. There are a lot of great playlists regarding the best House anthems of the 1990s and it worth doing some searching and researching. I do think there is a genuine potential to reignite the House sound of the late-1980s/1990s and bring it to the modern realm. Maybe it will not have the same textures and promise but I do worry we have become a bit too unambitious and serious. I started by asking whether have movements today and if we can truly build some form of revolution. Maybe it will be tricky to form something House/Trance-like in the modern age but there are so many reasons why the best of the late-1980s and 1990s still sounds so good today. Have a listen to the great playlist below and, whether you recall House music from its birth and explosion or are coming to it late, you have to agree...

 PHOTO CREDIT: @axville

IT is pure bliss.

FEATURE: The March Playlist: Vol. 2: As Wishes Go…

FEATURE:

 

The March Playlist

IN THIS PHOTO: Billie Eilish 

Vol. 2: As Wishes Go…

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MAYBE there are fewer titanic cuts out than last week…

 IN THIS PHOTO: The Black Keys/PHOTO CREDIT: Danny Clinch/The Black Keys

but there are some really great track’s in this week’s selection. Billie Eilish, Sigrid and Dave have new material out; The Black Keys and The National have released great songs and the same goes for Sam Fender and The Chemical Brothers – Bananarama and Dido have brought out singles. It is a varied and interesting week where everyone’s tastes will be satisfied. I am always surprised when I see the new releases and what a huge variety is on offer! This week is no different and it is a brilliant selection. Whilst the weather is not great, these tunes will surely put you in a better mood and provide plenty of energy. If you need to kick the weekend off with a bang and memorable selection of songs then you should start your…

 IN THIS PHOTO: Sigrid/PHOTO CREDIT: Francesca Allen

SEARCH here.  

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

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Billie Eilish – wish you were gay

The Black Keys – Lo/Hi

The National – You Had Your Soul with You

PHOTO CREDIT: Sophie Mayanne for CLASH

Sam Fender – Hypersonic Missiles

Vampire Weekend (ft. Steve Lacy) – Sunflowers

PHOTO CREDIT: Neil Krug

Cage the Elephant – House of Glass

Richard Hawley – Off My Mind 

PHOTO CREDIT: Mike Palmer

Foals – In Degrees

Sigrid – In Vain

Dave – Streatham

Dagny, Steve Aoki – Hit Your Heart

Bananarama – Stuff Like That

PHOTO CREDIT: Hamish Brown

The Chemical Brothers – We’ve Got to Try

SOAK - Déjà Vu

GRACEY – Different Things

Kings – Colour

Jinka – Romeo

PHOTO CREDIT: @ednalugo

Jackie Mendoza – Seahorse

Haley Reinhart – Honey, There’s the Door

Sabrina Carpenter – Pushing 20

Maren Morris – Gold Love

Stella Donnelly – Bistro

Khalid – My Bad

Maya B – Dollar to a Diamond

Tierra Whack – Gloria 

Chloe Lilac – Jesus Couldn’t Love Me

Dido – Take You Home

Juice WRLD – Fast

Faye Webster – Room Temperature 

Liza Owen – Room Full of Boxes

Bear’s Den – Laurel Wreath

PHOTO CREDIT: Lauren Maccabee

Sports Team - Get Along

Beth McCarthy – Everything 

allusinlove – All My Love

 

TRACK REVIEW: Dave - Screwface Capital

TRACK REVIEW:

 

Dave

Screwface Capital

9.6/10

The track, Screwface Capital, is available via:

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

ORIGIN:

London, U.K.

GENRE:

Rap

The album, PSYCHODRAMA, is available via:

https://open.spotify.com/album/4GrFuXwRmEBJec22p58fsD?si=rEDh1rmuQ6iMwelBfUlwTg

RELEASE DATE:

8th March, 2019

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I do like my Saturday review...

because I get to head into mainstream territory – or artists with a bit more clout – and, on this occasion, review a style of music that I do not get to focus on a lot: Rap. I will talk about the main man Dave in a bit but, before I arrive at his feet, I want to look at British Rap and how it compares to the American style; how, in these fraught times, the most powerful albums of the moment are laying it all out there; London right now and why I am genuinely worried (and what music can do to help); whether there is true equality when it comes to race in the music industry – I will look ahead and see where Dave might head. I am stunned by the sheer quality and passion of 2019’s best music so far. We are only just in March but have already seen albums that could be crowned as the year’s best by the time we get to Christmas. Not only has there been this incredible output by female artists such as Julia Jacklin and Sharon Van Etten but there are these artists shaping up that, well, are taking Rap and Hip-Hop in new directions. Perhaps our two leading names right now, Little Simz and Dave, have both released potential 2019-defining records. I covered Little Simz recently and was blown away by her album, GREY Area. It is an amazing album filled with some of the finest lyrics and most powerful songs you will hear in a very long time! When we talk about women in music and their place, it is flabbergasts me there is not equality and better understand when you consider we have artists such as Little Simz. I have always been a little ho-hum regarding British Rap because, when it comes to power and substance, I remember when artists like The Street came out; when Dizzie Rascal ruled Grime and the invention in their music. Such young artists were producing, on their debut outings, music so rich and full of life they were leagues ahead of the competition.

I like Grime artists like Stormzy but I feel like the genre is not quite as arresting as it once was – at a time like now, we need some sort of response and rise. I feel, right now, British Hip-Hop and Rap are making a charge. I do not think we will ever have the same capacity and strength as the U.S. when it comes to Rap. Look at how they have ruled through the years and we often struggle to come up to their standards. I think Dave represents a new breed of Rap artists who are mixing sonic diversity and ambition with lyrics that cut to the core. Alexis Petridis, in his review of Dave’s album, PSYCHODRAMA, felt it was a bold and landmark accomplishment. I have listened to the album – and cannot do it full justice with a brief bit about each song – and I can get behind that assumption. What amazes me about rappers like Dave – and Little Simz for that matter – is how they can talk about such important and controversial subjects like race and have to shout against it. There is a more complex and eye-opening sound coming from these artists – I think British Rap has struggled a bit the past few years. Dave looks at racial identity and he, on his record, examines why people have a problem with black artists talking about their race; why there is institutionalised racism and what problems we need to address. He also tackles issue in his community and is aware that there is not only a problem with ignorance and race – we are seeing such hatred and division in estates and communities that we cannot control the surge of violence and offence. I think our sound is a little different to the U.S. when it comes to theme and composition. It is hard to identity but I think our Rap music cuts deeper and has greater nuance. Maybe I am bias but I amazed by how hard-grafting Rap artists in the U.K. are. Many self-release singles and put collaborators in the mix; they pound the promotional circuit and work endlessly to get their music to the masses. I guess many artists do that but I think Rap artists have to work harder to get their voices heard in a scene that is still dominated by generic Pop.

There are many reasons why Dave’s album is turning heads and seen as this revelatory thing. I think our nation, right now, is more tense that it has been in living memory. In terms of the political mess we find ourselves in, many wonder whether this country will ever be the same and what our place in the world is. Where is the U.K. going to be in a few weeks and months? What will become of the Brexit horror and how will this affect us in the long-term? There are some big questions to be answered and, alongside that, we are seeing a rise in knife-related deaths – I shall come to that later. I think the reason why 2019 is already shining brought is because there is an honesty and real sense of ambition. Whether it is the openhearted and emotionally-raw albums we have already heard from Julia Jacklin and the eclectic brilliance of Self Esteem; the best and brightest albums of this year have laid so much out there and not flinched away from being pretty raw. That might sound like something that would cause one to run and look elsewhere but I feel it is a reaction to the fast-forward, skip-a-track culture of modern society. We have all these amazing artists out there but so many people are handpicking tracks and not investing in records. Little Simz and Dave, as spokespeople for Britain and the biggest voices we have, are making sure people focus and are gripped. Dave can throw together quite bleak tracks and longer numbers and you do not want to turn away. Maybe, on paper, it sounds like a recipe for commercial disaster but his songs, like his best peers, do not shirk responsibility and are self-aware and hugely eye-opening. I mentioned, when reviewing Post-Punk bands like IDLES, how it is great bands can stray away from commercial and cliché themes to actually take the country to task.

There is still a risk and hesitancy in Pop when it comes to being brave and speaking about what life, beyond love, is actually like. The news presents, for the most part, the facts but it can be pretty grim watching. I look to music for escapism but I also want to see artists who are bold enough to talk about this country and what matters to us – and not hide like politicians do, mired in lies and subterfuge. Dave is one of these artists who can turn the spotlight on himself and be honest about his shortcomings but also is keen to purely and openly document a lot of things we hear about on the news; he does it in a way that is much more luminous, cinematic and hugely memorable. I have mentioned race and how Rap artists like Dave are tackling it. The racial spectrum is broader than ‘black’ and ‘white’ and many people are pretty uncomfortable when they hear a black artist discuss their identity and what it is to be black. How often do we hear such songs that take this approach and keep a cool head? Dave and his peers have faced discrimination and ignorance all their lives and, through music, they are challenging racial prejudice and a lack of understanding. The music that will inspire, last through the ages and stay in the heart is that which grabs your mind and gets into the soul. On PSYCHODRAMA, Dave gets under the skin because of how honesty and fearless he is. One of the other pleasing aspects of the album is how he manages to balance the serious and weighty songs with spoken passages and this sense of concept. Whether you see the concept as being about race and violence in the nation or something more personal, it is not a normal album: ten tracks, a few big hits and nothing much past that. PSYCHODRAMA is an album for modern times; for a Britain that needs to open it eyes and take action – leaders like Dave are challenging those who turn a blind eye and those who do too little.

There is a lot of soul-searching on the album and some less serious moments – Dave, on Screwface Capital (which is the track I will review soon) starts by boasting about his sexual prowess. The reason, actually, why I want to address that track and not something more political and potent is because it shows another side to an album: PSYCHODRAMA can mix traditional Rap and Hip-Hop codas (a sense of boast and sexual confidence) with its awareness of things like race, violence and society’s ills. One other reason why I think British Rap is at its peak right now is because it is reacting to the spate of knife deaths we are seeing right now. Every genre can talk about it but there is something about Rap that makes the words sound purer and more urgent. Think about this year and how many knife-related deaths we have seen. This report shows how knife crime has risen and why we need to take action. It seems like every day brings news of a young person being stabbed to death. What is the reason for these crimes? Is it gang-related and a sense of dislocation in communities? Are these deaths related to random violence and a sense of displacement or are they are a reaction to the way the country is divided and how many are not listened to. It is a complex brew and I cannot claim to have the answer. In many cases, I get the sense many of these attackers are struggling to find education and work and they are isolated. That is no excuse but our Government are not aware of the realities in poorer communities; areas where violence is a staple. The statistics make for grim reading and I fear there is no end in sight when it comes to these deaths. Knife crime is, of course, not just a black problem – many get the impression it is and do not read the facts. The after-effect of this assumption is a lot of stop-and-searches being carried out on black youths. It is a real mess right now and banning knives – or offering tough sentences for those carrying them – is not an easy thing to achieve.

I am worried about the country as a whole at the moment but I am especially concerned about London and what is happening in the capital. One can say there is more inter-gang rivalry and hatred but I do not think one can blame gangs and disenfranchised youngsters entirely. As we have seen recently, there are random attacks that take innocent lives – look at Jodie Chesney’s case and how, as she was relaxing with a friend in a park, she was stabbed in the back for no reason whatsoever. It is a bad time for the nation and, like gun crime in the U.S., it is hard to police and rationalise. This takes me back to artists in Rap and how, in a way, they are providing a bigger voice that many politicians. Dave does address knife crime in PSYSHODRAMA and, on the final track, Drama, he has this phone conversation lauding his success but the person we hear speaking is the rapper’s brother – he is calling from prison where he is serving a life sentence for his involvement in the murder of Sofyen Belamouadden in 2010. On tracks like this, the pain of losing a sibling in such a manner has caused emotional torment. Dave has been directly hit by knife violence and the personal aspect gives that track such weight and conviction. It is worrying times right now but I do feel that music is playing its part. Maybe it will not help reduce knife-related deaths but I think a lot of these youngsters who carry out such heinous attacks listen to artists like Dave and respect what they say. In many ways, the message put out on albums like PSYCHODRAMA act as a stark remind what knife crime can do to a family and how they can tear people apart. It is a horrible time but I am pleased we are seeing such immense and staggering albums from the likes of Dave. It is remarkable to see someone so young sound so assured and accomplished this early in his career.

 PHOTO CREDIT: Phil Fisk for The Observer

I will conclude in a bit but I have talked about race and misconceptions in society. Many people think as ‘black’ as being singular and narrow. There is, as I said, a racial spectrum and the nature of being black is complex. Artists need to address this and strike against those who judge them and overlook them. I think there is still a problem in music where black artists are not given as much attention as they should. We cannot ignore what artists here such as Dave and Little Simz are putting out; what Solange and Cardi B are doing in the U.S. Look at big festivals and it is only now where we are starting to see evolution regarding black artists being booked. I feel there is a way to go but many assume that the best music from black artists is restricted to certain genres. There is a lot of stereotyping and ignorance and it is important we have conversations and change perceptions. Dave tackles race and judgement but it should not be solely down to artists to do this: everyone has their part and I think we need to all be more responsible and aware. I wonder whether the big reviews PSYCHODRAMA is courting right now will translate to headline slots in the future and more focus. It might be too late for Dave to get a big Glastonbury slot but, as Stormzy is one of the headliners this year, surely Dave’s name must be in the hat for 2020?! I look around at festivals and still see too many white faces; there is this gender imbalance and I do feel that black artists are not getting their voices heard. These are changing times and, to me, the best and most important music being made right now is coming from British Rap. Artists like Dave and Little Simz are releasing albums so powerful and important. We cannot ignore their voices and, in a larger sense, we need to look at the way black artists are perceived and whether there is true parity – I do not think there is.

I wanted to highlight Screwface Capital because it seems like a bit of a departure to the rest of PSYCHODRAMA’s songs – in terms of themes and composition. The song opens with some gentle piano work and some background voices. I am not usually a fan of processed, machine-fed vocal effects but they work here. Dave comes to the microphone and, if he were backed by beats and heat after the tender beginning then it might sound a bit jarring and misguided. Instead, the vocal is definitely top of the mix and there is very little intrusion. It gives us the chance to concentrate on the lyrics and the brilliant delivery. Dave talks about wealth and a certain lifestyle that he has enjoyed. Maybe there is a lot of fact in the words but I sense there is a bit of fantasy mixed into the pot. We hear about eating out and having this great life. I feel a lot of the worst Rap can be quite lazy when it comes to language and wordplay but Dave’s penmanship and style is incredible. He does not need to aggressively deliver the words: you are captured by intelligence and originality of his thoughts. Dave’s location changes quicker than the gears on a Porsche Cayman – see what I mean about his wordplay?! – and I get the sense of this bold and confident young man revelling. The song switches between a sense of anxiety and a definite confidence. On other songs, Dave talks about crime and hatred; a need to find some common voice and stop the madness. Here, he is aware of sharks and dangers at the door; the way fear is never too far away but we get an insight into his personal boasts. Maybe it is a trope one more commonly attached to Rap: sexual prowess and a sense of braggadocio. Dave is never puerile and offensive when he talks of conquests. There is a naturalness to his words and, although wonders why the girl – his latest conquest – is still in his flat, I feel the slightly urgent and aggressive tone is less about coldness and more about nerves and fear.

In many ways, Dave is trying to live a normal life and have fun but he knows that there is a dark beat and pulse that threatens to derail things. Whether that is violence outside his door or a sense of never being safe, Screwface Capital is more complex than one might assume. There is, as I say, little accompaniment and anger from the composition. A lot of Rap relies on beefy beats and drive but Dave lets his voice guide the song and, when talking about him and his friends being hassled and not feeling safe, it instantly switches from the bedroom to the streets. Because of the violence in the ends, there is debate and confrontation at the gates; his mates are fearful of going to the shops or hopping the bus because of what could await them. Dave sees a lot of violence and waste around him but he is turning these curses and losses into lessons and blessings. There is this cold realisation that things are bad but he is not walking down that path. Composition dips in and out. At one moment, you just hear Dave’s voice – which gives the song a stark focus and sobering tone – and then it swoops in. There is a real physical sense and tangible scent that transports you into the song. Dave is not resting and, more and more, his focus is on sex and conquest. Maybe this is to distract him from the horror around him but there is this signal we have a bold young man who is aware of his assets and is not exactly modest. It is good to see this against the starker and more frightening words. Dave has starved himself to make ends meet; he has kept his siblings safe and lived in Streatham – somewhere that features on other moments on PSYCHODRAMA. Many people do not know the realities of his life and have not gone through the same things.

Dave talks about his childhood and losing his dad young; his mum not being able to take the stress – there is this personal revelation against the sexual side. Words sombre and stark weave around boasts and this sense of confidence; almost without a signal of warning and pause for breath. Screwface Capital is an amazing track that sort of tails out in terms of lyrics and ends with a beautiful, calming refrain. It is almost like exhaustion and violence has got the better of him and he has no more words to say. The pace and flow of the song packs in a lot of words and you get this really vivid and packed story in a short time. I listen back to the song and new aspects come to life. Many might think of Screwface Capital as a track about sexual success and sowing seeds; others might look at it as a very raw and personal song. There is a bit of both in the song but it so much richer and deep than that. You almost get the life story of Dave and how he has seen family crumble and had to face violence in the streets – as well as pleasure between the sheets. It is a wonderfully diverse song that packs a punch and delivers potent messages. Other tracks on PSYCHODRAMA are more ambitious and big but this is a fantastic track that attracted my eye. I love the fact we get this ending coda that leaves the lyrics behind. Few can deny, after one listen of Screwface Capital, that Dave is one of the best rappers and lyricists we have right now. He never wastes a word and his language is incredible. You need to listen to his songs a few times through before everyone reveals itself but, when it does, the effect is profound indeed. If you have not discovered Dave or given his music a go then you really need to. In a sea of manufactured artists and meaningless words, here is an artist with a lot to say – and he makes sure every word strikes and hits its mark!

Dave is taking PSYCHODRAMA on the road and some dates are already sold-out. Check out his social media channels and, if you can, go and see him live. The album might sound incredible through your headphones but it steps up a whole new level when delivered from the stage. I concentrated on a single track because I do not feel it right to give a few words about each track without focusing in. PSYCHODRAMA has collected some incredible reviews so far and I would not be shocked if it was named the best album of 2019 later in the year. The eleven tracks are all essential and there are some truly ambitious and long numbers – Lesley (ft. Ruelle) is over eleven minutes. There are a few collaborations (including J Hus) but it is Dave’s vision and voice that shines hardest. This album is a true revelation and sign that Dave is on a golden path. I know many will catch him tour and it makes me wonder where he will head next. Dave has put out singles and E.P.s previous to PSYCHODRAMA but this is his debut album. There has been a lot of anticipation and build and Dave has exceeded expectations! There is a lot of pressure to top a successful album and deliver a quick turnaround but Dave will be busy touring and will not want to rush a sophomore record. He is one of the most important voices in British music right now and I cannot wait to see where he heads next. It is a big time for him and he has delivered an album that will stop many in their tracks. It is very much an album for modern Britain when it comes to its declarations, confessions and questions but, in many ways, it is a personal record that comes from Dave’s heart. I cannot do it mere justice with the words I have written so I would urge people to listen to it as soon as they can. It is a remarkable achievement from a singular talent. Many might be new to Dave – his rather Google-unfriendly and ordinary name does not do him justice! – but that will all change. It might be reckless to declare an album like PSYCHODRAMA as a possible album-of-the-year frontrunner but, like Little Simz’s GREY Area, you cannot deny the genius. In any case, London’s Dave is releasing the sort of music that will be...

TALKED about for years.

___________

Follow Dave

PHOTO CREDIT: Elliot Kennedy for CRACK

Official:

https://santandave.com/

Twitter:

https://twitter.com/Santandave1

Facebook:

https://www.facebook.com/santandave1/

Spotify:

https://open.spotify.com/artist/6Ip8FS7vWT1uKkJSweANQK?si=G-dpqfiNRRO8xeWNoatfaA

YouTube:

https://www.youtube.com/channel/UC5-cg5RahETrjGu-r8zjYCQ

Instagram:

https://www.instagram.com/santandave/

ALL UNCREDITED PHOTOS:

Getty Images/Artist

INTERVIEW: Frances Mayhew (Fundraising and Development Manager) Caroline McNamara (Programme and Venue Manager) and Emma Stell (Marketing and Community Coordination) of Union Chapel

INTERVIEW:

IN THIS PHOTO: Union Chapel, London/PHOTO CREDIT: Daniela Sbrisny  

Frances Mayhew (Fundraising and Development Manager) Caroline McNamara (Programme and Venue Manager) and Emma Stell (Marketing and Community Coordination) of Union Chapel

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TO round off this International Women’s Day...

 IN THIS PHOTO: Caroline McNamara

I have been speaking with Frances Mayhew (Fundraising and Development Manager) Caroline McNamara (Programme and Venue Manager) and Emma Stell (Marketing and Community Coordination) of Union Chapel. I was eager to know how they became involved with the venue and what plans are in place for this year; which gigs they see as the finest there – I ask how Union Chapel keeps growing whilst other London venues are struggling.

I ask them whether is unusual, even in 2019, to see a big venue run by women; which artists (new or established) they recommend we check out and tell me whether, in their opinions, we are closer to equality in the music industry.

____________

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

Frances: Good! Busy with some great events and Caroline has been at The International Live Music Conference.

How are you ‘enjoying’ this spring weather? Do you find more people come to a music venue when the weather is a bit less calm?

Emma: Well. I don’t know about that – January and August are our quietest times but they are complete opposite ends of the weather spectrum!

Frances, Caroline and Emma. How did you all become involved with Union Chapel?

Emma: I started here as an intern seven years ago and have not left...

Caroline: I’m the newest of us; I’ve been here just under a year. I came from a background in venues including the O2, Royal Albert Hall and Wembley Arena and was really drawn to such a special, intimate venue.

Frances: I’ve been here two years and I’m from a background in fundraising for historic venues including Wilton’s Music Hall - I was really drawn to Union Chapel by its magnificent architecture.

PHOTO CREDIT: Daniela Sbrisny

Can you describe what you do and what your roles entail?

Emma: I manage marketing and comms here – so that means being on top of all the events that are going on sale; coordinating our newsletters, socials and printed materials. I also help support the fundraising efforts and other organisations based here: Union Chapel Church and The Margins Project for those facing homelessness and crisis.

Caroline: I’m The Head of Programme and Venue Management – that means that I’m shaping our programme of 250 events a year. I’m always looking to bring exciting, popular and innovative events here.

Frances: I am Head of Fundraising and Development. We’re at the beginning of an exciting, £1.8 million capital and community development phase called Sunday School Stories – which aims to create a new space for events and community use at the Chapel.

IN THIS IMAGE: The 2018 line-up for Organ Reframed/IMAGE CREDIT: Union Chapel

How do you think the Union Chapel differs from other venues in terms of its atmosphere and design?

Caroline: Well. Union Chapel was built for the human voice. The whole thing was designed so that everyone could see and hear the minister in the pulpit but also so the minister could see and hear everyone in the Chapel. This means that we have a space with great sightlines and really wonderful acoustics – all of which helps the audience feel really close to the artist on stage. It’s a proper listening environment and sometimes, with 900 people in there, sometimes I think you could still hear a pin drop.

IN THIS PHOTO: Frances Mayhew

It is unusual to see a music venue run by women – there are some but not too many. Do you think this will change soon enough? What does the music industry need to do?

Caroline: Well, we certainly hope so! The music industry has a long way to go to reflect more fully the diversity of its audiences and that will only make it stronger. Like every industry, they need to be open to new ways of doing things.

We are celebrating International Women’s Day today. Do you feel we are closer to gender equality or is there still a long way to go?

Frances: There’s a way to go – but it’s great to see so much momentum for change currently.

I guess you have seen some great gigs over time! Which ones stand in your minds?

Emma: For me, Low for Organ Reframed in 2017; they wrote a new piece for our organ which was epic. It’s such a powerful instrument and the way they used it blew me away.

Caroline: Mavis Staples! She brings such warmth to her performances. She has been here a few times and seems to really love the Chapel. In fact, she described it as the best place to sing in the world! She’s just released a live album of her 2018 gig which I have been playing on loop.

Frances: I’d have to say London Contemporary Voices – which was actually voted best Union Chapel gig of 2018, so I know I am in good company! Their gig celebrated female artists and composers to coincide with 100 years of votes for women. They also had some really special guests including Charlotte Church, Jesca Hoop; Maya Youssef, Deepa Nair Rasiya and KÁRYYN. It was such an uplifting evening.

If anyone else wanted to work for a music venue or get involved with coordination/management, what would you advise them?

Caroline: Get all the experience you can – a lot of skills are really transferable so, even if you start with other kinds of events or really small gigs, it super-relevant.

Can you reveal whether there are any future gigs or events we need to go and see?

Emma: Oh, goodness. I’m quite excited about Emmy the Great - who goes on-sale this morning (8th March).

Caroline: ...And if you haven’t seen Backyard Cinema’s Romeo + Juliett yet, DO! It’s just heartbreakingly romantic on the big screen in the Chapel and they are back in August.

IN THIS PHOTO: Emma Stell

Are there any developments or plans for Union Chapel for the rest of 2019 in terms of build and new features?

Frances: Well. The Sunday School Hall is the next big project and it’s so exciting. The Hall itself is a lovely space that will hold about 200 people so it’s got real potential for events and community activities. But, it’s currently barely holding together. It needs a new roof, new floors and heating so first we need to fundraise for it. We got a huge boost before Christmas with a successful Crowdfund London Campaign - but there’s still a long way to go.

A lot of venues in London have closed recently. Why do you think Union Chapel has survived and continues to grow?!

Caroline: The support of our community really helps and is very important to us.

Is it true the venue was threatened with demolition? How as that averted?

Frances: Yes. It was scheduled for demolition in 1981 but local residents campaigned and saved it. At that point, the congregation decided to find a way of opening it up to people beyond the regular services and slowly the idea of doing events here began to take off with the venue launching in 1991.

 IN THIS PHOTO: Guildhall Saxophone Ensemble (as part of Daylight Music)/PHOTO CREDIT: Paul Hudson

Are there any new artists/musicians you recommend we check out?

Emma: A great place to come for that is Daylight Music (Saturday lunch time pay-what-you-can gigs here). They have some great performers. I’ve been really enjoying The Distant Voices Project recently, which brings together some of Scotland’s most acclaimed songwriters with people who have first-hand experience of the criminal justice system. The album is great and I’m really looking forward to seeing them here on 16th March.

Do you all get much time to relax away from music and your careers? How do you unwind?

Caroline: Go to gigs and contribute to a weekly show on Soho radio – all a bit of a busman’s holiday you might say!

Frances: I run and love to go to the theatre.

Emma: ...And I eat a bit too much cake!

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).

Emma: Anna Calvi - Don’t Beat The Girl Out of My Boy

 

Caroline: Mavis Staples’ version of Slippery People live at Union Chapel

Frances: Émigré by Alela Diane, please

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Follow Union Chapel

PHOTO CREDIT: Daniela Sbrisny  

Official:

https://www.unionchapel.org.uk/

Twitter:

https://twitter.com/UnionChapelUK

Facebook:

https://www.facebook.com/UnionChapelUK/

Instagram:

https://www.instagram.com/unionchapeluk/

INTERVIEW: Vanessa Forero

INTERVIEW:

Vanessa Forero

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I am pleased I get to speak with Vanessa Forero...

again and see what she is up to. She is in Colombia right now so has been talking about that and whether she will be back in the U.K. soon; what the story is regarding her new single, Pablo Escobar, and how the amazing video came together – she highlights a rising act to check out.

I ask whether she gets time to unwind outside of music and which three albums are important to her; if there are going to be any tour dates and whether Forero has any standout memories from her career – she picks a rather cool song to end things with.

____________

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

Hi, Sam! Great to speak with you again. I’m good, thanks. Currently doing admin in a tree house whist drinking the juice of the fruits of the tree next to me! The papayuela fruit!

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

Sure! I’m a happy, little; curious, British-Colombian music-making chicka who sounds like…erm…me and I’m not sure who else…! Not helping for a reference here! But, it’s song-based, English words dressed in Colombian, folkloric instruments; inspired by energy…ranging from aggression to the mystical to the sensual.

All the human colours!

Pablo Escobar is your new single. What was the reason for focusing on Escobar through song?

Cliché to say, but it all came in dream! I’ll spare you the dream details but, basically, the next morning I set to completing the story-lyrics behind the tune and through that I got to research and learn about a man I’d only really heard the name of. So, the reason began with curiosity and obedience to inspiration - which came in a dream asking to be born into this dimension; then it became an education and later a message…which you’ll see at the end of the music video.

The animated video was made alongside Malky Currie. How much direction and say did you get regarding the video?

As always with Malky, we did a lot of throwing mud and colours and illustration styles at the wall together initially; then he made a storyboard to sync with the story-lyrics and, because he’s full of creative ideas, he did that in a really creative way - and then we just guided it along together till it got to a place we both loved. This was actually Malky’s first animation, can you believe it!

Your E.P., Fuego, is coming soon. What are the main themes you address on the E.P.?

Well. ‘Fuego’ = fire in Spanish, which is the main theme. Being that it was a regular lyrical metaphor in the songs, but also it was a real energy thread in most of the songs too; whether it’s fire’s aggressive side, sensual side or its uplifting ‘revving up your inner-fires’-type of side. 

In terms of compositions and sound, how does it differ from your previous work?

I kept to my ‘no-drum kit’ rule…which makes space for loads of native percussion, shakers; seeds, tribal drums etc. and, in this record, that side is way more evident. It’s all wilder and tribal! For me, I really feel I clicked in my own pocket with this one. It’s definitely more mature, with more energy, wildness; uniqueness, darkness and fierce womanly-ness.

Having Colombian roots, how important is the country and its culture regarding your approach to music and experimentation?

It’s probably been more of a way to limit my curiosity. Because I adore making all styles of music which, luckily, I get to do for the media music job but, since I decided this side of my music would be a personal ‘scoring of myself’…‘Vanessa’ is the movie I’m scoring; then the Colombian side is a big cultural and spiritual ingredient. Besides, the instruments here are so interesting to my ears than the drums, bass and guitar line-up I’ve heard so much of.

Problem is, I can’t really play them as they’re meant to be played, which I think helps in making something unique at least! Colombian instruments played by British fingers but through a Colombian spirit! I’m confused.

You are based in Brighton. How important is the place and people to you when it comes to music?

Well. All my stuff is back there but I got stuck here in Colombia! Six months in…I really should head back soon. I miss my instruments and definitely the friends and music community there, which has been a huge support. With gigs on every corner, every night with no pretentiousness, it's just a great place to simply play for the joy of it. And, along the way, happen to get better as you do. I’m very grateful to that music family back there: great listeners, lovers and supporters of original music.

Do you have a standout memory from your time in music so far?

So many! I feel grateful to have done the flashy stuff like live videos and a big gig at Abbey Road Studios to being interviewed by a major T.V. show here in Colombia. But my favourite personal moments are always the littler ones. The moment the song and production just clicks in the small, dark hours. Or maybe the gig that me and my ‘feather girls’ did to test the new record songs.

It was expected to be a quiet Thursday night at the local pub but, when we opened the doors, it was a packed-out house of fierce listeners, which totally encouraged us to the roof with the new material we’d kept just to ourselves. A great memory for us wildcats!

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

Oh, my. Shameful confession is that I’m so bad at listening to music; I spend so much time making it that, when I’m done in the studio, I just rather listen to the ocean, the trees or an Oprah podcast! But, ok…I’ll try. I’ll say Nick Drake’s Pink Moon for the fragrance around the house; any alt-J record for impressing my brain with their creativity and Colombia’s Toto La Momposina for hearing power, fire and soul come out of a woman.

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

I feel like I should say an artist that would suit my current style - of which I’m still not sure how to label - but I’m gonna say Tori Amos because I just adore her and I think she’d help make it a wild, musical fem-fest!

Might we see you on tour in 2019?

Well. My head wants to plan a summer tour back in Europe, but I like to ride with the wind and, so far, it’s kept me here for six months and counting! I’d like to but, right now, I’m just starting a new record with a well-known producer here in Colombia, Richard Blair, ho’s also a very good friend so, when that’s recorded at end of spring, I’ll hopefully feel the space to return and tour the new record with my feather girls. I’ll let you know!

Bloody wind hippy.

How important is performing? Do you prefer it to life in the studio?

Oh, yes. The studio is my nest: I’m most natural there. Performing costs me but I know it’s an essential part of music. Being that it’s a communicative art! But, I heard Kate Bush and Bowie felt the same so I don’t feel too bad about that. I eventually have fun when I pass the threshold of singing out that first line. Classic introvert problems! 

Are there any new artists you recommend we check out?

Arghh, again, lame music listener! I’d make a terrible D.J. So I’m going to big-up my Brighton punk boy pals The Damn Shebang! Check 'em out.

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

I’m trying to more these days - not been balanced there in the past. So, I’m a recovering music-making obsesser, turned more human through the power of: nut milk! Haha. Coconut milk, almond; hazelnut or a mix. I love it! Also, I’m trying to write the sequel book to one I wrote years ago on my mum’s life but, so far…I just keep making nut milk!

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

I’d love people to hear Chambacú by Toto La Momposina please, Sam! Thanks for the great questions, as always, and for having me on! Hugs to all from my tree house!

___________

Follow Vanessa Forero

Twitter:

https://twitter.com/vforeromusic

Facebook:

https://www.facebook.com/vanessaforeromusic

Instagram:

https://www.instagram.com/vanessaforeromusic/

YouTube:

https://www.youtube.com/channel/UCp5sraGz9oD50xRHngGmKRg

Spotify:

https://open.spotify.com/artist/36ClgLzMtfs2QrfMBMtjrg?si=DgwYisLkT1m2PjScG2B_7A

SoundCloud:

https://soundcloud.com/vanessaforeromusic

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Kari Faux 

An All-Female, Spring-Ready Playlist (Vol. II)

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EVEN though the weather...

 IN THIS PHOTO: Tayla Parx

is turning cooler and is not really as warm as we’d hope, it is now spring and we get to walk to work in the light! It is a lot lighter and there have been some warm days. It is a lot nicer than it was a few weeks ago so I guess that is all good! Whilst we look forward to better weather to come, I have been thinking about all the wonderful female artists out there. It is International Women’s Day today so it is a great time to celebrate the great women in music. I have chosen a selection of new songs that showcase what talent there is out there. I hope there is something in the list that takes your fancy and, at the very least, one cannot argue against the eclectic variety of sounds. On this special day, it is a chance to nod to women in music and...                                                                                                                       

IN THIS PHOTO: Stella Donnelly

THE amazing work they do.

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

____________

Lisa Luxx – Girl Gang

Lyrah – Don’t Make Me

Lexytron – Brand New

SÔNGE – Crepuscule des Dieux

Kara Marni – You Might Need Somebody

Ava Max – So Am I

PHOTO CREDIT: Chloe Horseman

Faye Webster – Room Temperature

Chloe Lilac – Jesus Couldn’t Love Me

Tayla Parx – I Want You

Stella Donnelly – Allergies

Charlotte OC – Boyfriend

Call Me Loop – Silly Boy

Nadia Rose – Airplane Mode

HAVVK – If I Don’t Tell You

PHOTO CREDIT: Elliott Mckee

Alex Phoebe Lou – Galaxies

Girl Crush – Blame Girls

PHOTO CREDIT: @abaxley/Unsplash

SASAMI – Not the Time

Chelsea Effect – Tinseltown

PHOTO CREDIT: @kellyranko

Indian Queens – Walk

PHOTO CREDIT: Nell Tomalin Sherman 

R E L – Back to the River

Butcher & the Florist – Ordinary Love

PHOTO CREDIT: Nick Porter

Peakes – Hole in the Floor

PHOTO CREDIT: Henry Harrington

Bad Honey – Weak When You’re Near

Kari Faux – MEDICATED

Baker Grace – Numb

FEATURE: Perfect Exposure: The Women Adding Their Incredible Voices to T.V. and Film Evolution

FEATURE:

 

Perfect Exposure

IN THIS PHOTO: Brooklyn Nine-Nine’s Stephanie Beatriz/PHOTO CREDIT: Kevin Scanlon for Glamour  

The Women Adding Their Incredible Voices to T.V. and Film Evolution

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THIS is unique for me for a number of reasons.

 IN THIS IMAGE: (clockwise from top left): Kimberly Peirce, Lisa Cholodenko; Mimi Leder and Catherine Hardwicke/IMAGE CREDIT: The Guardian/COMPOSITE: Reuters/Alamy/Rex/Getty Images

My blog is, as you’d hope, dedicated to talk about music but, as it is called Music Musings and Such, I think that last word allows me some flexibility. As tomorrow is International Women’s Day, I wanted to add to the conversation regarding women in the media. Specifically, I am compelled by film and T.V. and how, in 2019, some of the finest work is being made by women. It should come as no shock: we have always seen fantastic and innovative women produce sublime work but, now more than ever, I think their voice is key. I think there are big movements and shifts happening in T.V., even if there is not the same gender-recognition for women as there is for the men. The film world has a long way to go until there is actual parity. Consider the new film, Captain Marvel, and the fact it stars Brie Larson as the heroine. The film industry has promoted and idolised sirens, screen queens and legends for decades – the days of Marilyn Monroe and Jean Harlow owning cinema and winning hearts seems an awful long time ago. There is still a lot of debate regarding equal pay and the fact that, in most cases, there is this big divide. Many were excited regarding Larson’s appearance and how it marks a rarity: a woman leading a superhero film.

 IN THIS PHOTO: Brie Larson/PHOTO CREDIT: Twitter/@MARGOTSLEVI

Some reviews have been glowing but, as the BBC outlines in this article, not everyone has been so receptive:

"The picture is not dull, exactly, just mundane," writes Todd McCarthy from The Hollywood Reporter.

In a review headed with the words "It's no Black Panther", he accuses Captain Marvel of "unimaginative plotting, cut-rate villains [and] a bland visual style."

Screen Daily's Tim Grierson expresses similar reservations, calling the film "fun and breezy but also a tad familiar" and its action sequences "sturdy but unspectacular".

Directed by indie film-making duo Anna Boden and Ryan Fleck, Captain Marvel is the 21st instalment in the series of Marvel blockbusters that began with 2008's Iron Man.

Only one of its predecessors, last year's Ant-Man and the Wasp, has had a female superhero as a title character.

The Telegraph's Robbie Collin is not alone in remarking that 2017's Wonder Woman - made by rival company DC Entertainment - "beat it to the punch" in having a female superhero as its main protagonist.

Yet Empire's Helen O'Hara - one of the few female critics to review the film - still regards it as an "essential... feminist fable" that "delivers in a more satisfying way than almost any other superhero film of recent years".

There is a lot of love for Larson’s central performance and the nuances she brings to the role. Maybe this is this perception that, regardless how a female hero is framed, they are not as bold and complex as male characters.

 IN THIS PHOTO: The Favourite co-stars Emma Stone (left) and Olivia Colman (right) at the Palm Springs Film Festival/PHOTO CREDIT: Shutterstock

Perhaps there is still this adaption and a need to push the female superhero away from the merely perfunctory and into a fully-rounded and inspiring figure. I think films like Wonder Woman, Ant-Man and the Wasp and Captain Marvel are vital at a time when gender roles and equality and being spoken about more vociferously and passionately than ever before. I think actors like Brie Larson are leading a charge and helping evolve cinema. It seems like, in many ways, the notion of a woman as a heroic and bold lead has taken a step back. I mentioned a few screen icons: back at a golden time when, in a way, these female role models were the superheroes of their day. I love the fact the once-male-dominated genre/area of cinema is seeing positive change and, when directors and writers can craft a truly compelling and unique script that makes the female lead stand out then I think we will see a revolution. Actors like Larson are showing that woman can be seen as these superhero figures and so not have to be restricted. I think, in the next or two, we will see more franchises and films developing the role of woman-as-a-superhero and there will be these incredible role models for girls and young women. All throughout cinema, there are fantastic women turning out these eye-opening and truly spellbinding performances – look at recent Oscar-winning Olivia Colman in The Favourite and you can see what I mean! I will follow this thought with a look at why female writers and directors are, to me, standing out in T.V. – I wanted to look at female directors in film.

There are countless affirmative, complex and truly stunning performances from women in film but, as I said, the discussion regarding pay equality is no closer to resolution. There are brilliant female directors right now that, at the major award ceremonies, are not being recognised. This article, from January, reacted to the Oscar nominations and how many women were missed out:

 “Taking an unfortunate cue from the Golden Globes, this morning’s Oscar nominations arrived with nary a nomination for a female filmmaker in the Best Director category or a nod for a female-directed film in the Best Picture category. While few female directors managed to break through the noise of Oscars buzz in the run-up to the nomination announcement, a number of female filmmakers have already earned major awards buzz this season, including Debra Granik, Tamara Jenkins, and Lynne Ramsay, who all earned Best Director nods from the Indie Spirit Awards, which takes place the day before the Academy Awards.

On the screenplay side, only two female writers were nominated, including filmmaker Nicole Holofcener for her work on “Can You Ever Forgive Me?” (alongside Jeff Whitty) and Deborah Davis for “The Favourite” (shared with Tony McNamara).

At least the short film categories provide a glimpse into a possible future for female filmmakers: Rayka Zehtabchi was nominated for her documentary “Period. End of Sentence.,” Marianne Farley earned a live-action nomination for “Marguerite,” while Alison Snowden got a nod for her co-directed animated short “Animal Behaviour,” as did Domee Shi for “Bao” and Louise Bagnall for her “Late Afternoon.”

Only one woman has ever won Best Director at the Oscars: Kathryn Bigelow, for 2009’s “The Hurt Locker,” which also won Best Picture and Best Original Screenplay. After Bigelow’s big win, no female directors were even nominated in the category until last year, when Greta Gerwig was nominated for her feature directorial debut “Lady Bird.” She ultimately lost out to Guillermo del Toro for his Best Picture winner “The Shape of Water”

Maybe there have been steps regarding racial recognition – there were more black winners at this year’s Oscars than previous years – but the inspiring female directors who warrant acclaim are, largely being overlooked. It is good there is some change and, at the very least, short films with female directors are being recognised. There are articles like this and this that are directing us to superb female filmmakers but there is still a long way to go. This fascinating piece from The Guardian spotlighted this female cinema prison – being shut out and ostracised in favour of male directors. Mimi Leder – who directed On the Basis of Sex – has faced this:

“On the Basis of Sex has been referred to as Ginsburg’s “superhero origin story”. With Leder, however, things were not so straightforward. This is her first movie for nearly 20 years. Like a great many female directors, she found herself prematurely and unfairly shut out of an overwhelmingly male-dominated Hollywood. But, like a great many female directors, she is now returning.

IN THIS PHOTO: Mimi Leder (photo date unknown) is regarded as one of the finest female directors ever/PHOTO CREDIT: Getty Images 

For women, though, movie jail can be a life sentence. You could fill a whole prison wing with similar cases to Leder’s, women whose careers got off to a bright start, only to somehow falter. But the prison breakout seems to be gaining momentum. Another escapee is on the loose right now: Karyn Kusama, who has returned with Destroyer, starring Nicole Kidman as a ravaged, world-weary, antisocial detective. Destroyer is a superior Los Angeles thriller in the hard-boiled, neo-noir tradition, but Kidman’s character is no gender-swapped male gumshoe: she carries the guilt of being a terrible mother, for one thing. And when was the last time Philip Marlowe had to give someone a hand job in exchange for information?

 

According to the University of Southern California’s Annenberg Inclusion Initiative, of the top 1,100 Hollywood films from 2007 to 2017, a mere 53 were directed by women. That’s a lamentable 4%. And almost all of these women only made one movie (the exact figure is 84%, compared with 55% of men)”.

The good news is that a lot of these once-ignored female directors are stepping back behind the camera and are leading a fresh wave – if only Hollywood and voting academies get up to speed and play their part! Big actors like Nicole Kidman have vowed to work with more female directors and raise their profile. Not that this needs be done because, as any film fan will tell you, a lot of female directors are being shut out. There is cause for celebration as a lot of female directors are producing great work and it can only be a matter of time before their talent is recognised. We know that the gender pay gap is pretty scandalous but, again, strong women speaking out and the fact we have seen some truly magnificent screen performances recently means the conversation must happen – there needs to be parity and progression regarding pay and why men are still raking in more. Even box office lure aside, the divide is still too vast. The film industry is a huge one and it may take a while before all the brilliant female directors, producers and stars find equal footing regarding awards, pay and recognition.

The sheer amount of talent out there is the reason for me writing this piece – and I want to urge Hollywood to rethink the way it prioritise men and how, in 2019, we still have a lot to learn. One of the main reasons for posting this piece, actually, is to look at T.V. and how women and female-written shows are way ahead of the competition. The fact I have made Brooklyn Nine-Nine’s Stephanie Beatriz the ‘cover star’ is the fact that, a) it is my favourite comedy right now and, b) she has directed her first episode, He Said, She Said, on the show. Beatriz is someone who has spoken out regarding L.G.B.T.Q.A.+ awareness and sexual inequality. I think T.V. is still an industry that is male-heavy in terms of directors and producers but the likes of Beatriz are helping promote dialogue and show that women have a vital role. She spoke with Glamour about directed her first episode and some of the nerves she experienced. Beatriz takes up the story:

“Over the course of working on our sitcom, I’ve had the opportunity to collaborate and work with many directors. The vast majority of them were men, and that’s simply because there are far more men than women in the Directors Guild of America. There are even fewer members of the DGA who are women of color. I started having a very strong feeling that I had a point of view that could add something to the work that was happening on television, that my voice and sensibilities and sensitivities and brain could add something to a show and help tell a story...

PHOTO CREDIT: Nate Taylor for Teen Vogue

“But thinking and doing are two different things, and I wondered if I was being ridiculous. What the actual fuck was I thinking?! I’ve never directed a short film, let alone a whole episode of network comedy. I didn’t go to film school. What credentials did I have?

I was informed that my episode would center on Jake and Amy working on a case involving #MeToo and sexual assault. So while I felt a lot of pressure to get it right, I also felt so much trust. It gave me confidence because I knew I could prepare in a way that would lead to a smooth, even joyful, set. I could use this opportunity to give space to actors to create and play, which is what we do best. As I read the script, images began bursting into my mind and there was a fire inside me to tell the story that Lang Fisher and our writing staff had so beautifully and hilariously written. I felt full of ideas. I felt compelled to tell this story as honestly as I could. Mostly, I felt a very strange yet solid trust that the director who could do this was already inside me”.

Beatriz was hesitant directing and, having seen that all the episode’s for the current season of Brooklyn Nine-Nine had directors attached, she felt the chance had gone – after writing an email (a very precise and detailed one) to the showrunner, she was given a shot.

The nature of the episode was one that she felt carried big weight and had to be handled with care, balance and discipline:

“I was informed that my episode would center on Jake and Amy working on a case involving #MeToo and sexual assault. So while I felt a lot of pressure to get it right, I also felt so much trust. It gave me confidence because I knew I could prepare in a way that would lead to a smooth, even joyful, set. I could use this opportunity to give space to actors to create and play, which is what we do best. As I read the script, images began bursting into my mind and there was a fire inside me to tell the story that Lang Fisher and our writing staff had so beautifully and hilariously written. I felt full of ideas. I felt compelled to tell this story as honestly as I could. Mostly, I felt a very strange yet solid trust that the director who could do this was already inside me”.

Beatriz is not the first women from a sitcom cast to direct an episode and, in fact, there are some sensational women directed in T.V. right now. Beatriz will not only inspire many female directors who want to get into T.V. but also show that a subject as weighty and important as #MeToo can be deftly and brilliantly handled and discussed in a mainstream comedy…

 IMAGE CREDIT: Getty Images/IMAGE CREDIT: Fox

When reviewing the episode, AV Club had some very positive words about the first-time director and how Beatriz helmed the episode, He Said, She Said:

“...In this case, Stephanie Beatriz doesn’t do anything too special with this episode. But her work is certainly commendable during that Amy/Jake break room scene, where she knows that all you need is close-ups on both Melissa Fumero and Andy Samberg and to let them do their jobs. It’s not a scene that’s necessarily your go-to when it comes to “directing” and “comedy,” but that’s what the Holt manhunt scene is for. (As seen in the image for this review, the office questioning scene also has some gems in terms of direction.)

It’s also a little thing in terms of the big picture, but this is the rare Holt plot with Terry and/or Boyle that doesn’t rely on him insulting them for laughs. Sure, those insults land with Terry, but the Boyle slams have always felt like punching down on Holt’s part. That doesn’t occur in this episode, and in fact, both Terry and Boyle get to have fun at Holt’s “old man reciting the glory days” expense. It’s not that I want every member of the Nine-Nine to be nice to each other—my personal favorite sitcoms of all time understand the art of a good pile-on—but there’s truly a time and a place when it comes to the eternally optimistic Brooklyn Nine-Nine. “He Said, She Said” manages to find the perfect balance for this dynamic, which is the best way to describe Lang Fisher’s script for the entire episode”.

IN THIS PHOTO: Caitlin Moran is a hugely successful novelist, journalist (for The Times and Sunday Times) and screenwriter/PHOTO CREDIT: Gareth Iwan Jones

The three finest things on T.V./streaming services right now are comedies/comedy dramas. All of them have one thing in common: they are written by/directed by women. I think women bring something to comedy that adds in dramatic elements but can provide these unique and incredibly sharp moments. We have brilliant comedic writers in the U.K. such as Caitlin Moran. He sitcom, Raised by Wolves, was written with her sister, Caroline Moran. In 2013, Caitlin Moran explained what inspired the series set on a Wolverhampton council estate - Moran novel, How to Build a Girl, will soon be on our cinema screen very soon. It is one of the most human, remarkable and addictive comedies that has been on British T.V. in years. Gone are the days of iconic female writers like Caroline Aherne and Victoria Wood adding their stamp to T.V. When Raised by Wolves came along, I noted something you would not get from male writers; an angle and voice that was unique and transformative. I digress a little but the fact the Moran sisters created this wonderful work of T.V. proved that, in terms of firepower and creativity, women are as strong (if not stronger than their male peers). The pay gap regarding women in T.V. might not be as sharp as in film but there is a disparity. I know for a fact there a lot of brilliant female directors coming through and, in years to come, I hope there is genuine equality in terms of pay and award nods.

Fleabag and Derry Girls are back on our screens and both have picked up huge reviews. The former was created by star Phoebe Waller-Bridge and she also wrote the recent success, Killing Eve – surely one of our best creative minds! Even the world of T.V. comedy is not immune to male dominance and the assumption (wrongly) that women cannot write as articulately and keenly as their male counterparts. Fleabag is already a success but, as you can see from the glowing reviews, there is no shortage of brilliance and laugh-out-loud moments! The Guardian’s Lucy Mangan reviewed the new series’ opening episode:

“Everything is here in this densely packed 30-minute nugget. Laughs that come from the deepest part of you, where your better judgment flails and fails. Waller-Bridge’s fleetness as she pivots to camera and back, capturing her tiny moment each time, so we see her in the round and cannot help but follow her wherever in her awfulness she leads. The vivid portraits of human frailty, weakness and – in Martin’s case – near-evil (his toxicity here was so potent it was almost visible; if the priest had performed an exorcism instead of ordered pudding it would not have gone amiss) drawn with just a handful of lines each from an unflinching, excoriating, lethally funny writer whose performers knock every one out of the park”.

Waller-Bridge is a breath of fresh air in T.V. and it is her naturalness and honesty that leads to these moments we can all relate to. I think Fleabag is such a success because she can write in a very personal way but everyone, male or female, can understand her struggle and life.

This passionate piece from The Independent last month spoke with Waller-Bridge and perfectly described why she is changing perceptions regarding female writers/creators – and why she is so far ahead of many other writers:

“In her career, as in her plots, she is working to defy expectations. She sneaks out of all of the boxes that people want to trap her in: the comedy writer, the sex writer, the feminist writer. When Fleabag came out, critics were fixated on how sexually explicit it was, which is ironic because the sexual bravado is the character’s disguise, her way of preventing anyone from really seeing her.

As soon as the entertainment industry sinks its teeth into a smart young woman, it seems to want to extract her perspective and blast it into every possible market segment: the memoir slash manifesto, the newsletter, the body-positive Instagram account. After Fleabag, Waller-Bridge got loads of those kinds of offers. Instead of asking, “What do you want to do next, as an artist?” they wanted to know: “Could you spin that into a book?”

It’s not enough for a woman to write a beloved television show, or three. “It’s part of the job now,” she says, “to be a brilliantly articulate spokesperson for feminism.” But she’s already poured her best insights into Fleabag, and she doesn’t see the point of cranking open the hood on her art and exposing all of its parts”.

IN THIS PHOTO: Phoebe Waller-Bridge/PHOTO CREDIT: Dylan Coulter 

The final two female-helmed shows I want to nod to – and celebrate the female voice –is the U.K.’s Derry Girls and the American series, The Marvelous Mrs. Maisel. The former is back on our screens and its first episode (of the new series) was on a couple of days ago. Its creator, Lisa McGee, makes the series pop with life and standout moments. It is set during The Troubles in Northern Ireland in the 1990s and such a tense and fractious period might be difficult when it comes to comedic moments and relief. McGee beautifully mixes a sense of serious with naivety and wicked humour. It is, I think, the joint-best (alongside Fleabag) comedy we have at the moment and stronger than This Time with Alan Partridge (a comedy that relies more on awkwardness and uncomfortable tension that natural and easy comedy). Derry Girls holds so much love from critics. The Daily Telegraph reviewed the second series’ first outing:

“The often surreal specificities of the divide between the Northern Ireland communities yields the steadiest parade of chuckles. Asked by the hipster Padre to list all the things Catholics and Protestants have in common, the teenagers instead reel off everything that separates them (Protestants are tidier, Catholics like Abba etc).

However, any potential po-facedness regarding the region’s history of internecine strife is offset by Derry-raised McGee’s quick-fire script and by the charmingly squirming performances from Jackson and the rest of the cast. The essence of adolescence is suspecting that the entire world is about to laugh at you – a sense Jackson, in particular, conveys perfectly”.

 

Whilst I feel the sensational women leading the best of British comedy are worthy of serious adore, I prefer American comedy in general. They rely less on clichés – when it comes to domestic situations and a rather old-school style of jokes – and can be a lot sharper and more risk-taking. I feel comedies like Derry Girls and Fleabag work so well is because, like America’s best, they take risks and can catch you off with something unexpected and shocking – more progressive and bold than the majority of comedies out there. Aside from Brooklyn Nine-Nine I am also obsessed with The Marvelous Mrs. Maisel. It was created by Amy Sherman-Palladino and first went out on 17th March, 2017 on Amazon video. It stars Rachel Brosnahan as the eponymous Mrs. Miriam ‘Midge’ Maisel; a housewives in New York during the 1950s who finds she has a talent for comedy but, coming from a Jewish family and living at a time when there were very few female comics, she keeps her gift a secret – as her marriage falls apart and she navigates a series of tough gigs in N.Y. (no spoilers, I hope!). The first season received mostly positive reviews but it was the second series (a third is in production) that really won the biggest reactions and applause. There are multiple reasons why the show not only exceeds British tradition but has garnered such passionate love.

 IN THIS PHOTO: Amy Sherman-Palladino/PHOTO CREDIT: Getty Images

We, here, are much more beholden of family-based comedy that is set in modern times and relies on embarrassment, high-jinx and normality – the best of American go deeper and can stretch the imagination. The colour palette on The Marvelous Mrs. Maisel is wonderful: a rich array of 1950s shades and vivacious tones; a scent-filled bouquet that, in terms of visuals, is arresting and peerless. Along with her husband, Daniel, Amy Sherman-Palladino has crafted this incredible serious that can bring drama and tears – marriage breakdown and an ambitious young woman receiving knockbacks – but has this razor-sharp and beautifully varied script. From rapid-fire characters like Susie Meyerson (the manager of the nightclub. The Gaslight Cafe, played by the powerhouse that is Alex Borstein) to Midge’s dad – wonderfully played by Tony Shalhoub. Amy Sherman-Palladino gives a unique voice to each character and, given the fact the spectrum of personalities ranges from caustic-yet-loveable to stubborn-and-academic, she manages to make everything mesh and flow. As a director, too, she can craft these wonderful scenes and angles; far stronger and more imaginatively than most male directors. Her guidance, words and directions bring the best from a wonderful ensemble cast – the series has won awards and the second season left us with cliffhangers many of us are keen to see resolved. Critics have responded positively in the U.S. and many here have gotten behind the series.

 IN THIS IMAGE: A promotional shot that advertised the arrival of The Marvelous Mrs. Maisel’s current season (two) - a new series is in development/PHOTO CREDIT: Amazon

In this review from The Guardian, a lot of interesting observations are raised:

“...But Sherman-Palladino and her husband/collaborator Daniel Palladino (given the show’s theme of men always being half a step behind, it’s apt that the episodes credited to him aren’t quite as strong) know how to prolong a fantasy. The new run paddles happily round in slowly expanding circles via sojourns to Paris and the Catskills, each of which is a crisp retro paradise. That allows more time to get to know those supporting players of whom we never tire: Alex Borstein scores a laugh a line as Midge’s coarse, scrappy manager, Susie, whose mixture of disdain and awe at her client’s social status hides fierce admiration and perhaps a dash of longing. “Look at you,” she says during one of their lunchtime sparring sessions. “It’s like a dollop of whipped cream grew a head.”

The Marvelous Mrs Maisel brims with dialogue where every syllable is dead on the comic beat, and scenes choreographed like Broadway musicals: a swarm of uniformed porters unpacking vacation cases from a car, for instance, or the girls on a department-store switchboard rattling through a thousand calls a minute. It’s a rich source of Jewish-Manhattan wisecracking neurosis, too, particularly in the hands of Tony Shalhoub as Midge’s fussy-professor father, Abe, who this year gains a vibrant inner life to go with his bottomless repository of hilarious exclamations (“Now I’m second-guessing these slacks!”).

 IN THIS PHOTO: The Marvelous Mrs. Maisel’s lead, Rachel Brosnahan/PHOTO CREDIT: Erik Madigan for Vanity Fair

I will end things very soon – you’ll be pleased to hear! – but The Marvellous Mrs. Masisel’s lead, Rachel Brosnahan spoke about the series to Rachel Aroesti about her upbringing – Aroesti perfectly summed up the appeal and importance of the Amazon series:

“It was a childhood shaped by her parents’ tough-love approach to their daughter’s acting ambitions. “They were extremely supportive and encouraging, but by saying: ‘We’re not going to help you with that.’ Like if I wanted to take a class, my dad would say: ‘OK, well, you should get babysitting so you can pay for that class, and you should take classes because you need to get better at this.’”

 

It might not be a box-ticking assemblage of progressive values, but what makes The Marvelous Mrs Maisel feel straightforwardly refreshing and progressive is that it portrays a multi-dimensional, contradictory and self-steering female character. It is worth remembering just how rare this remains: Brosnahan admits to being desperate to win the part after becoming frustrated by the one-dimensional characters she is asked to audition for. “I feel like I’ve read the same part in 1,200 scripts – someone’s girlfriend who is pretty but doesn’t know it. There’s not one thing that makes a woman strong or vulnerable or any kind of word you could use to describe her. It’s complicated and we should show that”.

I have only touched the tip of the iceberg regarding great female directors and creators and, to be fair, I have not even covered female actors and the incredible cinema moments they are giving the world…

It is International Women’s Day tomorrow and I have already spoken about music and how musicians, D.J.s and every woman in the industry warrants praise and equality – and how, slowly, that is starting to happen. I have just scratched the surface regarding the brilliant women in T.V. and film but, tomorrow, we need to recognise the brilliant work they do and how, in 2019, we are not at the point of true equality. It is galling to see: from wage Discrepancy to award snubs, I feel like more men need to join the debate and get involved. The work and evidence is out there for change and dialogue; we just need to make sure progression occurs quicker and, this time next year, we are not in a situation where we have to talk about pay and why big ceremonies like the Oscars are ignoring women. I do not think it is mere meritocracy and the fact that, to some people, men are producing better work and we should not pander. I shall end it here but, like music, there are so many wonderful women creating such fine work.

I did not even mention by favourite female director at the moment – Olivia Wilde. Having adored her acting career for so long, she is one of the strongest female director around. Here, in this Variety piece she was tipped as director to watch and spoke about her process and progress:

“In the 15 years Olivia Wilde has spent in front of cameras, she’s been studying how the other half lives. She’s been doing that on her own time, too, shadowing directors and cinematographers on sets, and trying her hand at directing a short film and two music videos. But it wasn’t until she ran across the screenplay for “Booksmart” that she knew she’d found the moment to tackle her first feature...

 

Wilde packs the film with some bold stylistic flourishes and fantasy sequences — “I wanted the audience to experience the inside of a teenage girl’s mind,” she says, “which is an incredibly intense place to be” — and elicits some unusually three-dimensional performances out of both her primary and supporting actors, no doubt helped by her insistence that the entire cast perform with no scripts or sides on set or in rehearsal (“that’s something I ripped off from Scorsese, because it forces you to do the homework and allows for a much more efficient set”)”.

International Women’s Day is about women in all walks of life and in all sectors: from the brave and wonderful nurses and members of our NHS to charity workers in America; to film actors, directors and T.V. writers. Not only is tomorrow about looking at equality and opening discussions but merely celebrating the great work that women do around the world – on other days, many might be overlooked and dismissed. I wanted to break from music to write about the gender-equality situation in Hollywood and T.V. and, importantly, mention the brilliant writers, directors and actors who are helping progression happen and creating some of the finest work around. You can argue that the best comedies, films and dramas are being written by men but, as I have shown with a few examples, that assumption is faulty – and we need to show more respect to female talent. Let’s hope that, as discussion continues and campaigning goes on, women in all areas of the film and T.V. industries...

 IN THIS PHOTO: Actor and director Olivia Wilde/PHOTO CREDIT: Isak Tiner for The New York Times

GET their fair cut.

FEATURE: Limitations: The Mainstream’s Dominance in the Singles Market – and Why We Need to Open Up the Music Landscape

FEATURE:

 

Limitations

IN THIS PHOTO: Camila Cabello (her single, Havana, is the best-selling single of 2018 according to the IFPI)/PHOTO CREDIT: David Needleman

The Mainstream’s Dominance in the Singles Market – and Why We Need to Open Up the Music Landscape

__________

MANY feel the singles charts and market...

 IN THIS PHOTO: Drake (whose single, God’s Plan was the second-best-selling single of 2018)/PHOTO CREDIT: Trace TV/Getty Images

are not true indicators of quality and success and in many ways, they’d be right. I am one of those people who feels albums are much more important and it is a bit of a shame there is still this reliance on artists from the mainstream. That is not to say the great new rise of artists – such as Sigrid and Billie Eilish – is to be ignored and discredited. I think there are some terrifc artists who are taking Pop in new direction but this report caught my eye:

“More than a year and a half since Camila Cabello released her standout hit "Havana" featuring Young Thug, the Latin-flavored track just keeps raking in wins. Today (March 6), recorded music industry organization IFPI is naming the song the globally best-selling digital single of 2018 -- just days after the singer's 22nd birthday, no less.

Released in August 2017 as the lead single off Cabello's self-titled debut solo album, the song, which references her Cuban heritage, has since reached No. 1 on charts in 95 countries and catapulted the former Fifth Harmony member to global pop star status. "Havana" becameCabello's first Billboard Hot 100 chart-topper when it climbed to the summit last January, shortly after it logged the longest run atop Pop Songs for a lead female artist since 2013. Last summer, "Havana" became Spotify's most-streamed song ever by a solo female artist (with more than 888 million streams at the time), and its telenovela-inspired music video has drawn close to 750 million views to date...

Along with "Havana," this year's singles list includes several hits from 2017, including Daddy Yankee and Luis Fonsi's smash "Despacito" (notably, the version without Justin Bieber's remix assist), and The Chainsmokers' collab with Coldplay, "Something Just Like This." Chinese singer Tia Ray also makes the list.

IFPI'S TOP 10 GLOBAL DIGITAL SINGLES OF 2018:

1. Camila Cabello (feat. Young Thug), "Havana"
2. Drake, "God's Plan"
3. Ed Sheeran, "Shape Of You"
4. Ed Sheeran, "Perfect"
5. Maroon 5 (feat. Cardi B), "Girls Like You"
6. Luis Fonsi (feat. Daddy Yankee), "Despacito"
7. Tia Ray, "Be Apart"
8. The Chainsmokers and Coldplay, "Something Just Like This"
9. Marshmello and Anne-Marie, "FRIENDS"
10. Post Malone (feat. Ty Dolla $ign), "Psycho"

The fact that some of the top-selling/streamed singles are from 2017 – and were dominating 2018 – shows people are not merely moving on from certain tracks and lack focus. I guess it is positive that there is this ability to capture people and certain longevity of sound. What worries me is the makeup of that top-ten and how rigid the sound is. Maybe people are less bothered with singles and look at albums as a whole but I think the list above is more to do with how streaming sites promote certain artists above others. Apart from Camila Cabello, there is a lot of obvious Pop and stuff one might find being boosted by Spotify and their peers - YouTube, for example.

There is a definite market for artists like Ed Sheeran and The Chainsmokers but I do not feel it equates with real quality and depth. Look at critical reviews and how they perceive artists like The Chainsmokers and Maroon 5 – it is not that positive! I am a big fan of spreading my wings and diving right into music. I listen to most genres and, yes, I will take in some modern Pop that some might perceive as naff. I think the top-ten best-sellers shows that, maybe, people are going after singles rather than album tracks and the demographic is quite young. One suspects a lot of slightly older people are not streaming and buying stuff from Post Malone! Maybe this year will be different but I do worry there is this hegemony where Pop and the mainstream is taking too much focus. Perhaps it is young listeners who genuinely love this music and are keen to snap it up. I think, more likely, there are other problems and considerations. I do feel the best-selling list of 2018 raises some questions. Are radio stations too defined regarding what they play and are they lacking in broadness?! A lot of the artists above might be played on BBC Radio 1 and it makes me wonder whether we need to do more to open up tastes and minds – maybe other stations mixing-up their playlists or the likes of BBC Radio 1 being a bit more varied.

I do think the singles game is strong and it is good we are seeing people buy them at all! Anything that keeps singles in the fore is great but there is a world of music out there! I am not bias in saying this but listen to some brilliant Alternative and Indie music; turn your dial to BBC Radio 6 Music and some of the lesser-heard stations. I feel a lot of radio stations do have their own sound and it can be hard breaking away from that. I look at the list of most-bought singles of 2018 and you can place all those songs on a very specific station. Are streaming sites aiming music too wholly at those who love Pop and the more commercial side? Are they lacking foresight and being far too narrow-minded? There are those who feel the charts is a bygone thing and, when it comes to singles, who really cares what people buy. I can see that point and, actually, I think buying albums is more important – I would be interested seeing what makes the top-ten most-bought/streamed albums of 2018. I do feel like streaming platforms are hugely important and they hold an enormous amount of power. I am not seeing, every day, many songs that break the usual mould of Pop and commercial music and that worries me. It is clear we need to change the conversation and maybe look at the way the charts is composed.

 PHOTO CREDIT: Unsplash/@igormiske

I do feel like there is a world of young listeners who are gravitating towards certain stations and that is all they hear. I grew up around a tonne of great music and the eclectic exposure has followed me through life. I love all sorts of music and, if you had to compose my top-ten singles from 2018, you’d see a broad and stunning mix. What we see from that list above is a mix of rather boring and processed songs. Aside from Camila Cabello, I think the rest of the top-ten lacks real flair, energy and nuance. You can listen to those songs and they will drop from the brain instantly. Is that what people are after? Do we want songs that are accessible at first but do not really stay with us? I do not think that is the case and I do struggle to get my head around the figures. I understand the singles chart and market is not everything and it is not a huge deal but it points at what is being listened to and what a lot of young listeners hold dear. I worry there are so many wonderful songs and artists being overlooked because we are not doing enough to promote them. The singles chart is still flawed and I wonder whether there is a way it can be overhauled so that it is more eclectic and less commercial.

I do worry that, in years to come, many people growing up will not have had that rich education and they will only listen to a certain sound. I have nothing against the artists who have been marked and commended (last year) but it shows a very small part of the music landscape. What of the great Hip-Hop acts and the brilliant new bands?! I think radio stations and streaming sites need to do a lot more to balance their mainstream tastes and preferences with the more interesting and original sounds. I would like to see the top-ten list for this year contain more diversity in terms of genres. Music is this wonderfully fascinating and multifarious view that is bounteous and always-surprising. This is what we should be putting out into the world and promoting. I understand we need to keep Pop and chart hits right near the centre but one struggles to go beyond the obvious when it comes to streaming sites and the most powerful radio stations. I love singles and they still hold a very important place in modern music. If we keep pushing and popularising the same artists; do very little to open up eyes and help shift the imbalance then it could be very problematic for future generations. One reason why I am a music journalist is because of the huge array of artists I was raised on – I would not be so interested in music if it were all Pop or one genre. I think we might get to a stage where young listeners are not expanding their collection and trying music from other corners of the dial. This is a very real prospect and is...

NOT something I want to see.

FEATURE: Hear Her Roar! International Women’s Day 2019: The Exceptional Women - Iconic, Established and New - Who Deserve Huge Respect

FEATURE:

 

Hear Her Roar!

IN THIS IMAGE: Madonna/IMAGE CREDIT: Rinat Shingareev 

International Women’s Day 2019: The Exceptional Women - Iconic, Established and New - Who Deserve Huge Respect

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TOMORROW is International Women’s Day and...

 ILLUSTRATION CREDIT: Laura Callaghan

it gets me thinking about women in music and how they have changed my life. I think, now more than ever, there is this huge explosion of female talent that we cannot avoid! It is hard to overlook the barriers in their way and the way they have to fight harder than their male peers – I will talk about this aspect in another feature. I think the music of the past few years is among the most varied and fantastic we have heard for a very long time! Look at the changing Pop scene and how there is that balance of the more commercial yet strong artists such as Ariana Grande and Dua Lipa with the different tones of Christine and the Queens and Robyn. Sigrid is about to release her debut album and we have seen fantastic records from Self Esteem (Compliments Please), Sharon Van Etten (Remind Me Tomorrow) and Julia Jacklin (Crushing). It has been a dizzying start to 2019 and, alongside the mainstream/near-mainstream releases, there are so many tantalising cuts from those in the underground too.

I think Julia Jacklin’s Crushing, alongside Little Simz’s GREY Area, might well be the finest album of the year! I love the fact we have these incredible female artists making music much more arresting, interesting and personal. They might not all be purely Pop but one can definitely hear how they have taken the genre and added their own stamp. I feel, in fact, 2019 will be defined by women more than any other year. Let us hope that this translates into festival success and recognition because, as I show later, there is still an imbalance and we are not necessarily closer to seeing an actual balance. You cannot resist and ignore the wonderful music that women have produced this year alone. It is sensational and I think every year gets stronger and stronger. It is a marvel seeing so many terrific albums released and then, before you know it, another - each different to the last.

It is not only Pop we can look to but Folk, R&B and Rap. Solange just released her album, When I Get Home, and it has received some fantastic reviews. Whilst not as emphatic as her previous album, A Seat at the Table, it is still masterful and accomplished album that, I feel, will grow stronger in time. Look at genres like R&B and Rap and I feel women are making more of a stand. That sounds insulting but, by that, I mean the industry is having to accept these powerful and staggering voices. I feel Hip-Hop and Rap still has an issue with sexism but powerhouses like Cardi B and Nicki Minaj are releasing some of the best music around and rubbing shoulders with the very best of the genres. Lana Del Rey’s Norman Fucking Rockwell is out at the end of this month - and it is going to be another masterful Pop record. She is always impressive and I cannot wait to see how the album is received. I struggle to see which male artists and albums will challenge the very best of the year – the majority made by women. I love all of these female artists and they provide me with so much verve, inspiration and depth. I can listen to a record by Solange or Little Simz and I get exceptional music and nuance but I also have my mind and eyes opened.

 IN THIS IMAGE: Self Esteem/PHOTO CREDIT: Rachel Lipsitz for CLASH

I think a lot of modern music is dominated by male artists and bands who are talking about the same thing; too many commercial artists and a sea of Electronic nothingness. I have mentioned merely a few of the stunning women who are changing music right now but one can add Pop artists such as Billie Eilish – a prodigious teenager who is leagues ahead of most of her peers – to the list. I am excited by Folk acts like Lucy Rose, Laura Marling and Billie Marten (who will release her second album later this year) and wonders such as Jorja Smith. Janelle Monáe is another artist who is filling my ears right now and I have been familiar with her music for years. Her current album, Dirty Computer, was one of the best of last year and she goes from strength to strength.

Mitski and Kacey Musgraves, between them, create these colourful, dynamic and truly awe-inspiring songs and if you have not heard of Noname and Let’s Eat Grandma then you really should! Lizzo is offering pure confidence and swagger to the industry and the list goes on and on! I am always mentioning artists such as St. Vincent and Christine and the Queens and, more now than ever, the music made by women is far stronger than that from the men! I find female artists have more to say and they are bolder when it comes to their subject matter. I do hope that the brilliant women out there right now, very soon, will get their dues and not have to fight so hard. It is disappointing to see the inequality but I know there are so many fantastic women in music and it is only a matter of time before there is true equality. I do not know where I would be in life were it not for the fantastic humans.

I am not sure which female-fronted albums are due later in the year but we know Madonna is due to bring out her fourteenth album soon (more on her later). Robyn, Snail Mail; Florence + the Machine and Soccer Mommy made 2018 a phenomenal year and, when I consider female musicians now, I am transported somewhere evocative and physical. I know the guys are capable of bringing magic to music but the tonally eclecticism and broad palette women bring to music is taking music to new places. It is not only female solo artists amazing me but female-fronted bands. I have supported the likes of YONAKA and False Advertising before but, more and more, female-led groups are making a big step. I think this is one of the most pleasing changes in music: a break from the more rigid all-male band to something far more expansive and interesting. I do not think this is a trend either: I feel female-led bands are going to have a very big say in the future!

From Post-Punk and Alternative through to interesting Pop outfits...having a female voice at the front, to me, provides more range, emotional depth and brilliance than anything else. I do tend to find a lot of male bands are quite generic and they cannot dig as deep as the women. A lot of people – sexists, mainly – claim women do not have the same power as men and cannot rise to the level of festival headliners. I will tackle sexism later but there are so many female fronted groups – including Wolf Alice and CHVRCHES - that can get the crowds moving. I feel a lot of organisers and bookers ignore female bands and solo artists because they are stubborn - and feel boys-with-guitars is what the people want.

I feel a lot of traditional guitar music has become stale and the educated consumer wants their music with a lot more ambition and flexibility. MUNA, Dream Wife and First Aid Kit are other female acts that could storm festivals; Stand Atlantic and Rews are other options and, well, if you do your research and keep your ears open one can find a huge wave of female bands/female-led acts who are stronger than a lot of male artists. I have not mentioned Anna Calvi at the moment and, off the top of my head, I could list a hundred fantastic female artists who could rule their own festival. I am excited by the new breed coming through and striking and I have so much respect for what they do. Just trying to keep up with the array of styles and different colours is both exciting and a bit scary for someone who loves music - but who can knock that quality and ambition?!

Every week reveals incredible female music and the sheer variety is mind-blowing! Maybe it is the different and more arresting lyrical perspective or the capacity of the female voice – richer and more colourful than the guys – but I think women are leading the charge right now! It is great for me, being a journalist, being approached by so many great female acts and getting a front-row seat to this revolution. I have not even scratched the surface but I wanted to finish by looking at classic acts and non-performing women who one must investigate. It is vital, when it comes to music, too recongise all the brilliant women in all fields of music - there are those that work behind the scenes and away from the limelight who are just as inspiring and important as musicians.

When it comes to inspiration and the music that truly moves me, I have to mention names like Madonna and Kate Bush. The former is that rare thing: a Pop maverick and icon who has compelled for decades and created some of the finest music ever. Kate Bush is that unique and wondrous musician who holds a special place in all of our hearts. They are both different and, aside from being born in the same year (1958), have made an enormous impression on the music world. From Beyoncé and Patti Smith to PJ Harvey and Aretha Franklin, I have grown up around these amazing women who have made music the incredible place it is. I do worry what the young generations are listening to and whether, because we are more digitally-minded, these legendary women will be overlooked. I know they have a huge reputation but I do feel there needs to be a greater move towards promoting their music and not just what is new and hot right now.

I published a playlist last year that collected the female voices that have changed me. Stevie Nicks and The Bangles are in there; Carole King, Cher and Lauryn Hill; Missy Elliott, Alicia Keys and Neneh Cherry. I should update the playlist to reflect some of the newer female artists but I have put some videos through this feature that, I hope, fill the gaps. When I think of music and how it changed my life as a child, I think of male bands like The Beatles and Tears for Fears but there is something about the intoxication and power of the female sound that has resonated deep and lasted longer. All of the women in that playlist, in fact, have played a role in my life and made me stronger as a human being!

I wish I could write a feature that shines a proper light on all the women I have mentioned but I fear my hands might actually fall off! Through the years, I have mentioned female icons and I do a weekly playlist with female-led sounds new to the public. I am always keen and passionate when it comes to supporting women in music and all of us owe a huge debt of thanks to the pioneers, new and classic, who have given us so much. It is not only the women of music that I am marking today. I cannot really name all the fantastic women behind closed doors who help promote the best new music – the P.R. agents and bosses – but we must salute them. They do sterling work and are crucial. I know so many wonderful women who work relentlessly to ensure the best and hungriest musicians out there are heard and acknowledged. It is tough being that focused and hard-working all the time but the passion is obvious and impressive.

Great female producers like Catherine Marks, Lauren Deakin Davies and Olga FitzRoy are hugely celebrated and, in terms of their male peers, not given the same respect – although they have plenty of awards between them. Brilliant D.J.s such as Carly Wilford and Nina Kraviz have always been on my mind and they continue to do fantastic work. So many of her peers, working in clubs and on radio, are bringing endless joy to people and are blowing minds. Look at mainstream radio D.J.s such as Maya Jama, Annie Nightingale; Annie Mac, Clara Amfo and Adele Roberts and there is some staggering talent in there. Jamz Supernova, Tiffany Calver; Yasmin Evans and Jo Whiley are revolutionising radio and their peers, such as Harpz Kaur and Noreen Khan, are doing such incredible work. We know BBC Radio 2 changed its line-up recently and Zoe Ball helms breakfast; Sara Cox is on drivetime; Jo Whiley takes the evening slot - and Mollie King hosts alongside Matt Edmondson on BBC Radio 1.

 IN THIS PHOTO: Jamz Supernova/PHOTO CREDIT: Vicky Grout for CLASH

Aside from the great female D.J.s already on BBC Radio 2 – Liza Tarbuck and Vanessa Feltz among them – I am glad women have been promoted and are more visible. Despite them still being in the minority, we are seeing changes and improvement. The same sort of evolution happened on BBC Radio 6 Music where Lauren Laverne was moved to breakfast; Mary Anne Hobbs moved from weekend breakfast to weekday mornings and they join their colleagues like Cerys Matthews in making the station the must-listen-to option for those who are truly passionate about music. There are great female music news presenters like Elizabeth Alker and Georgie Rogers and the latter, in fact, is someone I am always keen to champion – the woman deserves her own shows. All of these wonderful personalities and voices are making radio richer and providing fresh dynamics.

Away from radio, there is an army of brilliant female journalists – such as Laura Snapes – who are inspiring more young women to follow their lead. I think that is one of the most rewarding things about seeing so many strong women in radio and journalism: many girls and young women will be inspired and realise that, slowly, we are seeing positive change. I do think we have a long way to go but I am seeing improvements and hope. I keep forgetting names to mention in this feature – including D.J.s Claudia Winkleman and Jane Garvey – but that is the point: there are countless women who we should recongise on International Women’s Day. It is good we have a special day every year where we can celebrate women and, in musical terms, ensure that there is discussion regarding quality and progression - the past year or two have seen stains left on music (by men) that are incredibly damaging and toxic.

 IN THIS PHOTO: Patti Smith/PHOTO CREDIT: Gasper Tringale for Vanity Fair

I wanted to publish this piece a day early so that, a), people can check out the incredible female artists and talent I have mentioned and, b) there are so many other things I want to discuss that relates to gender-equality and parity in music. There are a lot of men who sniff and moan and ask when there is an International Men’s Day – in terms of ego and self-importance...that is pretty much every other day of the year! It is important we celebrate women in every field because, even in 2019, there are pay gaps and inequality. There are fewer women in radio than men - and that is nothing to do with a lack of talent out there and women choosing other fields. Festivals are pledging a fifty-fifty split by 2022 but this year’s bills are lacking in true equality and the majority of headliners are still men. We saw this issue last year with festivals in the U.K. and U.S. Cases of sexual abuse are coming out and it is worrying that, in many ways, women are seen as second-class citizens.

The more we mark the great work by women in music the quicker we can see some resolution and awareness. They are shouting loud but more men need to show their backing and I feel it is alarming that we still have to have discussions around gender imbalance and sexual abuse in music. Rather than dwell on the changes needed and the negatives let us celebrate the fantastic work by women in music – from the D.J.s and writers to the promoters, bands and artists who are influencing the masses. I cannot give thanks enough to the iconic female artists and the new generation who are providing me with so much substance, diversity and incredible music. On International Women’s Day, there are important debates and issues raised but I think music and the great women in this field are not given enough focus. Maybe that is just my viewpoint but, tomorrow, it would be good to see a spotlight put on music - I know a lot of radio stations will celebrating and doing their part.

It is because of the extraordinary women in music, from decades past to now, I am driven and continue to push what I do. I have said it before but I will say it again: I think the best music of today is being made by women and so many of the iconic women who are revered helped direct me to music journalism. It is impossible to name all of them but, on the playlists and the special one I produced last year, I have tried my best - and, essentially, every woman I include on my blog is very special and definitely worth a look! It makes me wish we had a day like International Woman’s Day every month - one can imagine the complaints from men and the media! In any case, it has been great tipping my cap to the great women, in music and the media, who are doing sensational work. They do not get quite the credit they deserve but I am optimistic we will see that situation improve.

I am especially grateful for the stunning musicians. From such a young age, I was captivated by the female voice and what it could do to me - and what it continues to do. At times I need a cheer and rush, I put on inspiring women to get me where I need to be. When I require something more reflective and soothing then, again, it is a female artists, for the most part, I opt for. It is arguable that, without these brilliant artists, I would be in a very bad place and not be the journalist I am now. The fact that they have made a gigantic impression on me and countless other means more than words can express. Their music and words have changed my life and, for International Women’s Day, this humble piece is...

 IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

THE least I can do!

INTERVIEW: Jubilo Drive

INTERVIEW:

Jubilo Drive

___________

THANKS to the guys of Jubilo Drive...

who have been telling me about their new album, Late Night Early Morning, and the inspiration behind it; which one album the members hold dear; how the band got together and the importance of L.A. regarding their creativity and sound.

I ask whether they will come to the U.K. and which approaching artists we need to watch; how they unwind away from music and the advice they would give to those coming through – the guys pick some cool songs to end the interview with.

____________

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

It’s been good! We’re still on the heels of the record release, so we’re still kind of basking in the glory of that; but we’ve also got a ton of new demos in the works. Happy to be here right now.

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

Sure thing. We’re Jubilo Drive and we’re a group of fellows who enjoy playing music together and working to create new sounds. The five of us all have remarkably different taste in music, so we play a pretty eclectic blend of Psych-Rock/Synth-Pop. Jordan sings and plays guitar. Henry plays the guitar. Aaron’s on the keys. Jacob’s on the drums and Kalyn is the bass player.

Late Night Early Morning is out now. What does it feel like having the record out?

It feels great. Many of these songs were a long time coming and many of them were written before this current iteration of our lineup, so it’s cool to see things come full circle. The response has been awesome. It feels like a weight off our shoulders. We’re lucky to have a great support system. And, of course, there is the satisfaction of completing a project and putting it out into the world. Now that we have something to show for all our work, we feel really free to just create regularly. On to the next.

Are there particular inspirations and people that inspired the album and its stories?

Very much so. Tragically, much of this album was inspired by the untimely death our founding drummer and friend, Eric Cruz. Some of the lyrical content deals with themes of grief, anxiety; depression  and the power of music. For instance, our frontman Jordan H. Kleinman wrote the opening track, When The Curtains Draw, the night his grandfather died; he played trombone with Louis Prima in 1940s Harlem and met Eric a few times, so it felt fitting to include that song on such a cathartic album.

I think the process of building this album also really inspired us to grow and evolve as a band. In our current lineup, we’re still young and still working out the kinks. Seeing this album come together taught us a lot about our band dynamic.

How did Jubilo Drive get together? Did you bond over shared tastes?

We originally formed in college; played shows a lot and recorded a few bodies of work. In 2016, we decided to take a hiatus after a few years and, in early 2017, Eric passed away in a car accident. In early 2018, we reformed to keep the project going and began recording and releasing new music, using this exercise to heal as well.

We’ve always been lucky to have members who come from different backgrounds with various and unique music tastes. While we all definitely have shared musical interests, we individually hold wide spectrums of listening habits - which we feel gives us all an expanded musical knowledge to bring to the table.

What sort of music did you all grow up around?

As we said earlier, the influences are kind of all over the place. Henry and Aaron grew up on music that most California kids were raised on: a lot of Punk-Rock, Hip-Hop; Ska/Reggae. Jordan started out on Classic-Rock and later became obsessed with Jazz and World music. Kalyn was raised on R&B and Hip-Hop but also grew up listening to many different genres of Rock. Jacob’s a Metalhead and listens to a ton of Pop-Punk and Emo (still). Our parents introduced us to all the classics.

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

Our release show was an absolute blast, especially the part where (in practices leading up to the show) we swore we weren’t going to play an encore. And then the crowd really was calling for it, so we had no choice. Most encores are premeditated but it was cool to have such a genuine, spontaneous moment. We all kind of looked at each other and realized we had to go out there and play one more.

Which one album means the most to each of you would you say (and why)?

Jacob: Hybrid Theory by Linkin Park is the album that got me into Rock music, so I owe everything to it.

Jordan: I know this is going to sound corny…but The Dark Side of the Moon is probably the most meaningful and withstanding album to me and has been for a long time. The breadth of lyrical imagery, the fortitude and humanity displayed by the songs’ narrator(s); experimental recording techniques side-by-side hit songs, all while being considered a critical and commercial success. I’m sorry, but it doesn’t get better than that.

Henry: Too many. But, I would lean towards albums I’d listen to as a kid, when I had a C.D. case and a booklet to look through while listening. Very impressionable times.

Aaron: By the Way by Red Hot Chili Peppers

Kalyn: It’s impossible to choose just one, but Nevermind by Nirvana is certainly up there. Having grown up and spent the first nineteen years of my life in Seattle, something about that sound will always resonate with me.

Being based out of L.A., how important is the city and its people to your sound?

We’ve definitely written a considerable amount inspired by landscapes, traffic and weather of this town. Most of us work and live in Los Angeles, so there is an abundance of interesting characters to observe. You get a better understanding of the world the more kinds of people you see and meet. I don’t know how to articulate it but there are definitely ‘L.A. sounds’ in our music.

The ‘Indie’ music scene in L.A. is also superb. So many friendly and talented people and most people are pretty approachable. I definitely feel lucky to be able to call some of my favorite local artists friends and sometime-collaborators.

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

The Rolling Stones, Tame Impala; Radiohead or St. Vincent among others. Our rider would include Pepto-Bismol, Haribo gummy dinosaurs; hanging out with Keith Richards for fifteen minutes before the set, a handful of JUUL pods; five La Croix and a post-set joint (where legally applicable).

PHOTO CREDIT: Shawheen Keyani

What advice would you give to new artists coming through?

Keep putting out music. Keep playing shows. Find what works well for you first and try not to worry about what everyone else is sounding like. The more content you have and the more exposure you get, the better. We’ve been a band for a long time and there are days that feel like we’re still starting out - which just goes to show that there’s always something new to learn and ways to improve yourself, both personally and musically.

Do you have tour dates coming up? Where can we catch you play?

We’ve got a few things in the works right now, but can’t officially announce yet. So, we’ll say that you can catch us in L.A. this spring and definitely this summer.

If we came to one of your live shows, what might we expect?

Controlled chaos: sweaty, spectacular dance moves. Headbanging. Kalyn’s sultry gaze. Jordan dropped the mic and ran around the venue during Aaron’s keyboard solo one time. You know...standard Rock ‘n’ Roll stuff. Come ready to rock the **** out and, if you’re standing close to the stage, to get sweat on you. You might learn something new about yourself.

Might you play in the U.K. at some point?

We’d absolutely love to. A lot of us are huge fans of some big U.K. artists (Joy Division, New Order; The Cure, Cleaners from Venus; Radiohead, The 1975) so that’d definitely be a bucket list item. When are you having us?

 IN THIS PHOTO: James Supercave

Are there any new artists you recommend we check out?

Our friends in James Supercave just put out a stellar new E.P. Can’t recommend it enough. Check out SWIMM and SLUGS too.

IN THIS PHOTO: SWIMM

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

Honestly, most of us are still working on music when we’re away from Jubilo. We’re all pretty active in solo and side projects, so music keeps us pretty busy. We’re lucky to have a day jobs so, when we’re not there or working on music, we love to unwind with friends and chill out. Music is always playing in the background, so it never goes away.

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).

Jacob: How to Draw/Petrichor - The 1975

Jordan: Chiko-Chan - Yasuaki Shimizu

Henry: Fools - Drugdealer

Aaron: Slide - George Clanton

Kalyn: Star Treatment - Arctic Monkeys

___________

Follow Jubilo Drive

Official:

https://www.jubilodrive.com/

Twitter:

https://twitter.com/JubiloDrive

Facebook:

https://www.facebook.com/JubiloDrive/

Instagram:

https://www.instagram.com/jubilodrive/

Spotify:

https://open.spotify.com/artist/3WofJ6TcHQNvl2BUrQILdK?si=DyzlbXONSWi0AAYkgo75lg

SoundCloud:

https://soundcloud.com/jubilo-drive

FEATURE: Albums of the Decade: Part I: 2010-2012

FEATURE:

 

Albums of the Decade

IN THIS PHOTO: PJ Harvey/PHOTO CREDIT: Getty Images 

Part I: 2010-2012

__________

THERE are not many months left in the decade...

 IN THIS PHOTO: Kanye West/PHOTO CREDIT: GQ

and I am pretty sure there will not be many contenders that will challenge this list - when I get to the 2019 part, that is! Speculated albums from Madonna and The 1975 might be in with a shout of being the albums of the decade but I am starting this rundown with a look at the best albums from the three-year period that covered 2010 to 2012 - I might have a separate list for 2019 in December. Every decade boasts terrific records but this decade has been really strong and seem some truly unexpected revelations. I am starting with those first few years of the 2010s; when there were people asking how music would change and whether we would see anything as good as the 2000s. Here are the fifteen albums that defined and owned the years 2010 through to 2012. Future parts will bring us right up-to-date but here, in this opening part, we can see albums that made the 2010s start...

 IN THIS PHOTO: Fiona Apple/PHOTO CREDIT: Getty Images

WITH real fire.

ALL ALBUM COVERS: Spotify/Getty Images

____________

2010:

Kanye West - My Beautiful Dark Twisted Fantasy

Release Date: 22nd November, 2010

Labels: Def Jam/Rock-A-Fella

Producers: Various

Key Cuts: Power/Runaway/Who Will Survive in America

Standout Track: Monster

Review:

“Yet the ruthlessly self-indicting ”Runaway,” expanded to nine minutes from the version he debuted at this year?s VMAs, complicates Fantasy?s intermittent ugliness. ”You?ve been putting up with my s— just way too long,” he admits to a girlfriend, or maybe the entire listening public, before leading a bitterly ironic ”toast for the douchebags” in the chorus. It?s a dose of harsh reality that casts the excesses around it in a new light. West may be obnoxious, but at least he?s interested in confronting those aspects of his identity through his music. Few stars of comparable wattage would dare do the same” – Entertainment Weekly

Arcade Fire - The Suburbs

Release Date: 2nd August, 2010

Labels: Megre/City Slang/Mercury

Producers: Arcade Fire/Markus Dravs

Key Cuts: The Suburbs/Modern Man/City with No Children

Standout Track: Ready to Start

Review:

“The anxieties of Neon Bible still lurk in some of these songs – the unease of the "Modern Man" is rendered with the deceptive naivety of Talking Heads, and the futile search for "the places we used to play" in "Sprawl 1 (Flatland)" is beautifully evoked by shimmering strings. But part of the band's appeal derives from its ability to balance music and emotions in poised equilibrium while grasping confidently for the future, so the misgivings are forever being swept aside by hope.

Playing the character of a trapped suburbanite with unfulfilled dreams, Regine Chassenet sings in "Sprawl 2 (Mountains Beyond Mountains)" about how "these days my life, I feel it has no purpose; but late at night these feelings swim to the surface". As if to suggest those lurking ambitions, it's sung over cycling synthesisers, in the manner of some self-assertive Euro electro-diva. Despite it all, she will survive” – The Independent

Robyn - Body Talk

Release Date: 22nd November, 2010

Label: Konichiwa

Producers: Various

Key Cuts: Fembot/Indescribable/Call Your Girlfriend

Standout Track: Dancing on My Own

Review:

“Some songs sound even better here than they did on the EPs: “Love Kills” and “None of Dem”'s playful dancehall function more clearly as bridges to other tracks than they did before. Body Talk’s new songs also make good on the EPs’ gradual shift from fierce independence to togetherness, particularly on “Call Your Girlfriend,” a thoughtful twist on a love triangle that finds Robyn enjoying new love while being concerned for someone hurt by it, and “Stars 4-Ever,” which gives a fizzy, Euro-dance tinged happy ending to the Body Talk project. After the EPs’ conciseness, the album feels downright roomy, and maybe slightly too long; obviously, Robyn had a lot of songs to work with. Overall, though, Body Talk is more focused than Robyn, and just as bold in the intimacy it creates with listeners” – AllMusic

Laura Marling - I Speak Because I Can

Release Date: 22nd March, 2010

Label: Virgin

Producer: Ethan Johns

Key Cuts: Devil’s Spoke/Rambling Man/I Speak Because I Can

Standout Track: Goodbye England (Covered in Snow)

Review:

“Many of the songs struggle with Marling’s conflicted yearning for both traditional monogamy and unfettered independence. “I tried to be a girl who likes to be used,” she sings on Goodbye England, “I’m too good for that/ There’s a mind under this hat.” Elsewhere she gazes back into Greek mythology for female companionship, addressing the marriage goddess Hera and conjuring the spirit of Odysseus’ patient wife Penelope. I Speak Because I Can is my favourite release of the year so far – and certainly an album worth sailing home for” – The Daily Telegraph  

Deerhunter - Halcyon Digest

Release Date: 28th September, 2010

Label: 4AD

Producers: Deerhunter/Ben H. Allen/Henry Barbe

Key Cuts: Earthquake/Revival/Basement Scene

Standout Track: Memory Boy

Review:

“When a skeletal drum-machine beat sputters to life on opener “Earthquake,” Deerhunter’s third album threatens to be their most threadbare yet, but then a dreamy guitar floods the senses. Like frontman Bradford Cox’s solo records as Atlas Sound, Halcyon Digest exists mainly as another iteration of his shifting id, deeply plumbing memories real and imagined with a sound by turns spare and sumptuous. On the pensive “Basement Scene” and sublime centerpiece “Desire Lines” (actually written by guitarist Lockett Pundt), Deerhunter couples the Everly Brothers’ drawling croon with ’90s Sonic Youth surge, making for a blissed-out yet bittersweet reverie” – SPIN

2011:

PJ Harvey – Let England Shake

Release Date: 14th February, 2011

Labels: Island/Vagrant

Producers: Flood/Mick Harvey/John Parish/PJ Harvey

Key Cuts: Let England Shake/The Words That Maketh Murder/On Battleship Hill

Standout Track: The Glorious Land

Review:

“Rock songwriters don't write much about the first world war, but, perhaps understandably, when they do, they have a tendency to lay it on a bit thick: you end up with songs like the Zombies' The Butcher's Tale, so ripe it sounds more like the work of a fromagier. Harvey clearly understands that the horror doesn't really need embellishing: her way sounds infinitely more shocking and affecting than all the machine-gun sound effects in the world.

You're left with a richly inventive album that's unlike anything else in Harvey's back catalogue. That, she told Marr last year, is the point: "My biggest fear would be to replicate something I've done before." Let England Shake sounds suspiciously like the work of a woman at her creative peak. Where she goes from here is, as ever, anyone's guess” – The Guardian

St. Vincent – Strange Mercy

Release Date: 12th September, 2011

Label: 4AD

Producer: John Congleton

Key Cuts: Cruel/Cheerleader/Hysterical Strength

Standout Track: Strange Mercy

Review:

“On ‘Cheerleader’ she confesses: “I’ve seen America with no clothes on, but I don’t want to be a cheerleader no more”, and while this too clearly has personal resonance, it also captures the pervasive soul-searching of her fellow countrymen. Among all this intense intellectual wrangling sits the seductive title track, a song etched from beauty itself; Clark’s voice has never sounded so beguiling and her fretwork is tasteful, skilful and mesmeric.

It’s this combination of unforced sonic gorgeousness and a refusal to settle for the obvious that puts Clark in a field of her own, and makes for a strange and wonderful record that shows no mercy in blowing your mind” – NME

Bon Iver – Bon Iver

Release Date: 17th June, 2011

Labels: Jagjaguwar (U.S)/4AD (Europe)

Producer: Justin Vernon

Key Cuts: Minnesota, WI/Wash/Calgary

Standout Track: Holocene

Review:

“Vernon's most magnificent act on this follow-up to 2008's solitary, introspective For Emma, Forever Ago, is to open Bon Iver up to the world. That expansiveness influences everything, from the way the song titles reach beyond Vernon's Wisconsin home to the number of collaborators (10) and their intricately textured sound. In opening track Perth, you can almost hear Vernon exit his cabin in the woods to be dazzled by the colours and brightness outside, communicated in bold military drums and surging horns. But whether exploring supple R&B in Minnesota, WI, joyful country in Towers, or swollen soft-rock in Beth/Rest, Bon Iver remains rooted in the emotional sincerity that made Vernon's debut so mesmerising” – The Guardian

James Blake – James Blake

Release Date: 4th February, 2011

Labels: ATLAS/A&M/Polydor

Producer: James Blake

Key Cuts: The Wilhelm Scream/Lindisfarne I/Give Me My Mouth

Standout Track: Limit to Your Love

Review:

“The same goes for the album-ending "Measurements", which somehow pulls the sound of a Southern black gospel choir from Blake's laptop and white-boy coo. Feist cover "Limit to Your Love" works in just enough of dubstep's bass flutter and snare snap. If Blake really does cross over and become the pretty white male who introduces a broader audience to dubstep, with its foundations in Jamaican music and black musicians in South East London, he'll receive the tired, requisite backlash. But these 11 songs-- gorgeous, indelible tunes that are as generous in content as they are restrained in delivery-- will last a lot longer” – Pitchfork  

Kate Bush – 50 Words for Snow

Release Date: 21st November, 2011

Label: Fish People

Producer: Kate Bush

Key Cuts: Lake Tahoe/Misty/Snowed in at Wheeler Street

Standout Track: 50 Words for Snow

Review:

“But it's "50 Words for Snow" itself which offers the most engaging, genial development of the album's wintry theme, its scudding groove assailed by chilly wind as Stephen Fry enunciates the terms – mostly made-up by Bush herself – with quiet relish: "Eiderfalls... Wenceslasair... Vanillaswarm... Icyskidski...", while she stands on the sideline, occasionally jumping in to cajole him, like a coach boosting her player's morale. It's a fitting climax to a seasonal offering that manages to evoke the essential spirit of winter while avoiding all the dog-eared clichés of Christmas albums – or indeed, any overt mention of that particular fairy story. Which is some achievement” – The Independent

2012:

Fiona Apple – The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do

Release Date: 18th June, 2012

Labels: Clean Slate/Epic

Producers: Fiona Apple/Charley Drayton

Key Cuts: Valentine/Left Alone/Periphery

Standout Track: Every Single Night

Review:

“Lacking either ornate production or a pop single, The Idler Wheel plays like Fiona Appleat her purest and that's plenty complicated: she takes no shortcuts or easy turns, her intent somewhat shrouded but never absent. Much of the charm of Apple's music isn't decoding what it all means but learning its internal clockwork, letting the songs take root, so the love songs ("Jonathan") seem sweeter, the braggadocio ("Hot Knife") funnier, the pathos ("Valentine," "Regret") and paranoia ("Werewolf") feeling fathomless. Once the startling Spartan surfaces of The Idler Wheel become familiar, similarities to her three previous albums are apparent -- she takes certain jazzy strides that hark back to Tidal, there's a rigorous dexterity reminiscent of When the Pawn -- but what's new is an unwavering determination and cohesion. Nothing is wasted, either in the composition or arrangement, and this lean confidence binds The Idler Wheel. Stripped of all her carnivalesque accouterments, Fiona Apple remains as rich and compelling as she ever was, perhaps even more so” – AllMusic

Frank Ocean – Channel Orange

Release Date: 10th July, 2012

Label: Def Jam

Producers: Various

Key Cuts: Sweet Life/Pyramids/Bad Religion

Standout Track: Thinkin Bout You

Review:

“Channel Orange is as dazzling as it is baffling, rarely staying still long enough to get a grip on. This may be a drawback when it comes to scoring big hit singles, with only one track, the chugging Lost, really conforming to the kind of straightforward song construction favoured by radio. Yet, there has been a sea-change in mainstream pop of late, as the popularity of guitar rock has waned and the sound of blips and beats have become utterly dominant in the top 40” – The Telegraph

Kendrick Lamar – Good Kid, M.A.A.D City

Release Date: 22nd October, 2012

Labels: Aftermath/Interscope/Top Dawg

Producers: Various

Key Cuts: Bitch, Don’t Kill My Vibe/Money Trees/M.A.A.D City

Standout Track: Backseat Freestyle

Review:

“Equally heavy is the cautionary tale of drank dubbed "Swimming Pools," yet that highlight is as hooky and hallucinatory as most Houston drank anthems, and breaks off into one of the chilling, cassette-quality interludes that connect the album, adding to the documentary or eavesdropping quality of it all. Soul children will experience déjà vu when "Poetic Justice" slides by with its Janet Jackson sample -- sounding like it came off his Aunt's VHS copy of the movie it's named after -- while the closing "Compton" is an anthem sure to make the Game jealous, featuring Dre in beast mode, acting pre-Chronic and pre-Death Row. This journey through the concrete jungle of Compton is worth taking because of the artistic richness within, plus the attraction of a whip-smart rapper flying high during his rookie season. Any hesitation about the horror of it all is quickly wiped away by Kendrick's mix of true talk, open heart, open mind, and extended hand. Add it all up and even without the hype, this one is still potent and smart enough to rise to the top of the pile” – AllMusic

Grimes – Visions

Release Date: 31st January, 2012

Label: 4AD

Producer: Grimes

Key Cuts: Oblivion/Visiting Statue/Skin

Standout Track: Genesis

Review:

“Visions is anchored less by Boucher’s voice, a small but versatile falsetto with unexpected range, than by her personality, which grounds even the album’s oddest digressions with sweetness and sensuality. She sings mostly in a cryptic blur of impressions, preferring expressive sighs and squeals over complete thoughts, but the lyrics that are decipherable leave a mark. On “Oblivion,” Boucher pines for the simple comforts of romance, and on the penultimate track “Skin,” she reflects on how physical contact forges emotional bonds. It’s Visions’ longest, saddest song, but it’s a fitting closer for a record that’s so evocatively textured it’s practically a tactile experience” – AV Music

Jack White – Blunderbuss

Release Date: 20th April, 2012

Labels: Third Man/XL/Columbia

Producer: Jack White

Key Cuts: Sixteen Saltines/I’m Shakin’/Hip Eponymous (Poor Boy)

Standout Track: Weep Themselves to Sleep

Review:

“There are plenty of made-in-Nashville flourishes – fiddle, mandolin, pedal steel. White mostly strums acoustic, occasionally going electric for noise-splutter solos. But he power-riffs the Seventies stoner boogie “Sixteen Saltines,” his loudest and funniest tribute to the destructive force of passion and the healing power of overcranked guitars. “Spike heels make a hole in a lifeboat” – that could be White’s epitaph.

Yet through all the heartbreak, he remains a mystery man, as if Don Draper went to that Rolling Stones show on Mad Men and ended up jamming with the band. White has the Midwest con-man reserve of Draper, along with the flamboyant-yet-unknowable flash of Jagger. So Blunderbuss gets stranger and more fascinating the closer you listen. It doesn’t give up any of the man’s secrets. And make no mistake: That’s exactly how Jack White wants it” – Rolling Stone

INTERVIEW: HEZEN

INTERVIEW:

PHOTO CREDIT: Diego Indraccolo

HEZEN

___________

IT has been a couple of years since I last...

spoke to HEZEN and, whilst one or two of my questions are the same, the latest single from her is definitely not. I ask about Bring Your Alibi and ask HEZEN about current controversies involving Ryan Adams and R. Kelly and whether she feels there is a lack of protection in the music industry at the moment.

She selects some special albums and a few rising artists to watch; how important it is being on stage and how she unwinds away from the strain and stress of music – she selects a great track to end the interview with.

____________

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

I'm good, thank you! I just arrived at my parents’ back in France, outside Paris. I'm playing my first Parisian date ever on Monday, 11th March, so I thought I'd take the opportunity to come a little earlier and help my parents pack – they're moving to Martinique, where my mum is from, in a few months. I'm also going to save the old notebooks where I used to write songs and poems when I was a kid - because people say that it's the kind of thing that one day I'll open with fondness. I've got my doubts about that but, whatever.

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

My name is Sarah. I'm a French producer/singer; living in North London for the past eight years and going under the name HEZEN. I make Dark-Pop with a neon-noir, futuristic edge (think The Little Mermaid-meets-Blade Runner).

Bring Your Alibi is your new single. Is there a story behind the song?

It started in May 2018. I had invited my friend, Laurane Marchive, over for a lyric-writing session. I had never written with someone else before but Laurane is an amazing writer so when she suggested we tried something - I was really into the idea. The week before, Harvey Weinstein had turned himself in to the N.Y. police on sexual assault charges. Being that most our conversations are about feminist issues, we naturally started to come up with an idea related to it. We wanted to write something empowering, something badass; using the trope of the weak and defenceless woman who turns out to be dangerous A.F. and takes her abuser down, like a feminist version of David vs. Goliath.

We visualised Lisbeth Salander from The Girl with the Dragon Tattoo as our protagonist. It's the song she sings as she's getting ready in the morning, putting a nice dress on; too much makeup. To me, she represents all the people from the #MeToo movement (and beyond) who had the courage to come forward and the person the song is addressed to is all their abusers. This is a song about justice but it's also a warning: you think you're gonna get away with this? Think again.

Do you think the recent news stories involving Ryan Adams and R. Kelly show a lack of awareness and protection from the music industry in general? Do you foresee changes coming regarding the way women are treated?

The misconducts and crimes that have been exposed in the art industries are the ones that ended up making the most noise, for obvious reasons. But, I don't think they're necessarily representative of a problem that's specific to these industries: that's just the exposed tip of the iceberg. I think what the #MeToo movement has shown, in such a shockingly democratic way, is how prevalent sexual assault and harassment are, in every industry, and how the lack of awareness and protection is just our reality as a whole: it's a system structured in a way that it protects abusers and discourages victims to speak.

We're not going to wake up tomorrow with no more sexual predators, nor in a world where victims can expect to be protected by the judicial system; the one that still today finds relevant information in the kind of clothes they were wearing or how much they had drunk when they were harassed or attacked. It's going to take time to program the kind of society we want but, if you look at history, going towards a more just and equal society seems like an ineluctable force (there's still loads to do but I'm a hopeless optimist).

I do think there's a before and after #MeToo, though. I think we've reached a critical mass, one where the problem-gangrening society cannot be brushed under the carpet anymore and people will be less and less afraid of speaking up. That's true for women - but hopefully for men and everybody else too.

As long as we keep the conversation going...

PHOTO CREDIT: Diego Indraccolo

Might we see an E.P. or album later this year?

Bring Your Alibi is the first out of three songs I wrote last year and will be releasing before the summer. To me, they're part of the same chapter: it's called Safe & Bound. I've also started this year's chapter and I'm incredibly excited about the direction it's taking. I'm hoping to release it soon after Safe & Bound.

When did music come into your life? Did your parents play a big role?

At home, my parents played a lot of music, from Chanson Française to Classical music and a lot of U.K. and U.S. classics – Elton John, Neil Young; Pink Floyd, The Beatles; Queen...my dad is very musical and, in my memory, he'd play the guitar or the keys most evenings. I started writing songs when I was thirteen and he's been supportive ever since; buying me my first guitar and being the first to hear my demos recorded on Audacity with a computer microphone. He was hard to please. He still is.

Which artists were important to you growing up? Who do you rank as idols?

It's a hard question: I feel like so many had their own impact on me...I guess music started becoming a very personal and intense experience when I was young teenager (like most people). At the time, I discovered Nirvana, Pink Floyd; Sia, Led Zeppelin; Muse (pre-Black Holes and Revelations, obviously), Radiohead, Björk and all of them were very important to me. Muse is the band that made me want to write songs and Unintended was the first song I taught myself on the guitar (I was and still am such an Emo kid).

I heard Sia's Breathe Me on the radio and I think I stopped breathing during the whole song. The same thing happened when I heard Karma Police by Radiohead, Chop Suey by System of a Down and Is There Anybody Out There? by Pink Floyd. Later, I discovered Trip-Hop and that changed my life: Massive Attack, Tricky; UNKLE, Portishead...basically, anything that was dark and/or very sad I was an absolute sucker for.

PHOTO CREDIT: Diego Indraccolo

Looking back at your earliest work, what are the main changes/developments you have seen inside yourself?

I think I take it all less seriously. I've always used songwriting as a catharsis; as my only way of expressing and processing my emotions. But, my creative process was often painful and I lacked the confidence to express myself in an approachable way, often hiding behind words and production. I still write based on my experiences but I've now allowed fun in my work, as well as accepted being more vulnerable by being more honest and direct. It helps that I also feel more confident in my production skills and, over time, I've enjoyed simplifying, having more space and less elements.

I've definitely felt a shift in what and how I create and that really happened last year when, after working hard on myself, I came out of depression and had some sort of creative epiphany. The tree songs of the E.P. I'll be releasing are the result of it.

Do you have a standout memory from your time in music so far?

One of my biggest handicaps in life is that I have no memory, so it's very hard to answer this question. So, I'll stick to something recent – writing Terrible Animals last year - the song I'm releasing next month - is standing out for me because it marks the beginning of getting my head out of the water and relearning the joys of music-making, which I had forgotten.

PHOTO CREDIT: Isaac Murai

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

You asked me this question two years ago, but I guess I should come up with three different ones (smiles).

Overgrown – James Blake

It's a masterpiece. It's had a huge influence on me and it's been teaching me about simplicity.

Rossz Csillag Alatt Született – Venetian Snares

Another masterpiece. It's one of the saddest and darkest albums I've ever heard, but it's also incredibly beautiful. His blending of strings and electronic beats has shaped my music so much.

Homogenic – Björk 

I think it's the album that made me drop my acoustic guitar and teach myself production. And it probably all started with All Is Full of Love.

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

Young Fathers. On my rider, I'd want lots of olives of different kinds; whiskey sours on demand and a dressing gown.

 PHOTO CREDIT: @sarahezen 

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

That's a good question...

To be honest, I don't do much that isn't music-related, aside from a healthy amount of procrastination and occasional Netflix evening sesh. I do love cooking, so I guess that's my twice-daily dose of unwinding. I'm also lucky to live very close to Hampstead Heath, so a walk up to Parliament Hill to look at the London skyline often helps when I feel a little overwhelmed.

How important is performing? Do you prefer it to life in the studio?

Performing is vital to me. I'd go mental otherwise; writing songs behind my computer without ever living them in the flesh. There's an energy I find only on stage and it's such a magical moment for me when I can perform a song that's only lived in my computer until then and feel how people react to it. I've set myself this challenge this year: of having one new song per gig. The two worlds have been fostering each other - having a deadline has boosted my creativity in the studio and it's made gigging even more exciting because I get to share something new and get almost immediate feedback from people who come to my show.

But, I'm also a massive geek and I can spend days on end working on a track and not speak to another human with no major problem.

 IN THIS PHOTO: Tamino

Are there any new artists you recommend we check out?

Recently, I discovered a few gems I'm super-excited about. There's Farai and her liberatingly W.T.F. prose and sick production; Tamino, who I fell in love with (even more after seeing him live last year at Omeara); the dreamy Imperial Daze (to catch live absolutely) but also Alxndr London, Joji and Erland Cooper...

 IN THIS PHOTO: Imperial Daze/PHOTO CREDIT: Chris Heaton

Might we see you on tour in 2019?

That would be really nice. I'll let you know if that happens!

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).

Yseult – Rien à prouver

___________

Follow HEZEN

Twitter:

https://twitter.com/sarahezen

Facebook:

https://www.facebook.com/sarahezen/

Instagram:

https://www.instagram.com/sarahezen/

Spotify:

https://open.spotify.com/artist/6NRtJHCVFkNJv8xTEN7AB6?si=mf4kxuEPR4e81MfcIRGD7g

YouTube:

https://www.youtube.com/channel/UC1VY5Fm-JPsveG6f8uTM2mg

SoundCloud:

https://soundcloud.com/sarahezen

FEATURE: The Alternative National Health Service: Sparkling New Material from the Ohio Band - and Why They Hold a Special Place in My Heart

FEATURE:

 

The Alternative National Health Service

IMAGE CREDIT: Spotify 

Sparkling New Material from the Ohio Band - and Why They Hold a Special Place in My Heart

__________

I do not usually get excited about bands...

 IMAGE CREDIT: Getty Images

and what they are releasing at the moment. I am trying to scan around and ask myself which groups I am looking forward to hearing from this year. My mind goes blank but I am sure there are some – even if it is hard to recall. Most of the best and most exciting albums at the moment are from solo artists and it is rare when a band rocks up and I have that excitement. It is just the changing times and the fact solo artists have overtaken groups in terms of popularity and quality. I think, more accurately, it is the music bands play and the fact many are looking for something different. It is hard to thrill like Rock and Pop bands of the past used to. Have we grown tired of the same riffs and stadium-sized choruses? Have we got a little bored of the Electro bands that produce pretty samey music? I do think there is a bit of a problem with mainstream bands and it makes me excited seeing more potent and varied examples in the underground. My point is that, at the moment, the solo artists are making my head turn. I think there is one band that will always be an exception to the rule. The National are back – not that they ever went away – and they have released a fresh song in the form of You Had Your Soul with You. It is a gorgeous and hypnotic track with some tense beats, strings and gorgeous vocals.

It is a masterful and typically reliable song from the band and one that will open their new album – more on that in a bit. Past material from The National has been a bit pessimistic and emotionally raw but that is not all that they are about. Matt Berninger, their lead, is someone who can pen these incredibly intelligent lyrics and structure these fantastic images that portray all manner of subjects. On You Had Your Soul with You, as SPIN state, the band has added new elements to their sound:

“But on “You Had Your Soul With You,” the opening track from I Am Easy to Find, Berninger also experiments with empathy and optimism. He’s found a perfect complement in noted singer and session musician Gail Ann Dorsey, whose honeyed vocals offer another side to Berninger’s story. Around the two-minute mark, the clouds start to open up; as dizzying guitar runs give way to solo piano and a lofty string arrangement, Dorsey sings, “I have owed it to my heart every word I’ve said / You have no idea how hard I died when you left.” It’s a perfect counter to Berninger’s typically inward-facing lyrics, and an anchor for one of the band’s prettiest codas. Dorsey even manages to temper the track’s brutal refrain: “I had only one thing left / And I couldn’t see it yet.” The National have long traced their own anxiety and emotional volatility through manic highs and desperate lows. But by inviting another voice into the fold, they open themselves up to something new—understanding”.

 

There is, as I said, an album coming and it has taken many by surprise. Their previous record, Sleep Well Beast, only came out in 2017 so one would forgive them for taking some more time to craft an album. That is never the case with The National. They are fast to turn material around and, unlike most bands, their consistency is exceptional. Consequence of Sound have details regarding their May-due record:

“The National have announced the release of a new album called I Am Easy to Find, due out on May 17th via 4AD. Additionally, the New York alt-rock mainstays have teamed up with director Mike Mills (20th Century Women) for a 24-minute short film of the same name, starring Alicia Vikander.

The 16-track album was recorded primarily at Long Pond in Hudson Valley, New York, with additional sessions taking place in Paris, Berlin, Dublin, Cincinnati, Austin, Brooklyn, and elsewhere. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle, and Bowie collaborator Gail Anne Dorsey, among others.

According to a press release, The National’s album and Mills’ film inspired the other, but “don’t necessarily need one another.” Mills describes the releases as “playfully hostile siblings that love to steal from each other”.

I look back through the career of The National and cannot see an album they one can call average or bad. Maybe their 2001 debut, The National, got a few mixed reviews but they have excelled since then and produced brilliant work after brilliant work. I think solo artists, maybe, are steaming ahead of bands because they write songs that are more personal and can tap into our deep emotions and feelings.

 IMAGE CREDIT: Spotify

I am not saying bands cannot do that but most tend to concentrate on other aspects or fail to deliver with as much power and emotion as solo artists. With Matt Berninger at the helm, there is this captivating singer who is able to make every word sound spellbinding and unique. I think, in many ways, The National are a tonic and comfort in hard times. A lot of their lyrics might paint slightly dark and moody images but there is an arresting beauty that makes all their songs sound hopeful and spirited. It is hard to describe but The National can be deep and revealing but they always ensure there is that emotional balance. I love every album they put out as it has The National’s core sound but there is new skin. The reason I have focused on The National for special consideration is the special place they have in my heart. I shall not name the woman, lest she be reading by a long-shot, but I discovered the band just after High Violet was released in 2010. This friend, she was/is a big fan of them and ran her own blog. We used to swap emails and she, on social media, would profess her love of The National and their music. I was not aware of them at that point so listened to High Violet and had my mind opened.

Not only is it one of the best albums of this decade but the songs are so effortlessly brilliant. Listen to the drawl-and-rush of Bloodbuzz Ohio and the images it projects – our lead owing money (to the money he owes) and being carried by a swarm of bees! Terrible Love and Anyone’s Ghost are incredibly rich and evocative whereas England is one of those songs that rarely got mentioned in reviews around the time yet is one of the standouts. They would create – and had to that point – better-reviewed albums but High Violet is very personal to me. I connected with this music lover and human who turned me onto The National and related what they meant to her. At that point, my band music was still very much Rock and Alternative but The National broadened my palette and introduced me to this fresh world of sound and emotion. I use words like ‘emotion’ but it is a good thing: the songs resonate with people and we can all relate to what is being said and find something beautiful. Before moving on, AV Music reviewed High Violet and stated why it is a wonderful thing:

“Less outwardly aggressive than even the relatively restrained Boxer, and yet big and grand enough to fill the large theaters The National finally occupy after spending a decade slowly building an audience, High Violet is carefully considered without being labored, richly detailed without being fussy. “Bloodbuzz Ohio” and “Anyone’s Ghost” satisfy the band’s quota of driving, brooding pop songs, but the breathtaking “England” rises to an unprecedented climax that puts the band squarely in Arcade Fire territory. “Afraid Of Everyone” is another landmark for The National, with Berninger taking on a potentially trite subject—being a new father—and making listeners feel the sledgehammer pounding of a scared (but committed) man’s heart. With High Violet, The National has graduated from being a critic’s band. Now it belongs to everyone”.

Every album from The National is crammed with life and these vivid stories. Boxer has the wondrous Fake Empire – and is one of their most popular albums – and that 2007 album was the one I investigated after discovering High Violet. Trouble Will Find Me arrived in 2013 and, at a hard point in life, provided guidance and strength. I guess the mark of every great artist/album is the ability to lift the mood or put the listener in a better frame. Whether The National are singing about swarming bees or letting the heart bleed, it provides me (and countless others) with this warm and comforting feeling. It is weird but I listen to The National and they compel me to look inside myself and provide wisdom; I can close my eyes and get lost in their music and, when I need a boost, they are on hand. All of their albums hold some sort of significance and the latest revelation, I Am Easy to Find, sounds like it will be a masterpiece. Whereas other bands experience dips and they fade away, The National seem to keep building and finding new ground. I love the Matt Berninger, Aaron Dessner; Bryce Dessner, Scott and Bryan Devendorf think and play. Their music has helped so many people and provides this gorgeous and utterly captivating soundtrack. At their most energised and playful they can provide smile but I love their most heartaching songs and they tend to strike me harder. Their back catalogue is amazing and crammed with brilliance and I so glad they are back. There is a bittersweet realisation when I hear news of a new album from The National. The fact the woman who introduced them to me is not in my life anymore is sad but, when I hear their music, I am cast back to that time around 2010/2011. I am always curious how long The National can keep creating these brilliant albums without losing a step and producing something inferior. By the sound of their latest single, You Had Your Soul with You, that is not going to happen...

 IN THIS PHOTO: The National/PHOTO CREDIT: Getty Images

ANYTIME soon.

FEATURE: Viva Hate: Should Artists Like Morrissey Be Snubbed Because of Their Political Views?

FEATURE:

 

Viva Hate

IN THIS PHOTO: Morrissey/PHOTO CREDIT: Monika Stolarska  

Should Artists Like Morrissey Be Snubbed Because of Their Political Views?

__________

IT is a bit handy that I have been speaking about...

 IMAGE CREDIT: Spotify

one world-famous and iconic artist being judged because of their personal life and now, with Morrissey, I get to explore another controversial story. To be fair, there is not the same sort of attention aimed at Morrissey as there has been Michael Jackson – given the allegations of sexual abuse being levied at him. I will not talk more about Jackson but, with regards Morrissey, he has announced a new album. In fact, the news broke late last year but I think it might have passed many of us by. It seems, however, to be a bit of a departure for Moz:

“Morrissey has announced a new covers album, titled ‘California Son’.

The former Smiths frontman made the announcement on his official website late yesterday (December 5), revealing that he’s recorded versions of songs by the likes of Bob Dylan, Joni Mitchell and Roy Orbison for the new album.

‘California Son’ has been produced by Joe Chiccarelli and will comprise of 12 tracks. BMG are releasing the album – although an actual release date has yet to be confirmed – and you can see the tracklist below”.

He is tackling songs by Joni Mitchell (Don’t Interrupt the Sorrow) and Bob Dylan (Only a Pawn in Their Game) and we just got the video for his version of Roy Orbison’s It’s Over. There is a good selection of songs and Morrissey definitely adds his own stamp to the Orbison classic. It follows his 2017 album, Low in High School, and gives a chance for the former Smiths lead to hook up with other artists. It is fascinating seeing some of the names that will appear on the new Morrissey album. He has been a little quite on the new music front for a while so it is good to have more stuff from him. There are reservations, from some fans, that Morrissey’s political views are offputting and many have boycotted his shows. Morrissey has come out in support of far-right groups and has been very vocal regarding the British government and how they operate. The man is no stranger to controversy and having his say. In the past, he has talked about animal rights and been pretty direct regarding chains like McDonald’s; been critisised because of his rash and bold statements and, over time, we have grown use to the ageing Morrissey being a bit grumpy and angry. Not that this is any excuse but one would not refuse to work with him based on some of his comments of the past.

I apply that statement to anything other than politics because, as he has talked about the far-right, this sort of raises questions. The Guardian wrote an article where it was announced some people were shocked to see left-leaning artists unite with the more extreme Morrissey:

“Morrissey, 59, announced a new album earlier this week: California Son is his first covers album, and will feature protest-themed songs by the likes of Bob Dylan and Buffy Sainte Marie, along with various guest vocalists. Many were surprised to see ostensibly left-leaning artists such as Green Day’s Billie Joe Armstrong, and Ed Droste of cult indie group Grizzly Bear, among those backing the controversial singer.

Droste declined to comment. The only artist willing to speak with the Guardian was Canadian vocalist Ariel Engle, who performs with cult indie outfit Broken Social Scene. She received a call from the American producer Joe Chiccarelli asking her to contribute backing vocals for a cover of Joni Mitchell’s Don’t Interrupt the Sorrow. “I thought, ‘Oh the Smiths, sure’,” she says. “It was $500 for two hours’ work.”

Engle says she didn’t become aware of Morrissey’s political views until the album was announced and a friend emailed to question her involvement. “It’s a very weak argument to claim ignorance,” she says, “but it is my argument. It’s not an excuse but it happens to be the truth.” 

IN THIS PHOTO: Ariel Engele of Broken Social Scene/PHOTO CREDIT: Norman Wong  

There have been backlashes and problems regarding Morrissey before. This is, as the article continues, not the first time there has been that clash between his politics and his music:

“There have been visible protests against the singer. “The backlash against him has been particularly strong in Manchester,” says author Dave Haslam, who organised an anti-racism party to coincide with Morrissey’s scheduled shows in his home city last July, “in response to Morrissey’s divisive views, and his support for the far right”. The gigs were then postponed due to “logistical circumstances” that the singer’s management insist were not linked to the protests.

But one prominent UK concert promoter says such controversies are still unlikely to have a significant impact on the star’s pulling power. “There’s always going to be demand for him. There are plenty of people willing to see past accusations, perhaps looking at things through rose-tinted glasses and able to take a more lenient stance because of their affections towards him”.

IN THIS IMAGE: Morrissey has announced a Broadway residency/IMAGE CREDIT: @officialmoz

I will provide my thoughts and argue why the debate is not that clear but, before then, I have been lured by an article from FADER. In the article, the author provides a brief recap of the controversy Morrissey has stirred over the last few years. I shall not mention them all but here are a couple of prime examples:

“For those lucky enough to have avoided the back-and-forth between Morrissey and the world over the past decade, here’s a non-exhaustive recap. A little over a decade ago, in an interview with the NME, the singer went off on a tangent about immigration in the UK. "England is a memory now,” he was quoted as saying. “The gates are flooded and anybody can have access to England and join in." He took the NME to court for libel, gave £28,000 to Love Music Hate Racism, and eventually got an apology from the magazine, but he wouldn’t stay out of the headlines for long. In a 2010 interview with the Guardian Weekend Magazine, the singer, upset at China’s treatment of animals, referred to the Chinese people as a “subspecies”.

It goes on to say why artists like Billie Joe Armstrong would align themselves with Morrissey given their own political views – and what they have to gain from these collaborations:

“But it’s difficult to imagine what, precisely, that something might be. Billlie Joe Armstrong turned literally millions of kids against his country’s war-mongering government when Green Day reemerged with American Idiot. Ed Droste feels queasy about bringing politics and art into the same space, but he said that he was devastated by the fact that the people he met on the campaign trail with Bernie Sanders — LGBTQ people and Muslims in particular — were facing aggression in the wake of the Trump election...

IN THIS PHOTO: Green Day’s Billie Joe Armstrong/PHOTO CREDIT: Getty Images  

Because, at root, a guest spot on California Son isn’t just an opportunity for these artists to sing alongside someone they liked when they were teenagers. It’s a co-sign, one that gives Morrissey credibility to a younger generation. And for what? Will any of these musicians really see a spike in sales or popularity by collaborating with Morrissey in 2019? Will their own credibility be burnished by singing alongside a man who so openly backs the far-right? If it’s a calculated risk, what’s the pay-off? Who wins except Morrissey?”

Articles like this show there were some artists who were getting pretty political in 2018. To be fair, most of these were aiming their words at leaders like President Trump and how he is leading the U.S. When we hear songs here and in the U.S. that have a political edge, they are usually aimed at those currently in power; people making bad decisions and figures that are generally unpopular. Is there a difference between those who attack current leaders in the U.K. and U.S. because of their ineptitude and those like Morrissey who support the far-right? There are many who say the two things are the same but Morrissey’s support and understanding of the far-right is a world away from bringing people like President Trump to justice and putting them under the spotlight. I cannot think of another musician who supports far-right groups and I think it would be very dangerous to come out and admit that.

Everyone is entitled to their beliefs but far-right groups breed hatred, intolerance and discrimination. Someone like Morrissey supporting their views – or being understand about their agenda – is more radical and troubling than a politically-motivated artist talking about current leaders (those in power who are not extremists) and striking against them. Does that mean, like an artist who is accused of sexual assault, we should boycott or ignore artists with political views that do not match ours? Some have boycotted Morrissey and are no longer fans but most are sticking with him and buying his records. I feel uncomfortable supporting Morrissey knowing his politics and would not go and see him perform live – lest he use the stage to let his mouth run away. I am definitely still listening to his music and, like Michael Jackson, I can separate the man from the artist. I think the case is a bit difference when it comes to musicians collaborating. It is strange that the artists who appear/will appear on California Son are unaware of Morrissey’s stance and his beliefs. Many say it is all about the music and few are making a fuss it but it seems a bit ironic that someone like Billie Joe Armstrong would perform with Morrissey – given the fact they are on different ends of the political spectrum. Listen to a lot of Green Day’s songs and we find Armstrong attacking corrupt leaders and rallying against hatred.

 IN THIS PHOTO: Sameer Gadhia of Young the Giant/PHOTO CREDIT: Getty Images

Morrissey is not exactly rallying and marching in protests but he is unafraid to share his views and it definitely clashes with Billie Joe Armstrong – and most other musicians for that matter! I am sure all the musicians connected during recorded and there were no beefs but Billie Joe Armstrong’s charged and inspiring songs are a world away from Morrissey’s political beliefs. Political beliefs are very important and they can define a person. If an artist were sexist or homophobic then one would hope other artists would stay away and not collaborate. On this occasion, the fact Sameer Gadhia (of Young the Giant), Ariel Engle (of Broken Social Scene) and Petra Haden have their voices on California Son is not going to affect their careers and cause much damage.

IMAGE CREDIT: @officialmoz

They would not necessarily have known about Morrissey’s politics but, going forward, should other artists be a bit more wary? By collaborating with someone like Morrissey, you are not actively supporting his viewpoints and politics but it might send the wrong message to fans and followers. Maybe the preoccupation with Morrissey’s politics is a British thing but I think it is down to artists, wherever they live, to be more aware and conscious when it comes to collaborating and that other artist’s beliefs. Everyone is different but I, personally, would never collaborate with someone who backed right-wing groups because it flies against everything I believe. Everyone is entitled to make their own choices but I do think the case of California Son should be a bit of a lesson: whether you think political beliefs are a big issue or not, there is that commercial risk and it might send conflicting messages to fans. California Son will do well and I am sure it will get great reviews but I think the should-people-sing-with-Morrissey debate is an interesting one. I do wonder, if the artists on the albums on the record knew about Morrissey’s past statements and controversies, they would have been as eager...

TO record with him.

FEATURE: FX Levels and Serious Gain: The Sensational Wave of Women Bringing Strings, Fresh Confidence and Electricity to the Scene

FEATURE:

 

FX Levels and Serious Gain

IN THIS PHOTO: St. Vincent/PHOTO CREDIT: Matt Forsythe  

The Sensational Wave of Women Bringing Strings, Fresh Confidence and Electricity to the Scene

__________

THAT title might seem unwieldy...

Guitars ! More guitars ! Don’t you think ?

— Chris (@QueensChristine) March 4, 2019

but, f*ck it, I couldn’t think of anything more elegant and verbose to put in there. In any case, it detracts from my observation: the fact there is this exciting new buzz of female artists who are, in my view, showing greater intent, expression and excitement than male artists. This piece was provoked by a simple tweet from Christine and the Queens (or simply ‘Chris’ to give full accuracy). In it, she (Héloïse Letissier) simply expressed her desire for more guitars and that extra bit of oomph. Whether provoked by an observation that she, and many of her female peers, are adding fresh impetus into music or a casual remark...it got me thinking. What is the state of the band market these days?! Look around the mainstream; check all the cupboards and have a look under the bed and there are not as many great groups as once there was. I do not mean there is an absence of promising bands coming through: the mainstream is not stuffed with iconic acts that can rival the best bands of the past. I think the days of male bands ruling the scene are over and it will be hard to return to that state. I was just reminiscing, the other day, about the 1990s and a time when Blur, Pulp and Supergrass were all running alongside one another. There were female-led bands – such as Republica – but, for the most part, it was the male bands that won much attention.

 IN THIS PHOTO: The 1975/PHOTO CREDIT: Getty Images

I am not sure when that died out but it might have been at the turn of the last decade. There are some great male bands around now – including The 1975 and Queens of the Stone Age – but I do not think there is the swell and inspiring scene that we saw back then. If anything, the most interesting male bands are bringing Pop and other genres into the mix. Maybe the days of men riffing and penning the same kind of songs is getting a bit boring and harder to market. I feel there has been this shift of dominance from the male bands to female solo artists. Whether they are delivering confident jams and defiant songs or wielding an axe, there is this definite charge and revolution occurring.

IN THIS PHOTO: Christine and the Queens (Héloïse Letissier)/PHOTO CREDIT: Jamie Morgan

Think back to Chris and what was being said, rather dreamily, about the need for (more guitars) and I think she represents what I am saying. Not only is she a fantastic musician but her live sets are thrilling. You cannot go to a Christine and the Queens gig and be unmoved. It is her physicality, dance and captivating delivery that means one experiencing something much hotter and physical than we find on the records. The current album, Chris, marked out Christine and the Queens as this leader and extraordinary explosion. Look at peers such as Anna Calvi and St. Vincent and, here, we have two artists who are among the finest guitar players in music. They, like Héloïse Letissier, have incredible power and songcraft but it is their shredding that really moves me.

 IN THIS PHOTO: Anna Calvi/PHOTO CREDIT: Petr Klapper

We have great male shredders like Jack White but here we have two women who sort of remind me of Prince and his incredible range. Perhaps Calvi is the more accomplished player but both she and St. Vincent are helping to shift the narrative and tone of modern music. I am not slamming male bands and a lack of invention but I feel we have reached an impasse regarding revolution and revelation. The reason bands like Blur and Oasis were popular is because they channelled a spirit in the air and a desire that needed to be satisfied. I feel the demand for these types of bands are waning and we want to embrace something different. What these women – at the forefront; pushing forward – represent is all the fun, power and potential of the male bands but with a much deeper and eye-opening set of lyrics. Maybe it is the rather tired staples of Rock bands and their lyrics that has seen a comparative lack of demand. Listen to an album from Christine and the Queens or Anna Calvi and you get these incredible moments, stunning riffs and tough songs but there is heart, openness and important messages – everything from female empowerment and gender roles to expressing love or being vulnerable. Powerful female icons of the past – including Patti Smith and Debbie Harry – showed female-delivered music did not have to fit into formulas and could be as potent and popular as anything recorded by a man.

Late last year, it was reported that women/girls are responsible for half of all guitar sales. Artists like St. Vincent, who can be seen shredding it at her gigs and producing these amazing songs, has inspired girls and young women to pick up a guitar. A Taylor Swift phenomenon started this rise: girls wanting to idolise the Pop artist and the fact she plays guitar. There are articles out there celebrating the best female-fronted bands and how they are adding a much-needed sense of flair and colour. I have mentioned some of the best female solo artists showing their power but even today’s Pop artists, the finest of the breed, are overtaking their male peers. From Pop’s Ariana Grande and Dua Lipa to Country’s Kacey Musgraves and Hip-Hop’s Cardi B and Little Simz, I am seeing the changes.

There is still a commercial core in Pop but many women are breaking away from that pitfall and delivering music that is much more exciting, original and potent. In a recent piece, I noted how a few of this year’s boldest and most memorable albums have been created by women who are showing incredible strength and ambition – Little Simz’s GREY Area and Sharon Van Etten’s Remind Me Tomorrow among the very best. I am not saying this has been this coup where male solo artists and bands have been usurped and replaced by women but, when you look at the most impactful and striking music right now, it is being made by women.

Whether there are electric strings attached or it is just a much more exhilarating and nuanced style of music, it is good to see. I think male bands will start to claim back some territory but we live at a time when music is starting to flag a bit; it is not as fun and memorable as it once was. Maybe that is a reaction to general malaise and strife but I think we are seeing a revival. There is still a tendency for a lot of artists be introspective and revealing without adding anything positive against the rather dour and sombre tones. That is something I am keen to see reduced but I feel there is a fresh Pop movement where we are spawning far less cliché artists. I love the fact more women are picking up guitars and there are these incredible players in the mainstream. Much more dynamic, confident and liberated artists like Christine and the Queens and Florence and the Machine are adding raw power to the mix and, projecting forward, I think the fact more women are picking up guitars means we will see more female bands and solo artists adding electricity and unique spark to music. Artists such as Sigrid are representing a fresh and more exciting brand of Pop that sparks with joy, freshness and thrills. Her debut album, Sucker Punch, has been long-anticipated and is already gaining big reviews.

 IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images

There is a lot of change coming through and, from the guitar heroes to the new Pop expression, I am excited to see what happens next. Maybe it is an exaggeration to say women are totally ruling but I can detect this new movement and rumble that is much more exciting and diverse than we have seen in years. Of course, it is the festivals’ lack of diversity and adaptability that is holding back true explosion. Were there headline slots reserved for some of these terrific artists then that would help platform this evolution but, alas, the majority of headline slots are still going to male artists – many are largely-ignored, older bands who are not providing much modern-day relevance. I would like to think this will all change as we are seeing more female recognised and celebrated but that, sadly, is no guarantee. I come back to the rather brief and intriguing tweet from Christine and the Queen’s lead and the desire for a six-string thrill.

I am seeing a lot more women pick up guitars and female/female-led bands doing what all-male bands did years ago: provide these anthemic and epic tracks that lodge right into the brain. Pop’s most exhilarating and the big shakers from Rap, Hip-Hop and R&B are, in my view, women - and they are helping make modern music a very eclectic, dynamic and promising thing. There are, of course, plenty of men adding essential voice but I like the fact there has been a shift and a balance in power. If this can be acknowledged by festivals and those in a position of power – more women work in P.R. than men but most of the big labels and stations are run by men – then we can see real progression and quality. To round it off, have a search and look for all the powerful and inspiring women tearing it up – from the Pop elite to Jazz artists like Nubya Garcia – and revel in the brilliance. If you don’t mind, I will take inspiration from Christine and the Queen’s tweet and satisfy my guitar lust. Thinking about the perfect song and there is a wonderful St. Vincent track...

THAT springs to mind.

FEATURE: A Tarnished Icon: Separating the Man from the Artist: Should We Stop Listening to Michael Jackson's Music?

FEATURE:

 

 

A Tarnished Icon

IN THIS PHOTO: Michael Jackson/PHOTO CREDIT: Getty Images 

Separating the Man from the Artist: Should We Stop Listening to Michael Jackson’s Music?

__________

I think there is a big difference between the case...

 IN THIS PHOTO: Ryan Adams/PHOTO CREDIT: Christopher Polk/Getty Images for Universal Music

of Michael Jackson and allegations against him and living musicians Ryan Adams and R. Kelly. I make that distinction because, as Adams and Kelly are accused and seeing their careers damaged, it seems likely we will see the truth and justice done. It is shocking to hear about their wrongdoings, especially R. Kelly, and there will be a chance for them both to have their day in court. Ryan Adams has cancelled his U.K. tour and R. Kelly’s music is being decried and banned by many. Both men are influential artists and hold a degree of power. The cases are very different but it comes down to men in the music industry thinking they can do what they want and feel it is appropriate to cross the line. Their cases of sexual abuse and inappropriateness have made for disturbing reading and one suspects neither will be able to revive their flagging careers. There is an ethical and moral question that one poses when we think of those artists. Do we listen to their music and can we separate the men from the music? Naturally, Ryan Adams music will be played on radio still and many own his albums. Do we burn or throw them away because Adams is being accused by a number of women? R. Kelly’s case seems more disturbing but I know he has millions of fans and many are still listening to his songs.

 IN THIS PHOTO: Michael Jackson with one of his accusers, Wade Robson/PHOTO CREDIT: Getty Images

It is a hard question to answer but I think there is a difference between keeping an artist alive in creative terms – giving them gigs and publicity – and listening to their music. Unless their music is actually promoting and glorifying sexual abuse then I feel people should not feel wrong listening to it. It is definitely uncomfortable listening to songs from an artist who has been tarnished and is now seen in a different light. Many artists through history have faced criminal charges and, in many cases, we judge and criticise the artist but listen to the music still. I think, regardless of the outcome regarding R. Kelly and Ryan Adams, neither will have a viable career but people will still listen to their music because it inspires them and provides them with comfort. I do not think we can judge them but it is definitely a divisive issue. This brings me to Michael Jackson and the ongoing slew of news articles dedicated to him. I mentioned how Adams and Kelly are living artists because, happily, they can answer their accusers and we can see justice done – we can get actual clarity and, if found guilty, both men will get their comeuppance. Michael Jackson is a different case altogether. He has faced accusations and judgement throughout his career and, yes, he is definitely known for his eccentricity and odd behaviour.

It is clear Jackson has had a difficult childhood but, of course, that does not excuse him of sexual abuse or any crime. Leaving Neverland is a documentary that speaks to two men, Wade Robson and Jimmy Safechuck, who have accused Michael Jackson of sexual abuse. It is not just a few times we are talking about: between them, it is alleged he abused them hundreds of time. There is this media furore and desire to see Jackson in a criminal light without any proof and substantial evidence. Vanity Fair seem to have their opinion: that Jackson is guilty and there is no denying the facts. They set out ten points but these two caught my eye:

“So far, five boys Michael Jackson shared beds with have accused him of abuse: Jordie Chandler, Jason Francia, Gavin Arvizo, Wade Robson, and Jimmy Safechuck. Jackson had the same nickname for Chandler and Arvizo: “Rubba.” He called Robson “Little One” and Safechuck “Applehead.”

The parents of boys Jackson shared beds with were courted assiduously and given myriad expensive gifts. Wade Robson’s mother testified in the 2005 trial that she funneled wages through Jackson’s company and was given a permanent resident visa. Jimmy Safechuck’s parents got a house. Jordie Chandler’s mother got a diamond bracelet”.

The points raised are definitely shocking but the most obscene and uncomfortable aspects are the fact Jackson let children into his bed – there is never a mention that he touched or had sex with any of them. There is this assumption that he must have abused children because he shared their bed. The man was an eccentric and misguided but the facts we already know – him sharing his bed and nicknaming children – does not a guilty man make.

Forbes made interesting observations in this article when it came to the testimony and motives from one of Jackson’s accusers, Wade Robson:

“That same year, with Robson’s career, finances, and marriage in peril, he began shopping a book that claimed he was sexually abused by Michael Jackson. No publisher picked it up.

In 2013, Robson filed a $1.5 billion dollar civil lawsuit/creditor’s claim, along with James Safechuck, who also spent time with Jackson in the late ‘80s. Safechuck claimed he only realized he may have been abused when Robson filed his lawsuit. That lawsuit was dismissed by a probate court in 2017.

IN THIS PHOTO: James Safechuck, another of Jackson's accusers/PHOTO CREDIT: Channel 4

In 2019, the Sundance Film Festival premiered a documentary based entirely on Robson and Safechuck's allegations. While the documentary is obviously emotionally disturbing given the content, it presents no new evidence or witnesses. The film's director, Dan Reed, acknowledged not wanting to interview other key figures because it might complicate or compromise the story he wanted to tell.

The media’s largely uncritical, de-contextualized takes out of Sundance seem to have forgotten: no allegations have been more publicly scrutinized than those against Michael Jackson. They elicited a two-year feeding frenzy in the mid-90s and then again in the mid-2000s, when Jackson faced an exhaustive criminal trial. His homes were ransacked in two unannounced raids by law enforcement. Nothing incriminating was found. Jackson was acquitted of all charges in 2005 by a conservative Santa Maria jury”.

 

It seems like there are two schools of thoughts here. There is the one camp who knows there is a financial incentive telling your story now; the fact Jackson has been dead for almost ten years and it seems strange to speak out so late. There are others who hear the graphic stories and feel these men have no reason to lie and they have just been scared to speak out. We will, of course, never know the actual truth but one wonders why more men have not spoken out in the wake of the documentary and why, if Jackson had countless boys in his bed and is seen as this predatory figures, charges have not been brought. One might say his celebrity and fame protected him but one cannot jump to conclusions in that respect. It is troubling to see the slew of articles coming out where the author has this viewpoint based on what has come from Leaving Neverland. Louis Theroux has spoken about the allegations and feels that, despite no evidence being found, he is a paedophile. Again, he feels like testimonies, stories and what we already know regarding Jackson’s behaviour regarding children makes it all point to abuse.

PHOTO CREDIT: Getty Images

There is definitely division and whether you believe Wade Robson and Jimmy Safechuck and feel their motives are pure and they have no reason to lie, one must also look at the flip-side of the argument – the fact no criminal charges have or will be brought and Jackson cannot have its say. I feel the fact Michael Jackson is dead and will, a) never be able to have his say and answer his accusers and, b) he will not be punished in any way makes me wonder what the ultimate goal is. If it is to discredit Jackson and have people stop listening to his music then that brings me to another interesting argument. Neither man will be able to see justice done and get their day in court. It all seems a little late, pointless and flawed – Jackson is dead so cannot hurt anyone ever again.

I am definitely on the side that suggests Jackson is innocent until any real evidence comes to light as it is irrational and irresponsible calling someone a paedophile based on stories and the fact that they might have invited children into their bed – there is a difference between doing that and touching them inappropriately. In any case, many are asking whether we need to stop listening to Michael Jackson’s record. The Guardian ran some interesting features regarding this question. Suzanne Moore seems unequivocal in his denouncement and judgement of Michael Jackson:

“The idea of Jackson as an abuser is not new. In 1994, he made a financial settlement of $23m with the family of Jordan Chandler. Everyone knew he had young boys sleeping in his bed. This was not normal, we said – but we had decided it was not sex. Oh no. When every big case of predatory paedophilia breaks, we rush to say it was obvious all along, but somehow we looked away.

Jackson turned himself into a monster in front of us in Thriller, yet he was also always the victim. As more and more awful, awful details emerge of boys who claim he abused them from the age of seven, I don’t know what box to put his music in any more. It doesn’t matter. Sometimes we draw lines and it is way too late, but it has to be done. That is how cultural shifts happen. They happen when we say: no more. Enough.

How sad is it that I might not listen to Jackson any more, that this investment in my own past is so morally rotten? In the scheme of things, not so sad. There is so much magnificent music in the world; I won’t go without. He is properly dead to me now”.

 

This article asked a few Guardian contributors to have their say and whether, in light of these accusations, we can keep listening to Jackson. I want to, first, bring in Alexis Petridis’ comment:

“I thought about that remark when the furore around the Leaving Neverland documentary blew up. More compelling allegations that Jackson was a paedophile will undoubtedly lead to more calls for his music to be treated the way Glitter’s is – unofficially banned from radio and TV, never mentioned in public (even the Glitter fans I met would only talk to me under a veil of anonymity). I can see why, but I don’t think it’s going to happen. You can’t easily eradicate Jackson from history: too many people have too much of their lives bound up with his music. And perhaps you shouldn’t. Perhaps it is all right that his music continues to be heard, so long as it comes with a caveat: that it reminds us great art can be made by terrible people, that talent can be weaponised in the most appalling way, that believing an artist automatically embodies goodness because we like their work is a dreadful mistake that can have awful consequences”.

Lyndsey Winship has similar views…

“But, the allegations against him are hideous. Abuse can never be excused. As a society, what we consume and what we celebrate is what forms our values. Does that mean a ban on his music? It is impossible to erase from our consciousness (and much of its brilliance was created by others – Quincy Jones, Rod Temperton – not Jackson alone), but choosing to now actively listen to, or dance to Jackson? Once people have seen the film, that will be a personal reckoning, yet it must be possible to condemn the person, even shelve the records, without being ashamed of the influence his music had on us, the good things he inspired and the careers he started”.

 IN THIS PHOTO: Michael Jackson's accusers, Wade Robson and James Safechuck, as well as Leaving Neverland director Dan Reed/PHOTO CREDIT: Taylor Jewell/Invision/AP/REX/Shutterstock

The allegations, yes, are seriously unsettling but that does not make them true. If artists like Ryan Adams and R. Kelly are found guilty of their charges, it brings to the table the debate as to whether their music is erased from streaming platforms. I tend to find there is a difference between the artist and the person and the music itself is not linked to their alleged crimes. Jackson’s music never makes allusions to sexualising children and his impact through the decades is clear: he has transformed Pop and helped bring about huge change. Maybe Jackson’s accusers are in it for the money or they may have felt, when with Jackson, what he was doing was okay and he was their idol – it seems sort of okay as children but, looking back, it was wrong. We will never get the clear truth but that is no reason to toss Jackson’s back catalogue on the pyre. The deceased icon is already being tarnished and vilified and Jackson’s estate are refuting claims against him; they have released a pair of concert films that shows Jackson playing live...not as a distraction but a chance to see the man in his element. I grew up listening to Michael Jackson and he is still a very important part of my life now. I am definitely unsettled regarding the allegations but his music is separate from him as a human.

Jackson will not earn any money from anyone now and one cannot discredit and disrespect what is, arguably, the finest collection of Pop songs ever produced. He helped bring black faces to mainstream stations like MTV and he has influenced countless artists today. The Guardian’s piece that I just quoted from – and will return to – asked others for their opinions and the consensus was that he is a paedophile and, therefore, there is this sense of discomfort. I feel like, regardless of his culpability, why should the music make one feel dirty? It seems strange we should be of this mindset where the mere sound of Michael Jackson singing makes us feel somehow immoral and strange. The lyrical content is perfectly fine and, even when Jackson wrote songs rebuffing critics and asking to be left alone, he was never mentioning allegations or abuse against children. The music has reached millions and has pushed music to new heights. It is a part of our psyche and shared experience and we have always bought his records – even when he was in the press years ago for misconduct, abuse and inappropriateness. We have, through the decades, always squared his artistic merit against accusations and how he is seen as a human being. If people want to throw their Jackson albums away that is fine but what good does it do?! His music will never be erased and, until there is definitive evidence regarding sexual abuse claims, what can streaming sites do?!

People can do what they like but this crusade to blacken his name and get people to stop listening to him is futile. His music provides joy and happiness to people and to deny that would be dangerous. I completely feel Jackson was a man who often used his celebrity in very strange and unsettling ways and I have known this for years. Other articles such as this say that money was a factor and there was a sense of hush-hush when allegations were made years ago. If Jackson was found guilty then it would be hugely damaging to his career and record label. There are a lot of debates and sides to this argument but I want to bring in the article I quoted and a quote from Chuck Klosterman from that Guardian article I have quoted:

“What will happen, I suspect, is that the ever-increasing population of transgressive musicians (both living and dead) who find themselves recast as irredeemably problematic will eventually be lumped into a separate silo of cultural history. The unspoken rule will be that their work can be consumed and analysed, but not without overtly recognising that they are members of this exiled fraternity. It will be somewhat similar to how a film student can still reference the cinematography of Leni Riefenstahl, but only after first noting her political relationships. Jackson’s work is brilliant and unusually ubiquitous, so people will always want to talk about it. They just won’t be able to talk about that music to the exclusion of non-musical events, which will incrementally change its musical meaning”.

PHOTO CREDIT: Kevin Mazur/Wireimage 

One cannot say for sure what happened and how extensive Jackson’s supposed abuses are. We can have our views about the man and whether he is a bad human being but I feel we need to take aside his music and judge it on its own merits. To deny the world of his brilliant Pop would be a travesty and I do not see the point in doing that – Jackson is no longer alive so cannot profit or be punished. I do understand it is a personal choice and some people will feel wrong listening to his music; unable to disassociate the predatory image and paedophiliac claims with this megastar who earned millions and was mega-famous. I think the Leaving Neverland documentary is nothing more than sensationalism given the fact Jackson died a decade ago. To get a true sense of balance and truth we need Jackson to speak and go to court and the fact he cannot makes me wonder what will happen next. Do we keep making these sort of documentaries and writing pieces about how awful Jackson is?! If you want to get truth and justice then that is fine but so much of it seems like witch-hunting and attack. It all comes down to the music and how we perceive that in decades to come. I think there will be a definite dent when it comes to sales figures but, no, the music will never disappear and fans, old and new, will continue to listen to him. His music will always be popular and he will always influence; radio stations will continue to play him and, soon enough, artists will come through citing Jackson as an influence. I do not think we should dismiss Jackson as a recording artist and to do so would be folly. Although I am shocked by Leaving Neverland and the press obsession with Jackson the Villain, I will continue to listen to his music because for me, and many others, Michael Jackson’s albums were crucial parts...

OF my childhood.

INTERVIEW: Bairbre Anne

INTERVIEW:

Bairbre Anne

___________

THE wonderful Bairbre Anne has been telling me...

about her new single, 27, and its story; whether we might see more material coming along and what she thinks of the contemporary music scene – I ask her whether there are a few albums that stand out and mean a lot to her.

The Dublin-based songwriter tells me what comes next and explains when music came into her life; which upcoming musicians we should all investigate and tells me if she gets time to unwind away from music – Bairbre Anne selects a great song to close the interview with.

____________

Hi, Bairbre Anne. How are you? How has your week been?

Hi! I’ve had a busy week promoting my new music - but I’m very happy it’s finally out in the world.

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

I’m an Irish musician and writer of songs. I currently live in Dublin but I work with a super team in London. Working with them, I’ve already released two E.P.s: Arrows and Sparks.

Is there a story behind the new single, 27?

I wrote 27 when I was, in fact, twenty-seven; in a rut and felt completely lost. It was a song to reassure myself that everything would figure itself out and to just take things one day at a time. I think everyone needs that reassurance at various stages in their life.

Are you looking ahead regarding more material? What are your plans in that respect?

Yes. I am going to release my debut album later in the year which I’m really excited about!

When did music come into your life? Can you remember the first song you heard?

I was always surrounded by music. My dad is a sound engineer and my mum has a huge love and appreciation for music. I don’t remember the exact song but some of my earliest memories would be going into the backroom of our house when it was dark out, turning on the light and using the reflection of the glass sliding doors as my personal stage. Belting out the likes of Hey Jude by The Beatles, all of the Grease soundtrack songs and probably some Spice Girls numbers.

Which artists were important to you growing up? Who do you rank as idols?

I started writing songs on the piano at an early age so, from around the age of twelve,  I was obsessed with any woman at the time who was playing the piano and writing her own songs – Alicia Keys, Vanessa Carlton; Tori Amos, Missy Higgins; Norah Jones etc. I was also heavily influenced by anything my older brother was listening to. He introduced me to a lot of great Irish musicians and bands - Glen Hansard and The Frames, Gemma Hayes; Damien Rice and Bell X1 to name a few.

As an Irish artist, what is the vibe like where you are? Do you think Irish music gets the attention that it deserves?

I think Ireland is known for having one of the best music scenes going! We have a lot of amazing homegrown talent going on! Dublin is definitely a hub for music. There’s always something going on; live music is everywhere.

How do you view the modern music scene? Do you listen to a lot of contemporary music?

I do listen to contemporary music and I think some of it is amazing. I think this wave of Electronic music is interesting but I’m afraid, if there’s no musical instruments on the stage, I won’t be hanging around.

Do you have a standout memory from your time in music so far?

Getting to play at the National Concert Hall in Dublin and Ulster Hall in Belfast. They are absolutely stunning venues and standing on those stages gave me goosebumps.

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

There are too many albums to choose from: here are three of my favourites:

Imogen Heap – Ellipse

Watch the ‘making of’ documentary and then listen to it. It Is a masterpiece and she is a genius.

The Frames – Fitzcarraldo

My teenage years were made up of going to Frames gigs and screaming “Revelate” at the top of my lungs.

Gemma Hayes – The Hollow of Morning

This woman taught me what it means to write a sad song.

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

Stevie Nicks (Fleetwood Mac) – purely to sit her down and talk me through those initial years of Fleetwood Mac. They sound bonkers! The rider – I don’t know – to demand Lindsey Buckingham join the band again...and some nice white wine!

Might we see you on tour in 2019?

Possibly. Keep an eye on my website!

How important is performing? Do you prefer it to life in the studio?

They are both very separate things. I enjoy them both! I love going into the studio in London, and the process involved in recording new music! I also love going on stage and making the same songs sound just as good with one instrument.

 IN THIS PHOTO: Kacey Musgraves/PHOTO CREDIT: Kelly Christine/Courtesy of Mercury Nashville

Are there any new artists you recommend we check out?

Who I’m currently listening to a lot: Theo Katzman; Kacey Musgraves; Natalie Prass; The Magpie Salute.

 IN THIS PHOTO: Natalie Prass

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

I love to travel and explore new places with my camera! You can check out some of the photos I’ve taken by looking up ‘She Shoots Green’ on Instagram!

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).

Theo Katzman – My Heart Is Dead! What a tune!

___________

Follow Bairbre Anne

Official:

https://www.bairbreanne.com/

Twitter:

https://twitter.com/bairbre_anne

Facebook:

https://www.facebook.com/BairbreAnne/

Instagram:

https://www.instagram.com/bairbreanne/

Spotify:

https://open.spotify.com/artist/0JJYXS3j3ShaBVSERT82p2?si=cEaL3RIgR4eWuQ04__z2jQ

YouTube:

https://www.youtube.com/channel/UC6Nj-zMkHPxBq0eo65I78Iw

FEATURE: Taking Its Toll: Changing the Conversation Regarding Mental Illness

FEATURE:

 

 

Taking Its Toll

PHOTO CREDIT: @daanmooij/Unsplash 

Changing the Conversation Regarding Mental Illness

__________

EVERY time we hear about a much-loved artist...

 IN THIS PHOTO: The Prodigy’’s Keith Flint

taking their own life or suffering from serious mental-health issues, it always hits me and it is hard to get over. Today, we heard the news about The Prodigy’s Keith Flint – the cause of death was confirmed, by his bandmates, as suicide. I am not sure as to the exact details or why he took his life but very few who knew Flint would have expected this to happen. Whether his death was the culmination of a tough time and a lot of stress or the result of years of emotional ill health, we might never truly know. Flint, aged only forty-nine, was touring with The Prodigy as recently as last year and it seemed like they were hitting a new stride. Tragically, Glastonbury organiser Emily Eavis confirmed the band were booked to play this year so it all looked pretty rosy and promising. I have been following the music of The Prodigy since their album, Music for the Jilted Generation, arrived in 1994. When The Fat of the Land came out in 1997, the incredible power and voice of Keith Flint gave the music new life and crossover appeal – taking the music to the masses and getting new ears interested in Trance and Electronic music. Great charities like the Samartians do great work and I have seen a lot of messages on social media posting their contact details. It might seem rather easy to call them and feel better and, whilst they do great work, there are many great people losing their lives because they feel helpless.

If anyone does feel low or suicidal, they must absolutely reach out and talk. Whether that is their families or a helpline, it is never a great idea keeping things bottled in. I can relate to the struggles artists like Keith Flint face and, whilst our experiences are different, I know it can be hard seeing the light and feeling like there is a happy place waiting – the darkest thoughts do creep up and all can seem hopeless. The fact Flint has legions of fans and is an icon would have been known and, when it comes to those who met him, everyone can attest to how personable and lovely he was. It is never easy knowing what is happening in someone’s head and what happens behind closed doors. Whether Flint was feeling strain about The Prodigy’s work schedule or he felt in a particularly bleak place, we have lost someone loved by many; a singer and human who changed music and, in a short life, managed to bring these wonderful moments to people – that have shaped lives and made us all happier and better. I hear a lot of musicians suffer from mental illness and post tweets regarding their state of mind. A lot of these communications are quite upsetting and I do wonder whether the fatalities will rise and we will lose more artists.

 IN THIS PHOTO: Chris Cornell/PHOTO CREDIT: Getty Images

I remember when I heard the news about Chris Cornell’s suicide in 2017 and feeling instantly numb. The Soundgarden frontman (he was also a member of Audioslave and Temple of the Dog) took his own life in a hotel bathroom after a concert. Nobody saw that coming and, whilst there have been explanations – one is that he was over-prescribed medication for anxiety – we may truly never know why he killed himself. There have been, in my mind, too many suicides in music and drug overdoses that have led to premature deaths. The more time that goes on, the more we are all seeing self-destruction and a rise in mental-health issues. If any good can come from the tragic news we heard today it is that something this big can be sobering and lead us to look at our lives and try and embrace something positive. Many, of course, all around the world are suffering and I shudder to think how many artists are in such a horrible place where they see suicide as their only option. Even if a musician is self-harming or suffering anxiety, it is very harrowing and not something any of us want to see. There are organisations such as Help Musicians UK and CALM who do fine work and are well worth exploring if you are feeling low or suicidal. I think modern society is one where more of us are communicating with more people – if you see what I mean – are we are opening our horizons.

We might have loads of followers online and share messages but do we know many of the people we are communicating with?! Are we actually using technology as our way of communicating and not doing it in a human and face-to-face form? Our lives are all so busy and it seems the Internet, more and more, offers this fast and easy way of getting to know people and conducting our business. Many of have our heads buried in laptops and Smartphones and it gives us very little time to unwind and actually get out. This can cause huge anxiety problems and a rise in mental-health worries. The burden placed on health services is enormous and the Government, whilst they have pledged more money to tackling it, are not putting the subject as high up the priority list as they should. How many people does it take to open eyes and get real change happening?! I know the solution is complex and there is no easy fix but it seems many people feel unable to talk about their mental-health or feel they are not in a position to make things better. Even though we have to deal with heartbreaking stories like Keith Flint’s suicide it seems, at least, there is a decline in suicide rates around the country. This report from last year laid out new figures:

“Suicide rates among men in the UK are at their lowest for more than 30 years, official figures show.

In 2017, there were 4,383 male suicides and the rate was 15.5 per 100,000 men - down from 20 in the late 1980s, data from the Office for National Statistics reveals...

PHOTO CREDIT: @samr1os_official/Unsplash 

Although the male rate is falling, men still account for three-quarters of suicides in the UK.

The Samaritans said recent efforts to prevent suicides had helped.

The female suicide rate has remained stable for the past 10 years.

'Reducing stigma’

Ruth Sutherland, head of the Samaritans charity, said the figures were "encouraging" but "every death was still one too many".

"We believe that the focus in recent years on suicide prevention to tackle the higher rates in men has contributed to this," she said.

"Added to this, reducing stigma around men's mental health and encouraging men to open up and seek help when they are struggling has been beneficial".

It is good there is a drop in suicide rates but we still have a big problem regarding the mental-health crisis in the U.K. In music, I think there are different pressures and very few artists get much time to relax and detach. From established artists like Keith Flint through to newcomers, there is this need to always be ‘on’. The nature of modern music means so many artists spend most of their lives promoting and working; they get less sleep than they should and touring commitments can leave them drained. I know Keith Flint loved what he did but one wonders how busy and packed his life was; whether he was ever capable of getting time to himself and recharge. We will, as I say, not know why he took his life but I worry there is this burden being placed on artists.

 PHOTO CREDIT: @studiomedia/Unsplash

I fear social media makes us less social and, a lot of the time, we are shutting ourselves away or feel like there are few people out there who can understand us and we can reach out to. The solutions to tragic suicides is not simple but I think we need to look at the music industry and why a lot of artists are suffering from the black dog of mental illness. There are very few fundraisers and event that shine a light on mental illness. I think a lot of artists get into this cycle of working endlessly and having pressure on their shoulder. There is this expectation to be someone quite big and brave on the stage and in the studio and, when alone, the artist experiences a different reality. It can be tough revealing to people – family or strangers – that things are bad or we are not coping. Even if general rates of suicide if men are declining, I am seeing far too many posts from artists who are experiencing really bleak and disturbing moods. I have seen many comments reacting to Keith Flint’s death and revealing their own struggles. I do feel we have come say way regarding mental-illness and how it is discussed but so many, myself included, feel uneasy talking about it and being honest – and is social media the best platform and most effective way of finding help?!

We all struggle in life but I think there is this culture to sort of bury things or try and carry on. Maybe it is the way we try and cope but more money and time needs to be put into mental-health charities and the music industry needs to react. Each time an artist as beloved as Keith Flint departs and we are blind-sided, it makes me angry that they had to face what they faced and feel the way they did at the end of their lives. Perhaps it is time for labels, managers and bodies to intervene and monitor their talent. Perhaps it is time to give artists a break and make sure we are not pushing them too hard. Even if someone is putting on a brave face, you never know how they are feeling inside and it can be hard getting that conversation started. It has been a tough and bleak day but I hope something positive can come from it. I am already seeing people connect with strangers and talk about their lives and situation; how they have felt low and, on a positive note, how wonderful and life-affirming the music of Keith Flint/The Prodigy is. We go to bed tonight having lost an icon of music but I hope the discussion opens and many artists suffering from mental illness feel like they need to speak out and talk. If we can prevent another suicide or make someone feel like they will be heard and are confident talking about their struggle then that is wonderful. We are seeing slight improvements regarding suicide statistics but I feel, when it comes to huge change and ensuring artists around the world are protected and do not succumb to the worst side-effects of mental illness, we have...

PHOTO CREDIT: @ernest_brillo/Unsplash

A bit of a way to go.                                           

FEATURE: The Great Escape 2019: Ones to Watch: Part Three of Three

FEATURE:

 

 

The Great Escape 2019

IN THIS PHOTO: Zuzu 

Ones to Watch: Part Three of Three

__________

ROUNDING off my piece about this year’s The Great Escape...

  IMAGE CREDIT: @thegreatescape

I am collecting together the best names from the names announced that you will want to get behind. It is going to be a packed festival filled with life and variation. It is hard to pick out the very best from the festival but I have selected some of the artists you will want to catch if you are down in Brighton. From 9th to 11th May, it will be an intense and exciting time to be around Brighton. Some of the best rising artists will be playing there and you’d be mad to miss out! Make sure you get down there and investigate the wonderful talent on display. It is a wonderful time for new music and, very soon, we will see some of the best...

 IN THIS PHOTO: The Beths

TAKE to The Great Escape.

___________

Millie Turner

Bio:

“Millie Turner is a homegrown 18-year-old Hackney kid who’s an artist in every sense of the word. About two years ago, she swapped a paintbrush for a recording studio. Still very early days in her music career, Turner is proving she has a knack from bringing out the message of empowerment in her music. She wants you to feel “feelings” both great and small. Because of this warm sentiment, many music critics praise her work. Totally worthy based on her output, which belies a lot of those in a similar lane to her”.

Twitter: https://twitter.com/MillieTurnr

Facebook: https://www.facebook.com/millieturnr/

Spotify: https://open.spotify.com/artist/53GC8IrnkJXGO7znOiv4tD?si=F3D2-26YR_2qSAqKj-5eUg

Key Cut: Eyes on You

Miraa May

Bio:

“Born in Algeria and raised in Tottenham, Miraa came to the UK as a young child with her parents, and quickly settled into life in N15. Flying out of the UK for the first time in her life to meet Salaam Remi in Miami, he wanted to push Miraa to connect with music in a new and different environment, the answer was EP N15.

N15 EP shows Miraa adjusting her style to the different musical productions from Salaam and producer James Poysner, and has received huge support of late from BBC Radio 1 and 1Xtra, Huw Stephens, Trevor Nelson, MistaJam and more
In December 2018, she released her follow up EP Care Package. This five-track release sees May provide her airy and light vocals over R&B and tropical house-inspired instrumentals”.

Twitter: https://twitter.com/miraa_may

Facebook: https://www.facebook.com/Miraa-May-776139285859987/

Spotify: https://open.spotify.com/artist/2fOvE1l01YyORhYzwoaLCM?si=g-N1c-fcSe6vBgpOV0-qaA

Key Cut: Nobody

ORCHARDS

Bio:

“Things are most certainly on the up for Brighton-based alt-pop quartet ORCHARDS. For anyone who might be wondering why, there’s one word that seems oddly lacking in the description of many bands, but sticks to Orchards like glue: Fun. Charming, delirious, positive, big-beaming-grin-on-your-face bundles of fun. Friends since childhood, Sam (Rushton, guitar) and Dan (Fane, bass) met remaining members Will (Lee-Lewis, drums) and Lucy (Evers, vocals) in their first week at university in Brighton – the start of a friendship which has seen them become increasingly inseparable and has resulted in the tight, family unit they are today. To date, they’ve released a steady stream of standout singles including fan favourite ‘Peggy’, the ‘80s summer pop anthem ‘Darling’, and their surprisingly meta ode to the worldwide bee colony collapse ‘Honey’ – all of which feature on the EP. These tracks have seen keen support from local and national radio at BBC Introducing, Juice Radio and BBC Radio 6 Music”.

Twitter: https://twitter.com/orchardslive

Facebook: https://www.facebook.com/orchardslive/

Spotify: https://open.spotify.com/artist/4XWU6kWmuSBJJ1QL0BV3NZ?si=1UHFacUjQT-FNyH15lacOA

Key Cut: Young

Pearl Charles

Bio:

“Pearl Charles lives in the moment, seeking excitement whether it leads her down a dark, dusty road or into the arms of a trouble-making lover. Her full-length debut album, Sleepless Dreamer, describes late night revelry, love affairs, running away and running towards, serenading the sunrise through whirlwind stories of her native Los Angeles, the city, the canyon, the desert, and the road. On a quest to discover the truest version of herself, Charles embraces the feeling of not being settled, a person who always restlessly wants more from life and is willing chase it, wherever it may lead her.
“Think of Pearl Charles as a stoner Lana Del Rey or a Jenny Lewis with grit.” – NME”.

Twitter: https://twitter.com/pearl_charles

Facebook: https://www.facebook.com/PearlCharlesMusic/

Spotify: https://open.spotify.com/artist/5PWyKTCk0kzNytmI0NI2JX?si=oCDsmuhtQSeGAnMB3ES3vQ

Key Cut: I Run So Far

Pigs Pigs Pigs Pigs Pigs Pigs Pigs

PHOTO CREDIT: Janina Sabaliauskaite 

Bio:

“The period since Pigs’ Rocket Recordings 2017 debut ‘Feed The Rats’ – a mighty tsunami of rancorous riffage and unholy abjection that wowed critics and wreckheads alike – has seen the band build on their incendiary live reputation far and wide, from the sweatiest of UK fleapits to
illustrious festivals like Roskilde. Perhaps the most relentlessly head-caving outfit of an alarmingly fertile scene operating in Newcastle at present, the band have all been busying themselves in a variety of activities, with Baty running Box Records (home of underground
luminaries like Lower Slaughter, Casual Nun and Terminal Cheesecake) and both himself and bassist John-Michael Hedley playing in Richard Dawson’s band – indeed Dawson himself guests on ‘King Of Cowards’, both on synth and as part of a vocal ensemble on the opening ‘GNT’ – moreover, guitarist Sam Grant has been working hard on a new incarnation of Blank Studios, which began its life with the recording of this very album”.

Twitter: https://twitter.com/pigsx7

Facebook: https://www.facebook.com/PigsPigsPigsPigsPigsPigsPigs/

Spotify: https://open.spotify.com/artist/1F7QDWyZTLGzkyGLgFjEhU?si=k7xxpj30RmmdJasJlgPByQ

Key Cut: GNT

Pip Blom

Bio:

“22-year-old Amsterdam-based Pip Blom started writing, recording and releasing her own indie-pop tunes with a twist in 2016. Early songs, which were simply uploaded to the internet, quickly amassed thousands and thousands of plays – prompting Pip to recruit a band and start playing them live. The band’s energetic live show quickly pricked the ears of press and radio – with Vice’s music channel hailing Pip as ‘ready to join the ranks of 2018’s rising guitar acts’, and BBC 6 Music A-listing recent singles ‘I Think I’m In Love’ and ‘Pussycat’. The station’s DJs Marc Riley hailed the former as ‘perfect pop’ with Gideon Coe branding it ‘excellent’ and, elsewhere, on the UK’s most popular music station BBC Radio One, Pip Blom performed a live session at Maida Vale for Huw Stephens. Not bad going for someone whose early ambitions were to write a few songs and upload them to the internet in case people wanted to hear them”.

Twitter: https://twitter.com/pipblom

Facebook: https://www.facebook.com/pipblommusic/

Spotify: https://open.spotify.com/artist/6zWJfH1TTmIqEi7EV35HGr?si=By_xnve_SKWkMBkJ6X_h-g

Key Cut: Daddy Issues

Pom Poko

Bio:

“Between the quartet’s sweetly punky melodies and disco-fried art-rock eruptions, a spirit of free-firing, balls-out individuality courses through Pom Poko’s exhilarating debut album, ‘Birthday’, which is released through Bella Union on 22 Feb 2019. Their unique creativity curiously melds together tonal lurches and math rock guitar riffs that are barely tamed by a time signature or key. As admirers have heard, Pom Poko’s music sounds properly played and performed: no mere recitation, it’s the sound of four distinct personalities driving in divergent directions towards one destination”.

Twitter: https://twitter.com/pompokotheband

Facebook: https://www.facebook.com/pompokounofficial/

Spotify: https://open.spotify.com/artist/4RkC3KmYWnr6PM1FM5Shwz?si=CoKtfFHLSuGiyyzQYQDAng

Key Cut: My Blood

PROJECTOR

Bio:

“Projector occupy the heavy space between brooding 80s darkwave and My Bloody Valentine’s wall-of-sound pop; a combination tone of Goo era Sonic Youth and Pixies pulled together with an industrial Joy Division pulse.

2018 was a highlight year for Projector. A spot at Latitude (their performance securing them a Sunday highlight), supports with Blood Red Shoes and a European tour has seen them stretch themselves live. Their debut EP, welcomed by DIY, Clash, and Dork, culminated in two sold out shows in at the Haunt Brighton and Moth Club London.
Latitude – ‘Projector show off a versatility that few bands would be able to echo.’

DIY – ‘Rest assured that their latest track ‘Break Your Own Heart’ falls firmly into that category of bangers. Built on a foundation of chugging riffs and deep, pulsating bass licks, it’s a brooding yet scuzzy cut that gradually builds in intensity, exploding with visceral grunge-pop energy”.

Twitter: https://twitter.com/projectorsounds

Facebook: https://www.facebook.com/projectormusic

Spotify: https://open.spotify.com/artist/25loVbwSp0xXNu4Ds1lTa9?si=11eYRFZMRnOjDMhJ06X8Jw

Key Cut: Let Me

Rebecca Garton

Bio:

“Nigerian Raised by Ghanaian mother and British expatriate father; Rebecca Garton comes from an especially musical household. With her father; an avid music fan who spent his spare time as a composer & Rebecca’s younger sister, Afrobeats artist Lola Rae, consuming a wealth of different genres came naturally to Rebecca.

In 2015 Rebecca featured on Krept and Konan’s debut album, ‘The Long Way Home’. She collaborated on three songs, Wait Up for Me, Fell Apart / Lucky Ones and I Don’t Know. In the same year she also featured on the track “Helpless” Featuring, Wretch 32 and Devlin.

On the verge of releasing her EP, Rebecca is already commanding attention. She has a growing fan base, which happens to include godfather of Grime, Wiley”.

Twitter: https://twitter.com/rebeccagarton

Facebook: https://www.facebook.com/RebeccaGartonMusic/

Spotify: https://open.spotify.com/artist/10SSWFHswODW4VG1y56JbL?si=PLK3Z8doSju2EcaTZxkgaA

Key Cut: Always

Rosie Carney

Bio:

“22 year old singer/songwriter. Originally from Hampshire, currently in Downings co Donegal. Sometimes the bravest thing you can do is stop moving, take a deep breath, and in the stillness, unleash what you once thought you’d better keep locked up. Rosie’s soprano—conversational yet ethereal—winds through finely sketched, intimate portraits of herself and others to create a musical experience that is somehow both sobering and dreamy—and fiercely confident. “I know what I want to do with my music,” Rosie says. “I have a stronger sense of self now”.

Twitter: https://twitter.com/rosiecarney11

Facebook: https://www.facebook.com/RosieCarneyOfficial/

Spotify: https://open.spotify.com/artist/3Aut8hgiqZSy2qmJluZMU9?si=cuf0-KHPQYy44eg-V-auMA

Key Cut: Winter

Sam Tompkins

Bio:

“At only 21 years old singer/songwriter Sam Tompkins has performed alongside the likes of Krept and Konan, recorded with MNEK, gained attention from Bebe Rexha, Bastille and Passenger and had his original song ‘Chains’ feature in Noel Clarke’s smash hit ‘Brotherhood’. Sam’s music is nostalgic of 90’s R&B with a 2018 fresh production. He has a wide range of influences, from Ray Charles to Justin Timberlake, Usher, Ed Sheeran and Drake. He is a talented songwriter and has a unique ability to pen lyrics that touch people emotionally. Very much in tune with his fans, Sam is relentless and personable on his social platforms, always engaged in talking with his social media fan base (now well over the 100k mark collectively)”.

Twitter: https://twitter.com/SamTompkinsUK

Facebook: https://www.facebook.com/SamTompkinsUK/

Spotify: https://open.spotify.com/artist/04uu8U3I1h26Fp2NBkPTRZ?si=U6fHhgvNQjiAGz_BtvHy4

Key Cut: Tears Beneath My Eyelids

SHADED

Bio:

“An alluring blend of hard-hitting modern pop-punk and poignant rock, complete with R’n’b-driven vocals, London-based SHADED have undoubtedly been on a swift rise since forming in 2017. Comprised of vocalist Matt East, guitarist Callum Irons and bassist Dan Bradberry, the band released the EP ‘A Familiar Love’, which received great acclaim from likes of Rock Sound, Kerrang! and Scuzz. After a successful UK & EU tour with PVMTNS in December, SHADED are kicking off 2019 alongside Milestones and Stand Atlantic. This year is shaping to be a fundamental year that will take the band to new heights”.

Twitter: https://twitter.com/shadeduk

Facebook: https://www.facebook.com/SHADEDUK/

Spotify: https://open.spotify.com/artist/46lf9xDBhmOtltUfdKGvbw?si=RS4u6XmuQN2NOfteXzGsOg

Key Cut: Tell Me

Sick Joy

Bio:

“Cutting together malign heaviness with acidic melody then tying into place with the reigns of contagious pop. Sick Joy’s ‘noise-pop’ blood is dirtied with echoes of Pixies and Nirvana.

After being awarded the Help Musicians and Pledge Music’s ‘Emerging Artists Fund’, Sick Joy’s debut EP ‘Amateurs’ landed in March 2018, which included the singles ‘Smiling Shame’, ‘Senses’ and ‘Stumbler’, which saw support from the likes of Radio 1, Spotify, Kerrang, BBC Introducing, Amazing Radio and Radio X”.

Twitter: https://twitter.com/sickjoyband

Facebook: https://www.facebook.com/sickjoyband/

Spotify: https://open.spotify.com/artist/2KmAhNcPz1C3oz0rS4iMlx?si=ZDAcaLrpTN2VyJw82C-L-g

Key Cut: Dissolve Me

Sports Team

Bio:

“Hailing from various corners of England, six-piece Sports Team met whilst studying at Cambridge. Channelling a lyrical cynicism that touches on young- professionals and provincial clichés their debut EP, Winter Nets, and new single Kutcher, serve as a darkly humorous introduction to their weird world. With influences ranging from indie pioneers Pavement, through to 90s post punk also-rans The Family Cat, Sports Team spent 2017 cutting through the ranks of London’s live scene before releasing their first single ‘Stanton’ in late November. The band recently announced their biggest live show to date, headlining London’s Scala in September, and will join The Magic Gang on tour this Autumn. New single, Kutcher, is available now on Nice
Swan”.

Twitter: https://twitter.com/sportsteam_

Facebook: https://www.facebook.com/sportsteamband/

Spotify: https://open.spotify.com/artist/04JIxSs2P0iteVWtaskfeh?si=T3fJ2SA1S9CnD76MXy0c-g

Key Cut: Margate

Stonefield

Bio:

““An inspiring dose of classic rock that hits harder than a shot of whiskey.” – The Music, 4 stars
Following a huge tour with Black Rebel Motorcycle Club last month and currently in the midst of a residency in LA, Victorian four-piece Stonefield have today released their third studio LP. Far From Earth, the latest addition to their ever-growing catalogue and a veritable psych-prog gem, is out now on Flightless Records via Inertia Music.

Their second full-length LP As Above, So Below (2016) firmly established Stonefield as one of the key players in the current wave of Australian psych-rock, but Far From Earth – the bands’ Flightless debut – sees the band’s sound enter a whole new spectrum. With Black Mountain’s Stephen McBean at the production helm, first single and album opener’Delusion’ demonstrates a shift from the hardened psych pop of earlier records toward more prog and heavy metal”.

Twitter: https://twitter.com/stonefieldband

Facebook: https://www.facebook.com/stonefieldband/

Spotify: https://open.spotify.com/artist/2xhrgovPiJBMN8cyW2iflu?si=1h-YhjINQlW6oNfzRLS5Mg

Key Cut: Far From Earth

Tebi Rex

Bio:

“2018 saw Tebi Rex establish themselves as one of the leading names on the Irish hip-hop scene. The singles ‘Men Are Trash’ and ‘Peggy’s Bus’; debut EP Welcome To The Darkest Year Of Our Adventures; collaborations with the likes of Eve Belle; triumphant festival appearances at Longitude, Electric Picnic, Indiependence and Other Voices; being named as one of RTE 2FM’s Rising acts for 2019 – all contributed to an incredible year for the duo. Now they return to undertake their next adventure, one that will take them down new paths, to new heights and to new experiences”.

Twitter: https://twitter.com/tebirex

Facebook: https://www.facebook.com/tebirex

Spotify: https://open.spotify.com/artist/7zS2n2fSTNuwDTqfYHv55G?si=HhA8WvNDREmsOmHFvxAFwA

Key Cut: Men Are Trash

Tess Parks

Bio:

“After moving back to her hometown of Toronto in 2012, Tess formed a band on the advice of Alan McGee and less than a year after their meeting, he returned to music with his new label, ‘359 Music’. Tess became one of his first six signings and released her debut record Blood Hot in November 2013 to excellent reviews.
In February 2014, she began recording with Brian Jonestown Massacre frontman Anton Newcombe in Berlin and they completed their debut record ‘I Declare Nothing’ in autumn 2014. The record was released on ‘a Recordings’ in June 2015 to stunning reviews and a series of sold out UK and European tours. Tess continues to collaborate with Anton on Brian Jonestown Massacre records, co-writing the title track on their November 2015 EP ‘Pish’, the title track ‘Third World Pyramid’ released in October of 2016, and several songs on ‘Don’t Get Lost’.
The next Tess Parks & Anton Newcombe record was released in October 2019”.

Twitter: https://twitter.com/tessnormaparks

Facebook: https://www.facebook.com/tessparksmusic/

Spotify: https://open.spotify.com/artist/0EPmJUz0lE18y95cYzB840?si=p2jFlBXfTTmMXpJwo9i0sw

Key Cut: Somedays

The Beths

Bio:

“New Zealand’s purveyors of high-energy guitar pop, The Beths, channel their longtime friendships into high-energy guitar pop with a smart lyrical bite.

2018 was an incredible breakout year for The Beths. Since releasing ‘Future Me Hates Me’ via Carpark Records/Dew Process in August, The Beths have been lauded from all corners of the globe. Known for their signature sunny guitar pop, technical prowess and frontwoman Elizabeth Stokes’ witty, self-deprecating lyricism, ‘Future Me Hates Me’ received international acclaim from music media including PopMatters and Pitchfork, who named it “one of the most impressive indie-rock debuts of the year”.

The Beths have toured relentlessly on the back of ‘Future Me Hates Me’ with sold-out headline tours of Australia and New Zealand, a US headline tour and shows across the UK and Europe, getting audiences hooked on their ebullient sound”.

Twitter: https://twitter.com/lizstokedstokes

Facebook: https://www.facebook.com/thebethsnz/

Spotify: https://open.spotify.com/artist/7DjwIxbe8kpw4pqnzAMoin?si=6W1XAoMCT6mC0JYv3hZ12A

Key Cut: Future Me Hates Me

These New South Whales

Bio:

“It wasn’t long until the band earned a reputation on the Sydney underground punk scene as a raucous, unpredictable and exciting beast. Live, These New South Whales are taking audiences to new depths. Donning nipple tape, an obscene amount of strobe lights, smoke machines and twisted vocal FX pedals, These New South Whales create sonic hell-scapes with deeply pitch bent vocals, jarring loops and screaming, heavy guitars. Effortlessly, they manage to engage and break down barriers by confusing, scarring/scaring (take your pick), surprising and most importantly entertaining their ever-growing fan base”.

Twitter: https://twitter.com/TheseNSWhales

Facebook: https://www.facebook.com/thesenewsouthwhales/

Spotify: https://open.spotify.com/artist/0srVTNI2U8J7vytCTprEk4?si=w4DP-dksSNagQ9m_NN7Gdg

Key Cut: Meat Hook

Tiana Major9

Bio:

“Jazz is her heart. Although Tiana Major9 fell in love with R&B and Hip-Hop first, her fascination with their origins had quickly turned from curiosity to a genuine obsession for this style of music. ‘Jazz is as free and uncompromising’ – Two of many words which can also be used to describe the East London born Empress and her music.

Her musical career is blossoming attractively having had great support from the BBC Radio 1Xtra entering the official playlist via BBC Introducing. Tiana has also graced many stages and blessed many ears across Europe whether it be on her own or supporting acts such as Kelela, Ray BLK and Ella Eyre to name a few”.

Twitter: https://twitter.com/TianaMajor9

Facebook: https://www.facebook.com/TianaMaj9

Spotify: https://open.spotify.com/artist/1Naqgo0HMRoumRP0e2MXD9?si=c7aM2xNCQKeSz94AVQ8Hpw

Key Cut: Levee (Let It Break)

Vulpynes

Bio:

“Don’t let looks deceive you, for a 2 piece band Vulpynes make serious noise. Expect a fusion of heavy and melodic hooks, snarling vocals and a visceral rhythm section. Vulpynes have spent the last 2 years unapologetically tearing up venues and festivals with their fiery and relentless wall of sound. These ladies are in your face garage punk at its finest, stamped with a fierce rawness that remains inimitably their own. With new music on the horizon and tours and festival slots filling up their diary for 2019, Vulpynes promise they are only getting started”.

Twitter: https://twitter.com/vulpynes

Facebook: https://www.facebook.com/vulpynes/

Spotify: https://open.spotify.com/artist/6o1HJeyCGoMJPxaROwzE59?si=KjBGWMmQSBq8UUiDAtfkNw

Key Cut: 2 Cents

Zuzu

PHOTO CREDIT: Hollie Fernando 

Bio:

“A penchant for pop music (specifically Cardi B) combined with deep rooted love for acts like The Beatles, The Libertines and Bright Eyes lends itself to Zuzu’s introspective ruminations on subjects ranging from love to outer-space; all packaged in her very own brand of transient fuzz. Zuzu’s upcoming debut EP, rather fittingly called “Made On Earth By Humans”, is a culmination of her journey thus far, filled to the brim with quick-witted lyricisms and hook-laden choruses that stands up next to contemporaries Courtney Barnett and Warpaint and her Liverpool contemporaries the La’s and The Coral”.

Twitter: https://twitter.com/thisiszuzu

Facebook: https://www.facebook.com/thisiszuzu/

Spotify: https://open.spotify.com/artist/4GcpGBggb1BbFfG4jS2Wpm?si=C3dIMjfxS46CX1_ebxcRzA

Key Cut: All Good

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IMAGE CREDIT: @thegreatescape

ALL PHOTOS (unless credited otherwise):

Artists/Getty Images

BIOGRAPHICAL INFORMATION:

https://greatescapefestival.com/

TICKETS:

https://greatescapefestival.com/buy-festival-tickets/