INTERVIEW: Lucy Spraggan

INTERVIEW:

Lucy Spraggan

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IN this interview...

I have been speaking with Lucy Spraggan about her new track, End of the World, and how that came together. I ask what we can expect from her upcoming album, Today Was a Good Day, and which records Spraggan holds dearest – she tells me about plans regarding touring.

Spraggan reveals which rising artists we need to watch and which musical memory stands in her mind; when music came into her life and who’d she support on the road if she could – she chooses a great song to end the interview with.

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How are you enjoying the weather at the moment? Does the warm conditions inspire songwriting? 

The weather is beautiful! I am definitely in a better mood when the sun is shining, so I guess I write happier songs. My songwriting really can happen anywhere at any time!

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

I am a singer-songwriter/storyteller from the U.K. that writes about life in general; the highs and lows and everything in between.

End of the World is your latest track. What is the story behind it?

My wife and I were in a bar in Cologne that was totally dead. The beer wasn’t so nice and there was a funny smell floating around. I realised, in that moment, that it doesn’t matter what is going on around us - as long as you are with someone you love you can have the best time anywhere. 

It made me think about the end of the world; there’s no person I’d rather be with when it happened.

Today Was a Good Day, your album, is out on 3rd May. What sort of themes and ideas define the music throughout?

This album is quite a positive-sounding album! Which is different to my last couple. It is more up-tempo and outlines the way I feel at the moment. 

Take me back to the start. When did music come into your life and do you recall the first album you bought?

My family are very musical and there’s always been a lot of singing going on at parties and B.B.Q.s in our house. My dad and brothers play guitar and my mum always had music on in the car. 

My first album was Americana - The Offspring.  

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

I played Glastonbury last year and was completely blown away. The tent was so full; everyone was singing along and cheering. I get goosebumps thinking of it. 

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

Americana - The Offspring was the first album I bought so brings back a lot of memories. 

Watsky - Cardboard Castles. I just love this album. I think he is an amazing lyricist. 

The Heist – Macklemore & Ryan Lewis. I put this on when I need cheering up!

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

I’d love to support Ed Sheeran. What he has done for music is incredible and I have so much respect for him. I’d be happy with some waters on that rider!

Are you excited about playing Glastonbury for the second time?!

Yes! See above!

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What are your other plans regarding gigs/touring?

I am touring the U.K. throughout May and have another tour in June in the U.S.A. After that, I’m back for festival season in the U.K. (a couple of euro festivals too) and then back for an autumn tour! 

Is being on the stage something you really love? Is it possible to describe that feeling?

It’s my favourite thing to do. There really isn’t a way to explain it. It’s such a natural high and I love what I do.

Is there any advice you’d give to upcoming artists? 

Keep being yourself, stick to your guns and do what YOU want to do!

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 IN THIS PHOTO: Andrew Duhon

Are there any new artists you recommend we check out? 

Andrew Duhon, The Dunwells and Watsky. Not new but absolutely amazing. 

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IN THIS PHOTO: The Dunwells

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

I don’t get very much time to be honest but I’m always doing what I love. When I have time off I generally go fishing. 

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).

Lana Del Ray - National Anthem 

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INTERVIEW: Serapha

INTERVIEW:

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Serapha

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STARTING off this week is Serapha...

who tells me about her latest song, That Feeling, and its background. I wanted to know how she got started in music and whether there are any particular albums that are especially important to her – she explains the significance of writing and producing her own work.

Serapha tells me about future touring plans and what she does when she has time to chill; a rising act we should watch and whether she’ll come visit us here in the U.K. – she chooses a great song to end things with.

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

Hey! I’ve been doing amazing. This week has been busy with a lot of music industry events going on, but that’s one of the great things about living in Los Angeles.

What is the weather like where you are? Have you got the same sort of warmth we have in the U.K. at the moment?

The weather has been really mild in Los Angeles, which has been nice, though I can empathize with the heat since I lived in the Arizona desert before moving to L.A. last year.

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

Yeah! I’m Serapha, a singer, songwriter; producer and engineer based in Los Angeles. I’ve been creating original music for about six years. After graduating from audio production school last year - when I was seventeen-years-old - I solidified my ‘newstalgic Synth-Pop’ sound.

That Feeling is your new single. Can you explain how it came together and what inspired it?

That Feeling is a song about my experiences leading up to graduating from audio production school and high-school simultaneously. I had to be extremely focused and work a lot more than normal, but there are always times when you sort of mentally block yourself. In order to control That Feeling and not shut down I can always count on making music.

The song talks about how important it is to keep everything in perspective in relation to the future, present and past. The song also mentions lifting others up - it is meaningful for me to mention being kind to everyone, as well as the importance of supporting talented women in the music industry - especially because in music production we are extremely underrepresented.

When I was creating That Feeling, I first came up with the synthesizer sound, which is what everything was based around. I automated its filter, added a decent sustain and kept it simple by using oscillators with square waves and a saw wave. I then added sounds around that. Then, when I finally added the guitar sound in the chorus, I knew that it was the ‘icing on the cake’ sound. When I listened back to the mix, I was, like, ‘yes! This is the sound!’ I then wrote down the lyrics that were on my mind as I simultaneously thought of melodies. The next day, I recorded and mixed the demo. 

Once I moved to L.A. - two months after turning eighteen - I polished the demo then recorded it at the legendary Los Angeles Record Plant. I recorded it and co-mixed it with Alex Layne, who was great to work with! He has a great knowledge of audio production and has worked with artists like CHVRCHES, Marshmello; Sam Smith, Kendrick Lamar and ZAYN.

Fast-forward to now…I’m so excited to finally share That Feeling with the world!

Might there be more material coming later in the year?

Yes! I’ll be releasing a single this summer. It’s a really fun song and it’s a great continuation of my ‘newstalgic Synth-Pop sound! I plan on releasing the song title on my Instagram (@seraphamusic) a few weeks before the single is released.

You write, produce and engineer your music. Is it important to have that control and personal input?

Yes. It’s very important for me to have artistic cohesion in my music. I want people who listen to my music to be able to feel that the whole project was born in my thoughts then transferred into a song.

Tell me how you got started in music. Was it something you were always drawn to?

I was always drawn to different types of sounds. When I was three, I started playing around on my grandparent’s organ because I was fascinated by all the different sounds that it made. This led me to learn piano, then I ended up learning ten different instruments throughout middle-school and high-school (I mainly played Classical oboe and Jazz saxophone) as well as singing in choirs. I started to write and produce original songs when I was thirteen; then I took my self-taught production skills up a notch when I attended and graduated from audio production school at seventeen.

Once I turned eighteen, I drove six hours out of the desert in my Mini Cooper into Los Angeles where I’ve been living and been actively involved in the music industry ever since.

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

In 2017, I performed throughout Europe in a band - and it was incredible to see first-hand how powerful music can be because of how it connects with people and how it brings people together. 

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

One of my first inspirations to begin songwriting and producing when I was thirteen-years-old was Lorde’s album, Pure Heroine. The way that Lorde writes is so poetic and metaphoric - it was and still is inspiring. Billy Joel’s album, 52nd Street, also means a lot to me since my dad would always play Billy Joel’s music. I actually saw Billy Joel live in concert for the first time about a month ago and it was amazing to hear his songs live, decades after my dad had listened to them for the first time. It is amazing how his music is still relevant and great, many years after its creation. Also, CHVRCHES’ use of synthesizers and sound design in their album Love Is Dead is really inspiring since my songs are mainly sculpted around synthesizers.

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

I’d support MARINA because I look up to her as an artist and I’d love for her audience to be introduced to my music. I’d probably go pretty simple with my rider and get water, watermelon and Belvita biscuits (they were my lunch almost every day when I completed high-school and audio production school in the same year – at this point they should sponsor me. Haha).

What are your plans regarding gigs/touring?

I’m looking forward to gigging in L.A. The sooner I start gigging with my original songs the better!

Will you come to the U.K. and perform at any point?

I’d love to perform in the U.K. again! I performed in London with a band in 2017 but I’d love to perform my original songs there sometime in the future.

Is there any advice you’d give to upcoming artists?

I’d give upcoming artists the same advice that I was given a few years back…which is that, if you are serious about something, there are also many other people who are serious about that same thing who are working many times harder than you, so it is important to always do as much as one can towards one’s goal in order to rise above the noise.

 IN THIS PHOTO: Still Woozy/PHOTO CREDIT: Palmer Morse

Are there any new artists you recommend we check out?

Yes! I recently saw Still Woozy live in Los Angeles and they were great! Lava came out shortly after I saw their show — it’s equal parts vibey and catchy.

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

On the rare occasion that I get time to unwind, I like to drive to the Venice, Santa Monica or Malibu beaches.

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).

Santa Monica by Evelyn has been the soundtrack of my first year living in Los Angeles. The vocals, lyrics and production have many great elements!

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FEATURE: Major Dudes and the Game of Love: Albums with a Stunning Three-Song Run

FEATURE:

 

 

Major Dudes and the Game of Love

ALL ALBUM COVERS: Getty Images/Spotify 

Albums with a Stunning Three-Song Run

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IS there a magic formula when it comes...

to classic albums and their brilliance? Is it something to do with the time they were released or is it the order of the songs? I wonder whether it is certain boldness or something more personal. Whilst some iconic albums have a couple of epic songs together, there are records that have a hat trick of consecutive numbers that take you by surprise. I have been listening to some brilliant Steely Dan albums and when listening to their finest moment, Pretzel Logic, the first three tracks got back into my head. This piece is not just about the first three tracks of albums: there are many where the run of three comes in the middle or the end. I think opening a record with three stunning songs is the trickiest thing to do and most impressive. It is hard to hook people in and keep them invested so, when you have a golden opening three then that is going to do the job! 1974’s Pretzel Logic starts with Rikki Don’t Lose That Number and is followed by Night by Night and then Any Major Dude Will Tell You. The reason these three songs start out is because of the change of mood and consistency. We go from the slow-building and sublime to the more energised and raucous; over to something more emotive and deep. It is a perfect trio of songs and covers a lot of ground. I love all Steely Dan albums but Pretzel Logic has these wonderful three songs opening things.

I do not think it is the case that every iconic album has a run of three terrific songs. Often, there are a couple and then one weaker. Modern music is less about the album and more about the single so, in some ways, it is even rarer wowing people with a straight run of awesome tracks. There are a lot of discussion boards and pages that ask the question regarding the best run of three terrific songs. The A.V. Club joined the conversation and they mentioned an album that stands in mind: Michael Jackson’s Thriller. It might be bad and dangerous mentioning his music given Jackson’s current reputation and standing but one cannot deny Thriller’s powerhouse 1-2-3 of Thriller, Beat It and Billie Jean. That album is a masterwork of programming that starts out epically with Wanna Be Startin’ Somethin’ and then dips down a bit by the time we get to the third track, Baby Be Mine. That unbeatable 1-2-3 then arrives and, in fact, the fourth track in the run, Human Nature, keeps the quality genius-high. It is only the final two tracks, P.Y.T. (Pretty Young Thing) and The Lady in My Life that take the energy away. Jacko was pretty savvy when it came to the big albums and having three tops tunes alongside one another – look at Bad’s Dirty Diana, Smooth Criminal and Leave Me Alone and Dangerous’ In the Closest, She Drives Me Wild and Remember the Time.

Just because a band/artist is legendary does not mean all their albums have examples of a three-song blitz. The Beatles are classic examples but, when adding to this conversation, two albums definitely have a rock-solid hat trick that take your breath away! Revolver’s opening three – Taxman, Eleanor Rigby and I’m Only Sleeping – have songs from George Harrison, Paul McCartney and John Lennon alongside one another and kick-starts their best album (debatably) in wonderful style! Strangely, I think it is Rubber Soul’s 1-2-3 of Girl, I’m Looking Through You and In My Life that tops Revolver’s examples. As a massive Kate Bush fan, few albums can beat Hounds of Love’s awesome opening trio of Running Up That Hill (A Deal with God), Hounds of Love and The Big Sky. There are some albums that had ample ammunition on them but missed out on a run of three brilliant tracks due to some poor programming decisions. Consider Madonna’s Like a Prayer and the fact it opened with Like a Prayer and Express Yourself. We could have had Cherish after Express Yourself but, instead, there was the week Madonna/Prince collaboration, Love Song. A lot has been said about The Rolling Stones’ 1970s work and the fact they were brilliant when it came to three consecutive masterpieces on an album. I am not too sure and do think that there are few examples where that is true. The Beatles did it a couple of times but David Bowie did it more than once.

The Rise and Fall of Ziggy Stardust and the Spiders from Mars has Soul Love, Moonage Daydream and Starman on it and, in terms of a great run of three songs, few albums can beat that! Beastie Boys’ Paul’s Boutique turns thirty in July and I think it sports an awesome 1-2-3: To All the Girls, Shake Your Rump and Johnny Ryall is a pretty sweet way to open up their second album – at a time when they needed to prove the critics wrong and establish themselves as major players! Personally, I love the trio of Help Me, Free Man in Paris and People’s Parties from Joni Mitchell’s Court and Spark; the brilliant run of Mr. Tambourine Man, Gates of Eden and It’s Alright Ma (I’m Only Bleeding) from Bob Dylan’s Bringing It All Back Home. Blur’s Parklife just turned twenty-five but I think another of their albums, Blur, that has Beetlebum, Song 2 and Country Sad Ballad Man opening things – quite a diverse and dizzying triple when you think about it! BBC Radio 6 Music posed the same question I (and many others) posed regarding that perfect run of three songs here. When looking at it, three classic artists came to mind: Prince, Fleetwood Mac and Paul Simon. One of Prince’s finest albums, Purple Rain – perhaps his absolute best! -, has the incredible Darling Nikki, When Doves Cry and I Would Die 4 U on it – even though Darling Nikki ends side-one and the other two tracks open the second side.

Think about Fleetwood Mac’s Rumours and, technically, you could say the entire album is flawless – you could choose any run of three songs and you’d be right! I think the run of tracks from Dreams (the second song on the album) to Don’t Stop – with Never Going Back Again in the middle – is the perfect consecutive trio on that album. It is Paul Simon’s Graceland that, I feel, can rival the like of Michael Jackson’s Thriller and Steely Dan’s Pretzel Logic for that sense-opening run of three tracks. It may be controversial but I think the opening three tracks on the album is the best run. I Know What I Know (the third track) might not be as strong as The Boy in the Bubble and Graceland but I think the combination works wonderfully. That brings to mind another question: Is a brilliant run of three defined by the weight of each track or how they work in combination with one another? There is no denying the potency and intent of The Boy in the Bubble and Graceland kicking off the album but, if Homeless or You Can Call Me Al had followed those two, would we have had a weaker album? The sequencing is just so and I feel the somewhat quirky I Know What I Know works better following The Boy in the Bubble and Graceland than any other mixing of three. Debaser, Tame and Wave of Mutilation is a pretty beefy 1-2-3 and is a reason why Pixies’ Doolittle is such a wonderful album!

A lot of the albums I have mentioned are fairly old and few of them are from the last thirty years. If you want any released in the twenty-first century then how about Radiohead’s Kid A (2000) and the run of Kid A, The National Anthem and How to Disappear Completely (tracks two-four)? Few mention the genius running through Amy Winehouse’s Back to Black of 2006 and that marvellous run of three that is Back to Black, Love Is a Losing Game and Tears Dry on Their Own?! There are few albums from the past twenty years that have such fine sequencing. These three songs are right in the middle of the album and, above them, there is Rehab and You Know I’m No Good; below them is Some Unholy War and Addicted. It is a classic case of making an album phenomenal by ensuring the track order is right and the emotional balance is flawless. The last couple of albums I wanted to mention are Led Zeppelin’s Physical Graffiti and Carole King’s Tapestry. The former has the insane Houses of the Holy, Trampled Under Foot and Kashmir forming the second side; the latter opens with I Feel the Earth Move, So Far Away and It’s Too Late. Everyone will have their own views as to which album has the best run of three songs. I wonder if modern artists bare this in mind when they record an album and think about the sequencing. You might have an album overflowing with brilliance but, if you put the tracks in the wrong order or do not have a run of three top-notch songs then it creates a different reaction and effect than an album that has that faultless run of three. Maybe you will agree with my nominations and favourites but it would be good to know which other albums spring to people’s minds when they consider that…

AMAZING three-song run.

FEATURE: First Grace, Then We Eat: Jeff Buckley: His Own Voice: What More from the Departed Legend?

FEATURE:

 

 

First Grace, Then We Eat

IMAGE CREDIT: Cassell/Getty Images

Jeff Buckley: His Own Voice: What More from the Departed Legend?

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THERE is great news for Jeff Buckley fans such as myself...

 PHOTO CREDIT: Getty Images/Press

as it has been announced a new book, Jeff Buckley: His Own Voice, will arrive very soon. I am a massive Buckley fan and usually snap up everything comes from him. He died in 1997 and it is sad that we only got one album, Grace, from him – one studio album at least. There have been compilations such as You and I and his ‘second studio album’ Sketches for My Sweetheart the Drunk was, essentially, some complete recordings and demos that were left after his death. It seems strange he is not in the world anymore and I recall the day he died. I was only fourteen at the time but it seemed like 1997 was a bleak year in general. Maybe it was a tough school year but a lot was happening. Who knows what could have been if Buckley had lived; who knows where he could have gone. There have been live albums and some rare vinyl but, mostly, there has been a lot of promise and the tragedy of hypothetical questions. One can get a glimpse of who Buckley was from his music; interviews were invaluable and protected him in a new light. Who was Buckley away from the studio and the stage?! He was quite a shy man and did not discuss his personal life in explicit detail.

Now, after this time, we will see a book on rare photos and journal entries that reveal new secrets and sides of Buckley. Rolling Stone covered the news:

“A new book will provide an intimate look at Jeff Buckley’s creative process and personal life using reproductions of his handwritten lyrics, diary entries and letters. The singer’s mother, Mary Guibert, co-wrote the upcoming Jeff Buckley: His Own Voice with Rolling Stone Senior Writer and Buckley biographer David Browne. The book will come out on October 15th.

The singer-songwriter meticulously kept journals of his daily life, his goals, inspirations and struggles his entire life, and the book draws heavily on those. It also contains reproductions of memorabilia like notes and unpublished lyrics, as well as previously unpublished photos. Drawing on all this source material, the book offers an account of Buckley’s life, from growing up in Orange County, California to journal entries written in the months leading up to his death in May 1997.

“There have been and probably always will be those who wish to speak for my son, take credit for his success or put words in his mouth,” Guibert, who is also the executor of her son’s estate, said in a statement. “In choosing these pages to share with the world, I’m giving him the chance to speak with his own voice, for the record … and for his fans to see what a sweet, funny, amazing human being he was.”

 PHOTO CREDIT: Mikio Ariga

“As Jeff’s biographer, I often wondered what made him wander down a particular path in his life or music,” said Browne, who previously chronicled Buckley’s life, and his father’s, in Dream Brother: The Lives and Music of Jeff and Tim Buckley. “With His Own Voice, we now have a better sense of those choices, thanks to these never-before-published journals, letters and musings. We’re honored to present these to world and let Jeff have his say on so many aspects of his life”.

I’d like to say that I know everything there is to know about Buckley in terms of what was revealed to the public. I have heard all the albums and E.P.s out there and read every book; I have scoured all of his interviews and generally embraced everything he left us. I guess there are recordings still in the vault but, every time a new Jeff Buckley project comes up, there is always that talk of exploitation and cashing-in. Is it right, when he is not here, to publish his diary entries and these photos? Some will argue that it is against Buckley’s wishes and he has no say over his private thoughts. One can counter-argue that this is speculative and, if he were alive today, he would have shared this with his fans. I never buy the opinion that cashing-in is behind re-releases and these compilations. Buckley died too young and there is always going to be an appetite for new stuff.

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  PHOTO CREDIT: Mikio Ariga

If there are some half-finished songs then it is better than having nothing – what use is it keeping those aside when fans want to hear them?! There have been some flawed attempts to bring Jeff Buckley’s life to screen and I am amazed that there have not been more radio and T.V. documentaries about his life. This is something that would be welcomed and would not need other actors to help tell his story. I think it will be bittersweet seeing Buckley’s journals and a sense of optimism/fear. These words will reveal what he felt away from the crowds and what he wanted to achieve. The saddest thing is wondering whether the predictions and hopes he expressed were ever realised. It will be good to see some candid shots and rare photos that we have not seen before. In all, I think it is a good idea. Unless it is quite explicit and violates his privacy – in which case I would object – then there seems no harm in bringing out this book. I know there is a graphic novel coming out that will be a representation of Buckley’s only studio album, Grace, and its creation. It is nearly twenty-two years since he died and, of course, new people are discovering his music. There is a lot of music out there but it seems 2019 is quite an interesting time.

I wonder why, now, there is this activity and fresh revelation?! It is a good thing but one cannot help but wonder whether we will get more compilations and material that is inessential. I am a hypocrite because I have just ordered a vinyl of Buckley laying down some of his early Grace sessions. These, to me, are fascinating windows into what would become one of the greatest albums of the 1990s and a staggering debut. If someone were to just throw out some lazy albums of demos and covers that Buckley did then it would seem crass but I do respect the decision to bring some of his private words to life. I guess there is no good in ignoring them but one might say that privacy and respect is being ignored. It is difficult but there is a vacuum and we all miss Buckley a lot. I am not keen on seeing a biopic because that is something Buckley would have hated. Nobody can take his place and it would have been criminal for an actor to try and match his voice. There have been some rather poor attempts to put him into films and, back in 2013, there were endless projects speculated. It has calmed down a bit and I do think that a lot of people would rather Buckley-through-film was ignored; nobody can live up to his magic and wonder. A documentary would be good and, whilst there have been some, there is so much to explore regarding Buckley and his music: from his heroes and influences right to his days playing in coffee shops around New York.

 PHOTO CREDIT: Getty Images/Press

I think, after the flurry of activity happening this year, we should be guiding people to the material out there. Get new ears listening to Grace and turn them on to his amazing live performances. I interview a lot of artists and so many name Grace as one of the most influential albums in their collection. That desire and love of Buckley will never die and demand for Buckley-related material remains strong. I will go and buy Jeff Buckley: His Own Words and read what is in there. To look at photos and remember him; to read words and feel connected to him will be quite a special thing. It’s heartbreaking that he is no longer around and we do not get to see where he would be right now – Buckley would be in his fifties by now! How strange to think that this ever-young and cherub-like man would be middle-aged and, one hopes, still touring. Rather than get sad and think about what could have been, this book will give us stuff we have not seen and read yet. For a causal fan, it is a great place to start and realise why Buckley was so loved: for the diehards and super-fans, it is something to add to the collection. I am looking forward and hope that there is that balance between much-needed insight and protecting Buckley’s most intimate and personal feelings. If this happens, and the book finds that balance, then it will create a new surge of interest in Buckley. He still inspired artists nearly twenty-five years since Grace’s release. It all seems very strange and sad but I am so glad people still talk about Buckley and hold him dear. That sense of love, backing and passion is something Jeff Buckley would…

 

HAVE been glad to see.

FEATURE: Vinyl Corner: Tori Amos – Little Earthquakes

FEATURE:

 

 

Vinyl Corner

ALL UNCREDITED IMAGES/PHOTOS: Getty Images/Press

Tori Amos – Little Earthquakes

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I can never resist the temptation...

to name-drop Kate Bush in any article I write. This is not deliberate but I do think there are connections in other artists. I look at the sleeve for Tori Amos’ debut album, Little Earthquakes, and think of a young Bush in one of her poses. It has that same sense of enigma and beauty and, when you listen to Little Earthquakes, there is that same bravery and boldness regarding lyrical content – a similarly ethereal vocal and sense of the unusual. It would be unfair to compare Amos to Bush too heavily but, whilst there is clear influence, Little Earthquakes is different to anything Kate Bush ever put out. Vinyl is the best way to listen to Tori Amos’ debut and, if you can grab a copy then do so because it is a terrific album. She would go on to create some truly wonderful records – including Little Earthquakes’ follow-up, Under the Pink, in 1994 – but things started quite modestly. Amos approached Atlantic Records back in 1990 with a ten-track demo tape. Perhaps it was the slightly eccentric nature of the songs but they were not met with acclaim and appreciation. Crucify and Winter were among these songs and it is hard to think any person would refute their immediacy and promise. In any case, it seemed like American labels were not receptive. Björk would arrive with her debut album in 1993 so it seemed Tori Amos was (briefly) ahead of her time. It is a shame that, for an album that would gain great acclaim, it was a tough start for Amos.

Instead of accepting defeat and resistance, she travelled to London and worked with Ian Stanley in London. Not that we were overrun with slightly unusual sounds in the 1990s but we were more accommodating of artists who were unconventional and slightly off the grid. Maybe words like ‘eccentric’ are unfair to level at Tori Amos because, as you listen to her debut, there is great maturity, compassion and intelligence. The songs, at times, are very challenging but this was another reason her music did not get instant appreciation. At a time when there was a distinct sound in the mainstream – Pavement, R.E.M. and Beastie Boys were among the most-lauded – it was fond British ears that helped get Little Earthquakes into the studio. Amos recorded Me and a Gun and China – two of her early singles – and, before long, the record company accepted what was presented.

It seems mad that such restrictions were imposed and they were so hesitant. Maybe, like Kate Bush in 1978, there was nobody around like her and (the music) was a stark contrast to what was being produced. We listen to the album now and it still sounds completely bold and original. Amos released her fifteen album, Native Invader, in 2017 and she is still going strong. Who knows what would have been if her debut was held back or scrapped altogether. I am pleased Tori Amos has not compromised in her career and continues, even now, to push boundaries and release such beautiful music! Long may this continue and who knows what Amos will give to the world on her next album!

Another reason why I think record labels and bigwigs were unsure of Little Earthquakes is because of the rawness and openness. 1992 was not short of emotional and thought-provoking albums but nothing like this from a new artist. Family issues, literature and catholic guilt are all put under the microscope. As this NME article shows (written when the album turned twenty back in 2012), this notion of feeling imprisoned and restricted was a theme that ran through Little Earthquakes:

“The idea of “chains” is one that’s explored obsessively on the album. In the next track ‘Girl’, Amos casts herself as the heroine of Sylvia Plath’s The Bell Jar, balancing the expectations of society with her own (“She’s been everybody else’s girl/Maybe one day she’ll be her own”).

Similarly, in ‘Silent All These Years’, she’s searching through the clamour of everyone else’s voices for her own. The double header of ‘Winter’ and ‘Mother’ find her alternatively running into the arms of her parents and bristling against their ideals of who she should be (“I walked into your dream/And now I’ve forgotten how to dream my own dream/You are the clever one aren’t you”)”.

If Amos detoured from easy Kate Bush comparisons post-Little Earthquakes (although songs such as Cornflake Girl from Under the Pink are very much in that mould), songs such as Me and a Gun explored the same sort of brash themes many other artists were avoiding. Amos, on this track, talked about a rape she suffered and took us back to that time and place, Unflinching and completely naked, it is a song that stands out from the pack. I look at music now and there are few artists taking such gambles and being so brave with their music. This great article from The Quietus – written in 2012 – looked at the background of Little Earthquakes and why, appropriately, it created such waves when it was released:

“A minister’s daughter who played piano from the age of two and was the youngest person ever to be admitted to the Peabody Conservatoire, she began composing low-budget, piano-led songs with lyrics that reflected her own personality. Initially she found herself crushed again; the first master tapes were rejected with the comment that there wasn’t a hit among them.

She and producing partner, her then-boyfriend Eric Rosse, regrouped and went back to his home studio to record more songs. Eventually, Atlantic sent her to their partner label in England where they felt her introspective piano would find more favor. The final phase of the album was recorded in London, where Tori played small clubs and support sets.

Little Earthquakes bears many of what would become Tori’s musical and lyrical signatures. Her compositions are classically-influenced; led by voice rather than genre. Her attention to detail is fastidious, and the thought processes leading to her songs are intricate, if not always clear. Her work has often been inspired by marginalized women from history or fiction (the video for early single ‘Crucify’ depicts her dressed as Anne Boleyn). She uses these archetypes to explore broad themes and concepts rather than tell individual stories, making the lyrics metaphorical and open to interpretation. Her early rejection of great songs that didn’t fit with the overall ‘flow’ of the album led to a catalogue of impressive - often collectable - B-sides which tend to be played live, most notably the defiant ‘Take To The Sky’, which sums up the album’s back-from-the-brink mood”.

From the very first notes of Crucify through to the great finale of the title track, Little Earthquakes is this endlessly rich and rewarding album. To listen to on vinyl is a wonder but, however you discover it, see where Tori Amos started and discover this wonderful thing. Some argue albums like Under the Pink are more complete and arresting but, even without a blitz such as Cornflake Girl, one cannot deny the authority, completeness and confidence of the album. As debuts go, there are few as striking, personal and special. I have stated how there are heavy themes addressed but Amos never shouts and screams her pain. Her beautiful voice gives Little Earthquakes a sense of balance and accessibility that means songs invite you in.

Little Earthquakes is one of my favourite albums from the 1990s and I like the fact that Amos’ debut clearly influenced a lot of other artists. Listen to the finest female artists of the moment and you can trace a line back to Amos. Other artists, before and after Amos, talked about sex and upbringing in a very real and open way but none quite like her! Every song paints vivid images and you immerse yourself in these incredible songs. The compositions are also extremely accomplished. Amos wrote all the tracks and it is startling to think that someone straight out of the blocks could create such a masterful and singular record. The reviews for Little Earthquakes were positive and, since its release, a lot of retrospective acclaim has come its way. AllMusic, in this review, had this to say:

“The apex of that intimacy is the harrowing "Me and a Gun," where Amos strips away all the music, save for her own voice, and confronts the listener with the story of her own real-life rape; the free-associative lyrics come off as a heart-wrenching attempt to block out the ordeal. Little Earthquakes isn't always so stomach-churning, but it never seems less than deeply cathartic; it's the sound of a young woman (like the protagonist of "Silent All These Years") finally learning to use her own voice -- sort of the musical equivalent of Mary Pipher's Reviving Ophelia...

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IN THIS PHOTO: Tori Amos in 1992/PHOTO CREDIT: Jay Blakesberg

 That's why Amos draws strength from her relentless vulnerability, and that's why the constantly shifting emotions of the material never seem illogical -- Amos simply delights in the frankness of her own responses, whatever they might be. Though her subsequent albums were often very strong, Amos would never bare her soul quite so directly (or comprehensibly) as she did here, nor with such consistently focused results. Little Earthquakes is the most accessible work in Amos' catalog, and it's also the most influential and rewarding”.

Pitchfork had their own take:

“Drawn almost exclusively from the initial reject pile, Little Earthquakes finally appeared in early 1992, right when Nirvana’s Nevermind topped the charts. Amos’ solo debut, though it was rarely talked about this way, was similarly radical—an alternately flirty and harrowing work that juxtaposed barbed truths against symphonic flights of fancy. It was lyrically nuanced and harmonically sophisticated exactly when grunge moved rock in a raw and brutish direction, which made her achievement even more striking. Amos was early Queen, early Elton John, and early Kate Bush with Rachmaninoff chops. Decades after prog-rock’s peak, her technical perfection was particularly shocking in the virtuoso-renouncing '90s: Not even Elton could tear into a song both vocally and instrumentally while staring down attendees with a Cheshire Cat grin”.

It is hard to pick highlights but, for me, Winter stands out. Its delicate piano and spellbinding vocal performance takes you somewhere magical. It is a gorgeous song that stops you in your tracks and sort of defines why Little Earthquakes is such a triumph. There is this feeling that (the album) is therapy for Amos and a chance to be reborn. It is as much about being open with the listener as it is challenging the ghosts of her past. All of this emotion and paradox comes to the fore as Amos looks to the future but also addresses the hurt of the past. The mix of the stark and beautiful makes Little Earthquakes a challenging listen at times but, if you want an album that showcases a singer-songwriter completely formed and intent from the start then pick up a copy of…

LITTLE Earthquakes.

TRACK REVIEW: LJA - ginger tea

TRACK REVIEW:

 

LJA

ginger tea

 

9.3/10

 

 

The track, ginger tea, is available via:

https://ljamusic.bandcamp.com/track/ginger-tea

GENRES:

Alternative/Indie

ORIGIN:

New Jersey, U.S.A.

The E.P., homely, is available via:

https://ljamusic.bandcamp.com/album/homely

RELEASE DATE:

22nd March, 2019

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THIS is my penultimate review...

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in terms of taking submissions from other people as, after such a long time (over seven years), there is very little I can add. By that, a lot of the submissions I get are quite similar and, as the artists are smaller and not near the mainstream, there is not a lot to add beyond the music – which is near-impossible when these reviews are four-thousand words. In a couple of weeks, I will only be investigating artists who are bigger and better-known. One of the good things about looking at smaller artists is you get to discover something before anyone else. It is interesting seeing the range of sounds out there and being able to get this experience. I will look at LJA in a minute but, as a constructive guideline, suggest some points that could help; I will then go on to talk about the range of artists in modern music and how the underground is shaping up; a little on minimalism and D.I.Y. sounds; a bit about New Jersey and music from that part of the world; some words regarding the power of music and song – I will finish by seeing where LJA might head. In terms of the outlay, the music of LJA is great. It is a tough field out there and, as I say, the reason I am no longer reviewing approaching artists is because, aside from the sound/song, there is not a lot to go by – whereas I can cover a lot of ground when speaking about artists such as FKA twigs (as I did yesterday), Florence + The Machine and others like them. I would say, to any rising artist, being across as much of social media as possible is a savvy step. I know I do not use Instagram myself but, as a twin pillar, Facebook and Twitter are essential. LJA has promotional pictures but a few more on social media would give the page a sharper look. I think, at the moment, there are some good photos but having some professional shots would attract more in.

Building a Facebook profile and gathering fans on there is a consideration and, actually, having an official website would also get a new audience in. The biggest problem I have with newer artists is that they are new. One has to go solely by the music but I am sure that artists like LJA have a colourful past and interesting musical path. Biographies need not be extensive but having this information, alongside some great photos, would capture more eyes. I am curious to know where LJA came from in terms of his musical upbringing and what the last few years have been like. In a packed and hugely busy market, one needs to throw as much into social media as they can. I do hope the U.S. artist takes these words in a positive light because, as I will explain, the music is great; it has the promise to go big and find the artist touring the world. Over seven years on, I have sort of come to the point where I need to get exposure from the biggest websites and feature artists who most of us know; who have a backstory and I can let the words fly. The biggest thing I will miss regarding newer artists is being able to give them a bit of a boost. It is hard to get reviews and focus from the media and, with so many others vying for attention, artists are contacting everyone out there and not getting a lot of response – I only respond to artists I am interested in and do not respond to other emails. As this is my penultimate review of smaller artists, I sort of wanted to give that advice to LJA and sort of explain why I have decided to make this move. I should really talk about LJA and where his music fits in. Even though I have had to delay reviewing for a few weeks – other stuff getting in the way – it is good to be at the feet of LJA. I had not heard of his music before he contacted me so it is nice discovering someone fresh.

When I come to look at LJA’s song, ginger tea, I will get down to specifics but I wanted to talk about the artist in terms of the industry as a whole. I love the fact that there is this contrast between the underground and the mainstream. The mainstream has some okay stuff in it but, as has always been the case, there is a lot of Pop and processed music. I do wonder whether if that will ever change and whether we will see a radical overhaul. Right now, we know what to expect and the more interesting sounds are coming from those who are not conventionally ‘cool’ and radio-friendly. If you look at the underground, you will see there are some good artists around and they are not getting the same credit as those in the mainstream. I like the fact that, in a way, they have a freedom and lack of expectation. Sorry if I am repeating myself – as I mentioned earlier, this is a reason I am changing things – but the artists breaking through are providing some eye-opening music. Whether they are utilising technology or using something more basic to create their sounds, it is quite epic. I do like all the sub-genres and different stuff that is happening right now. Look at someone like LJA and you know he is not aiming for mainstream glory. He is an artist that, like many of his peers, who trusts his own voice and venturing into new territory. I will explain more about his D.I.Y. sound and aspects but, listen to what he is doing, and you can hear bits of various genres happening alongside one another. The overall effect is really strong and you cannot easily compare what he is doing with many artists at the top of the industry. Does this mean that we need to have a think about what we prioritise in music – whether it is the quality of the sounds or the popularity of the artist?

It is quite weird that, after all these decades, there seems to be this imbalance. The mainstream has all these followers and attention but, when you strip the music back, is it as promising, original and long-lasting as what is happening in other parts of music? I would say not and urge all of us to trust music as a meritocracy. It is okay to embrace commercial Pop – if that is your thing – but so much music is being denied. It is hard to get across it all but I do think big streaming sites need to throw more focus the way of the approaching artist. Look at someone like LJA and how his music compares to the likes of Taylor Swift. She has a much bigger audience but, from a songwriting perspective, there is not that large a gulf. It seems a shame that so many new artists have to pitch and work so hard to get a fraction of the support the biggest artists do. I do fear there is a lot of great music being overlooked and taking time to get to the mainstream. I am not sure what LJA’s plans are regarding his career aspirations but I suspect he wants to tour internationally and get to the point where his music makes it way to a big audience. At the moment, he has a great attitude regarding originality and not copying other acts. I love what he is doing and hope that it gets rewarded very soon. I shall move to another topic in a bit but, before then, have a browse through Bandcamp and other websites and see all the interesting and varied music being made by the newcomers. I am really pleased there is so much innovation and wonderful music around that, in years to come, will be played all over the radio. Perhaps it is the lack of label interference and need to be commercial that means we get a much richer experience when we dig deeper. I am reviewing, very soon, artists who are established but not your mainstream Pop affair – more like your Julian Jacklins and acts like that.

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One thinks of the mainstream and the most-demanded artists and there is this feeling that bold and polished is what people need. Listen to any modern Pop song and you have this very polished and fake sound. I do get bored with the plastic sounds around the fact the mainstream needs to rely on lots of layers and bleeding all the naturalness away. LJA interests me and spiked my imagination because he has this very real and stripped-back approach. I am not reviewing all of his E.P., homely, because I’d be here all day. The songs each have their own identity but, as a common bond, they are quite pared and sparse. Rather than rely on lots of effects and polish, there is a bare aspect that makes the songs shine. You feel like you are in the home of LJA and following him as he performs. A lot of modern artists do not have the money for studio sessions and it can be quite challenging for them to put their music down. Now that we have technology that allows homemade recordings, so many are taking this approach and not having to go into the studio. I do buy this assertion that bigger, meatier sounds are more arresting and what people are looking for. In fact, a lot of people I know are getting fed up with all the energy and force that is being pushed in their direction. A lot of the time, the songs themselves get washed away and what you are left with is something quite soulless and synthetic. Against the tide of machine-made and familiar, check out artists who are giving us something a lot more pleasing, accessible and calm. Not to say LJA lacks complexity and potency. His music has plenty of fire and colours but, for the most part, we are treated to something more touching, tender and personal. You know the man is making music to touch people and not earn him money for the sake of it.

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Are we ready to change the scene and ensure that there is a mix of the mainstream traditional and D.I.Y. sounds? That would mean having artists like Calvin Harris and Dua Lipa alongside those who are making music from their home. I guess we do have some D.I.Y.-sounding artists near the top but it is quite rare! I would like modern music to be more reflective of all the different types of artist out there. By that, I mean we need to stop promoting the same kind of artist and spend more time elsewhere. I do fear there are a lot of artists making really accomplished music but they are falling through cracks and not being given the respect they deserve. This is just me going off on a tangent but I do worry what music will become in years to come. LJA will make his own way and be okay and I suspect, in years to come, he will see his music get to a larger sect. I have spent years studying underground acts and promoting their music and know how hard it is to get stuff out there. We are denying future generations with so much variation and quality because we still prioritise the marketable, mainstream and familiar. Maybe there is not a short-term solution but we do need to think about making changes very soon. Music has the power to change lives and keep people alive; it can clear our minds and give us calm when we need it most. There are limitless ways it can better a human being and make us all feel safe. I am not sure what impressions you will get from LJA’s music but it definitely has a rather special effect. For me, it gives energy and some intrigue but it is also quite soothing in a way. Maybe this is not what he was going for but I do like what artists can do without knowing it. The more anxious we become as a society, the more music has the power to heal and instruct. I often need music – at the end of a hard day – to help bring me down and give a sense of compassion. I am not saying the mainstream lacks that affinity but I either look back at music I grew up on or newer artists who are not in the mainstream.

It is almost time to get to the song itself but, before studying an LJA moment, it is worth chatting about New Jersey. There is this sort of tension between New York and New Jersey and, as a Brit, I have never understood why this is. There is also a bit of teasing from America towards Canada; a bit of mocking towards Florida as a state. When we think of American music and the legends, we often gravitate towards Los Angeles and New York. You cannot deny that New York has boasted some truly wonderful artists. I think we overlook New Jersey or else reduce the state to one or two artists. The fact Bruce Springsteen has announced a new album, Western Stars, has brought my mind to New Jersey. I am not sure whether new acts like LJA are inspired by legends from the state but you can add Whitney Houston, Paul Simon and the Fugees to the list! It is an eclectic state in terms of the artists it has produced but, whilst so many from the state head to New York, it is rewarding seeing artists remain put. The state has some great venues but I do not feel we spend enough time shining a light on its artists and performances spaces. Given the fact New Jersey has spawned some true greats; do we focus too heavily on areas like New York, Nashville and Los Angeles?! Like music in this country, we cannot just think of London and ignore the rest of the country. It is a hard balance but I know there is a tonne of terrific music coming out of New Jersey at the moment. LJA is one of these promising acts that, whilst you cannot compare him to the New Jersey-born acts I have just named, he seems to be vibing from the state. It is clear there is something in the air that breeds these exciting and innovative musicians. All of this has gone into his E.P., homely, and I do feel that, very soon, he might get a lot of demand from other areas of the U.S. – maybe he will relocate and feel there are more opportunities in New York, say.

Starting off with quite a pulsating beat, ginger tea has more in common with artists like Radiohead. That might sound strange but, when listening to the opening seconds I was thinking about their Kid A period. There is a brooding aspect and heaviness that does not need strings and vocals to make it spark. You have this quite low and grumbling combination of electronics that sort of contradict images you already have. Given the title of the song, you might expect something pastoral or calming. Rather than go for the obvious, LJA gives us this quite dark and forceful sound that hums and buzzes and takes your mind in another direction. The beats and electronics conspire and flex and, as they create this rather tempting mood, the hero comes to the microphone and talks about his ginger tea. As he sips on it, it seems like alienation and a sense of place are on his mind. Nobody gets him and, whether he has faced a relationship split or is feeling down, this tea is giving him pause for thought and a slight balm. After that unexpected start, you do sort of discover this calm and sea. The electronics and beats mutate into something more soulful and sensual. They have a purr and groove that matches the vocal. As the hero talks about playing games and psyching someone out, you start to wonder what the song is about and what direction it will take. I thought, right away, there was this battle between sweethearts and a sense of tension that was hard to shake. The more you listen, the more new thoughts come to mind. Whatever the truth behind it, one is engrossed in this smooth and caramel-rich sound that crackles and swims in the blood. If the lyrics point at something more heated and tense, the composition and vocal has a definite coolness and calm. There are few words in total – the mantra of psyching someone out is the main thread – and there are so many different musical elements.

Apart from the tight beats and crackle, there are key tones and electronic strands that cross into Soul, R&B and other genres. You get this very broad cross-pollination that is rich and wondrous. The emphasis is on the sexy and sensual and it is impossible to ignore the grooviness and cool of the composition. I mentioned Radiohead but there are other artists, classic and new, that come to mind. It is a wonderful brew and one that will stay in the head for a long time. As the hero talks about sugar cubes being around his tea, these notes and beats work their magic. It is quite quaint having this contrast of the cup of green tea and this battle happening. Not a lot more is explained so you have an image of the hero drinking tea and there being this clear motive in his mind. Not sure who the villain is and whether there will be a resolution but green tea is about this brewing sense of anxiety and attack. You need to listen to the song a few times to get into its head but that is the power it holds – minimal words but so much room for interpretation and explanation. Maybe the proper truth will never be known but great songs do get you thinking and mean different things to different people. It is a fantastic song and one that sort of defines homely. You have these six tracks that all have their own skin and each one has a definite sense of intrigue and mystery. I like ginger tea because there are gaps to be filled and you never quite know what is in the mind of LJA. Perhaps I should not ask him and leave that mystery hanging in the air. Make sure you listen to the track and I am sure you will have a similar takeaway. With songs like this under his belt, I know the future will be assured and prosperous for LJA. A great artist that many people need to listen to and will take to heart very soon. I have not heard too many songs like ginger tea and glad I was given the opportunity to review it. I will be sure to keep listening to the song and I am certain, before long, more truth and revelation will come through.  

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I have, as I said, not had the chance to review all of homely because I only feature single tracks. Whilst I am not a fan of artists using all lower-case lettering for songs/albums etc. – Billie Eilish is a big offender and I think that it does look a bit strange – you cannot deny the music throughout homely. It is worth an investigation and, whilst I am ending my reviews of underground artists very soon, that is not to say I will close my ears and only listen to other stuff. I have every faith LJA will continue to record and release music for a long time and I wonder whether there are plans to tour in the U.K. or travel around the globe. There would be a market for what he is putting out there and, if he can get more of a boost from social media and push his music in the direction of radio stations here – and get more photos of himself prominently placed – then he will be onto something. New artists are in a position where they have so much competition and it is really tough getting out there and attraction people. LJA has that ammunition and firepower so, with some new additions and some direct contact with stations in the U.K., I think his music will start to fly. He does not need my advice but, as I leave an old part of my life behind, I feel it is necessary to expend some guidance. The music itself is the most important thing but that alone cannot guarantee safety and success in an industry where image, social media and visibility are as important as anything else. LJA has a bright future ahead and, whilst huge success will not be instant, the music he is making is definitely a step in the right direction. homely is an E.P. that has so many emotions and contours working away. The songs have a definite personality and sense of story that engrosses you and pulls you into their world.

I suggest you all grab a copy or go listen online and discover a really cool artist. I shall leave things now and I hope lots of new people discover this great artist. LJA might be hard to find on Google – a distinct name is also something that stands you out – but his music will keep you fascinated and definitely make an impression. I am not certain what is in the future of the New Jersey-based artist but it would be good to see him over in the U.K. I think the style of music he is playing travels world and would get a great reaction from people. That is up to him but there is a real chance to make this big impact and grow. I know there will be other songs brewing in his mind and it is only a matter of time before LJA is thinking of his next release. In a rather bustling and crowded scene, there is a distinct scent and tone to LJA that sets him apart. Maybe it is those D.I.Y. aspects or a lack of polish that means the music has this sense of reality and emotion. There are a lot of elements working away and many people are reacting to the music. I know he will be one of these acts we talk about in years to come and that is pleasing to say. Right now, I suspect there are North American dates in mind and he will want to spike as many minds in New Jersey as he can. If he does think about bringing his music to London, I know there are venues and people who will come and see him. This is my penultimate review – in one sense – so I hope you do get involved with LJA and discover a great E.P. in the form of homely. I hope I have not rambled too much and I have got to the bottom of LJA. Let’s wrap things up there and let you get about your way. Many people want an alternative to the fakery and emptiness of the biggest artists so, if that is the case, have a listen to LJA. It is music that gets under the skin and provokes a range of reactions. Have a listen to it yourself and I am sure that it will…

TAKE you somewhere wonderful.           

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Follow LJA

FEATURE: Boundaries and Borders: Making the Gig Experience a Safer One for Women

FEATURE:

Boundaries and Borders

PHOTO CREDIT: @trapnation/Unsplash 

Making the Gig Experience a Safer One for Women

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YOU can look at ways music has evolved through the years...

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 PHOTO CREDIT: @jazminantoinette/Unsplash

and it is quite mind-blowing seeing the advances we have made. In terms of technology, there have been these amazing leaps and progressions. Not only are we able to access pretty much anything we like through streaming services but we can produce music from our bedrooms. That was not possible decades ago and, now, it is amazing what we are capable using basic technology and very little effort. In human terms, have we come as far as we should? Venues are becoming more attuned to the needs of different people. Many are making it easier for disabled patrons to get in and out and enjoy gigs like everyone else. In other areas, there are plans to help tackle anxiety and gigs and mean those who feel stressed and overwhelmed will be okay. I talked about Lewis Capaldi and his venture, LiveLive, and shall not tread over old ground – suffice to say, he is helping his anxious fans fight their fears and enjoy his music. Whilst one cannot patrol gigs and section off men from women, it seems that abuse and inappropriateness is something we have not got rid of. The problem extends to a small percentage of men but, when reading this article from The Guardian, it opened my eyes. I have known, for some time, there is abuse at gigs and many women feel unsafe. Even when the gigs have plenty of women attending, it can still feel very unsure and unsafe.

 PHOTO CREDIT: @theunsteady5/Unsplash

I have been to a few gigs in my time and, for the most part, I attend small venues. You do get hassle and, when trouble brews, it is easier to intervene and separate those being hassled from those doing the hassling. It is not only groping and sexual abuse that happens at gigs. I have already mentioned Lewis Capaldi’s venture and the attempt at helping those with anxiety. Everyone should be able to enjoy gigs and not have to fear being overwhelmed or assaulted. The Guardian’s piece reveals that, despite some promising moves forward, things are still bad:

“Gigs, festivals and nightclubs remain hotbeds of abuse and assault. Groping remains a huge problem at concerts, while one in five UK festival-goers – and two in five of all women under 40 who attended a festival – reported that they had been sexually assaulted or harassed at an event. There are also further questions of inclusivity: often venues, artists and promoters don’t take into account factors such as the mental wellbeing of attendees, wheelchair accessibility, how strobe-lights might affect those who are neuro-divergent, or even affordability”.

I feel anxiety and mental illnesses are hard to deal with in the case of gigs. It is quite complex and I hope, with time, there are ways and spaces where those most vulnerable and susceptible can go and feel safe. Those with disabilities are often excluded because venues are not set-up to accommodate them or there is not the necessary support.

PHOTO CREDIT: @srd844/Unsplash

Maybe it will take a while before all venues change and make disabled access easier. It seems crazy that, with no real amendments needed, we still have abuse and problems at gigs. It is, of course, men who are the main problem and, as I say, there are only a small minority who are culpable. I have heard stories from women – artists and fans – who have been harassed, harangued and assaulted at gigs. Whether alcohol is involved or not – that is not an excuse and does not change a person – it seems like many women are avoiding gigs because they fear they will be assaulted. Returning to the aforemtioned article, there is hope that things can improve:

“Good Night Out is a campaign that trains staff at venues, bars, pubs and festivals nationwide to deal with sexual harassment and assault. The organisers say all the venues they have worked with reached out to them first, which is a promising insight into conversations within the nightlife industry. Campaign co-director Jen Calleja agrees that expecting an immediate turnaround is not the way to create behavioural changes in these spaces: “You have to remain positive and hold on to a utopian prospect if you want social change, but we live in a society that is patriarchal, and that’s not just in these venues – so it means we have to start looking at taking education in schools on consent and relationships and how we treat people more seriously.”

Calleja is pragmatic about the likelihood of ending sexual assault for good in these spaces: “Just because we’ve trained venues, it doesn’t guarantee that harassment and assault won’t take place – what we’re doing is trying to improve the infrastructure around what will happen if you report it”.

 PHOTO CREDIT: @nastogadka/Unsplash

Those who feel groping and sexual inappropriateness at gigs is a small problem need to read articles and actually attended gigs. It is not the case of a few blokes getting lary and throwing their weight around: there are some serious instances where women are being assaulted and abused. Back when the Riot Grrrl movement of the early-1990s spawned bold icons like Kathleen Hana pushing women to the front, it seems we have moved back in many ways. I know there are gigs with women-only in the audience; others that have divisions where the men and women are separated and do not come into contact. I do like the idea that there are gigs exclusively for women because, as misconduct and assault continues, this is a way of avoiding it altogether. Where there are cases of serious assault and abuse, is it right that the well-behaved and conscientious men who attend gigs should be punished and isolated? If we have all-female gigs or put up borders to ensure men and women are kept apart, does this make gigs a less human space? There is that line we have to draw. If we make venues a space where everyone is being watched and there is security all over the place then it can make people nervous and means people are more inhibited. If things continue as they are then it means then there will be cases of assault and many women will stop going to gigs.

 PHOTO CREDIT: @trapnation/Unsplash

Assaults at venues and festivals is quite high but it seems that a lot of cases are not being reported. Maybe there is an issue of fear or wanting to forget the incident. In any case, we know there has been a problem for years now. Maybe it is more prevalent at festivals and less easy to monitor and eradicate. I do think that alcohol plays a role but it is near-impossible deciding who will cause trouble and ensuring they do not have any alcohol on them. Back in 2017, LOUDER ran an article that reacted to allegations of assault at gigs and highlighted ways we can all be more vigilant and informed:

“Last week, in response to a series of allegations of sexual assault levied against a variety of musicians, TeamRock reported on the ‘epidemic’ levels of abuse happening within our music communities. As part of that story, we spoke with Bryony Beynon, a music fan and musician who founded the Good Night Out Campaign. Now, Beynon has shared with us with a series of tips and practical advice on how we can all make gigs safer experiences for everyone.

“If you’re a man and you’d like to make a difference, there’s so much you can do [to encourage change],” says Beynon. “At its root, this is about women and gender non-conforming people being devalued. So simple cultural changes can be huge. Seek out and support bands led by women, queer and gender non-conforming people. Challenge sexist stereotypes wherever you see them...

PHOTO CREDIT: @iamarnold/Unsplash 

Challenge your mates on their sexist banter. Practice saying ‘Mate, that’s a bit sexist’ or ‘That’s a shitty thing to say.’ Heading to a festival? check out how gender equal the lineup is. If it isn’t, demand better from promoters and vote with your wallet. Remember, a queer black woman invented rock’n’roll, so don’t fall for excuses.

“UK law defines sexual assault as non-consensual touching of a sexual nature of another person’s body,” explains Beynon. “It actually doesn’t have to be on an intimate part of your body, because it’s about the intent behind the touch. Sexual harassment if its verbal or non-verbal (like staring at someone, or writing about them online) is defined in civil (rather than criminal) law as any act that could violate someone’s dignity, or create an intimidating, hostile, degrading, humiliating or offensive environment for them. So if there’s any touching, it’s assault”.

Now, in 2019, we have come a little way but not reduced cases of assault at gigs drastically. We need to make things inclusive and safe but not at the expense of interaction and fun. Any form of assault and abuse is very serious but something as drastic as separating the men from the women is taking things too far. I think there should be a safe space for women, nearer the front of the stage, where they can be close to security and the artist/band performing. I do like all-female gigs but, for most gigs, there does need to be stricter security and, when someone is caught being abusive, they need to be banned from the venue.

 PHOTO CREDIT: @pawel_czerwinski/Unsplash

Setting an example and banning gig-goer who are indecent is a good move and I think there needs to be more education. It is clear that things cannot continue as they are because even one case of a woman being assaulted at a gig is too much. I think a combination of strict justice for those who are caught combined with ‘safe zones’ is a good move. Rather than create little barriers and divide men from women, we need to have areas where women feel safer and we need to encourage more women to come forward. Musicians and organisations are tackling mental-health issues and disabled access at venues and it is positive that there are moves to help raise awareness of abuse at gigs, too. The Guardian’s article highlighted one festival, Lovebox, that is taking strides regarding the problem. They are bringing back the Sanctuary and ensuring there is a space for women and L.G.B.T.Q.I.A.+ people to take a break and report cases of sexual violence. If we can bring about more awareness, encourage conversation and, like Lovebox, have these safer areas then we can see improvement. Right now, things are pretty bad and many women feel like they cannot attend gigs through fear of assault. There are developments happening and the sooner venues/festivals are safe for all women…

PHOTO CREDIT: @globelet/Unsplash

THE better.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Emily Vaughn 

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

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THIS weekend is not exactly spring-like...           

 IN THIS PHOTO: Monki

and we have returned to a more blowy and unpredictable state. Even though it is quite squally and things are a bit rubbish regarding the weather, I have been looking around at the best female-led sounds around. It has been a packed week or so and, among the new cuts – a few slightly older ones throw in the mix, too -, there are some definite gems. Have a listen through the great selection and there will be enough in there to satisfy your demands. I always think, when the weather is like this, it is better to stay inside and listen to music. Among your regular rotation, slot some of these songs in and discover some great new artists. It is always great discovering artists that you know will be big one day and, in this rundown, there are one or two that definitely…

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IN THIS PHOTO: Cat Burns

HAVE that promise.

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

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PHOTO CREDIT: Estéban Puzzuoli 

Gold Mass - Sentimentally Performed

Lola Coca – The Map

Chelcee Grimes - Girls

Emotional Oranges – Someone Else

Mahalia – Grateful

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Cat Burns – Fuckboy

PHOTO CREDIT: Ebru Yidiz

Anna Burch – St. Adalbert

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Amber Lawrence - Hey

FLETCHER – If You’re Gonna Lie

Carlie Hanson – Back in My Arms

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Maddie & Tae – One Heart to Another

Hannah Grace – Different Kind of Love

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PHOTO CREDIT: Simon Curran

Eve Clague – To and Fro

Josefin Öhrn + The Liberation – Desire

PHILDEL – Oh Love

Emily Vaughn - Bitch

Lucy Dacus – My Mother & I

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Kim Petras – Broken

Monki – Work It

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Holy Magick - Even Though

Daniella Mason – Get Me Out of My Head

Hooked Like Helen - Tear This Place Apart

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PHOTO CREDIT: Cordelia Lawler

Mysie – Rocking Chair

Aly & AJ – Don’t Go Changing

INTERVIEW: Nina Luna

INTERVIEW:

Nina Luna

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MY interview this weekend is with Nina Luna...

who has been telling me about her new song, Out of My Hands, and what it is all about. I ask what sort of music is important to her and whether the U.S. artist will come and play in the U.K. at some point – she highlights a few albums that mean a lot to her.

Luna talks about playing in small clubs when she studied in New York; when music came into her life and whether there is a standout memory from her career so far – she selects a great modern track to end the interview with.

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

I’m doing well, thanks! It’s been a good week so far.

What is the weather like where you are? Do the conditions inspire songwriting at all?

It finally feels like spring! I haven’t written any new songs in the last few days but the warmth and sunshine certainly helps with inspiring me to get out of bed in the morning and tackle current creative projects. I’ve been waking up with a vague sense of excitement about the future.

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

I’m a singer-songwriter who makes Pop music that sometimes leans towards folk or R&B or Electro - depending on my mood. I write, record; produce and mix all of my music myself.

What is your new single, Out of My Hands, about and what inspired it?

I wrote this song during a recent relationship when I wanted so badly for it to work out but I realized that whatever was going to happen would happen and I just had to go with it. It was both heartbreaking and freeing. I pictured standing out in big, flat open country and feeling this intense sense of surrender. On my Southwest tour last month, I was able to actually capture this vision with photos and film that I’m now using for the single artwork and footage for the single’s music video.

When did music come into your life? Which artists turned your head?

I feel as though music has always been at the forefront of my consciousness. I’ve loved music since I was very little. I knew all the words to all the songs in the Disney movies. Growing up, I was very inspired by powerful female vocalists like Alicia Keys and Christina Aguilera…and I loved listening to top-40 radio.

How important was it playing small clubs in New York when you were at university?

It was a really good learning experience. It gave me a thicker skin. I played to a lot of mostly empty rooms. When I was younger I think part of me still thought that I might ‘get discovered’ just by performing - and it made me realize that in reality it was going to take a lot more work than that. 

How do you think your music has changed and evolved since the earliest days?

When I first started making music in high-school, it was much more singer-songwriter acoustic, even slightly Americana. I was listening to artists like Colbie Caillat and Jason Mraz, writing songs on acoustic guitar and that influenced the music I made. During my time at NYU, I was exposed to more R&B, Electronic and Hip-Hop, which inspired me to start writing on keyboard and incorporating elements of those genres into my new music. I’d say, right now, I’m at a point where I’m combining all of the above into my songwriting and production style - and it’s probably the most unique music I’ve made yet.

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

I remember the Monday after I’d released my first Nina Luna single, Blaze, I woke up early to a text from a friend saying “Check this out, your new song is on Spotify’s Weekly Buzz playlist and already has 10k plays!”. That was a great ‘I can’t believe this is happening’ feeling.

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

If I can listen to an album all the way through and not get bored or skip a track, and also connect with it emotionally, then that’s pretty rare and special. I feel that way about Lorde’s Melodrama album. The subtleties of the songwriting and production and the way each part lead into the next and took you through this story was super inspiring to me. Beyoncé’s Lemonade album is another one where I could listen over and over and find new things in it to learn from or study. My third one is Florence + The Machine’s first album, Lungs. Florence created this other magical, haunting world with the imagery in her lyrics and her vocal delivery and I was totally hooked. The songs are Rock songs in a way but they come off as so much more than that.

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

Ooh, that’s a tough one. I think I’d either like to open for someone quite serious and legendary like Patti Smith or Bob Dylan…or else a really fun, current band like LANY or The 1975. As for my rider, I think I’d want my green room situation to be like a calming meditation spa space with candles and coconut water and stuff. Maybe some high-end tequila on hand as well.

What are your other plans regarding gigs/touring?

Nothing set in stone yet but look out for dates in L.A. and N.Y.C. later this summer.

Might you come to the U.K. to play at some point?

I would love to! I’ve been trying to figure out the right time and way to do it, but I’ll keep you updated (winks).

Is there any advice you’d give to upcoming artists?

Keep improving, keep working hard; keep aiming higher, don’t take any of it too seriously.

Are there any new artists you recommend we check out?

Honestly, when I’m working on my own music as I have been recently, during the periods of time when I’m mainly recording and producing, I don’t listen to much new music. I kind of go into a hole for a bit and I feel rather out of touch with what’s new.

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

Being an independent artist, I’ve found you really have to manage your time properly. Over the past few months, I’ve been more intentional about giving myself time to not think about my work at all. To unwind, I usually go out for a walk, meditate or do yoga; cook and watch Netflix.

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).

when the party’s over by Billie Eilish. I know everyone, everywhere is already playing it but it’s just so good and it’s stuck in my head

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Follow Nina Luna

FEATURE: The April Playlist: Vol. 4: The Boss, Cellophane Visions and the Queen of Pop

FEATURE:

 

The April Playlist

IN THIS PHOTO: Bruce Springsteen 

Vol. 4: The Boss, Cellophane Visions and the Queen of Pop

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I have said before how there are weeks when…

 IN THIS PHOTO: The Black Keys/PHOTO CREDIT: Alysse Gafkjen

a few great songs come out and not a lot else. This week is one of those huge ones where it seems everyone is releasing something! Not only has Madonna brought out a new video but there is material from FKA twigs, Bruce Springsteen; The Black Keys, MARINA and Stormzy. Add to that list James Blake, Billie Marten and Aldous Harding and it is a pretty special week! There are so many big artists putting stuff out now that it is hard to get a handle on it all! Have a look through all the great tracks from this week and you’ll find plenty to keep you occupied this weekend! I have tried to collect together the best new cuts and put them into an eclectic playlist. There are tunes from all over the map and huge names I have not even mentioned yet. Have a good listen of the week’s best and brightest and it will give you a nice kick to…

 IN THIS PHOTO: Aldous Harding/PHOTO CREDIT: Ingrid Pop 

START the day.  

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

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Bruce Springsteen - Hello Sunshine

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FKA twigs – Cellophane

Madonna, Maluma - Medellín

 

STORMZY - VOSSI BOP

 

PHOTO CREDIT: Danny Clinch Photography 

The Black Keys – Eagle Birds

Marika Hackman - i'm not where you are 

Florence + the Machine - Jenny of Oldstones (Game of Thrones)

Billie Marten – Toulouse

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IN THIS PHOTO: Lykke Li

Mark Ronson (ft. Lykke Li) - Late Night Feelings 

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James Blake – Mulholland

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Ezra Collective – Red Whine

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Loyle Carner (ft. Tom Misch) - Angel

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PHOTO CREDIT: Clare Shilland

Aldous Harding – Damn

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MARINA – True

PHOTO CREDIT: Jess Baumung

The Cranberries – A Place I Know

Zara Larsson - WOW 

J.J. Cale – Lights Down Low

Taylor Swift (ft. Brendon Urie of Panic! at the Disco) - ME!

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Lee Ann Womack - Hollywood

PHOTO CREDIT: Jens Koch

Rammstein - Radio

Bastille - Doom Days

PHOTO CREDIT: Thibault Lévêque

Peter Doherty & The Puta Madres – The Steam

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SOAK – Scrapyard

Emotional Oranges – Someone Else

Lucy Dacus – My Mother & I

Jordan Rakei – Say Something

Bebe Rexha – Girl in the Mirror

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Two Door Cinema Club – Satellite

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Rob Thomas – We Were Beautiful

Lauv – Drugs & The Internet

Sum 41 – Out for Blood

Local Natives – Megaton Mile

TRACK REVIEW: FKA twigs - Cellophane

TRACK REVIEW:

 

FKA twigs

Cellophane

 

9.6/10

 

 

The track, Cellophane, is available via:

https://www.youtube.com/watch?v=YkLjqFpBh84&t=1s

GENRE:

Avant-Pop

ORIGIN:

London, U.K.

RELEASE DATE:

24th April, 2019

LABEL:

Young Turks Recordings Ltd

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ON this time out...

I am investigating FKA twigs’ new song and, with it, there is a lot to talk about. I wanted to discuss looking away from the mainstream and embracing something less obvious; artists who can create songs that stand you to attention and are unlike anything else; a look back at women in music and whether now is the time action is taken regarding equality; a bit about making a big return and how to do it so excitement and intrigue are created; a little about why 2019 is so ripe and productive – I will end by looking ahead at FKA twigs’ future and what it might hold. There are some, myself included, who feel that what is currently deemed popular and mainstream is not nearly as strong as the sort of stuff I grew up on. I am not being biased or subjective but, listen back a couple of decades or so, and we were treated to a much broader palette and far greater excitement. Just yesterday, I was waxing lyrical about Deee-Lite’s 1990 smash, Groove Is in the Heart, and how happy, positive and immediate that song was. It has lasted through the years and still provides that sense of rush and joy. I am not suggesting today’s music is devoid of pleasure but it seems, when you look at the top, there is not the same kind of positivity, range and quality. Maybe it is a sign of over-compression and crowding but it is getting harder and harder to detect any real scene; any sort of big surge or explosion that gets under the skin. I tend to find the biggest artists are okay and can produce some good music but they do not stay in the mind and there is not that same interest and strength I was exposed to as a youngster. I am, of course, excluding FKA twigs from this assessment because she seems to occupy her own space. It is like she can see what the mainstream needs and is preparing an assault.

 PHOTO CREDIT: Chad Kirkland

Of course, the dominance of Pop and something rather bland will never shift but I am looking away from the mainstream and finding artists who have their own skin and something more interesting to say. There is definitely something different about FKA twigs. In fact, a lot of the best music this year has been made by artists operating outside of the norm; a sort of exclusive club that does not really touch those commercial markets. I think charts, streaming services and minds should be trained to the outskirts and the artists creating something more compelling. FKA twigs released her debut album, LP1, in 2014 and there is a big anticipation regarding a new album. I want to quote from an interview FKA twigs gave to The Guardian in 2014; to show what an impression she made at the very start:

“The 26-year-old is a songwriter whose provocative debut album, LP1, was relished by critics on release in August, Twigs compared to lions like Kate Bush and Prince and immediately nominated for the Mercury prize. She’s a veteran dancer who has skulked and body-rolled through a string of hypnotic videos – most self-directed, distinctive enough to land her a commission to make a recent ad for Google. Wild haired, eccentrically dressed, she is also closely watched for her fashion and grooming choices. When I join her in the back of a New York taxi, hours before a gig in the city, she’s in this mode, wardrobe-department mode, bent double over her smartphone and composing a list”.

Why all the white, I ask? Is there some secret significance? Twigs is one of those artists, a St Vincent, a Lykke Li, a Björk – sure, why not, a Prince – who fog both their music and their public identities with mystery, plenty suggested but little said, blanks left for an audience to fill in. It’s easy to start reading hidden meaning everywhere: in Twigs’s album-closing track Kicks, for instance, which might be about personal empowerment or might be about masturbation. Or in the video for last year’s single Water Me, which seized on the most arresting thing about her appearance – large, far-set eyes – and digitally distorted them as if calling the viewer out for noticing the eyes at all.

I wanted to source those passages as you get a sense of who she is and why her music does not exactly stand alongside the big Pop artists and the normal. FKA twigs, in the interview, stated how she was not in the world to appeal to those who wanted something orthodox:

“I’m appealing to people who want something different,” she says, “but the world, on the whole, doesn’t really embrace different things. Not on the whole”.

PHOTO CREDIT: REX 

Cellophane is new from FKA twigs and, as you’d suspect, there is a great deal of excitement and chatter. She has released other music since her 2014 debut but it seems like we are heading towards a new album. I will try and unpick her latest song but, right from the start, you know it is not like anything else. It is hard to describe but it takes you in different directions and has all these blends and different moods together. Some reviewers have tried to get to the bottom of the song and it is hard to do. What makes Cellophane so great is the fact that it is accessible and okay. You do not feel isolated and confused at any time: in fact, the track gets right into the heart and you’ll want to listen to it again and again. I do love what FKA twigs is doing at the moment and I think, since 2014, she has added new elements into her music. I mentioned the mainstream and how predictable it can all be. Occasionally, you get a bit of a shock but that is very rare. There is so much build and hype when you get a big artist coming along and they release this song that is not all that great. Take, for instance, Taylor Swift – someone who has produced some great music but carries around a lot of support and expectation. She has a new song, ME!, and there have been articles written about it. One such review/article studied the song and reacts to other people’s views about it:

“It may be an acquired taste – critics awake to greet its midnight EST/5am BST release have compared it unfavourably to Justin Timberlake’s Can’t Stop the Feeling, from the animated film Trolls – but it works as a defiant reassertion of Swift’s positive brand”.

I think there is all of this attention and desire for artists who produce something quite ordinary. Maybe more experimental music is challenging and we all want music that is uncomplicated.  

There are those out there who refute the pull of the mainstream and find that artists like FKA twigs are making something far more interesting. Her current tracks is light years away from the ordinary and, instead, you are free to swim in its visions and inhabit this very safe is vivid world. One gets moments of intensity and shock but, for the most part, the mood is quite welcoming and the song leaves some questions. You go back in and try and approach Cellophane from different angles. The more you engross yourself in this magical thing and let it wash over you, the more you ask why music cannot be like this everywhere. I think there is a general lack of music that pushes boundaries, buttons and the imagination. Artists such as FKA twigs are quite rare and I feel like her ‘return’ is a great treat. What is it, then, about the mainstream that fosters a real lack of spark? I hate returning to this subject – and comparing music now with stuff back in the 1980s and 1990s – but it does seem like there is this quagmire and limitation. Maybe the market wants songs that are quite processed, straight and do not really take much thought. If we are to encourage music to grow and give future artists that rush of hope, we need to stop promoting and relying heavily on music that is unchallenging and quite sterile. Maybe the likes of FKA twigs are not your usual cup of tea but they are a lot deeper, interesting and nuanced than anything considered commercial and chart-bound. Maybe I am grousing too much but I think that, as I will discuss in a second, fantastic artists like FKA twigs will struggle to get the same attention and backing as the mainstream’s best. I feel that, this year especially, women have been at the top of the tree and producing music beyond anything else. Is it time, in 2019, to start taking action regarding the climate change in music?!

By that, I mean women, in an odd way, seem to represent all the nature, beauty and stability of the musical Earth and, more and more, they are being eroded, overlooked and abused by ignorance and selfishness. Think about all the festivals this year and how few women have been booked – let alone the extreme lack of women headlining! This is a subject that I return to again and again – and will do later this weekend – but this year has been about female-made music. Look at all the biggest albums and, for the most part, they have been made by women. Aside from some treats from the men, the biggest, most striking and memorable music has been created by women. Maybe last year was a bit more balanced in terms of the best albums (gender-wise) but this year is another affair altogether! I am not sure what has caused this shift but it seems like women in music know they are being overlooked and not given the same opportunities as men. As such, the very best and brightest have struck and it seems like the industry needs to respond in kind. FKA twigs is yet another female in music who is going beyond the expected and doing something fantastic. I do hope that she’ll get festival headline bookings next year. There are other artists – countless, in fact – who could take to the biggest stages and produce a really wonderful headline set. It annoys me that, if music is a meritocracy, women are being shunned needlessly. That is what music should be at the least: the rewards go to those who deliver the best music. I know FKA twigs will, when another album is out, get big bookings but it seems that pledges made by the bosses and festival organisers are happening too late. The past few months has seen this incredible wave of music made by incredible women. One might argue that, in terms of festival bookings, it is impossible to do anything about it this year. Can one realistically see equality happening in 2020?

The irony with 2020 is the fact that organisers will be very short-sighted and ignore all the greatness arriving this year. Look at albums from the likes of Lizzo and Julia Jacklin and I wonder whether we will see more women headlining festivals in 2020. I think that FKA twigs represents the innovation and boldness that we are not necessarily getting from men. Not to stereotype but I feel women are more interesting in interviews and have a lot more passion regarding change and big issues in society. There are bands and male artists that tackle the big subjects but, to me, women are bolder and go a lot deeper. The music is stronger and I do feel like, for some reason, they get ignored and put aside. I do wonder what is holding back progress and whether it will ever truly happen. Maybe I am getting off the track here and further away from FKA twigs but her music is in my mind right now and I would like to see it respected. There is so much love for her out there and I do hope that there are festival bookings and respect coming her way. In any case, music has a big problem and there seems to be no immediate resolution in sight. I listen to a song like Cellophane and salivate regarding the possible future. There are no firm announcements regarding an FKA twigs album but one feels that, if she puts out more songs like this, it will be another year-defining album. Here is an artist that, in 2014, created shockwaves and announced herself as an original. Naturally, people were quick to compare her to other artists – Kate Bush was one name kicked about – but that would be unfair. FKA twigs is this otherworldly and unique talent that deserves a lot of love and respect. I shall move on to the song in a second but will briefly squeeze in some thoughts regarding big returns and the publicity they court.

FKA twigs has, as I said, being putting out music since her 2014 debut but we have not heard too much lately. She has been busy working and living her life but it seems like she is back in a productive groove. This year has been extraordinary for music and we have seen so much quality come through. I think, against the backdrop of political tension and division, artists are upping their game and music, in some ways, is an escape. There is more competition now than last year so the effort and sense of experimentation is greater. 2019 has been a great year and I think we can owe that to a need (artists have) to create something wonderful and enriching. Maybe the mainstream falls outside of this praise but there are so many artists who are getting us excited. One of the biggest impressions made this year happened only last week. Madonna put out a new track, Medellin, and it is her first song in quite a while. Her album, Madame X, comes out in June and there is so much expectation and hype around it. Madonna has always received this sort of acclaim and backing but it seems like the sense of tease has been going on forever. There have been endless Twitter and Instagram posts; a lot of cryptic posts and this sense that her music is theatre and something world-changing. I am a big fan of her but she knows how to drag stuff out and generate this big sense of anticipation. Conversely, FKA twigs is making a bit of a return and has done so in a more routine and civilised manner. The single is out there and, rather than provide all these clues and posts regarding possible album material, she is focusing on Cellophane and what it can do. I love the fact that she can remain composed and focused despite the fact her music is getting people very excited. It is wonderful that we have FKA twigs in the world and I do think that this year will be a big one for her. I should talk about the star of the moment: the exceptional and divine Cellophane. It is a song that, once heard, will not be forgotten in a hurry!

Even though the song gets hotter and heavier, the start of Cellophane is delicate and stirring. The heroine talks about a sense of regret and lack of satisfaction. It seems the hero is not doing it for her and there is an imbalance happening. Maybe there is a problem in a relationship and it is a hard one to reconcile. Those who know FKA twigs’ work will state how unpredictable it can be so, in these early stages, I was not assuming this would be a straight-out ballad. Instead, we have a song that sets the scene and casts the heroine in a very soft light. There are troubles in her heart but I have not heard FKA twigs quite as composed and tender as this. She sort of beckons you in and asks these questions. I think about the song’s title, Cellophane, and it reminds me of something Joni Mitchell said around the time of Blue (1971). She compared herself to wrapping on a cigarette packet. In a sense, she was exposed and vulnerable and this image definitely seemed apt and striking. I was thinking this when listening to FKA twigs’ new song and how open she sounds. Maybe she did draw inspiration from Mitchell but, in any case, there is ample emotion in the first minute or so. With some woozy electronics and piano giving the song a sense of imbalance and stumble, FKA twigs lays her heart out there. She does not want to share her love and she gets overwhelmed. Without being cynical, we have a song that is as emotive and sensitive as anything she has ever produced. The music starts to swell in the background as the heroine talks about getting wrapped up in the feelings she has. Breathy, stuttering and gorgeous, this is one of the more composed tracks from FKA twigs. I have talked about how she adds darkness, energy and the unexpected alongside something more restrained.

Whereas her earlier work has sported some bigger beats and greater rush, a lot of the twists and heavier elements are suggested and more demure. I have spoken about the originality of the song and how artists like FKA twigs is unlike anyone around. Some might say that Cellophane is, by her standards, quite conventional and can be matched by anyone else out there. I would refute this and, as I listen more and more, there is a sense of unease and hidden malice that lingers in the background. The way her breaking and emotive performance sits with the composition amazes me. One detects a feeling or staggering and emotional confusion through the composition. You get a sense our heroine is looking for answers. I also wondered whether, coming away from the song, there was this feeling of togetherness or loss. It is clear there are outside forces who want to cast aspersions and separate the sweethearts but one feels a real longing and outpouring from FKA twigs. One of the boldest and most remarkable aspects of Cellophane is that it has a level head. Some might have been expecting a wild, wired and strange song with tribal beats, jagged electronics and distorted voices. Instead, here is something gentler. It is the lack of attack and the expected that makes Cellophane so compelling. FKA twigs has shown that she can step in different directions and is impossible to predict. I have not heard anything like Cellophane and it is kind of hard to put into words. Maybe I am hearing too much or letting my imagination get the better of me but it is almost like an illusion. On the surface, the song seems to be about desire and a sense of loss but, the closer you look, there are elements lingering beneath the surface. A sense of uneasiness and impending breakdown awaits; a feeling that there is more than meets the eye.

I keep coming back to that feeling that Joni Mitchell’s cigarette packet image is in the mind of FKA twigs. This makes me curious whether we might see something more Mitchell-like on the next album. Lead singles can be a bit of a red herring so, if there are more songs coming, they might take us back in more expected FKA twigs territory. I started the review by saying that Cellophane gets hotter as time goes on and, by that, there is implication and suggestion. FKA twigs has been more explicit and bold regarding the strange in other songs but, here, her performance is stunning and pure. I sense all of her older elements and sounds compacted into this sort of eerie and quiet space in the background. Maybe I am looking too closely but that is the wonder of FKA twigs. You never truly know what she will bring us and Cellophane is a classic example! I hope there is more coming from her and who knows what future songs will sound like. Maybe she will give us more LP1-sounding songs or we might be seeing a new direction from her. Away from all the routine and lack of wonder from the mainstream, artists like FKA twigs provide an alternative. I love what she did back in 2014 but I can tell she has evolved and broadened her sound. I am excited to see what comes next and where she might head. Cellophane has received great applause and positivity. It is a wonderful song and one that will stay in your head a long time after you hear it. If Madonna’s return to music has been met with a lot of circus and explosion, FKA twigs’ venture is much more composed and quiet. Maybe it is the start of a big explosion but I feel like there is something brewing. 2019 has been a great year for music and, with FKA twigs bringing us this magnificent song, it seems like there is no end in sight.

FKA twigs has sprinkled some E.P.s and singles since 2014 but I do feel that we are going to hear a new album pretty soon. Some might say her rate of productivity is quite low but when you listen to the music then you realise where the time is going. So many artists rush stuff and there is that pressure to get music out all of the time. That can lead to something rather flat and ordinary and, when there is less burden, artists are free to fly and expand. I know that there are plans in the FKA twigs camp and it will all be hotting up very soon. NME have reported news that FKA twigs is planning some tour dates:

“FKA Twigs has announced a comeback show in London next month as part of a series of gigs which will take place in various cities across the world.
Twigs now plans to return to touring, with shows in London, New York, Los Angeles, Sydney, Berlin and Hobart all being announced today (April 25). In her native UK, Twigs will perform a one-off show at London’s Alexandra Palace Theatre on May 28”.

I am not sure whether an album will arrive before she starts her gigs but it does appear that she is getting ready to take the next step. If you have not heard Cellophane then make sure you get on it and let it take you away! It is a wonderful song that envelops you but it never attacks. It is so busy and full but there is space to be found. All of these elements remain in the brain and you come away from listening feeling better. That might sound strange but truly great songs have that ability. Let’s hope that there is much of this gold around the corner. I have been a fan of FKA twigs since the start and she has grown as an artist. Her music was always captivating but it has grown even stronger since the start. 2019 is very much a year defined by women so it is no surprise that FKA twigs’ latest track should cause ripples. This all brings me back to my argument and problem regarding festivals and general inequality. I do think it is time to take action and ask some very big questions. If we allow this imbalance to happen then it will create problems in the future. Women in music are leading a charge and it would be foolish to deny them. I shall leave my anger aside (for now) and suggest that everyone embraces new genius…

FROM the beguiling FKA twigs.                 

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INTERVIEW: VICTORS

INTERVIEW:

VICTORS

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TAKING us into the weekend...

are VICTORS, who have been discussing their latest track, Big City. I ask about the band’s formation and where they are headed; the music that drives them and how they all got together - I wanted to know whether there is more material coming along later this year.

I was interested to know what the music scene is like in Leeds and whether there are gigs coming; which artist they’d support on the road if they could and if there is much time to chill away from music – the guys each select a song to end the interview with.

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

Hey! We’re doing great, thanks. Our week has been productive - we’ve just come out of the studio.

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

So. We are VICTORS. We’re a Pop/Electronic band from Leeds. In the band, we have Harry Irving (Vocals/Keys/Guitar), Simon Appleson (Guitar/Synth); Dom Brooks (Bass/Synth) and Leon Davies (Drums).

Big City is your new track. Is there a story behind this one?

Big City was literally written in one night in our apartment. I (Harry) wrote about regretting past decisions, staying up all night; sitting in parked cars talking stuff out - just real life, basically.

Is there more material coming later in the year?

Let’s just say....yes. Yes, there is.

How did VICTORS get together? Did you all know each other before starting the band?

Harry first came across Simon using online ads on Gumtree. After meeting up for a drink and having a few rehearsals together, things started happening very quickly and, at the beginning of 2016, ‘VICTORS’ was born. We then found Dom shortly after in the same way, by advertising online. Once we needed a drummer, Dom got in touch with Leon via Facebook and straight-up asked him if he wanted to join - it’s as simple as that!

Do you all share relatively similar musical tastes?

We all have a varied taste in music and I’d say we all appreciate a good song, whatever the genre. Growing up, Harry and Simon listened to artists such as Whitney Houston, Crowded House; Phil Collins and The Beatles. Dom, however, comes from a Metal background: listening to artists such as Black Sabbath and Metallica.

Growing up, Leon was exposed to a wide range of genres from his family so he would listen to Classic Rock (Led Zeppelin) and Jazz (Courtney Pine) which led to him listening to Prog-Rock artists such as Dream Theater, The Mars Volta & Frank Zappa.

What is Leeds like in terms of current music? Do people overlook it a lot do you think?

I’d say Leeds is predominantly based around an Indie/Rock scene - or at least it was during our formative years. Although, as the city grows, the variety of artists emerging range from Electronic, Psychedelic; R&B and Funk - hopefully it’ll continue to grow and thrive. We’ve got our eye on that Leeds arena.

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

That’s a tough one: there have been so many highlights. Leon’s (drummer) first show with us was in front of 20,000 people in Leeds last December. We’ve also been lucky enough to have been played at NFL games, sparking our American fanbase; I guess our favourite moments are when we see people’s tweets about us or videos of them covering our songs and just showing support and love for what we do. It’s so humbling and mind blowing at the same time.

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

Harry: Frank Ocean – Blonde

Not because I necessarily love every song on it, but his art of telling a story made me really check myself as a song writer and storyteller - and the fact his voice is just amazing.

Simon: HONNE - Love Me / Love Me Not

The Jazz/Pop/Electronic elements have inspired me to learn to be a better guitarist and it has completely opened my eyes to new ways in approaching songwriting at a much more mature level.

Dom: Paul Simon – Graceland

I just love that chiller Surf-Rock vibe.

Leon: John Mayer Trio Live - TRY!

This album features three players who are really the best of the best. As a drummer, listening to Steve Jordan on this album really helped me develop as a player. No flashy fills needed, just straight up groovy ass playing.

If you could support any musician alive today, and choose your own rider, what would that entail? Bon Iver is kind of a hero of ours so we’d probably ugly-cry if that opportunity came about. Rider-wise, some gin and ginger ale; a Nespresso coffee machine and an assortment of vegan snacks (three out of four of us are vegan/vegetarian). Oreos are also vegan - so lots of them will do.

What advice would you give to new artists coming through?

To be honest, we’re still fairly new as an artist but the best advice we could give from our own experiences would be: be prepared to work your ass off for years, constantly improving and bettering yourself; be prepared to be skint a lot of time and prioritise your art over almost everything else; seriously live and breathe it. Don’t get your hopes up too much about potential amazing-sounding opportunities and promises because it’s a fickle industry.

But, most importantly, love what you do and surround yourself with a team that believes in what you’re doing. If you do that then all these difficulties just become small hurdles that won’t even sway you from your path. That got super-deep at the end there.

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

We have a few shows all over the country spread out throughout the year. Our next headline show is in our hometown of Leeds on Friday, 24th May at Hyde Park Book Club. Then, we’ll be playing: Huddersfield Uni Festival on Monday, 27th May; Hoxton Square Bar & Kitchen in London (supporting Youth Club) on Wednesday, 19th June EskFest in the Lake District. On Saturday, 6th July Weightless Festival in Wakefield; on Saturday, 3rd August and many more to be announced!

Can you give us a glimpse of what life on the road is like for VICTORS?

We’re usually watching movies and snacking way too much - and laughing way too much at each other’s stupid jokes on the tour bus whilst dealing with sleep deprivation. Can’t complain!

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 IN THIS PHOTO: The Hubbards

Are there any new artists you recommend we check out?

We’ve played with The Hubbards a few times and we absolutely love them; genuinely lovely guys and they’ve got some absolute bangers. We’ve also been working with PIPPA lately which we’re so excited for. Go check out her stuff!

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IN THIS PHOTO: PIPPA

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

You’ll find us doing two things: sipping a flat white or a long black in a coffee shop somewhere and having a Netflix and chill (the non-sexual kind btw).

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

Harry: alt-J - Tesselate

Simon: Shura - BKLYNLDN

Dom: HONNE - Coastal Love

Leon: Tingsek - Let That Go

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Follow VICTORS

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INTERVIEW: The Naked Eye

INTERVIEW:

The Naked Eye

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I have enjoyed speaking with The Naked Eye...

about her new E.P., Love’s Grave, and its themes. I ask whether the songwriter has a choice selection from the E.P. and how the music differs from her work with the band, Her Songs – The Naked Eye selects albums important to her.

I ask whether the songwriter gets time to relax away from music and which artists she’d support on the road if she could; if she has a standout memory from her career so far and what it was like working with a range of different artists on her new E.P. – she selects some great tracks to end the interview with.

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Hi, The Naked Eye. How are you? How has your week been?

I’m good, thank you! My week has been busy and fabulous.  

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

I’m a half-French, half-English, singer/songwriter based in London. I’m one-fifth of a female artistic collective called Her Songs. I’ve just released my second solo E.P., Love’s Grave. 

Love’s Grave is your E.P. What kind of themes and inspirations were in mind before you started work?

Themes of a break up and heartbreak. Musically, I was inspired by a mixture of music/artists I was listening to: Puma Blue, Bruno Major; D’Angelo, Lianne La Havas, Emily King; Tom Misch, my friends from the Her Songs collective and Sipprell’s E.P. I also have been learning the guitar for two-and-a-half years; all the songs are written on guitar and the E.P. is very guitar-heavy.  

Is there a track that stands out for you?

That’s a hard question…

Hmm…depends on my mood. When I’m pissed off, definitely See You Later. When I’m nostalgic, Tell Me. When I’m sad, Drifting Away - and Love’s Grave for the groove! 

I understand you worked with different artists and personnel on the E.P. How important were their contributions in terms of giving the music a different angle/new light?

Conor Albert produced the first four tracks on the E.P. And Marie Dahlstrøm produced See You Later. Their contribution was a big part of the project; they are both so talented and individual in their musicality and it gave the songs a new personality. I worked with Marie on a track from her beautiful E.P., Nine, called Before Then. And then we worked together in L.A. for the Her Songs project.

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We are very close friends and we have a very special musical connection. I really wanted her to be a part of the E.P. and to continue our story through the song, See You Later. I first met and worked with Conor Albert last year and it was such a magical moment from the beginning. I knew it was the sound for the E.P. and I couldn’t wait to finish the songs with him. 

Tell me how you got started in music. Was it something you were always drawn to?

I was drawn to music at a very young age. My first musical memory was sitting in front of my family record player and listening obsessively to my dad’s and sister’s records. I started singing at the age of four and my mum put me in this Saturday performing school that I loved. I was always performing in school plays and concerts. I started songwriting as a teenager but didn’t really start taking it seriously until I went to Arts Ed and then to music college. 

You are part of the band, Her Songs. How important is that experience regarding your own music and are there big differences in terms of songwriting and sound?

The beauty of the Her Songs project is that it’s a collaboration of all our artistry and influences. We are all artists who are making music outside of the project. I think you can hear a mix of all our songwriting and styles in the E.P., Los Angeles. If you listen to each artist individually you can hear their personality from the project, which I love! And I think that’s why it’s such a genuine project. I learnt a lot during the experience of creating the E.P. that week. Writing and producing a song a day was incredibly exciting and creatively demanding.

I have always been quite a perfectionist in my work and hadn’t released any new music of my own due to it. The importance of the experience of Her Songs taught me to be more present and embrace the imperfections as you are catching a feeling in the moment. 

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

Her Songs was definitely the highlight of last year. This year so far, it’s probably when I got the masters back of the Love’s Grave E.P. and heard the whole E.P. in its entirety. Felt very proud. 

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

That’s a very difficult question as there’s so many. 

Lauryn Hill - The Miseducation of Lauryn Hill

I listened to that album on-repeat throughout my childhood and, every time I listen again, I find gems. 

Joni Mitchell – Blue

I discovered this album at music college and it genuinely changed the way I write and craft melodies and lyrics. So masterful and colourful. Genius.  

D’Angelo – Voodoo

Everything about this album. 

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

Hmm…there’s so many again! Nai Palm, Emily King; Alicia Keys, Lianne La Havas; Puma Blue, Bruno Major - and my rider would be green tea (smiles).

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What are your plans regarding gigs/touring?

We are organising a show this summer with Her Songs. T.B.C. 

Is there any advice you’d give to upcoming artists?

Self-initiation. Try to learn as much as you can on your own and continue to develop and range your skill sets. Collaborate. Remember why you fell in love with music and your instrument. Keep that passion and curiosity brewing. Don’t compare yourself to anyone. Everyone is on their own path, journey and lesson. Learn from the greats; transcribe and listen. Surround yourself with positive, creative and driven individuals who inspire.

IN THIS PHOTO: Puma Blue

Are there any new artists you recommend we check out?

Conor Albert! He’s making his debut E.P. and I’ve had a sneak preview - it’s mind-blowing! Puma Blue. SIPPRELL. All the artists within Her Songs (Marie Dahlstrøm, Emily Browning; Dani Marcia and Maddie Jay).

 IN THIS PHOTO: SIPPRELL

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

Not that much at the moment to be honest! I unwind by either reading before bed, watching a series or film (loving Chef’s Table at the moment on Netflix). I love cooking and WINE over conversations with friends. 

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).

Sipprell - From Afar 

Puma Blue - Want Me 

(Both songs speak to me deeply at the moment).

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Follow The Naked Eye

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FEATURE: Urban Parks, Morning Stories and a Different Class of Hardcore: Britpop’s Best Ten Albums

FEATURE:

 

 

Urban Parks, Morning Stories and a Different Class of Hardcore

IN THIS PHOTO: Oasis (circa 1995)/PHOTO CREDIT: Getty Images/Press 

Britpop’s Best Ten Albums

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I would not normally...

 IN THIS PHOTO: Supergrass (circa 1995)/PHOTO CREDIT: Getty Images/Press

do a feature of the best Britpop albums but, because one of its leaders, Parklife, is twenty-five on Thursday, I felt it was only right to have a look at this time in British music (between 1993 and 1998). Some people dismiss Britpop and see it as a fad or a bit overrated. It was a time when celebratory and uplifting albums mixed alongside some a bit darker and bristling. Not only was there a lot of bombast and anthemic bliss but there were these great bands hitting their peak and exploring new ground. It is a shame we do not have the same kind of movement as Britpop now because, with the tension we live around, it would give us something to cheer about. To mark the twenty-fifth anniversary of Blur’s third album, I have been looking at the other albums released around this time (some a year or two earlier, a few a bit later) and deciding which were genius and which were merely promising. Say what you like about Britpop but, as these ten albums prove (and whether you class them as purely Britpop), there was a lot of brilliance sparking around during this epic time. Have a look at the albums listed and I know some will have their own views as to some big releases missing. Not only has compiling a top-ten allowed me to reinvestigate a wonderful time for British music but, digging deep into the albums themselves, I have discovered new light and brilliance I missed…

IN THIS PHOTO: Blur (circa 1997)/PHOTO CREDIT: Getty Images/Press

THE first time around.

ALL ALBUM COVERS: Getty Images/Spotify

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Blur – Parklife

Release Date: 25th April, 1994

Labels: Food/SBK

Producers: Stephen Street/Stephen Hague/John Smith/Blur

Standout Tracks: Girls & Boys/End of a Century/Parklife/To the End

Key Cut: This Is a Low

Review:

“The legions of jangly, melodic bands that followed in the wake of Parklife revealed how much more complex Blur's vision was. Not only was their music precisely detailed -- sound effects and brilliant guitar lines pop up all over the record -- but the melodies elegantly interweaved with the chords, as in the graceful, heartbreaking "Badhead." Surprisingly, Albarn, for all of his cold, dispassionate wit, demonstrates compassion that gives these songs three dimensions, as on the pathos-laden "End of a Century," the melancholy Walker Brothers tribute "To the End," and the swirling, epic closer, "This Is a Low." For all of its celebration of tradition, Parklife is a thoroughly modern record in that it bends genres and is self-referential (the mod anthem of the title track is voiced by none other than Phil Daniels, the star of Quadrophenia). And, by tying the past and the present together, Blur articulated the mid-'90s Zeitgeist and produced an epoch-defining record” – AllMusic

The Verve – Urban Hymns

Release Date: 29th September, 1997

Label: Hut

Producers: The Verve/Chris Potter/Youth

Standout Tracks: Sonnet/The Drugs Don’t Work/Lucky Man/Velvet Morning

Key Cut: Bitter Sweet Symphony

Review:

“For all the inter- and intra-band drama that fueled its creation, Urban Hymns ultimately centered around a very basic, universal theme: live for the moment and give it all you got, because we’ve only got one shot at this thing called life. It’s a sentiment that would seem terribly cornball and clichéd—if the Verve’s subsequent history didn’t so thoroughly reinforce its veracity. Less than a month after their Haigh Hall coronation, a disgruntled McCabe left the band once again, prior to a North American summer arena tour. What should’ve been a victory lap instead became a funeral procession, with Ashcroft and co. dutifully going through the motions alongside a session-player replacement before calling it a day once again. Of course, as the lyrics to “Bitter Sweet Symphony” attested, the Verve had at that point become well accustomed to life’s cruel twists and unforgiving ironies” – Pitchfork

Pulp – Different Class

Release Date: 30th October, 1995

Label: Island

Producer: Chris Thomas

Standout Tracks: Mis-Shapes/Disco 2000/Something Changed/Sorted for E’s & Whizz

Key Cut: Common People

Review:

“Obviously, there are much more unpleasant depths to the songs on 'Different Class' than the mere audacity of mentioning drugs in a title. Indeed, the attitude to narcotics throughout is curiously moralistic: from the monumental come-downs of 'Sorted For E's and Wizz'; via the vacuous club-bunnies who populate 'Monday Morning' (Pulp do ska! And get away with it, more or less); through to the "broken people" clustering in 'Bar Italia' at dawn, when, "You can't go to bed because it hasn't worn off yet."

No. Cocker's sins against the tabloid-trusting masses are much more pernicious than calculated drug scares. The roles he takes for much of 'Different Class' exploit the fears of the generations-that-never-inhaled in a far more real and frightening way. He is the voyeur who dreams of being caught, the swinger who's "kissed your mother twice and now I'm working on your dad," and, worst of all, the adulterer” – NME

Oasis – (What’s the Story) Morning Glory?

Release Date: 2nd October, 1995

Label: Creation

Producers: Owen Morris/Noel Gallagher

Standout Tracks: Roll with It/Wonderwall/Some Might Say/Morning Glory

Key Cut: Don’t Look Back in Anger

Review:

“Likewise, as musicians, Oasis are hardly innovators, yet they have a majestic grandeur in their sound that makes ballads like "Wonderwall" or rockers like "Some Might Say" positively transcendent. Alan White does add authority to the rhythm section, but the most noticeable change is in Liam Gallagher. His voice sneered throughout Definitely Maybe, but on Morning Glory his singing has become more textured and skillful. He gives the lyric in the raging title track a hint of regret, is sympathetic on "Wonderwall," defiant on "Some Might Say," and humorous on "She's Electric," a bawdy rewrite of "Digsy's Diner." It might not have the immediate impact of Definitely Maybe, but Morning Glory is just as exciting and compulsively listenable” – AllMusic

Elastica – Elastica

Release Date: 13th March, 1995

Labels: Deceptive (U.K.)/Geffen (U.S.)

Producers: Mark Waterman/Elastica

Standout Tracks: Line Up/Car Song/Waking Up/Stutter

Key Cut: Connection

Review:

“The pithy songs on Elastica, with their searing lyrics about sex, groupies, and ennui, capture the whirlwind of the early-’90s Britpop explosion. Instead of worshiping the Beatles, the Kinks, and Bowie, Elastica blended the jagged guitars of Wire, Buzzcocks, and other English punks with the pop hooks of American new wave acts like Blondie and Talking Heads. The band didn’t have a full-time keyboard player until Dave Bush joined the lineup in 1996, but Albarn (credited as Dan Abnormal) punched up some of the melodies on their debut with scratchy synth lines” – Pitchfork

Radiohead – The Bends

Release Date: 13th March, 1995

Labels: Parlophone/Capitol

Producer: John Leckie

Standout Tracks: The Bends/Fake Plastic Trees/Just/My Iron Lung

Key Cut: Street Spirit (Fade Out)

Review:

“The album proved to be a success and even though no single became as popular as “Creep”, five of the singles did chart and more importantly, the album garnered the high critical acclaim missing from Pablo. This surprise reception is due in part to The Bends distinct sonic delivery, it drifts through its 12 tracks in extended deep space and while the songs are accessible and catchy they are elevated by their density, featuring a distinct Wall of Sound production. Songs like "Planet Telex," "High and Dry" and "Black Star" stand high above their precursors on Pablo, both for their scope and their high altitude themes.

The only apparent drawback is a few of the tracks do suffer some residual grunge influence, in very minor details throughout the album. Although this can somewhat date tracks like "The Bends" and "Black Star," they help to bind the album to its predecessor and to a movement that may not be contemporary but certainly isn’t bad. The Bends is a triumphant release, an album that began one of the best track records in Rock music” – SoundKite

Suede – Suede

Release Date: 29th March, 1993

Label: Nude

Producer: Ed Buller

Standout Tracks: So Young/The Drowners/Sleeping Pills/Metal Mickey

Key Cut: Animal Nitrate

Review:

“Suede hit hard and fast with a trio of tremendous singles (The Drowners, Metal Mickey, Animal Nitrate), then dealt the coup de grace with their debut album, a record ripe with the promise of forbidden fruit and filled with songs of transgressive acts and confused teenage sexuality, including So Young, Sleeping Pills and The Next Life. It won the Mercury Music Prize in 1993, and Suede were credited with kickstarting Britpop” – The Irish Times

Pulp – This Is Hardcore

Release Date: 30th March, 1998

Label: Island

Producer: Chris Thomas

Standout Tracks: Party Hard/This Is Hardcore/A Little Soul/I’m a Man

Key Cut: Help the Aged

Review:

““Different Class” was a debauched update of vintage new wave styles. “This Is Hardcore” is more expansive and more stylish than its predecessor, integrating sweeping string sections and over-the-top, big-rock production touches. “Help the Aged,” Cocker’s ode to lessons gleaned from the elderly, deftly leaps from an after-hours fragility to arena roar. In “Dishes,” Cocker attempts to comfort his mate after a hard days’ work. “I’d like to make this water wine, but it’s impossible/I’ve got to get these dishes dry,” he sings, voice on the verge of cracking, as the music surges into sublime cabaret-pop beauty” – Entertainment Weekly

Supergrass – I Should Coco

Release Date: 15th May, 1995

Labels: Parlophone (U.K.)/Capitol (U.S.)

Producer: Sam Williams

Standout Tracks: Caught by the Fuzz/Mansize Rooster/Lose It/Lenny

Key Cut: Alright

Review:

“The way the grinning choruses of 'Lose It' and 'She's So Loose' scramble out of the punky rush, the way 'Mansize Rooster' plays tag with Madness and Bowie, the way 'We're Not Supposed To' comes strumming at us at - literally - 78rpm in a weird helium homage to Syd Barrett are all the hallmarks of a band totally in love with music. And the way in which their influences aren't just cobbled together but assimilated and made their own, suggests that listening to 'Revolver' or 'Hunky Dory' or 'Piper At The Gates Of Dawn' played as much a part in building their formative characters as that first shag or that first fag.

In that sense, 'I Should Coco' is a beautifully honest album of, and about, its time. This is their generation - wide (sometimes wild)-eyed, determined not to let anybody else's bastard moral standards grind them down. They look at the adult world - the one that their talent is about to take to the cleaners - and they giggle” – NME

Blur – Blur

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Release Date: 10th February, 1997

Label: Food

Producers: Stephen Street/Blur

Standout Tracks: Song 2/On Your Own/Death of a Party/Look Inside America

Key Cut: Beetlebum

Review:

“What makes it exceptional is how hard the band tries to reinvent itself within its own framework, and the level of which it succeeds."Beetlebum" runs through the White Album in the space of five minutes; "M.O.R." reinterprets Berlin-era Bowie; "You're So Great," despite the corny title, is affecting lo-fi from Graham Coxon; "Country Sad Ballad Man" is bizarrely affecting, strangled lo-fi psychedelia; "Death of a Party" is an affecting resignation; "On Your Own" is an incredible slice of singalong pop spiked with winding, fluid guitar and synth eruptions; while "Look Inside America" cleverly subverts the traditional Blur song, complete with strings.

And "Essex Dogs" is a six-minute slab of free verse and rattling guitar noise. Blur might be self-consciously eclectic, but Blur are at their best when they are trying to live up to their own pretensions, because of Damon Albarn's exceptional sense of songcraft and the band's knack for detailed arrangements that flesh out the songs to their fullest. There might be dark overtones to the record, but the band sounds positively joyous, not only in making noise but wreaking havoc with the expectations of its audience and critics” – AllMusic

INTERVIEW: Watercolours

INTERVIEW:

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Watercolours

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MY first interview of the week is with Watercolours...

as they have been telling me about their cover of Tove Lo’s track, Habits. I ask what compelled them to cover it and whether they have more material coming up; how they found one another and what sort of music inspires them – they share their favourite career memory so far.

I wanted to know whether they share musical tastes and which rising artists are worth a shout; if they have time to unwind away from music and which artist they’d support on tour if they could choose anyone – they choose some great songs to end the interview with.

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

We’re all really good, thanks - it’s been busy but great!

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

We are a three-piece band called Watercolours from Bristol. We make Indie/Alternative music with synthesisers and plants.

You have covered Tove Lo’s Habits. What was the reason behind that?

Well. We loved the song anyway, as a Pop tune, so decided to put it into our live set (cause everybody loves hearing songs they know at a gig). Over time, we developed it until we liked it so much we wanted to release it as a record!

Not many bands tackle covers these days. Do you think there is a lot of potential regarding relatively untouched/underrated songs?

It seems like it’s definitely a useful tool for new bands to reach a larger audience. There should definitely be a careful balance, as an original artist, when it comes to covers but it can be a very positive thing for bands at our level.

How did Watercolours get together? What bonded you all?

Conal and I (Matt) met through starting another band together whilst we were at uni. We wanted a keyboard player in the band and, knowing Hamish (who we were already friend with from our course) wanted to join a band, it developed from there really. We ended up starting Watercolours as a new project - the music we were coming up with sounded completely different and much more mature; it only felt right that we should give ourselves a fresh start.

Is there more material coming later in the year?

Yes. We have our best music yet to come throughout the year.

Do you all share relatively similar musical tastes?

Fundamentally, yes. We all have our own taste but it overlaps in areas. All our preferences get brought to the table when we write music so every layer and part is formed from what we like as individuals.

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

Collectively, our favourite memory as a band is when we supported Marillion at their sold-out Colston Hall show. It’s been the biggest stage we’ve played on to date; it was definitely nerve-wracking but a really exciting moment for us. We’ve been invited back, to support them for their show at De Montfort Hall, Leicester.

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

Conal: The album that means most to me is probably (Pink Floyd’s) The Dark Side of the Moon...it’s the first time I appreciated an ‘album’ rather than a collection of songs!

Matt: Mine is a more recent release: Freudian by Daniel Caesar - it’s one of those albums for me where I enjoy every track. Every time I listen to it, it makes me feel fragile emotionally, yet in complete awe of his songwriting.

Hamish: Like Matt’s, mine is also fairly recent: 22, A Million by Bon Iver. I remember the first time hearing the album and it blew me away. Certain tracks on the record also have significant memories attached to them from a really emotional time in my life.

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

We would definitely support Tame Impala and would all have an Honest Burger on our rider (the best burger in the world). Onion rings to share..

What advice would you give to new artists coming through?

Networking is key. Every opportunity we’ve ever had has come from speaking to people. Being friendly and sociable is the most important thing!

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

We’re currently out on tour at the moment. Our next show is in London at The Finsbury on 26th April, the day before the Marillion show at De Montfort Hall.

How important is it for you all to be on the stage and connecting with the fans?

It’s massively important to connect on stage. Playing live is the only real way to interact properly! Social media is all very well but you can’t beat playing a gig.

 IN THIS PHOTO: James Hymphrys/PHOTO CREDIT: Dominika Scheibinger

Are there any new artists you recommend we check out?

The Bristol music scene at the moment is full of new exciting acts; James Humphrys, Harvey Causon; Jack Louis Cooper and Joe Probert just to name a few. Also, the Cheltenham scene has some cool upcoming artists: Polary, Andy Oliveri and The Mountaineers and TREE.HAUS are all worth a listen!

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 IN THIS PHOTO: Jack Louis Cooper/PHOTO CREDIT: Rebecca Rees

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

For us, making music is kind of our way of unwinding! We all work jobs to pay rent etc., so playing music is definitely a bit of a relief from all that.

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).

Conal: James Blake (ft. Travis Scott and Metro Boomin) - Mile High

Matt: RVRB - NEED YOU STILL

Hamish: KMB – Who

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Follow Watercolours

FEATURE: Reaching Out: How Long Before Kate Bush Is Made a Dame?

FEATURE:

 

 

Reaching Out

ALL PHOTOS: John Carder Bush 

How Long Before Kate Bush Is Made a Dame?

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BECAUSE this is a bit of a quiet spell...

regarding Kate Bush, it allows me a chance to reflect and think. I say ‘quiet spell’ but, by that, I mean there is no news regarding re-releases and anything coming from her. Now and then, Bush will be mentioned in the news and you get the odd bit here and there. She has been in the music industry for over four decades and achieved so much. Look at what Kate Bush has accomplished since she broke through with Wuthering Heights in 1978 and one wonders whether there is one thing missing. I know damehoods are not given out lightly but, look around there are people out there who have accomplished less than Kate Bush and have one. I am not necessarily pointing the finger at sports personalities or actors but, yeah, you stack up what they have done and compare that to someone like Kate Bush. Back in 2013, Bush got close to being made a dame when she received a CBE. Pitchfork reported the news:

“Most fans would agree that Kate Bush is a national treasure, but now it's on the books. Earlier today, the 54-year-old songwriter received a CBE-- Commander of the Most Excellent Order of the British Empire-- from none other than the Queen of England herself. The CBE is a high honor: In the Order of the British Empire, it's only one rung down from knighthood-- which feels like a near miss, since "Dame Kate Bush" has a certain ring to it.

Bush doesn't make a lot of public appearances these days, but she made an exception to accept the medal at today's Windsor Castle ceremony. (NME has some amazing photos of her getting the medal from the Queen.)

"I feel incredibly thrilled to receive this honour which I share with my family, friends and fellow musicians and everybody who has been such an important part of it all," Bush said in a statement. "Now I've got something special to put on top of the Christmas tree".

There is, as they say, a pretty nice ring to having Dame Kate Bush in our midst. To be fair, Ringo Starr has only recently been made a sir and that took since the 1960s to make that happen! Even though Bush has been in music since the 1970s, one can argue there are other musicians that deserve knighthood and damehoods. Think about the fact David Bowie never got a knighthood and the fact that, posthumously, he thoroughly deserves one. When it comes to musical dames, there are not that many around! There is an argument for other artists being honoured but, when you think of Kate Bush, she has already achieved so much. She scored the first self-written number-one by a British female artist when Wuthering Heights arrived; Never for Ever, her third album in 1980, was the first time an album by a British female went to the top spot.

Think about the continued popularity of her work and how it has influenced others. Not only did her Tour of Life stage-show inspire countless artists but her music, through the decades, has dramatically changed music. There is, still, nobody like her in music and that will remain the case forever. I am not sure what her current plans are but, over the past year or so, she has re-released her back catalogue and brought out a book of lyrics. Back in 2014, she performed her Before the Dawn residency in Hammersmith and marked a welcome return to the stage after thirty-five years. Not only is Bush’s music staggering but the visual side is intoxicating and compelling. Her videos, from the very start, have blown minds and stuck in the memory. I recall watching the video for Them Heavy People (from The Kick Inside) and being moved by this strange, seductive and unusual video that was so different to anything around. Bush brought movement and dance into her music and, with it, this unique and special world. In terms of vocals and movement, there are plenty of female artists today that owe a debt to bush – Florence + The Machine springs to mind. Consider the themes tackled right from the start and how it opened worlds for other songwriters. Few before Kate Bush were writing about incest, menstruation and love in the same manner.

There are some (foolish) people who do not ‘get’ her music but, even if that is the case, one cannot deny the power and magic of her work. As her albums moved on, she kept moving in different directions and stepped into fresh territory. Her ten studio albums are all vastly different and wonderful. The Kick Inside and Lionheart, with more high-pitched vocals, had this sensuality and rare beauty. Never for Ever was a step forward in terms of adding rawness to her vocals whereas The Dreaming is this experimental and wild work that took a lot out of Bush. She then followed that with Hounds of Love in 1985 and this, to many, is her best album. It remains one of the finest records of the 1980s and a hugely accomplished work. The Sensual World continued a fine run whereas The Red Shoes, although not as successful as her previous work, is an amazing album. Her more recent works are more mature but no less ambitious and amazing as her earlier stuff. It is not just the material and the words that compel but it is the way Bush has conducted her career. She promoted her work heavily in the early days and, at every opportunity, was the model of professionalism and sweetness. Her last album, 50 Words for Snow, was met with a blizzard of interviews and she was engaged and fascinating in every one. You get a lot of big stars who are not that interesting in interviews or not as nice as they could be.

With Kate Bush, she is very real and honest. She values her private life so you will not see her out at parties or courting the limelight. She also takes her time to produce albums to ensure they are as fine as they can be. You listen to her songs and are sucked into her world. Her pen has always been sharper and more engrossing than any around and one tries to think of another artist with the same reach and imagination. There are artists – like Tori Amos and Björk – who have been guided by Bush and you can trace back to her. Modern music is not exactly wild and daring so we still listen to Kate Bush’s work to get that spark and passion. Since 1978, this wonderful artist has provided the world with so much incredible music and influenced scores of others. I feel that, whilst some of her peers have been made dames, Bush has been denied. It is great she is a CBE but surely an upgrade must be coming. The sheer coolness of seeing Dame Kate Bush put out music is amazing and she definitely deserves the honour! I am not sure how much say The Queen has regarding honours and who makes the call but one feels like Bush’s incredible background and legacy warrants her being made a dame. Perhaps it is just me but I know there are others who would like to see it happen.

I am not certain what the next couple of years hold for Kate Bush but there is going to be that desire for more material. She was busy last year in a retrospective sense and ensured her words and music were out there in the world. There are few artists around who have produced such an impressive and original body of work so you have to feel that, one day, Kate Bush will be made a dame. Every time I get to write about Kate Bush – whether that is because of an album or something else – I look back at her work and marvel. No two albums are the same and I feel like a generation of songwriters are experiencing Kate Bush for the first time and taking note. I understand CBEs and big honours do not change things or define who someone is but I have seen so many lesser personalities and those who have done less good being knighted or given a dameship. I have just been musing and thinking about the biggest artists around and those who have provided the world with so much. Bush is among the most inspiring and it is great she already has a CBE to her name. It would be great to think that, when the New Year Honours List is announced for next year, Kate Bush will be on it again. For now, we look ahead and hold our breath that there will be some material coming down the line. You can guarantee that, whenever her eleventh album arrives, it will be another…

SENSATIONAL work.

FEATURE: Pressing the Mute Button: Is Music T.V. Truly Dead?

FEATURE:

 

 

Pressing the Mute Button

PHOTO CREDIT: @jcosens/Unsplash 

Is Music T.V. Truly Dead?

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LIKE many other topics that appear on this blog...

 PHOTO CREDIT: @jakobowens1/Unsplash

it is not the first time I have investigated them. I shall not rustle through my notes and history but, more than once, I have talked about music T.V. and the need to keep it burning. The title of this piece might be misdirection: I am actually looking to pitch an idea and get something started but, invariably, one has to look at the state of music T.V. to see why the possibility of such a reality is slender. When MTV launched back in 1981, many people were sceptical whether it would last and whether it would find an audience. Not only did it start to grow but it reached a real peak through the 1980s and 1990s. It was only really when the Internet and sites like YouTube started to become more influential that music T.V. sort of died out. MTV is still a thing but it is known more for its original programming and non-music video-related. I look at terrestrial channels and there is not really any option for those who want to keep the music T.V. idea going. We have the long-standing and popular Later… with Jools Holland but I think that is coming back soon – it has not been on the screens for a fair few weeks now! That show has been going for ages and, through the years, the format has not really changed much; it has not needed to change and has satisfied its audience from the start.

I do wonder whether, at a time when music is expanding wildly, we are relying too much on the Internet and streaming services. It is great that we have YouTube to see music videos on and there are great radio stations that promote music but why do we seem to have ignored music T.V. and traditional shows? Yesterday, when remembering Prince three years after his death, I was watching his great videos and smiling. He was a complete legend and I love the visual aspect of his work. I also spent some time on YouTube checking out classic album shows and videos and discovering some really great stuff. I am listening to a lot of great new artists and there are albums out at the moment which are definitely worth exploring. Consider all of these different things and I have to ask whether it is worth exploring T.V. and putting this all in one place. One can argue we have everything we need out there and the average consumer can do their own research. Do we really need a T.V. show that talks about older albums and new artists? With so much kit and choice at our fingertips, is T.V., in that sense, redundant? I think that there are countless artists coming through right now that warrant exposure and that T.V. platform. Even the biggest artists need to promote their work and, traditionally, T.V. was always the way to do that.

 PHOTO CREDIT: @cfitz/Unsplash

Look at the T.V. options we have now and shows like Sunday Brunch, sadly, are taking the place of traditional music shows. I yearn for a show that has the feel of an Old Grey Whistle Test show – with a basic set and decent music – but incorporates so much more. There would be live performances but it would not solely be from the mainstream. Sure, about half of the show’s performances would be from bigger artists but you’d also have the upcoming and unsigned that would nestle alongside. It would be a bit of a first because you’d have these artists that have not appeared on T.V. with those who have been around for a long time. As venues close and artists have to look elsewhere for places to perform at, T.V. is as important now as it ever was. There is that argument that you will not please everyone and one camp says that music T.V. is pointless whereas another will want something like Top of the Pops. Others might fancy something a bit different but, with some research and compromise, you can actually come up with something that pleases the majority. I do not abide the fact that music T.V. is irrelevant and a thing of the past: we still consume videos online and there is more music now than there ever was. I think the T.V. platform would be invaluable for newer acts and I still love seeing sets from the established.

The fact Jools Holland’s show is so popular is people want to see these artists play and we all love live music. I do feel like a music T.V. show that ended up on the BBC would need to be more than just performances. I do love what Jools Holland has done but having another show that is just performances and interviews would seem a little pointless – even if newer acts were included. The show I envisage – I am not sure of a title yet; it is quite an important consideration! – would be a few hours long and there would be one every couple of weeks. Rather than having something weekly where we just saw a few acts perform, it would be a split between upcoming acts from around the world and the best of the established breed. There would be regular segments such as music news and a classic album each show – where we would see music videos and documentary-style clips regarding that record. Also, I like the idea of having a regular sort of playlist theme where videos would be played but there would be this theme; whether it was one-take videos, classic Hip-Hop or something else. In the studio, we would have a sort of roundtable discussion where guests would chat about a variety of things. Maybe it might mark the death of an iconic artist or sexism in music. It would be this interesting chat where we would get education and chat alongside the music.

 PHOTO CREDIT: @freestocks/Unsplash

There is scope for other features too and I like the idea of transplanting a busy and quality radio show to the screen. The music variety would be there but it would be closer in tone to Jools Holland’s show and what is played on BBC Radio 6 Music. That is not a personal bias but I am keen to step away from the commercial and mass-produced when it comes to guests. Interviews would be important and, each show, a huge guest would be under the spotlight. They would chat but also get to select some of their favourite music too. It would be a packed and wide-ranging show but we would not forget about the live performances and how important that is. There are articles out there, such as this that ask whether T.V. is dead and whether its reach is what it once was. With streaming services and big players like Netflix in the market, there is definitely a home and a chance for a music T.V. show. The reason I became so fascinated by music from a young age was the likes of MTV and being able to see these great videos and artists all the time. I do feel there is something rather sterile, impersonal and detached about the Internet and, whilst we all have endless choice, it is hard to cover all ground. So many approaching artists love the idea of a music T.V. show and it is invaluable experience from them.

I have pitched the idea of a music T.V. show before and, on one occasion, someone said BBC Four were planning something. I have not seen anything come to fruition and I do wonder whether there would be anything as broad and exciting as my idea. I think the Internet and the way we consume music now is removing some of the joy and sense of community and, if we had a great music show on the box, there would be plenty of people interested. I understand those who say they used to watch music shows but there is no need now. Many do prefer to listen online and feel that we cannot reclaim the past. I feel there has not really been a viable and interesting option put forward through the years. The fact that Later… with Jools Holland is the only real music show on mainstream T.V. suggests people still want this kind of thing but we could go so much further. It is all very well saying that YouTube covers our needs but how many younger people are discovering classic albums and getting a full education? Of course, there are countless artists out there we all miss out on and it is naïve to say that there is no role for T.V. I would like to see a music T.V. show that had some depth and range but also recounts the glory days of MTV and Top of the Pops. So many people, whether it is nostalgia or something else, love those days and how we all used to watch these shows.

 IMAGE CREDIT: MTV Networks

You felt excited and giddy watching and, whilst we cannot recapture all of that spirit, that is not to say music T.V. is dead. I do think commissioners and broadcasters need to be a bit more open-minded regarding the formats and potential. I understand there is risk and great expense putting a series together but that could be said of any drama or comedy series. Assuming something would fail because there is nothing like it around is not a good argument. A great format can spark the imagination and prove very popular. Others might say that having so many artists play would cost too much and it would be a nightmare but the show would be bi-monthly (twice a month) and not weekly; it would not be a massive budget and, like all great shows, the investment needs to be made. I do not like the fact that the Internet dictates the way we consume music and research and I feel we are all missing out on a world of music. A music T.V. can introduce people to albums they forgot about and new artists that they would not have otherwise of considered. I do like streaming sites and the likes of YouTube but there is a place for T.V. and a show that can bring live music to the masses. So many are unable to get tot gigs or suffer anxiety so this might be the only way to see artists play live.

I am sad MTV has declined and, as TheStreet say in this article, the station has moved away from music:

“But nowadays, MTV is just one of many cable-TV and online channels competing for the eyes and ears of young people. Viacom's flagship network is no longer a cutting-edge source for music or entertainment. Viewership, especially among the 20-and-30-year-old Millennials that marketers covet, has been on a steep and steady decline.

"MTV seems to have lost its allure," said Jaleesa Jones, 21, a communication studies major at the University of North Carolina in Chapel Hill, N.C. "TV is less popular now because we have so many other outlets to choose from, like Netflix (NFLX, Hulu and HBO Go."

MTV's audience has been shrinking just as mobile viewing by Millennials has accelerated the move by marketers to spread more of their money on an assortment of Internet-based video channels. In 2013, an average of 542,000 persons ages 18-49 tuned in to MTV during prime-time hours, according to Nielsen. In 2014, that number dropped to 497,000 persons, and so far in 2015, it sits at 361,000 -- a 34% decline rom just two years ago, Nielsen data shows”.

I think we can break against the desire for reality shows and actually bring music back into the fore. It would not be the same as the height of MTV and Top of the Pops but, with some time and patience there can be this revival and new interest. I can understand why networks would be sceptical but talk to people out there and, with the right format, there is definite interest and potential. I would love to see a great music T.V. show that covered the bases and balanced the older with the new. If we can get that to the screen and kicking, it would, I believe, prove to be…

 PHOTO CREDIT: @bahiapictures/Unsplash

MASSIVELY popular.

FEATURE: “Confidence Is a Preference for the Habitual Voyeur of What Is Known As…” Parklife at Twenty-Five: Blur’s Timeless Masterpiece

FEATURE:

 

 

“Confidence Is a Preference for the Habitual Voyeur of What Is Known As…”

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

Parklife at Twenty-Five: Blur’s Timeless Masterpiece

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THERE are a few anniversaries happening this year...

that make me feel very old indeed! U.S. sitcom Friends turns twenty-five on 22nd September and The Simpsons is thirty on 17th December. I remember watching the pilot of The Simpsons at the age of six and being moved by this very strange and wonderful show. The same sort of emotion came over me when Friends came to the British airwaves and, soon enough, it became a fixture of my life. The fact that both iconic shows get a big celebration in 2019 does make me nostalgic…but there was a distinct period of culture that spawned these great shows and moments! Alongside the great T.V. that was around in the late-1980s and the 1990s, music was really starting to inspire. Music was always inspiring but there was this same period of time when things radically changed. Think of Blur and, for most of us, the first album of theirs that springs to mind is Parklife. I have a lot of affection for their debut, Leisure (1991), and it spawned baggy wonders such as There’s No Other Way and She’s So High. The album is wonderful but many suspected Blur had better in them. By the time Modern Life Is Rubbish arrived in 1993, the band upped their games. The record was more ambitious than the debut and, with songs like For Tomorrow and Sunday Sunday among the pack, more critics were taking them seriously.

 IN THIS PHOTO: Blur in 1994

Modern Life Is Rubbish is Blur’s first masterpiece and found them abandon the cores of their debut and going in with huge ambition. You could tell the band were throwing it all into the mix and had that immense sense of purpose. By the time Parklife arrived a year later, they were making waves and created a bigger, funnier and sexier version of their sophomore release. I cannot think about Blur’s path and triumph without mentioning Britpop and Oasis. Many people might cringe and balk – as many feel Britpop was overrated and a bit nauseating – but I love the battle between these two bands. Oasis made their debut later in 1994 with Definitely Maybe and it began one of the greatest rivalries of modern times – hitting a peak around 1995 and, by 1997, Blur had overtaken Oasis in terms of quality - and they survive to this very day. 1994 was a magical year and, whereas Manchester’s Oasis came in with a bombastic and anthemic tunes to get us together, Blur had their own design and intention. There was so much going on in 1994 – American Grunge was still raging – and there was this feeling of togetherness and making music that hit the heart – it seems so long ago since we had that joy and spirit in music! Blur’s lead, Damon Albarn, started writing prolifically after Modern Life Is Rubbish and you could tell the master was in inspired form.

Blur headed into the studio with the legendary Stephen Street to record their third album. Songs came together quickly and there was a feeling, quite rightly, that something special was happening. Aside from the complexity of This Is a Low, the band had no trouble getting the songs down; there were splits between the label and Blur regarding the quality and potential of Parklife. The career of Blur would mutate and evolve after 1994/1995 and embrace new sounds and directions. Parklife is the epicentre of their cheekiness, coolness and majesty. Across sixteen tracks, Blur run a gamut of emotions and tell these unique and captivating stories. From the anthemic Girls & Boys – Albarn writing about the lack of morals and rampant sex that occurred at spots like Ibiza; a sense of recklessness and abandon – through to the divine, sweeping This Is a Low…Parklife is a masterpiece! I was stunned by the album back in 1994 but I am picking up new elements twenty-five years later. It is utterly wonderful and engrossing from the very first notes to the last.

There is a nice balance between the funny/upbeat and the more mature. Tracy Jacks has that bounce and endless charm whereas End of a Century weirdly prefaced the lure and dominance of technology against romance – Albarn noticing how couples were more interested in watching T.V. endlessly than actually connecting. Parklife, with the epic commentary from actor Phil Daniels, is one of the true standouts. Endlessly quotable and sing-along, it is a song that has been used, parodied and rhapsodised since 1994. Albarn came up with the song, apparently, when living in London and watching joggers and pigeons go by. You can imagine Albarn wandering around parks and being compelled by all the buses, people and scenes going by. Parklife is so relatable now and, as I walk around London, you could soundtrack various streets and interactions with songs from Parklife. It is not exclusively British in its tones and themes but, at a time when this country is divided and cracked, an album like this snapshots a time when we were together and there was greater hope lingering in the breeze!

You listen to the song and picture all these scenes; the everyday and comical alongside one another. It is a classic track and one of many on Parklife. The album’s first half is its finest and exhausting. Bank Holiday, Badhead and The Debt Collector complete a woozy, exhilarating and packed opening half. The first track is about Bank Holidays and the barbeques, neighbours and working-class scenes. It is a thrilling rush and insatiable song that, again, has plenty of wit, evocative imagery and tangible familiarity. Badhead is more sombre and introspective: a tale, seemingly, of cross words and regrets after an argument; the need to correct things but there being this sense of stalemate and confusion. The Debt Collector is an instrumental that swoons and staggers and, after so much rouse and words, it is a nice break and, actually, quite a strong track. There are a couple of tracks on the second half that are not up to the standard of the other cuts. Far Out is Alex James’ (the band’s bassist) look at the stars and the galaxies; a bit too weird and far-out-there to connect and resonate. Clover Over Dover is a little slight whereas Lot 105 is a terrible way to end the album. If it should have been included – there must have been better songs in the vault than this throwaway song?!  - then bury it towards the middle! This Is a Low is a perfect, emotional way to end Parklife…but it is undercut and cheapened by a silly song like Lot 105.

In any case, there are some gems and underrated jewels that continue the pace and take Blur into new territory. Trouble in the Message Centre is often overlooked but it is a great track and one that gets into the head; London Loves has a terrific bounce and catchiness abound; Magic America is glistening and gorgeous. If the opening half had the stellar Girls & Boys, Parklife and End of a Century, the second half has the stunning To the End and This Is a Low. With its gorgeous orchestration and giddy waltz, To the End investigates a bad patch in a relationship and a couple trying to get through things. Parklife is synonymous with the polemic of humour and joy marked against the tender, bombshell moments that one would not expect from such a young band. The depth and range of the material is clear and riding high in the mix if the should-be-swansong, This Is a Low. The song started as an instrumental and there were various attempts at cementing the composition. Albarn was struggling to come up with lyrics and the breakthrough was tricky. Alex James revealed that he bought Albarn a handkerchief with a map of the shipping forecast regions on it. Oddly, this quirky gift compelled the lyrics and gave This Is a Low new dimensions and multiple layers – using meteorology and the weather to describe personal loss and split.

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Aside from embracing the mood of the time and capturing something wonderful in the Blur camp, there is not really a concept running through Parklife. I guess there is a sense of Britishness and, in some ways, interwoven stories that takes us behind bedroom doors and over garden walls. The lyrics jump from these charming little scenes of parties and raves to the rawer edges where relationships are destroyed and lives changed. Blur covered a multitude of lyrics and the range of compositions is dizzying. There is Waltz, Punk and Pop and, when you consider the finest songs on Parklife – This Is a Low and To the End, for example– they seem to come much more from Damon Albarn’s personal space and situation rather than a general observation of British life. We often associate albums of the time (and Britpop) with a joyfulness and spritz but bands like Blur were producing these emotional and affecting songs that dug much deeper than mere fun and frivolity. This is one of the reasons why Parklife has picked up such a legacy: its balance of moods, emotions and themes. I think the album will continue to grow and amaze people decades from now!

PHOTO CREDIT: Terry O'Neill/Iconic Images/Getty Images

In 2007, AllMusic reviewed Parklife and provided their take:

“The legions of jangly, melodic bands that followed in the wake of Parklife revealed how much more complex Blur's vision was. Not only was their music precisely detailed -- sound effects and brilliant guitar lines pop up all over the record -- but the melodies elegantly interweaved with the chords, as in the graceful, heartbreaking "Badhead." Surprisingly, Albarn, for all of his cold, dispassionate wit, demonstrates compassion that gives these songs three dimensions, as on the pathos-laden "End of a Century," the melancholy Walker Brothers tribute "To the End," and the swirling, epic closer, "This Is a Low." For all of its celebration of tradition, Parklife is a thoroughly modern record in that it bends genres and is self-referential (the mod anthem of the title track is voiced by none other than Phil Daniels, the star of Quadrophenia). And, by tying the past and the present together, Blur articulated the mid-'90s Zeitgeist and produced an epoch-defining record”.

Pitchfork gave their views in a 2012 review:

“Parklife is the masterpiece of this era. Pop-art bright, stingingly funny, and at times suddenly poignant, it remains the defining artifact of Britpop. It's a nationalistic record in the same way Born in the USA is a nationalistic record: It might look like sloganeering patriotism if viewed from outer space, but up close it's a finely detailed, intricately cracked document of a very particular national malaise. The disco smirk "Girls & Boys" (propelled by one of Alex James' best basslines) finds its hedonistic vacationers "avoiding all work, 'cause there's none available," while the tragicomic "Tracy Jacks" sketches a lonely civil servant who goes quietly mad. With humor, pathos, and nostalgia, Parklife tells of a modern world where dreams have been boxed in by materialism, conformity and routine, and even the once-space-age future has lost its sparkle. "End of the century," Albarn shrugs over Coxon's minor chords. "It's nothing special."

The millions-selling, Brit-Award-sweeping Parklife was also the record that made Blur into bona fide pop stars, a role that some members embraced more readily than others. "I made a point of drinking two bottles of champagne a day for 18 months," is how bassist Alex James remembers 1994. "England only imports something like 100,000 bottles a year, so I reckon I drank 1% of England's total champagne import." At that point Coxon was, arguably, drinking even more, but without the joie de vivre; instead, he was increasingly uncomfortable with the band's success”.

There is a lot of debate as to which album of the 1990s is the best but everyone has to consider Parklife when compiling a top-ten. Many see the album as the definition of Britpop but Parklife is much deeper and more interesting than that. There have been articles celebrating and marking Parklife’s genius and influence through the years. As it is about to hit twenty-five, there will be new appraisal and retrospection. This article from Time five years ago argued that Parklife was a misunderstood album that was much more than Cool Britannia and this zeitgeist feeling that was circulating in Britain:

“For all that Parklife is the work of a young band — “the mind gets dirty as it gets closer to thirty,” one line goes, with the big three-oh still seeming like a distant destination — it’s a remarkably confident, even cocky album. (A line from critic David Quantick about the Beatles recording Revolver and realizing “we are young and we can do anything” — that combination of talent and the invincibility of youth — comes to mind.) But Parklife is also a kind one, as well. “We all say, don’t want to be alone” Albarn sings in “End of A Century.” In “This Is A Low,” he sings of melancholy as something that can bring comfort: “It won’t hurt you/ When you’re alone, it will be there with you…

PHOTO CREDIT: Shinko Music/Hulton Archive/1994 Shinko Music  

“Even the album’s “comedy” songs show empathy towards their target characters. “Jubilee” is an outsider hated by all, who would love to be accepted but “no-one told him” how to do it, or where to go. For all that the Blur of this era would be attacked for being too arch and unemotional, Parklife is as warm and inviting as anything Oasis (or any other Britpop band) released during the same period.

Parklife may have inspired other bands to reach into their record collections, but it has a breadth and heart that so much of what followed lacked (including the band’s own The Great Escape, which feels cynical and uninspired in comparison). It has an inclusiveness towards music that stands at odds with the small-minded attitude that ended up defining so much of what Britpop became. In many ways, Parklife is larger than the genre that grew up around it, holding it up as a standard-bearer so proudly. It sounds as fresh today as it did 20 years ago — a summation of British pop music up to that point in all its occasionally contradictory, throwaway glory.

Looking back even further, to 2009, The 405 talked about Parklife as Blur’s revolution that provided the British scene with some much-needed clout and grit:

“Blur turned out as one of the bands that gave the nineties British music scene some bite, and documented the lives of twentieth century Brits in a lucid but poetic style. Parklife is Blur's best album built on social commentary: the two before were paler versions of this, and the albums after became more introverted, or just not as good...

Even if you aren't planning on listening to the original guitar style of Graham Coxon, or the lyrics, there are some pretty excellent sing-along moments on Parklife, and that will never change. The tracks 'Tracy Jacks', 'Parklife' (which still receives radio play), Girls & Boys (though a tongue-twister), and 'Badhead' are all examples of sing-along classics. As for things which don't sound so good in retrospect, Parklife has a nineties polish on it, dusted with electronics it didn't need and some sampled sound effects that don't work so well. However, a little unnecessary production cannot stifle excellent song-writing, pretty melodies and great lyrics. In the future, if nobody ever gets bored in love anymore, never wants to escape their nowhere town, never feeds the pigeons to give themselves a sense of wellbeing - maybe in this imaginary future, Blur will seem irrelevant and dated. I should think we have a good few years before then to enjoy Parklife”.

I hope lots of people mark Parklife’s twenty-fifth anniversary on Thursday and its reaches the ears of new listeners. Even if Blur’s future is questionable – they are still a group, technically, but there are no plans for albums anytime soon – one can look at their 1994 breakthrough as an essential catalyst and part of the Britpop movement – even if it was a lot more complex and rich than a lot of the albums coming from British Pop that year.

PHOTO CREDIT: Paul Postle

Even in 2019, Parklife sounds fresh and I do wonder whether more artists should be taken inspiration from it. How many albums do we hear now that have the same sense of fun and variation?! It is a staggering album that lost the Mercury Prize in 1994 – M People’s Elegant Slumming, bafflingly, won – but is seen by many critics as one of the finest albums of the 1990s. There are multiple standout moments from Parklife but, when I think of the best, it is the addictiveness and catchiness of the title track! I will spin the album now and, as all the songs sink back into my head, the sound of Phil Daniels talking about joggers’ weight problems and feeding pigeons on a Wednesday (as he is rudely awakened by the dustmen) will remain in my head the longest! That song alone leaves a massive smile on my face and, twenty-five years after its release, there will be new people discovering Parklife. It is a truly wondrous album that, wonderfully, gets stronger and more profound…

WITH age.

FEATURE: Station to Station: Song Three: Mary Anne Hobbs (BBC Radio 6 Music)

FEATURE:

 

 

Station to Station

IN THIS PHOTO: Mary Anne Hobbs/PHOTO CREDIT: Laura Lewis

Song Three: Mary Anne Hobbs (BBC Radio 6 Music)

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EVERYONE has their own idea of what makes...

 PHOTO CREDIT: BBC

for perfect radio but, for me, there needs to be this blend of warmth, humour and knowledge. If a D.J. is not connected with their audience and does not get into the heart then there is something lacking. I listen to BBC Radio 6 Music because everyone on the station is dedicated to what they do and you feel like nothing else matters to them. Every presenter has their own story and pathway but, essentially, the twin temples at London and Salford house some of the most passionate, acute and compelling lovers of music in the country. That may sound like a big statement to make but one can detect a very physical electricity and desire emanating from the speakers every day. I started this feature off by looking at Lauren Laverne and how she is, to me, one of the very best on the station. I love her breakfast show and think that, having taken the role over from Shaun Keaveny, she is doing a fantastic job! She has made the show her own and added a unique stamp to proceedings. It is a great way to start the morning off and then, at 10:30, she hands over to Mary Anne Hobbs. There is a clear and affectionate respect between the two and, having come from different directions before making their way to BBC Radio 6 Music, it is fascinating that these two passionate and inspiring women are on the same station – even if Laverne is in London and Hobbs is up in Salford.

I have a serious radio crush on Mary Anne Hobbs and, rather than it being anything salacious, it is the knowledge that here is a human who feels the same about music as I do – and that, in a frantic, confusing and divided world, is very powerful and reassuring. It is that comforting nature that means many tune into Hobbs’ broadcast and would not be anywhere else. Before I come to Hobbs’ show and how her move to weekday mornings, one must think about her past and why she has such a knowledge of the industry. I will quote an interview from The Independent that was conducted back in 2015. I am missing parts out but it shows you how Hobbs has moved through the years and shows how hard she has worked to get where she is right now. The interview is illuminating and frank; it will be a great reference and inspiration for those starting out in radio:

“The digital-first nature of Radio 6 and the Twitter dialogue she has with her two million listeners, means she feels she can truly engage with her audience. "It feels very much that they are part of what we do. They are a crucial component and they almost feel like family - I don't have my own family, but they've very much taken on that role in my life," she says.

After leaving Radio 1 five years ago, Hobbs worked for a year mentoring 700 students at Sheffield university. During that year she remembers attending her unof-ficial mentor John Peel's funeral and standing inside the cathedral "making a silent promise to myself” that she would share some of his encouragement and wisdom.

The university role gave her an opportunity to keep to the promise. The students produced 75 original radio programmes each week and worked on a digital TV channel. "It was really exciting, like being stripped to the bone every day by a school of starving piranhas," is how she remembers it”.

“Hobbs moved to Los Angeles with Sounds and lived in a shed in someone's back garden in West Hollywood. She had just $600 in her pocket when she arrived. "I had sold everything I owned - which wasn't very much - to get to America."

Three decades on from witnessing the birth of thrash, Hobbs is now watching the emergence of a new classical music scene. She's hugely impressed by Nils Frahm, whom she describes as a "Berlin scholar of Tchaikovsky" who brings a mix of electronic/ techno and classical music. She's also credited for discovering - and popularising - dubstep in the past decade and remains a great evangelist for the genre, pointing to artists like Burial, James Blake, Mala, Kode9 and Digital Mystikz.

The global tipping point for dubstep was at the Sonar Electronic, a festival in Barcelona in June 2007, when she DJ-ed in front of 8,500 people with Skream, Oris Jay and Kode9, which she describes as "one of the greatest nights of my life".

She also worked on the soundtrack for the club and bar scenes for Darren Aronofsky's Oscarwinning Black Swan.

When judging the iSessions finals, she says she will rely on her gut instinct built up over decades of experience sourcing new music. "It is entirely subjective," she admitted. "But it's not rocket science. It's very exciting as I might go into the room and the next new thing could literally walk in."

And as "a child of John Peel" she believes judging these student bands is carrying on his legacy”.

I have, as I said, omitted a lot of details but it is clear that Hobbs has had a varied and exciting past. Looking further back and, as a youngster, there was a sense of yearning that was not necessarily being met. Every one of us approaches music differently and we all had a different experience. For Hobbs, as this interview shows, things were not easy:

“…As a young kid, I was way into punk rock, but my dad, who was an extremely violent alcoholic, had completely banned all music from the house. So if you wanted to buy a record, you would have to go to Mears Toyshop and place an order, and then one seven inch single would take nine weeks to reach the shop. At 12, 13, I was really really into punk, it was massively appealing to me. I cannot tell you how thrilling it was to sit in a class at school and be told in very grave and serious tones about how the Sex Pistols were literally on the brink of destroying civilised society as we knew it”.

Your heart goes out to Hobbs and it is amazing to think that the girl who had such a hard start is now one of the biggest names on BBC Radio 6 Music. I look at the route Hobbs has taken regarding music journalism, working both sides of the Atlantic and now, as her career continues to grow, working in the morning slot on BBC Radio 6 Music. The industry has changed since Hobbs started out but there are those out there who want to be where she is right now and wonder if it will ever happen. Hobbs’ has worked hard but, against adversity and challenges, she has managed to succeed and shine. She has mentored others and is a D.J. that has brought joy to millions. This is something that shouldn’t be taken for granted and I thank her for providing me with a real sense of purpose and hope every day. It is rare we discover someone as hard-working, dedicated and passionate as Hobbs.

PHOTO CREDIT: Jessica van der Weert 

When BBC Radio 6 Music announced their line-up change last year, I was a little wary. I was not sure whether the new combinations would work and how it would differ to what we knew and trusted. Within a matter of hours, you got this feeling that something good had happened. Hobbs, on weekend breakfast before, was allowed chance to expand and reach a new audience. I only got to catch her occasionally at the weekends but, now in this new slot, there are no excuses! I have read interviews Hobbs gave and she loves music as much now as she did when she started her career. There is something intoxicating about a presenter who has this much love for music and is always looking to unearth the best new artists around. I have received feedback from artists who have got gigs and new fans because of Mary Anne Hobbs. I do not think she knows the full effect her words and kudos has - and how important it can be to musicians that catch her eyes and ears.

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PHOTO CREDIT: Laura Lewis

I do wonder whether Hobbs’ career will ever make its way to the big screen as she has interviewed some huge artists, seen music movements come and go and had this amazing arc. It is awe-inspiring seeing this always-inspiring woman tackling new ventures and helping artists. She has helped countless musicians reach new audiences and, when you listen to her show, you realise that she will be at BBC Radio 6 Music for many more years. Another reason why I love her show is because of that voice. In order to connect with your listeners, there needs to be a certain tone and gravitas that hooks you in and keeps you invested. Hobbs’ legendary, silken tones are, perhaps, the most luxurious, powerful and sensuous around. Again, it is not me being a bit smitten but there is this warmth that keeps us all safe but one gets this real kick and smile from Hobbs. The choice of music she plays is also another reason to investigate her show. BBC Radio 6 Music is renowned for its great taste and eclectic spirit and I think Hobbs is the epitome of that. I love what Lauren Laverne and Shaun Keaveny do but listen to Hobbs and you get the full spectrum of brilliance. I was listening the other day and there was some Heavy Metal only a few moments after some Ambient sounds!

It is amazing how she can have these incredible shifts and make it all work. Hobbs is tireless about her work and is dedicated to what she does. Whether it is promoting the music of Manchester and Salford or getting involved with festivals at BBC Radio 6 Music, she is at the forefront and proud to do her bit. A champion of artists old and new, getting the gold standard from Hobbs is much-coveted. I have discovered so much terrific music through her show and use it as a genuine guide. I discovered Nils Frahm through her – his album, All Melody, is still one of my recent favourites – and IAMDDB. Every week, I discover new tracks from great artists I have not heard anywhere else. Hobbs’ knowledge of the underground and determination to shine a light on the best approaching artists about is hugely commendable. She balances this paternal attitude with an almost God-like understanding of music’s past; the variation she plays and the music she loves is insane. Every show brings solid gold and you come away feeling educated, uplifted and moved. In terms of the talent on BBC Radio 6 Music, Mary Anne Hobbs is one of the most precious and strong. I know that she has ambitions but I do hope she remains where she is because we need and trust her incredible voice and tastes. Hobbs’ connection to musicians and how important they are also touches me.

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 IN THIS PHOTO: IAMDDB (one of many great newer artists I have discovered via Mary Anne Hobbs)/PHOTO CREDIT: Haris Nukem

When Scott Walker died a month ago, Hobbs broke down and was moved. It was a huge shock to her and you get the feeling that Walker’s music was a huge part of her life. That sort of love and commitment to an artist is incredible and you really felt for her when Walker passed away. I remember when David Bowie died in 2016 and, again, Hobbs was shocked and affected. Music is such a huge part of her life and it has helped her in so many ways. We all listen to music to feel something but I feel, to Mary Anne Hobbs, it means more than anything. You’d like to think she switches off but I can picture her at home and still in that mindset – unable to turn that passion off and searching for the hottest new sounds around. When BBC Radio 6 Music announced their changes last year, Hobbs spoke to Music Week and discussed what it meant to her:

“They’re really exciting times. Moving forward into 2019, everybody’s got an opportunity to play to their strengths and shine in the new slots,” said Hobbs.

“I’m thrilled to bits to have the opportunity to bring the rich diversity and palette of music I really love and that I’ve championed for a lifetime into the heart of the schedule. It’s a dream job, really.”

“What 6 have done is looked at a presenter who’s been very productive in the more shady areas of the schedule,” she said. “A great number of the artists I’ve championed over the years, people like James Blake, Kendrick Lamar, Nils Frahm, Kamasi Washington and Julia Holter, have resonated in the lives of our listeners. This is a chance to broaden the musical palette of the network in the daytime.”

The former XFM and Radio 1 DJ said she believes 6 Music bosses “would like to take many of the elements of the DNA of the programmes I’ve created for 6 Music at the weekends and evenings into daytime”.

I hope I have done her justice but I wanted to explain why Mary Anne Hobbs is so important to me and countless other people out there. She has made me a more aware and devoted feminist: not just the fact she plays so many powerful women on her show but you know Hobbs craves parity and change in the industry. This has rubbed off on me and I am always looking to raise awareness and argue against sexism in music. Hobbs has made such a big difference in so many people’s lives. For me, battling against depression and anxiety, her show provides that balm and gives me aspirations. I would love to be where she is and, when I was in Salford last year, I was sat outside the building where she broadcasts and wondering how cool it would be to be there. I can imagine the sense of drive and excitement she gets, still, walking into work and playing incredible music to the nation. We are so glad she is on weekday mornings and I know for a fact there are people out there who want to be Mary Anne Hobbs. She is such a source of inspiration and wonder – here’s to many more years of this titan on the airwaves! I shall leave my drooling and starry-eyed praise there but I do not do it lightly. I meant every word of the piece I wrote about Lauren Laverne and the same thing goes for Mary Anne Hobbs. She is a real gift to radio and music and, for that reason, we all owe her…

 PHOTO CREDIT: Laura Lewis

A debt of gratitude.

FEATURE: The LiveLive Revolution: Lewis Capaldi’s Anxiety-Coping Initiative and Creating a Calmer Environment at Gigs

FEATURE:

 

 

The LiveLive Revolution

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IN THIS PHOTO: Lewis Capaldi/PHOTO CREDIT: Getty Images 

Lewis Capaldi’s Anxiety-Coping Initiative and Creating a Calmer Environment at Gigs

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I am not the only one who avoids big gigs because...

IMAGE CREDIT: @LewisCapaldi

there is this unnerving sense of discomfort and crowding. I am okay around most people but, when faced with big crowds and a busy environment, things can get a bit tense. It can be awkward for people who love live music to come to big venues and spaces where there are a lot of people. When you have anxiety, such as I do, then you become less sociable and miss out on quite a lot. Even a smaller gig can be a bit too much and there is that feeling that, more often than not, you have to avoid going out. Venues are getting better at accommodating people but there is still a long way to go. Access for disabled people is increasing but there is still a feeling that they are being overlooked. I do hope that all venues make sure they do not restrict disabled access and allowances are made. Many people do not realise that, for those who suffer mental illness, things can be pretty bad too – even if people cannot see it. Lewis Capaldi has introduced a scheme to help his fans who suffer from anxiety. Some have been saying that this scheme cannot work in practice and, up until now, we have been fine without measured aimed at reducing anxiety. In this article from The Guardian they look at what Capaldi is doing and how it will help fans:

“The musician Lewis Capaldi has announced that he is to provide provisions for fans at risk of anxiety and panic attacks on his upcoming UK arena tour. Capaldi, whose single Someone You Loved has been No 1 for seven weeks, is adding a compulsory 50p charge to his ticket prices to cover the costs of a scheme he has named LiveLive.

PHOTO CREDIT: @aaronpaulos/Unsplash  

Things will start off small but, in time, there is a hope that other artists can adopt a similar approach to Lewis Capaldi. This LiveLive scheme, as the article continues, has a number of different components:

Fans will be able to access support from a qualified team at each venue before and during Capaldi’s arena shows, which take place in 2020. There will also be designated help points for anyone struggling emotionally, an “escape room” for anyone who needs time out, and a gig buddy system for fans travelling alone.

He said in a statement that he is often contacted by fans who wish to see him live, but feel they can’t because of potential difficulties with anxiety or panic attacks. He wanted to implement measures that allowed them to feel welcome. “I hate to feel that anyone’s anxiety is making them miss out on anything they want to do.”

Capaldi’s manager, Ryan Walter, told the Guardian that they had partnered with a company called Music & You that specialises in helping people working in music and the live environment. “We went through everything we as fans might want when thinking about attending a show, drawing from our own experiences – I’ve not gone to plenty of gigs both as a fan and on a professional level because of my anxiety.”

LiveLive is thought to be the first such initiative on a tour of this scale. Capaldi told the BBC: “I think with a little bit of success we could make it a more widespread thing, to be able to offer this to everyone at all gigs.”

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PHOTO CREDIT: @ernest_brillo/Unsplash  

Jacob Adams is head of research and campaigns at Attitude Is Everything, a charity that campaigns for improving deaf and disabled people’s access to live music. He told the Guardian that Capaldi’s initiative “demonstrates the ability artists have to directly influence the inclusivity of their shows, and welcome their entire audience to see them perform live. This is an important development in turning attention to the mental health of live music audiences, at a time when that of artists is rightly gaining increasing exposure”.

I have read some comments and feedback that is a bit sneering and seems to take the approach that, if people are anxious then they should not go to gigs. Mental-illness is being made more visible by artists and not something that should be dismissed. The last big gig I went to was at London’s 02 to see Queens of the Stone Age in 2017. I was okay to start with but, the more animated the crowd became, the higher my levels of anxiety became. I managed to stay for almost the entire concert but had to leave early. It is daunting being in venues where there are so many people and I agree it is difficult accommodating everyone and making sure they are okay. I hope greater movement happens regarding considering disabled gig-goers but I know so many people who suffer from anxiety and do not feel good going to gigs because of the stress.

We often go to gigs and do not really get an idea of what the space will look like and whether it will be quite intimidating. Gigs are very important and can be really exciting. Those who have anxiety and other psychological problems are never sure what they are in for and, if they avoid gigs, this adds to a feeling of isolation and loneliness. I am not suggesting that every venue has a sort of visual guided tour and advice lines but, until LiveLive can be rolled out by other artists, I think more needs to be done. Only recently have a lot of venues started to acknowledge disabled fans and it is positive seeing things move in the right direction. The fact the music industry is recognising mental-health problems and making allowances means that, hopefully, a lot of other artists will follow Capaldi. It does mean bringing more people into venues and providing support workers which, inevitably, costs a lot and will be a big commitment. For the cynics who say that this is too extreme and unfeasible, consider all the artists playing around the world and how many fans are avoiding attending because they are too nervous and anxious. Music should be for everyone and the live experience is one of the most amazing things possible. To be together with fellow music lovers and in that atmosphere is electric and hugely primal.

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 PHOTO CREDIT: @mclaren1/Unsplash

For some, it can be quite intimidating going to gigs and it is a shame to see so many miss out. Big props to Lewis Capaldi and what he is doing right now. He will help so many people and make the gig-going experience much easier and more pleasant. It is not to say that the LiveLive movement will cure anxiety but if we see this supportive and open space where fans can go without the fear of panic attacks and needless stress, then that is a really good thing. I do hope that many others take interest and, in years to come, most gigging artists either adopt LiveLive or they have something similar going on. I am not drawing a line between venues closing and anxious fans not attending but I do feel there are a lot of people at home reticent regarding attending gigs. Anxiety levels are on the rise and I do think we need to have conversations regarding those with mental-health problems. Music is this wonderful thing that unites us and, for those who cannot help the way they feel, it is heart-breaking seeing them miss out. It will be great to see this change and the fact more fans will attend Capaldi’s gig means a lot to him, clearly. Credit to him and, as I say, I do hope this is the start of something bigger. Anything we can do to recognise mental illness and ensure venues are a safe and calm (to an extent) environment is positive. Many people are getting excited about LiveLive and I, for one, welcome this endeavour that will make a huge difference in…

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PHOTO CREDIT: Sarah Louise Bennett

MANY people’s lives.