FEATURE: The June Playlist: Vol. 1: Hurry on Home, Because the Press Are Here…

FEATURE:

 

The June Playlist

IN THIS PHOTO: Sleater-Kinney 

Vol. 1: Hurry on Home, Because the Press Are Here…

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LAST week…

 IN THIS PHOTO: Hot Chip

I was saying how there seems to be this switch between weeks that are not so hot regarding new music and those that are positively ablaze! I do love the fact there is that contrast and, on the first day of June, I give to you a playlist that is dripping with gold and quality! Last week was sort of okay but it didn’t have nearly the same amount of headline-worthy acts that have released huge tracks. This week, Sleater-Kinney, Miley Cyrus; Kate Tempest, Hot Chip and Bruce Springsteen are in the mix. Throw in some Cardi B, Skepta and School of Language and there is plenty of wonder in there to keep even the fussiest music fan happy and fulfilled. I am curious whether this momentum will carry on and whether we will see the same sort of spread this time next week. That is the thing about music: you never know what you’ll get and what a week will provide! It is exciting to think what will arrive next week but, before then, enjoy this veritable banquet…

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 IN THIS PHOTO: Miley Cyrus/PHOTO CREDIT: Jo Hale/Redferns

OF great music.  

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

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Sleater-Kinney – Hurry on Home

Cardi B - Press

Kate Tempest – Holy Elixir

Miley Cyrus (ft. RuPaul) - Cattitude

Katy Perry – Never Really Over

Hot Chip – Melody of Love

Bruce Springsteen - Tucson Train

Skepta – Same Old Story

Metronomy - Lately

ROSALÍA - Aute Cuture

Sacred Paws – Almost It

King Gizzard & The Lizard Wizard - Self-Immolate

School of Language – Adult in the Room

Noel Gallagher’s High Flying Birds - Rattling Rose

dodie – Guiltless

Nasty Cherry – What Do You Like in Me?

PHOTO CREDIT: Phil Smithies

Sea Girls – Damage Done

Tove Lo – Glad He’s Gone

Sufjan Stevens - Love Yourself

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Yonaka – Punch Bag

Cheryl – Let You

Freya Ridings – Castles

Sinkane – Ya Sudan

IN THIS PHOTO: Little Simz

THE S.L.P. (ft. Little Simz) - Favourites

Jon Bellion – Crop Circles

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AURORA – A Different Kind of Human

Craig David – When You Know What Love Is

Thomas Rhett – Blessed

Daya – Forward Motion (From the Motion Picture, Late Night)

Bhad Bhabie – Lotta Dem

Crumb – Fall Down

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Queen Naija – Away from You

Mark Ronson (ft. Camila Cabello) - Find U Again

Charles Bradley – Lucifer

TRACK REVIEW: Kate Tempest - Holy Elixir

TRACK REVIEW:

 

Kate Tempest

Holy Elixir

 

9.5/10

 

 

The track, Holy Elixir, is available via:

https://www.youtube.com/watch?v=cOo8m8GaL-U

GENRES:

Hip-Hop/Spoken Word

ORIGIN:

London, U.K.

RELEASE DATE:

30th May, 2019

The album, The Book of Traps and Lessons, is available from 14th June, 2019. Pre-order here:

https://www.roughtrade.com/gb/music/kate-tempest-the-book-of-traps-and-lessons

LABEL:

Fiction

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NOW that I have sort of branched out...

on my own regarding reviews, it has given me the chance to sweep the genres and artists who are near to the mainstream. To be fair, I should be outside in the sunshine – I will get there later – but I have been compelled by Kate Tempest’s latest track. Her new album, The Book of Traps and Lessons, is out in a couple of weeks and it looks set to be a belter! I will talk about Tempest’s latest single in a bit but, before then, I will address the songwriters/thinkers we need in music right now; a bit on the evolution of songcraft and how artists like Tempest have evolved; wordplay and the importance of building imagery; the consistency of artists who continue to dazzle and amaze – I will look at Tempest’s future and where she might go from here. Let us think about the state of music right now and what artists are addressing. There is still the mainstream and, by and large, artists are not straying too far from the tried and tested: they are discussing love and all its machinations. That is all well and good but (many artists) do so in a very ordinary and unimaginative way. There are other songwriters tackling the big issues of the day and what is happening in the wider world. Kate Tempest is someone who has always been aware of the struggles around us and, in her poetic and striking way, she has managed to articulate our thoughts. Now, on her latest album, there is some of that but there is more of the personal. Her last single, Firesmoke, was a gorgeous and beguiling track to her girlfriend. It was tender and impassioned; a beautiful and intelligent paen to their love and commitment. I have not heard a track as beautiful and direct for some time and, compared to her previous work, it was a chance to see under the skin and in the soul. Tempest’s 2016 album, Let Them Eat Chaos, was, as you’d imagine, about the sense of dislocation and madness around us.

Not that she has abandoned that path but, in 2019, it seems her heart and desires are playing an important role. The reason I mentioned how Tempest is an artist we really need right now is because of the way she can describe that sensation of desire. She not only talks about love in a very striking way but her poetry and delivery is sublime. On her forthcoming album, we will get a mixture of the personal and political. I tend to find artists are either divided between the familiar and safer – writing about love and their own lives – and those who address politics and something a bit bigger. Kate Tempest investigates both camps and she can mix up the intensity and urgency of modern dilemma and beautifully compose a song that comes straight from the heart. I do not think there is an artist as varied and accomplished as her; one that can easily and naturally step into both camps and come off as such a complete writer. Tempest is keen to address what is happening in this country but she is in love and wants to put that onto the page! One can admire that and I feel Tempest is that ‘ultimate artist’ who can provide endless quality but, at the same time, endless depth and intrigue. You only need listen to her in interviews to realise there is no ego and, in fact, there are very few as real and relatable as her. Many artists have this chip on their shoulder or they come across as inaccessible and dethatched. With Tempest, here is a woman who has that common touch and her music, as such, is much more powerful and popular. I love her sound and style and how she can switch it up between releases. Let me move onto another topic and something else that has struck me about Kate Tempest. It seems that the young songwriter has evolved and changed quite a bit; made a few changes and has moved to a new stage in life.

 PHOTO CREDIT: Alex Lake for The Observer

That might sound vague but, as I said, I was struck by her visions of love and dedication on Firesmoke. I wanted to bring in a couple of interview snippets from a couple of years back. Not only (do these clippings) express Tempest’s mindset and view at the time but they sort of prove what has changed since then. When speaking with The Guardian, Tempest talked about when she wrote and the conditions conducive to composure; how the state of the nation weighs on her mind:

 “When Tempest is awake at that hour, she finds it peaceful. “There is something really magic about the couple of hours before dawn,” she says. “You’re recharged, the day before is gone, but there are no requirements. You don’t belong to anybody, to anything. That time lends itself to lyricism because of the repetitive nature of insomniac thoughts.”

She talks about her creativity as something exhilarating and powerful, but also very fragile, liable to damage if she doesn’t handle it with care. “You work your whole life to build up integrity and you lose that in seconds if you allow yourself to do the done thing, or not listen to an instinct because someone in the industry has got an idea about who you might be for them. You’re defined by your choices so you have to be aware of that.”

“I’m not interested,” she says. “We’re in a terrible situation in this country and I don’t think any of us are quite prepared for what the next few years might bring. I think that the artist’s role is to be observant at all times and do their best to create and feed back. In terms of party politics, I feel like we’ve gone too far now for I’m right and you’re wrong. And I think if you align yourself too closely with a system that you find completely flawed then you’ll probably end up living to regret it”.

 PHOTO CREDIT: Neil Gavin

In a separate interview, she expanded on that idea of living in the city and how the pace of life can impact you:

 “If you live in a big city, the impact that will have on you is pretty relentless,” Tempest says, to the soundtrack of blaring traffic and buzzing market stalls. “I understand the kind of toll it takes on people to be so surrounded by life. And obviously the coping mechanism is to exclude as much as you can from your field of vision, so you can focus on the things that you’ve got to do. But I think it’s making people pretty unwell. Just look again. Remember that all of these people are human beings, they’ve been through a hell of a lot that day, that week, that month, that year. Reinvest yourself with a sense of empathy that extends beyond your exhaustion, your particular panic.”

For Tempest, the downside to capturing so much anger and frustration in this kind of vivid detail is having to explain it further in interviews. The way she describes making music, it sounds like a primal process, something that just happens. Looking back on these songs, tracing steps and delving deeper is far from her idea of fun, to say the least. A couple of times, when pressed to explain the meaning behind one thought or the other, she seizes up. “It’s so useless me even talking about this,” she quips, midway through describing people’s reaction to the Syrian refugee crisis. It’s not that she’s being hostile, more that she’s pointedly aware of how broad statements could be taken out of context.

“People – especially journalists – seem to be hankering after a political statement or stance. But if you’ve just made a whole album that expresses some quite nuanced views on a given situation, the last thing you want to do is sum that up in a couple of sentences that will come nowhere near to expressing the scope and the complexities of how things feel at the minute”.

This painted a picture of someone who, in 2016/2017, was quite on the edge or aware of how anxious modern life is. The Book of Traps and Lessons does not stray away from the pains and challenges of modern-day Britain but, at a time when we are at our most stressed, Tempest seems to be in a different place. You can tell how much her girlfriend means and I get the sense of someone who, whilst not entirely calm, seems to be in a better place right now.

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 PHOTO CREDIT: Perry Curties

It is clear that Tempest has developed and added something new to her music in 2019. We listen to her previous work and there is an edge and physicality that is hard to ignore. The soothed and devoted Tempest that presented herself on Firesmoke adds welcomed dynamics and colours to her palette. I urge people to buy her upcoming album because, as you will see, there is a unity of her past sound and something different; fresh and tender strands that are divine and wonderful. Kate Tempest is a sensational artist because, when it comes to language and how she paints, there is nobody like her! Able to cut to the core with a straight and no-nonsense line or buckle the knees with a couplet borrowed from the heavens; here is someone who has devoted her life to literature, words and the pursuit of language – to embrace it in all its forms and see just what is possible when you open your mind. Tempest is someone so in love with language and words and you can hear that in her songs. I am not suggesting other songwriters are lazy or average when it comes to lyrics but there is something extra-terrestrial about Tempest and her skills – not quite on the same plain as those who, at certain points, can turn the head. Look back at albums such as Let Them Eat Chaos and Tempest beautifully takes us inside the walls of flats and through streets. It is a narration of modern Britain and all is various sides. Earlier on, on 2014’s Everybody Down, there were stories of workaday folks and the variety of emotions and scenes one could see on an average day in London – albeit told with such authority, passion and dazzle. Tempest is a poet and playwright (and author) so she keeps her pen sharp and wet. I do wonder how she spends time away from music and, when not hanging with her girl, one suspects a pile of great books are never too far away!

 PHOTO CREDIT: Karen Robinson for The Observer

The rich, scent-filled and near-mystical words she puts onto the page can move the senses and enflame the soul. I tend to find that a lot of modern songwriters are too obsessed with love and, whilst that is okay, the way they document their passion is quite cliché and, a lot of times, downbeat. Tempest realises how her life has sort of fallen into place and how things are working out. She expresses that thanks and sense of comfort but the artist is aware of what is happening in the world right now and is unwilling to abandon that. Listen back to Tempest’s past work and just immerse yourself in her songs. There is so much detail and wit; conversations and clashes that are amazing and take you by surprise! There are very few artists in the modern world who have the intellect and range of Kate Tempest. That linguistic talent is matched in the back. Her compositions are as diverse and fascinating as the words she sings. Her music is so complete and stunning and, for that reason, I feel she warrants a lot more respect and attention. For sure, Tempest has her fans and loyal crew – in music and in the literary and theatrical worlds – but I feel like there is a whole world waiting. Maybe radio stations do not know such a good thing when they hear it – I think Tempest is one of the finest songwriters in the world and is an inspiring human. I will talk more about that in the conclusion but I am always stunned by Tempest’s work and what it does to the senses. I keep mentioning the soul and senses because Tempest’s work goes deep and strikes hard. I am keen to address Tempest’s current single, Holy Elixir, but I wanted to finish off this section but thinking about the sheer consistency and workrate of Tempest. It is staggering thinking about Tempest and what she achieved in her life so far.

The thirty-three-year-old is an award-winning writer and she has released two huge solo albums so far – the third is a matter of days away. Her collections of poetry – such as 2013’s Brand New Ancients and 2018’s Running Upon the Wires – are sensational and you need to check out her 2016 novel, The Bricks That Built the Houses. Tempest’s plays – such as 2013’s Wasted and 2014’s Glasshouse – are hugely popular and it goes to show what an exceptional and broad talent Tempest is. She stunned years back but has kept that quality high since then. I find a lot of artists start out strong and then dim a few years down the line. Maybe they get stronger over time but it can be quite a tenuous start. In the case of Kate Tempest, she came out of the blocks charged and ready and there seems to be no signs of her slowing or losing that magic. There is something inherently familiar and wonderful about Tempest’s work. She can write fantasy and detach herself but it is the reality she portrays and the innate way she can speak for us that makes her so amazing. Even if her background is different to some of her fans, we can all extrapolate some truth and wisdom from her words. That mix of imagination and grounded reality makes her one of the most important and relatable writers in the world. She is only in her thirties so I wonder where she can go and just how good she can get. With a new album just around the corner, Tempest will be busy – but I hope there is another novel or a collection of poems in her sightline. I hold so much love and respect for what Tempest is doing and how busy she is. Not only has she penned these great poems, plays and songs but Tempest has curated festivals and given talks. She is this modern-day polymath and genius that holds endless ability and brilliance but is able to resonate. She is just the same as us and never pushes people away. The fact we can all connect with Tempest and understand her words so clearly means she will always be popular and loved.

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 PHOTO CREDIT: Neil Gavin

Whereas Firesmoke – her previous single – started with a tenderness and did not stray too far from the delicate and sensual; here, we have a song that begins with more intensity and mood. Holy Elixir begins with curious words and thoughts. Tempest casts herself almost like a Creator-type figure; animating “tree gods” and giving life to animals. Given the song’s title, it is unsurprising that religious imagery should present itself but, such a stark departure from Firesmoke, we go from the intimate and deeply devoted to something that, literally, takes us back to the beginning of time – well, technically, God doesn’t exist so that is wrong; I just mean we are talking about creation and all life rather than a tender and personal love story. Tempest, it seems, is taking us through the development of man and time as she discussing (us) catching food and scrawling on caves. In the back of my mind, I sort of know where she is heading from the early stages – I think I do, anyway! I get the sense that, when talking about the primitive nature of life at the start, she is sort of mirroring that to the modern day. One gets the sense that, covertly or openly, Tempest is making comparisons to the savagery and simplicity of the earliest humans to where we are as people now – maybe I am reading too much into it; Tempest can forgive my curious and wandering imagination! I love how, like so many of her songs, the composition is a constant yet it never intrudes. Rather than throwing so much into the mix, there is a simplicity and consistency that gives Holy Elixir a strange groove and hypnotic focus. If Tempest’s previous albums were more intense and packed, now it seems Tempest is more restrained in terms of energy but that has also allowed her words to breathe more. With all Tempest songs, language is at the fore and she packs so many words together.

 PHOTO CREDIT: Jenna Foxton

The narrator discussing us setting fire to lands and reducing things to ashes; the way we have burned and burnished beautiful things and conquered worlds. She never explicitly alludes to modern politics but one feels, as she guides us closer to the modern time, there is a comparison between our earliest ancestors and the supposedly more evolved people of today. As the song continues, you are left dizzy by the pulsing electricity of the composition and the words Tempest delivers. Her wordplay is amazing and, whilst her vocal is quite tender and soft, the potency of the words is incredible. Tempest casts herself in this image and talks of a girl that walks over her. Tempest is this holy elixir and, as she offers prophecy and truth, there is that unity of the biblical past and the modern times. There is, as Tempest says, scripture now but just a modern equivalent. The switch between the development of mankind and religious rules transform into the codification, guidelines and treaties of our time; the ridiculousness of modern politics and how our elected are unwilling to bend and accept any derision. This is where I felt the song was heading and, when it does arrive, the effect is stunning. Tempest never gets too angry and loses control but you can feel the anger and disgust bubbling and festering. Keeping control but still able to get her words out loud and strong, Tempest talks about someone/the people keeping their heads down and exhaling fumes; this constant repetition and sense of anger working in the skin. The composition never intrudes and, as the song goes on, it seems to gain more traction and weight – even though the sound and pace has not changed at all! Tempest talks about, I think, leaders and how the soul is a “closed system”; wisdom has been vanquished and, what they hold in their fists, is all that there is. These words are oblique but direct at the same time.

Each listener will imagine their own story and cinema but I get the impression that, with every heartbeat, Tempest is talking about politics today and the intentions of politicians. Holy Elixir goes much deeper than that and it takes a few listens before everything sort of unfurls and comes into the light – the sign of a truly rewarding and intelligent track. “Your loneliness is the symptom/not the sickness” Tempest decrees; her voice firm and resolute and, as those words are delivered, they conspire all kinds of images and thoughts. I have loved everything Tempest has put on record but I think she is at her most powerful and impressive here. One will find plenty of charge and force on her new album but there is a more level head and sense of composure, even though her words are still as powerful and potent. In many ways, this means her words can cut deeper and have more time to explore and expand. Lyrics are Tempest’s strong suit and you find yourself engrossed by her incredible wordplay. Maybe that is a dismissive terms for what she is about: ‘poetry’ is much more apt and respectful! As Holy Elixir comes to its end, Tempest takes us to the garden (whether Eden or more of a Joni Mitchell/Woodstock sense); she has led us here and notices that the soil is bare and blind – that we need to start sowing and planting seeds. In some ways, this is a literal image of degradation and neglect but, in a wider sense, it is a commentary regarding the poverty around us and how the planet is faring – whether that is political impotence or the all-too-real climate apocalypse that awaits us! Tempest is always firm and controlled whilst never preaching and attacking. She can portray so much wonder and powerful without yelling and getting aggro: instead, the beauty of her words create these fertile scenes that will be ingrained in the psyche for many weeks to come. If the rest of The Book of Traps and Lessons is as wondrous and memorable as Holy Elixir (and Firesmoke) then there is no doubt Kate Tempest is the artist to beat in 2019!

 PHOTO CREDIT: Alex Lake for The Observer

Sorry if I have rambled on and repeated myself. I find artists like Kate Tempest are so impressive and amazing that it is hard to get everything down in words; to summon up the right words and get to the heart of the matter. I hope Tempest continues to reign and shine in music as we definitely need her around. Tempest releases her new album, The Book of Traps and Lessons, on 14th June and it will be good to see what sort of reception it gets. I have only heard bits of the album but it is amazing. There is a mark of Tempest’s older and familiar sound but, as I said earlier, there is more of the passionate and personal this time around. Maybe this indicates that Tempest is in a happier place and is able to feel calmer and anchored because of a strong relationship and sense of safety. I encourage people to get The Book of Traps and Lessons when it arrives and play it in full. Tempest has signings and in-stores coming up this month so make sure you keep your eyes peeled and, if you can, get down to where Tempest is appearing and throw her some love. Holy Elixir is a fantastic track that is so nuanced and deep that it has taken me a few spins to really get to the bottom of it.

To be honest, Tempest is someone whose songs are stirring when you first encounter them but, like flowers blooming, everything sort of unfolds and stretches the more time goes on. It is an amazing thing and another reason why she is so loved and respected. The U.K. is in a pretty sorry place right now and I do think that it is hard to make sense of all the crap and division around us. Tempest has not shied away from this on her latest album but I do like the fact that the importance of love and her feelings are being expressed. Like many of her peers, one can find sweetness, hope and deep affection: so many are eager to express pain and unhappiness without providing any light and relief. Let’s leave things here and I’ll let you spin Holy Elixir one more time. I cannot for The Book of Traps and Lessons and I am already predicting it will be one of 2019’s best and brightest albums. Make sure you dedicated some time to investigate Kate Tempest and, as I said, if you can get down to one of her signings, make sure you do. She is simply wonderful and, in a music world where there are so many similar and familiar faces, she is someone who…

IMAGE CREDIT: @residentmusic

STANDS in a league of her own.

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Follow Kate Tempest

INTERVIEW: Dead Slow Hoot

INTERVIEW:

Dead Slow Hoot

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THANKS to the guys of Dead Slow Hoot...

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for talking with me about their latest single, An Island Keen to Float (its video arrives next week), and what inspired it; what comes next for them and how the band found one another – they reveal some albums and rising artists important to them.

I ask whether there is more material coming down the track and, as the band are from Sheffield, whether they think Yorkshire gets overlooked in terms of musical quality and promise – 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?

Hugo: Good, thanks! The week’s been hectic but productive; so I guess it’s been good? Basically, I’m very tired.

Luke: Me too…

Sam: Ditto

Dominic: Just been to my brother’s stag so, yeah, I’m knackered.

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

H: Hey. We’re Dead Slow Hoot: purveyors of sad jams and sticky hooks. I’m Hugo and I do the vocals and half of the guitars.

L: I'm Luke. I do 100% of the bass guitar.

S: I’m Sam. I hit the drums and cymbals. Or ‘the boomers and tingers’, as Luke likes to call them. 

D: I’m Dom and I play guitar and synth…but, like, a funny way of saying that.

An Island Keen to Float is your latest single. Is there a story behind it?

H: Like a lot of our songs, it’s kind of an amalgamation of a lot of different ideas. We try to be socially conscious and, with this song, I really wanted to capture something about the mentality behind the Brexit vote; but to do that I felt like I needed to describe it from a more personal perspective, and so every line has a double meaning where the broad idea can be reflected on an individual level. For example, the line “Blame some foreign force instead’ can be understood as blaming immigrants, but when I perform that song, it has more to do with a tendency to externalise my own frustrations and shy away from responsibility.

It’s weird dissecting it because it sounds like the whole thing was very deliberate, which it wasn’t really, but I personally feel very proud of it specifically because of this duality and I hope that, in listening to it, people can relate to those emotions from an internal and external perspective.

What was it like filming the video for the song?

H: Honestly, it was probably one of the most surreal days of my life! I went down to Lewes with our friend, Sam Nicoresti, who directed this video and had a lovely day wandering around small independent shops and cafes. But, by the evening, every window was boarded up and people were walking around with flaming torches. Basically, it was the purge and I’m thankful that we got out of there alive...10/10 would recommend to a friend.

L: Sam directed our first-ever music video for a track from our last E.P. called I Hope You Never Say a Word, so it was a total joy to work with him again. Sam's very good at making movies of weird and strange events, so it was very natural to shoot a video down in Lewes where the weirdness just presents itself to you.

Is there going to be more material coming from you down the line?

H: We are writing new material at the moment and we’re hoping to get some of it released in the New Year. Watch this space!  

How did Dead Slow Hoot all get together? Did a shared love of music gel you?

Hugo: I was playing in a gospel choir band with Luke and Sam, our drummer, and playing my own songs as a solo artist - which is a grandiose way to say I was playing the same open mic week after week. I asked Luke and Sam if they wanted to try out some original music and it just worked really well. Dom joined after we recorded our first E.P. and got carried away with the arrangements. He’s the only musical polymath we knew and he was a band member from the first rehearsal we did together. Musically, we’re all steeped in the classic noughties Indie music but we all diverge in slightly different ways, which makes for a good group dynamic as we all bring distinct ideas to the table.

L: The first time I met Hugo he was singing Sweet Caroline at a karaoke and stage-dived out of the venue. The first time I met Sam he was talking about pop-up polytunnels and the first time I met Dom he was living with my ex. This doesn’t have that much to do with how we formed the band but anecdotes are fun…

You hail from Sheffield. How important is the city’s history and present to your own sound and work ethos?

H: Sheffield is the best city that no-one’s heard of! We’re all dyed in the ethos of Sheffield; it’s full of independent people who plug away at their work without feeling self-conscious of how it looks to the outside, which makes for something that everyone’s proud of and feels unique.

S: Also….it’s highly affordable. In fact, the most affordable city in the U.K. according to recent statistics. So, we get a lot of quality rehearsal space for a very reasonable amount. D.M. us for details (winks).

Do you think areas like Yorkshire get overlooked when it comes to great artists?

 H: Absolutely!

S: Definitely. I think, if BBC Radio 6 Music could move their studios to Sheffield that would help redress the balance… 

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

H: Our album launch this year felt really special. We’ve been on the scene a long time but we haven’t always been the most present band in town. We weren’t expecting so many people to show up, but there was so much love in the room and it was probably our best gig ever!

L: I totally agree. It was very hot and sweaty in that room and we were overwhelmed by the audience. Our friend, Charles, even fainted during the final chorus of the final song - he's fine now but at the time it felt pretty Rock and Roll.

S: Luckily, all of us are first aid-trained in case of such an emergency.

D: We’re fortunate that we have a very chantable name. Any gig when people are going “Dead Slow Hoot! Dead Slow Hoot!” is a great one. I feel like (the band) …And You Will Know Us by the Trail of the Dead really missed a trick.

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Which albums from all of music mean the most to the band (and why)?

H: I keep coming back to The End of History by Fionn Regan. The songcraft is just perfect and it’s got beautiful lyrics. It makes me cry whenever I listen to it, which is pretty much at least once every week.

L: I've been a big fan of Car Seat Headrest for a while now, but their reworking of Twin Fantasy that was released last year is a real magnus opus for the band. Will Toledo is such a creative songwriter and his lyrics really raise the bar for sad indie bands.

S: I have no idea who Hugo or Luke are talking about. I’ll go much more mainstream with AM by Arctic Monkeys. There was a lot more groove on their songs in this album which I loved. The opening bass and drums for tracks like Arabella are just magic. In my opinion.

D: I’m gonna cheat and say Radiohead’s OK Computer and Kid A. They’re the perfect combination of emotional songwriting and sonic experimentation that we’ve tried to emulate. The National Anthem, in particular, was a big influence on our album.

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

H: We played with Big Thief on their first U.K. tour and it was such an amazing night. They were so genuinely friendly and the music is just so good; so I’d probably say them (again). For the rider, I’d like to have a pint of your local bitter with a second pint of tap water, please.

L: Yeah. I remember hearing that British Sea Power would ask for local beer and postcards of the local scenery on their rider along with lots of foliage. I also thought that must be a nice way to tour the country and really get to know the places you're visiting. Saying that, I would love to support British Sea Power…call us.

D: Before I joined Dead Slow Hoot, they actually supported my old band on our E.P. launch. Luke asked for a porcelain owl or something weird like that. As for supporting, I dunno; maybe Portishead? I feel like they’d have a very polite audience. I don’t just listen to bands with ‘head’ in the name, by the way.

S: U2. Then I could make great jokes all day about being too close to The Edge etc...

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

H: We’re playing a small tour this June in Leeds (12th June); Sheffield (14th June); London (15th June) and Manchester (19th June).

What advice would you give to new artists coming through?

H: Stay together and don’t worry about getting quick success. We have the best time together when we’re creating something new and that’s what keeps us coming back. All the rest is nice but it needs to be secondary to making good music.

S: Make sure you all get on well - rehearsing, gigging and recording involve large amounts of time spent together. And establish a favourite pre-gig food outlet early on - we’ve always stuck with Streetfood Chef in Sheffield. They do probably the best burritos in South Yorkshire.

D: Turn up to the venue on time

PHOTO CREDIT: Campbell Sibthorpe 

Are there any new artists you recommend we check out?

H: Lou Terry is a super-talented songwriter based in Sheffield who’s playing a few shows with us in this tour. Campbell Sibthorpe is another singer songwriter who we played with in London this year whose songs I love.

L: Both great recommendations. I'd add Before Breakfast. They're from where we're from and have recently been making big strides in the national music scene. Their new E.P. is really worth checking out.

D: We played with a band from Leeds called Van Houten. They’re worth checking out for their snare drum sound alone. Also, inFictions. They don’t play live but they’ve made two immaculate Post-Rock albums that’ll give you goosebumps.

 IN THIS PHOTO: Before Breakfast/PHOTO CREDIT: Ellie Grace Photography

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

H: Lately, I’ve become a big fan of gardening, so I spend a lot of time watching my crops…

L: I take a walk around the block to say ‘hello’ to all the local cats.

S: Also a gardening fan. This year, I’m growing courgettes, potatoes and runner beans.

D: I’m watching the tenth series of Doctor Who on Netflix. It’s a bit disappointing.

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).

H: Campbell Sibthorpe - Father Carpenter

L: Body - Before Breakfast

S: At the River - Groove Armada

D: Oo, nice choice, Sam. I’ll go for Red Wine by Common

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FEATURE: Actions and Words: Tackling Sexual Assault and Inappropriate Behaviour in Music

FEATURE:

 

 

Actions and Words

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PHOTO CREDIT: @nickkarvounis/Unsplash  

Tackling Sexual Assault and Inappropriate Behaviour in Music

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MY plea/declaration might seem a little far-fetched…

 PHOTO CREDIT: @mitchy___/Unsplash

but I have heard a couple of stories recently that has made me concerned. It is impossible to get rid of all cases of sexual assault in music but, as we see more and more women taken advantage of and abused, I do wonder whether more needs to be done to send a message out! I shall not name any artists involved but, when looking on Twitter yesterday, I saw a couple of threads; two artists sharing their experiences of men assaulting them. One involved a male fan approaching a singer and, when having a photo taken, groped her. This man, apparently, had a wife and was not intoxicated – never an excuse or a defence -; he just decided to grope this artist for no reason. One wonders what his ambition and aim was. Did he feel like she would like that or, enamoured by that sort of attention, would ask him out?! It is baffling to think what someone like that was thinking (if, indeed, one can call it thinking) and why he behaved in such a way. I think, in this case, no police action was involved and the artist, shocked by what had happened, just wanted to get away. She took to social media and was, quite rightly, appalled and angered by the situation. I got the sense that this was not the first such incident she had been on the receiving end of. Another female artist interjected and recalled the time when she was at a gig and a man lunged forward and kissed her.

 PHOTO CREDIT: @ricardonunes_fotografo/Unsplash

One might say that, when it comes to big stars and world-famous bands, young girls and woman kiss their idols and touch them at gigs: what we are discussing here is entirely different. There is a marked difference between a fevered fan hugging a Pop artist and a man/men groping/assaulting women. I bring up that distinction because, as is common with social media, you always get people playing down such cases of assault and trying to rationalise it. Over the past couple of years, there have been cases of bands splitting because one of their members has blurred the lines between what is acceptable and what is not – Hookworms is a famous example of a great band destroyed by the prurient and obnoxious behaviour of a member. These two cases I have just mentioned are not isolated or insignificant: there are countless cases where women have been touched, assaulted or abused at gigs – whether it is sexual language or out-right assault. Every case is appalling and I do think that a lot of the accusations are brushed away and not taken as seriously as they should be. The music industry is going through some tough times right now – what with venues closing and an air of instability – and it does not help when we have women feeling unsafe. It is not just artist themselves that are subjected to unwanted attention. I have heard of fans and women who work at venues being touched inappropriately ore on the receiving end of lewd and disrespectful language.

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 PHOTO CREDIT: Engin Akyurt

It is bad enough when you witness this sort of behaviour at bars and pubs but, at venues and gigs, it is appalling. Female artists should not have to be worried about abuse and having that anxiety hanging over them. I understand these cases are extreme but it does not define music. For the most part, fans are well-behaved and the vast majority of men who attend gigs do not step over the line. Like sexism and cases where women are overlooked, more needs to be done to eradicate the problem and raise awareness. Social media is a great way to get people talking and highlight what is happening at some gigs. I do concede that it is hard to police gigs and have that level of surveillance but there are issues that are affecting progression. A lot of female artists and gig-goers feel like they would not be believed if they come forward. In a lot of cases, there is no C.C.T.V. at venues to prove their side of events and there doesn’t seem to be adequate punishment for men who go too far and are accused. I do think, if someone does assault or abuse a woman at a gig/venue etc., there needs to be swift and unambiguous discipline. Barring offenders from venues or having them arrested sends a much stronger message. I think venues need to get tougher regarding those who are accused and I do think there is a lack of awareness in general.

We hear of cases where a band/musician/fan has been called out and has done something horrendous but, after that, what do we do!? It is tricky to roll out definitive guidelines and laws; to make sure these cases are kept to a low minimum but I do feel there is a general apathy. It is harrowing and upsetting reading on social media accounts of sexual abuse and inappropriateness. I do think that a lot of men feel they are entitled to do what they want or feel that, perversely, the woman likes that sort of attention. In a very small number of cases, it is defining what is deemed wrong and what is being misconstrued: most incidences are clear-cut and there is no way that what happened could be misconstrued; a clear intent and desire. Artists and fans are speaking out but I do feel like there should be more action taken so that spaces like venues are safer and feel less intimidating for women. It does not only extend to touching and lewd remarks. The sort of foul language and aggression many women have to face is appalling. I guess, when we look at what work needs to be done, it seems like there needs to be a big push made. I know there are organisations that are set up for artists and fans regarding their mental-health and finances but, considering the amount of sexism and casual abuse that we see, could more be done?

 PHOTO CREDIT: @karimboubker/Unsplash

Not many artists speak out about it; very, very few men are getting involved in the debate. Many would say that this problem (sexual abuse and inappropriateness) is minor but one needs to consider the number of cases not revealed/spoken about; the number of women on social media sharing their stories that we do not see. I hate to think there are women suffering in silence when they are touched by a fan; when a female gig-goer finds herself harassed or taken advantage of. There is never any justification (for any men) to touch a woman against her will or behave in a lurid or inappropriate manner. The threads and social media feeds I have seen, sure, will help with conversation and visibility but what are the long-term problems? I know there are many cases not going reported and discussed through fear or other factors. A few promising bands and artists have paid the price when their mistakes were revealed and, the more this happens, the better. A lot of brave women are speaking out but I think the industry needs to do more; venues need to be tougher and, in 2019, there still seems to be this stigma attached regarding speaking about subjects like sexual assault and abuse. The sheer ignorance and callousness I have seen on social media when it comes to some of the responses – people attacking women who speak out – chills the blood. I think we can all agree that issues such as sexual abuse and inappropriate contact are awful and should not be tolerated and definitely have…

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 PHOTO CREDIT: @letanloc1941995/Unsplash

NO place in music!

INTERVIEW: Liam Phelan

INTERVIEW:

Liam Phelan

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I have been spending time with Liam Phelan...

who has been telling me about his new single, Khao San Road, and whether there was a story behind it. I wanted to find out what his next moves are and which artists/albums inspire him - he suggests a few rising acts worth getting behind.

Phelan talks about his musical tastes and whether there will be more material approaching; how he spends his time away from music and whether he is inspired by what is happening in the modern scene – Phelan selects a great track to end the interview with.

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

Hey. I’m good. I’ve been making music all week so I’m tired but I’m making it work.

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

Sure! I’m an artist and producer from London. I started out making lo-fi beats but have progressively incorporated vocals and live instruments like guitar into my music.

What can you reveal about your new single, Khao San Road? Is there a personal tale behind it?

Khao San Road is dedicated to my travels around Thailand last summer. The whole trip was an amazing experience but this one road caught my interest as it was so lively. People were out partying until 4 a.m. and, by 10 a.m., the street was filled with markets. I’d never seen anything like it. It was crazy.

Looking ahead, might an album or E.P. be arriving do you think?

I do have an E.P. in the works. By the end of this year it will be dropping but, before that, I have a couple of other projects I’m working on that I want to release this summer.

Music came into your life early. Which artists inspired you when you were a child?

From a young age, I had a varied mix of music around the house. I was listening to a lot of Green Day, Gorillaz and Eminem. The one that really inspired me though was Kanye. My mum had his early albums on C.D., so you would usually find me listening to The College Dropout and Late Registration on-repeat.

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Are there any modern artists that are turning your head in terms of what they are doing?

Since discovering him, Childish Gambino has been my favourite artist. I haven’t seen any other artist progressively get greater over a ten-year period than him. He’s been killing the Rap game; he’s a fantastic singer and even better performer. I don’t even have to go into his career as an actor! You never know what he’ll bring next.

What plans do you have for the rest of 2019?

Other than the E.P., I’m working on a few collabs with upcoming artists. There are a lot of scenes popping in London right now, so I don’t want to be confined to doing one thing. I love all genres, so you might see me popping up on some Hip-Hop, R&B and even Grime projects.

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

Recently I was out and somebody approached me saying they knew me from my music. They even started singing one of my songs. It was the first time that had ever happened so for me it was a crazy experience.

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

Kanye West - Late Registration

Like I said, this album was a massive part of my childhood. I had it on-repeat. It had deep emotional songs like Roses and Hey Mama then triumphant bangers like We Major. Whenever I bump that track I feel invincible.

Childish Gambino - Because the Internet

 This album is a masterpiece from start to finish. There are insane guitar solos, jazzy chords; mad 808s. Everything. I love the range of emotion and honesty in Gambino’s deliveries. It’s something I always strive to do in my music.

Stan Getz, João Gilberto - Getz/Gilberto

This one might be surprising, but I love Bossa Nova music. Living in London can be super-stressful so, to have an album that can mentally transport me to a beach in Brazil and make me forget about my worries is nice. I also play guitar on my songs, so sometimes using the finger-picking and chord progressions heard in Bossa Nova records for my tracks can be refreshing.

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

It would have to be Childish Gambino - for the reasons I already stated. As for the rider, something that all my friends and fans know about me is that I have a chocolate addiction. Just having chocolate on the rider would be enough for me. I even have a song called I Only Love and Chocolate!

What are your other plans regarding gigs/touring?

I’m looking at doing a couple of shows for the summer. Probably around London. Some of the music I’m working on to be released soon is really vibey and I would love to perform them live.

If we came to see one of your gigs, what might that involve? Do you love being on the stage?

Versatility. I have songs where I’m playing guitar, some where I’m singing deep lyrics; even somewhere I’m more energetic and rapping. I want to put the crowd through a range of emotions.

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

Keep creating and network. You never know what you will make and who you will meet.

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 IN THIS PHOTO: Ka-Li

Are there any new artists you recommend we check out?

Kdvsgoliath, Ka-Li; GR3YWXLF, IsaacB and Digitz. These are a few artists who I have had the pleasure of meeting and they are all doing big things. I’m sure, in five years, they will all be talked about highly.

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 IN THIS PHOTO: Digitz

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

I have just finished university and have been working weekends, so it’s been a bit of a stressful year - but music is funnily enough my time to chill. I’m at my most comfortable state when I’m making music.

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).

It has to be my anthem, Kanye West – We Major. Thank you!

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Follow Liam Phelan

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INTERVIEW: The Urban Renewal Project

INTERVIEW:

The Urban Renewal Project

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KICKING us through the week...

is The Urban Renewal Project. With the track, Shake Those Hips, out into the world, I was eager to learn how the song started life and what comes next; how they found one another and what sort of sounds inspire them – they highlight a couple of artists worth looking out for.

I wanted to know whether there are gigs coming up and whether the U.S. band will head to the U.K. at some point; how important Los Angeles is to the guys and if they get time to relax away from music – they end the interview by choosing a pretty cool track.

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

Really good, thanks. We're shooting a music video this week. It's been hectic, but fun.

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

The Urban Renewal Project is a sixteen-piece band that plays an original blend of Hip-Hop, Soul and Jazz music; featuring a singer (Alex Nester), two rappers (Elmer Demond and Slim da Reazon) and a Big-Band horn section.

Shake Those Hips is your new track. Can you explain its origins and story?

After our previous release (21st Century Ghost, 2017), we were talking about the fact that all of the music we listen to, recreationally, has huge bass and drum sounds that really slap on a proper stereo system…and decided we wanted to make some music like that, which is a bit of a departure from the more Indie-Jazz production style of our previous recordings. Our band leader (R.W. Enoch) came up with this instrumental and we all agreed it sounded like a party track. We wrote some lyrics to match and the rest you can see for yourself in the music video.

How did The Urban Renewal Project get together? Was it a gradual formation?

It definitely took some time. The seed for the idea came from a genre-busting Jazz/Big-Band that R.W. had put together for his high-school talent show. Then R.W. met Elmer about ten years ago and they started working on songs together and putting Rap lyrics over this monster band. Since then, it's been a steady upward climb; slowly bringing in new people that fell in love with the idea.

How would you describe your sound? Which artists are influential to all of you?

Brass, bars and beats. The list of artists that could be considered influential to all sixteen of us is pretty small, but we've spoken a lot about the sound that A Tribe Called Quest achieved in sampling Jazz records for their Hip-Hop tracks and how Gorillaz has had a stream of number-one albums without having a clearly defined genre or personnel line-up.

You are based out of Los Angeles. How important is the city and its varied sounds regarding your music and creativity?

The effects of living in L.A. can't be overstated. It's even reflected in our name: The Urban Renewal Project. The idea being that we are taking these people and elements and combine them into something fun and unique. I think both L.A. and the band are greater than the sum of their parts.

Is there going to be more material coming from you down the line?

Definitely. We just dropped another single, Red Eye, inspired by the international tour life that we've experienced over the last year (available on all platforms) and we have quite a few more tracks that we're working on for later this year. We're working towards releasing an E.P. called Love. Glory. Duty. Death.

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

Our trip to Jakarta to perform at the Java Jazz Festival was definitely a highlight. We've also had some really good times at SXSW in Austin, Texas the past two years.

Which albums from all of music mean the most to the band (and why)?

Man, now we're narrowing it down from artists to individual albums!? Probably the only thing we could all agree on is Michael Jackson’s Off The Wall.

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

We should tour with Wu-Tang and roll in about a dozen luxury coach buses just to accommodate all the people. 

What advice would you give to new artists coming through?

Keep your axe to the grind and never give up. A game-changer could be right around the corner.

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

We have a bunch of dates on the West Coast of the U.S. this summer. 

Saturday, June 8 – Pasadena Block Party (Pasadena, CA)

Friday, June 21 – Tooth & Nail Winery (Paso Robles, CA)

Friday, July 19 – TGIF Concerts in the Park (Carlsbad, CA)

Friday, August 9 – San Jose Jazz Summer Fest - Main Stage (San Jose, CA)

Saturday, August 10 – Neck of the Woods (San Francisco, CA)

Sunday, August 11 – Carson City Jazz & Beyond Festival (Carson City, NV)

What is life like on the road for a sixteen-piece band?! Does it bring you all closer together?

Total chaos but, yeah, we have some great times on the bus and hanging out in the places we get to visit. 

Might you come to the U.K. and play some time?

It's high on the wishlist! 

 IN THIS PHOTO: The Magnettes

Are there any new artists you recommend we check out?

Two bands we've met on the road that we really liked are Hyberbella and The Magnettes.

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

Unfortunately, not really! We all have incredibly busy freelance or solo careers outside the band that we barely have time to sleep. But we're all really into cinema.

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).

King Geedorah – Take Me to Your Leader

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Follow The Urban Renewal Project

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FEATURE: Limited Editions, New Releases and Remixes: Why, With a Few Tweaks and Additions, the Glorious BBC Radio 6 Music Could Become a World-Beating Station

FEATURE:

 

 

Limited Editions, New Releases and Remixes

IMAGE CREDIT: BBC  

Why, With a Few Tweaks and Additions, the Glorious BBC Radio 6 Music Could Become a World-Beating Station

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THERE are no real negatives here…

but, as BBC Radio 6 Music is my favourite radio station out there and one that continues to give me inspiration, I feel like it could hit unbeatable heights. RAJAR figures released recently suggest that more listeners than ever are heading the way of BBC Radio 6 Music! Like a political swing, I am not sure where the votes have come from and which parties are losing out – who cares really when you have lots of new ears listening in?! I guess a few people would have been fresh to radio: a bit bored and unmoved by other BBC stations and, in the arms of 6, here is a much more complex, voluptuous and attractive option. I feel like there has been a move (of people) from BBC Radio 2 and BBC Radio 1 and, given the music is more diverse and strong on BBC Radio 6 Music, there has been this swell in figures. I think there are some ways BBC Radio 6 Music can go from where it is now to an even bigger monster but, just today, I have heard news of some welcomed developments. I was a little against the idea of guest presenters joining the station – whether they would have the same authority and music depth as the D.J.s who currently work there – but, over time, I have realised that they (the guests) add a sense of variation and spark. It has been announced by the BBC that a couple of new voices will be joining the station on a temporary basis:

“Rob Delaney and Martin Freeman will be joining BBC Radio 6 Music for a run of Sunday afternoon shows.

They will be hosting their own shows, covering Guy Garvey’s 2-4pm slot whilst he is on an extended break working on his next album. Cillian Murphy has been presenting the show since March, with his final programme on 2 June.

IN THIS PHOTO: Comedian and actor Rob Delaney will soon be joining BBC Radio 6 Music to present his own Sunday show/PHOTO CREDIT: Getty Images 

Rob Delaney says: “I’m thrilled to be presenting on BBC Radio 6 Music. Whether you listen to music while you make dinner, widgets or perhaps even love, I hope you’ll do so to my powerful rhythms.”

Cillian Murphy says: “Thanks so much to everyone at 6 Music, all the listeners, and especially Guy Garvey, for giving me the chance to play some music on the best radio station in the world. I had a splendid time. Looking forward to tuning in to the brilliant Rob Delaney.”

Paul Rodgers, Head of 6 Music, says: "Rob Delaney and Martin Freeman are both fantastic talents so I’m delighted they will be joining 6 Music, where they can bring their love of music to our Sunday afternoons. I’d like to thank Cillian Murphy, who has done a great job sitting in for Guy Garvey since since March - listeners have loved tuning in to him."

Rob Delaney will be on air from 9 June - 7 July, with Martin Freeman presenting from 14 July - 4 August. The shows will also be available on BBC Sounds.

6 Music regularly welcomes guest presenters such as Neneh Cherry, Courtney Barnett, First Aid Kit, Patti Smith, Spike Lee, Russell Crowe, Roisin Murphy, Norman Jay, Sam Mendes, Skinny Pelembe, Michael Kiwanuka and Daman Albarn. And the Wise Women at Christmas – where each year, three women present shows featuring their own music choices and pick highlights from the 6 Music archive - have included Sharon Horgan, Jodie Whittaker, St Vincent, Alison Goldfrapp and Laura Marling”.

IMAGE CREDIT: fendri 

I do love the idea of musicians and actors joining the BBC Radio 6 Music family and I think, outside of the Sunday slot, there are not a lot of opportunities. I am not suggesting a load of new shows be opened up but think about some of the previous talent that has added something remarkable to the station – including Laura Marling and Damon Albarn. Given the fact there are some shows looking a little tired on the station, I feel like adding new voices is a great way to bring BBC Radio 6 Music to new audiences. The fact these high-profile actors/personalities have masses of fans ensures BBC Radio 6 Music is taken to heart by a new audience and reaches around the world. So long as there is not a huge dependence on celebrities regarding shows, I feel like even more people will come to the station and stay put. It is a shame the likes of Cillian Murphy and Rob Delaney cannot stay put because, together with the more conventional presenters on the station, it would make this rich and rewarding cocktail. I am not sure what BBC Radio 6 Music has planned regarding its Sunday shows – and whether there is more room for guest D.J.s – but there are many more names I, and many others, would like to see coming to the station. There is something else interesting that came from the BBC Press Office regarding BBC Radio 6 Music.

 IN THIS PHOTO: Don Letts (a.k.a. ‘The Rebel Dread’)/PHOTO CREDIT: Getty Images

It is great that the army of listeners behind BBC Radio 6 Music keeps growing and bringing in new recruits:

“Now with a reach of 2.52m listeners (Rajar Q1, 2019), 6 Music is the largest digital-only music station in the UK. It celebrates the alternative spirit of music and culture, bringing together the cutting-edge music of today and the iconic and ground-breaking sounds of the past 50 years. 6 Music’s presenting line up are Amy Lamé, Cerys Matthews, Chris Hawkins, Craig Charles, Don Letts, Gideon Coe, Gilles Peterson, Guy Garvey, Huey Morgan, Iggy Pop, Lauren Laverne, Liz Kershaw, Marc Riley, Mark Radcliffe, Mary Anne Hobbs, Matt Everitt, Nemone, Shaun Keaveny, Steve Lamacq, Stuart Maconie, Tom Ravenscroft and Tom Robinson”.

There are so many reasons why BBC Radio 6 Music continues to flourish. Everyone who works at the station is passionate about what they do; there is a loyalty and commitment that is good to see – how many D.J.s have left over the past decade? Nobody wants to go anywhere and I do think things are very bright for the station. The music is brilliant and it offers a diversity the likes of BBC Radio 2 and BBC Radio 1 does not. It would be nice to see a bit more risk from some shows but, on the whole, there is a huge range. I am not a fan of the playlists in general because, when it comes to certain songs, they are rinsed to death.

I used to, genuinely, love Little Simz’s 101 FM but, inexplicably, it was played far too much and it made me sour on the song – other tracks get the same attention and it can be grating and unnecessary. I think there is a chance for BBC Radio 6 Music to include more underground artists. D.J.s like Mary Anne Hobbs are always looking to promote upcoming acts but I still think there is still too much reliance on those artists higher up the chain. There are so many underground artists that would benefit from a bit of a nod from BBC Radio 6 Music and, whilst the station does have a show series dedicated to the best new music, it could go further still. I think the balance between old-new is pretty good but, yeah, maybe a little bit of extra space in the schedule for the best brand-new material could well give BBC Radio 6 Music an additional boost and level.

IN THIS PHOTO: BBC Radio 6 Music's 'signing wall' from Glastonbury 2010/PHOTO CREDIT: BBC

We have some great Internet radio stations that do a sterling job in this respect but there are terrific artists who would benefit from the kudos of a BBC Radio 6 Music thumbs-up. I am full of love regarding BBC Radio 6 Music’s tastes and how many artists I have discovered through them. That is the best part of the station: the incredible sounds we hear every day makes us all happier and more enriched. The record listening figures show BBC Radio 6 Music is heading in the right direction and keen to conquer all. I would like to see Mark Radcliffe and Stuart Maconie back on weekdays because, as we can hear from their weekend show, they are fantastic and I do think they could make a huge impact on afternoons – maybe taking the 4 p.m. slot.

 IN THIS PHOTO: Lauren Laverne poses with Jarvis Cocker/PHOTO CREDIT: @BBC6Music

I have no sway when it comes to the line-up but I know people want Radcliffe and Maconie back during the week and it would bring even more people in. Lauren Laverne’s appointment as breakfast show host has not only brought in awards (at least a couple) but she has attracted record listeners. I do hope she gets a pay rise and there are opportunities for her to expand on the station. She is someone who, one feels, has a lot of great ideas for shows/segments and, given the fact she is presenting BBC Radio 4’s Desert Island Discs, she has a lot of pull right now. Whereas one can hear a lot of documentaries and specialist shows on BBC Radio 4, is there a gap in the BBC Radio 6 Music schedule? One of the downsides regarding a station where there are regular programmes and strict guidelines is the fact that there is a relative lack of spontaneity. I think it was Radcliffe and Maconie, when they did weekdays, who used to do a Classic Album of the Day segment. I am not sure whether that has moved to another timeslot but there are music bookmarks not quite as prominent as they should be. Whereas more upcoming artists would add richness to BBC Radio 6 Music’s playlist, I feel like classic albums are not given the time they deserve. Hip-Hop classics such as De La Soul’s 3 Feet High and Rising and Beastie Boys’ Ill Communication have/are celebrating big anniversaries this year – the former turned thirty earlier in the year whilst the latter is twenty-five on 31st May.

Weekender Huey Morgan has marked both albums but it is a shame that both albums have been confined to the weekend. Having a classic album featured during the week would mean more songs could be played and it would give various BBC Radio 6 audiences to experience them. There are other albums that get mentioned on the BBC Radio 6 Music feed and get some interaction. I feel all the major albums celebrating big anniversaries warrant more oxygen and exposure. It means people who remember the albums first time around get that blast of nostalgia but, more importantly, new listeners and younger people can experience them for the first time. In fact, there are huge albums that warrant their own show/segment because they do not get a load of airplay normally – sort of doing a Classic Albums segment would be great. There are a lot of ideas/sides of music that would benefit from a BBC Radio 6 Music spin – The Sony Walkman is forty on 1st July; there are themes and discussion topics that are normally covered on BBC Radio 4 but seem better for BBC Radio 6 Music. From the golden age of Hip-Hop to women in music, I think there is an opportunity for the station to mix the best of BBC Radio 4 and bring it to their door. I am sure there are other great features/documentaries that would be perfect in the hands of the great presenters on BBC Radio 6 Music.

 IN THIS PHOTO: The excellent and always-reliable Jon Hilcock is a regular on BBC Radio 6 Music but one wonders when he will get his own slot/PHOTO CREDIT: Getty Images

The station does have some great features/bespoke shows but they are predominantly on the weekends. How about a Desert Island Discs-like interview show where a musician talks exclusively about their musical tastes and we get a much closer look? It would sort of be like Gemma Cairney’s Leisure Society but deeper and broader. On the subject of presenters, there are those on the station that deserve their own slot. Jon Hilcock is an excellent presenters but, for the most part, covers for others. Tom Ravenscroft is a brilliant curator and fan of new music – like his father, the late John Peel – and it seems a shame he is not more prominent and permanent. In terms of the weekend, there is that chance for people like Rob Delaney and Martin Freeman to become permanent; new features to come in and these documentary-type shows to bring even more diversity to the station.

IN THIS PHOTO: We Are Family: Shaun Keaveny, Steve Lamacq; Mary Anne Hobbs and Lauren Lavern/PHOTO CREDIT: @BBC6Music

There are very few women on the station and, largely, they are on weekends – Lauren Laverne and Mary Anne Hobbs are two of BBC Radio 6 Music’s finest presenters and prove why there should be more women on the station. How about a permanent show for Georgie Rogers? She is someone who has a clear passion and talent and could bring her flair and hunger to BBC Radio 6 Music. It would be great to see more women brought in to the station and, aside from a few line-up shifts – RadMac back to weekdays; more time on air for Craig Charles and given presenters like Lauren Laverne more say/time – there is not a lot one can add. These are little hints and suggestions because, in reality, getting that ‘perfect blend’ is pretty subject and can be incredibly tricky. It is not just the on-air talent that makes BBC Radio 6 Music so essential: the hugely important and hard-working producers and staff that make sure everything runs smoothly are the heroes that do not really get the credit they deserve. Massive respect to all of them!

 IN THIS PHOTO: Should room be made for Craig Charles to bring his patented Funk and Soul blends to daytime weekdays?/PHOTO CREDIT: Getty Images

Every huge music fan – myself included – dreams of presenting their own show on BBC Radio 6 Music because it has that tight-knit feel and one can play (largely) whatever music they want. I wonder how much autonomy presenters get regarding the music played and whether the likes of Shaun Keaveny (weekday afternoons) and Chris Hawkins (the man who takes good care of early mornings) are able to suggest songs to play. I know producers and the station have the biggest say regarding music played but you always get the sense that, if big names such as Lauren Laverne and Mary Anne Hobbs were given more of a split regarding the sounds featured, their shows would be even stronger; providing them with their own features/shows outside of their regular slots (both would put together great documentaries and ideas) would also strengthen BBC Radio 6 Music. The station is digital-only and, whilst this is a great thing, I wonder how many listeners from the U.S. and Australia listen in. I know time differences are a bugger but there is BBC Sounds and I feel like there are territories and regions that are missing BBC Radio 6 Music. The social media feed of the station does a great job getting the good word around the world but there is this opportunity to really hit the international market.

I think BBC Radio 6 Music has the potential to be more popular and well-known than BBC Radio 2 around the world. Because BBC Radio 6 Music is digital, it has that flexibility: one does not need an F.M. radio and there is this chance to seize and really get the BBC Radio 6 Music brand around the world. I will finish on all the positives and good vibes of BBC Radio 6 Music but, aside from the need for more women at the station, is it time for some younger blood to come into some of the shows that are going through the motions; maybe filling in on some of the later shifts? The Guardian’s Laura Snapes, when assessing the line-up change announcements last year, noted how there are few ‘younger’ presenters and, in terms of diversity, other stations are ahead:

“…The average age of its 22 DJs is 52. Only one is under 40 – Tom Ravenscroft, at 38. For all its praiseworthy emphasis on new music (apparently a key doubling-down of the reshuffle), 6 Music struggles to introduce new presenters because it relies on stable brands – largely pegged to the very white history of British indie culture – rather than minting new stars.

There’s no shortage of potential 6 Music DJs: Jon Hillcock has been filling in on the station for years with one of the most inclusive and inquisitive new music shows going, yet has never progressed to a regular slot. A DJ like 1Xtra’s omnivorous Jamz Supernova would fit well, as would NTS’s Bullion, and they could do more with Huw Stephens than Radio 1 make of him. I’m surprised they’ve not poached the fairly new but eminently adept Matt Wilkinson from Beats 1, nor opened up their cohort of musicians to younger performers: off the top of my head, Lily Allen, Dev Hynes, MIA, Metronomy’s Joe Mount and Bat for Lashes’ Natasha Khan would all create.

Clearly 6 Music’s remit is one the commercial sector can’t fill: Capital isn’t poaching their talent, nor the lad-centric Radio X, nor TV. Though that speaks as much to the problem as the positives. Like Radio 2, 6 Music is a cultural endpoint with no clear next step for the majority of its older presenters. It trades in comfort and familiarity, new versions of old sounds, rather than pursuing a genuine cultural “alternative spirit”. The “alternative” it celebrates is the mainstream – look no further than David Cameron’s festival selfies for proof. In essence, 6 is the old Radio 1 evening slot writ large for people who, due to jobs and kids, can no longer listen to the radio between 7pm and midnight. Sloughing off older presenters would force listeners of a certain age to reckon with their identity – and mortality – and the fact that what was once their youthful alternative now simply … isn’t”.

I do think that giving a few late-evening/night slots to new presenters – not interfering with the regular line-up – would allow more balance in terms of age – and, hopefully, gender and race. I think the fact there are these long-lasting presenters on BBC Radio 6 Music gives it that stability and keeps the audiences locked in. A few little touches and changes would not rock the boat but it would allow some diversity and flexibility; some great features/documentaries would add new listeners and ensuring more women come to the station would give BBC Radio 6 Music an edge over a lot of the other BBC stations; being less reliant on playlists and giving more space to underground artists and classic albums would also be a good step -  so many huge albums and great moments in music are given a fleeting glance on social media on brief mention on the air.

It seems that, with huge figures coming in and presenters such as RadMac and Lauren Laverne hitting new heights, BBC Radio 6 Music hardly needs my recommendations! Clearly, it is doing something right and there are a number of reasons behind the success. The music is fantastic and a lot more eclectic than most of the radio brands out there – many reliant on the charts or narrow demographics. If the line-up on BBC Radio 6 Music is not exactly diverse regarding age, gender and race, that does allow for a certain experience to come through. The fact these presenters have worked in radio for years/decades has provided them with that Midas touch that other stations lack – one cannot say BBC Radio 6 Music lacks coolness and credibility. From Liz Kershaw to Tom Robinson through to Steve Lamacq, Chris Hawkins; Cerys Matthews, Gideon Coe and Marc Riley…all these people make the magic bubble and the wheels turn. I love all of them and, really, hope they stay where they are for many years to come. It would be good to see a few of the bigger artists have their back catalogues opened up more – there are songs from the likes of The Beatles and David Bowie that have never/rarely been played -  but it would be unfair to criticise the range of music played on the station. There is room for new shows/regular features but, again, that is beyond my powers and those listening. I am sure the BBC Radio 6 Music faithful have ideas regarding making the station even stronger and, as they are the ones helping make it the must-listen-to brand, maybe they could make BBC Radio 6 Music even stronger.

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 IN THIS PHOTO: Cerys Matthews’ Sunday show is one of the most eclectic on BBC Radio 6 Music/PHOTO CREDIT: Rick Pushinsky

To me – and millions out there – BBC Radio 6 Music is a safe haven and hub that provides warmth, great music and reliable voices we have followed for years. Each presenter has their own tone and style and that means everyone can find something to enjoy. With daily music news – Matt Everitt delivers the music news on Shaun Keaveny’s show (but is there room for a music news presenter on breakfast or later in the day?) – we get informed as well as enlightened and, ever year, there is the BBC Radio 6 Music Festival. The station is definitely growing and the listeners have chances to join in and be part of the shows – from Laverne’s People’s Playlist to RadMac’s The Chain, the doors are always open! If the station gave a few more props to some of the big music events/anniversaries and tweaked here and there, I think it would be an unbeatable and unstoppable radio machine. I know for a fact the station is encouraging D.J.s to get into the business and become more ambitious; artists are being buoyed by having their music played and people who were feeling uninspired by other radio stations, finally, have this salvation and new home. Big RAJAR figures and new records means that BBC Radio 6 Music is throwing out this rare and special scent the people need in their lives. It seems strange that this is the same station that was threatened with closure a few years ago –let’s hope the BBC have learned from that mistake and dare not go near that well ever again! Long may the reign and rule of BBC Radio 6 Music continue because, for so many out there, they make lives…

SO much brighter.

FEATURE: Sonic Proof: Volume VI: Bank Holiday Magic: Fantastic Artists to Watch

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Sonic Proof: Volume VI

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IN THIS PHOTO: JEMS/PHOTO CREDIT: @gilleklabin   

Bank Holiday Magic: Fantastic Artists to Watch

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MOST of us have a precious day off

 IN THIS PHOTO: Pleasure Heads/PHOTO CREDIT: Rosie Sco

so it is a good opportunity to take things easy and spin some tunes. I have been looking through the waves of great young artists coming through and have compiled some here. There is a real blend of music and, whilst a lot of the music is from this year, there are some tracks from 2018 – artists who have something brewing or who I feel are shaping up to become something great. I know you will enjoy something from the playlist and there might be one or two artists that turn the head. Have a listen through and see what you think. The fact we all have to return to work tomorrow is a bummer but, whilst we have this day free, sit back and enjoy these great artists…

 IN THIS PHOTO: Big Joanie/PHOTO CREDIT: Ellie Smith Photography

FILLING your ears.                      

FEATURE: Eternal Life: A Voice from the Heavens: The Jeff Buckley Playlist

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Eternal Life

IN THIS PHOTO: Jeff Buckley/PHOTO CREDIT: Getty Images 

A Voice from the Heavens: The Jeff Buckley Playlist

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I will make this brief…

 PHOTO CREDIT: Chris Buck

because, when it comes to Jeff Buckley, people want to hear his music and that incredible voice – my words cannot do justice to his brilliance and audacious abilities. I am writing this because, on Wednesday, it will be twenty-two years since Buckley died. It is strange to think that, at the age of fourteen, I discovered this terrific musician had died. I was not too familiar with Buckley’s music in 1997 but, having learned of his death, there were a lot of tributes; his music was played (more so) on MTV and there was a huge outpouring of sadness. The loss of such a magnificent and once-in-a-generation artist moved the world and the fact Buckley was only thirty when he died added to that sense of loss and tragedy – someone so young and promising taken from us so cruelly. Whilst in Mississippi and putting together the bones of his second album, Buckley drowned after being inspired to get into the water during a warm evening; lying on his back and singing along to Led Zeppelin’s Whole Lotta Love – he and his friend were plying on a boom-box -, the boom-box was moved as an incoming wave approached, and when his friend/roadie, Keith Foti, looked back he saw that Buckley was gone – pulled under the water by a passing tug boat; it would be several days before Buckley’s body was discovered by a passing tourist boat. It is of some comfort to know Buckley was in a good mood leading up to his death and was in playful spirits.

 PHOTO CREDIT: Merri Cry

The music world was shocked to learn of Buckley’s death but you look at music now and so many artists are inspired by what he gave us. Buckley’s sole studio album, Grace, turns twenty-five on 23rd August – and it will be a great opportunity to mark this incredible human. Upon its release, it sold poorly in the U.S. and struggled to make an impact on the charts. In a year when other sounds and genres were making an impression, Grace did not really get the respect it deserved. Subsequent live performances and the passing of time have seen the album gather the acclaim and celebration it should have received back in 1994. Buckley was, in many ways, ahead of his time. You look now and there are a lot of sensitive male songwriters who enjoy great affection and assimilation. Those whose ears and minds were truly open embraced Buckley but it is a shame that it took a lot of posthumous attention to see Grace grow to a larger extent. I have been a fan of Buckley for years and there are so many different aspects to him and his music that compel me. One cannot ignore that voice: this heavenly thing that stretches in all kinds of directions and can bring people to their knees. One can only imagine where Buckley would be now if he had lived; what direction his music would have taken.

From his early days performing in coffee shops around New York – a scene he was keen to return to when the madness of fame and touring demands took over – through to his final weeks, he was this hugely adored artist who sounded like nobody else. Go and acquaint yourself with his live albums like Live at Sin-é (Legacy Edition) and hear this man, in a modest and small café, blow away a lucky selection of attendees. He did not lose that allure and magic when he started playing bigger venues but, at every gig, you sort of feel like he was more at home in the New York bars and cafes. In any case, Buckley did inspire and amaze those around him. You only have to listen to interviews he conducted and hear that beautiful voice speak so passionately. Maybe Buckley was better understood in the U.K. than the U.S. I guess people here and in Europe were more willing to bond with this romantic soul with a sensitive side; a musician capable of immense power and beauty. It is almost a shame Grace arrived in 1994: a year when Grunge was still firing and Britpop was bouncing in the U.K. Since Buckley’s death in 1997, there have been numerous collections and projects that bring together lost recordings and his biggest hits. There are great biographies such as this that get to the heart of Buckley and, in October, Jeff Buckley: His Own Voice hits the shelves – a collection of photos and diary entries.

On Wednesday, I hope people do mark Buckley’s passing and, rather than feel sad, appreciate all the music he gave people and see how his music and legacy has affected the next generation. So many artists cite Buckley as an idol and that must be very humbling; Buckley would have been chuffed to realise how much his music means to people. I am still heartbroken he is no longer with us because there is always that suspicion that he was on the cusp of his greatest work. When he was putting together his second album, My Sweetheart the Drunk – the album, Sketches for My Sweetheart the Drunk collected together recording he made for the album finished and half-finished alike – there was this change of direction afoot. There was a grittier and slightly bolder sound; a bit more electricity and something that was shaping up in Grace but never quite materialised. Grace is rightly regarded as one of the greatest albums ever but Buckley was keen to move on and develop his sound on his second outing. One can only guess what would have become of his second album and, knowing his perfectionist tendencies, how long it would have taken to come out! Rather than mourn this incredible artist that shone bright and too briefly, let’s all take some time to spin the music that he gave us. From his live recordings, through to Grace; his later sketches and those rare cut, it goes to show that there was nobody quite like him. Twenty-two years after the legend’s death, there is still nobody out there…

LIKE the amazing Mr. Buckley.

FEATURE: Forty Years of the Sony Walkman: 1st July, 1979: An Historic and Iconic Day for Music

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Forty Years of the Sony Walkman

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IN THIS ILLUSTRATION: The Sony Walkman TPS-L2 was the world's first low-cost portable stereo and went on sale for the first time on 1st July, 1979/ILLUSTRATION CREDIT: Moritz Adam Schmitt  

1st July, 1979: An Historic and Iconic Day for Music

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I was not alive when the Sony Walkman was invented…

 IN THIS PHOTO: The Sony Walkman WM-101 was the first device to come with rechargeable batteries/PHOTO CREDIT: Sony/Getty Images

but it definitely made an impact in my childhood years. I remember getting hold of a Walkman around the age of about seven or eight and being liberated. Able to transport my favourite cassettes around and listen to music on the go…this was something that my generation were experiencing and it was a major breakthrough. One might feel it is a bit over-the-top to call the invention of the Sony Walkman an historic moment. Look at the devices and technology that has brought music forward and revolutionised how we listen to music. Think of when the gramophone came in and how that allowed records to be played. Back in 1979, people could listen to cassettes on the move but, for the most part, they had to rely on slightly cumbersome and clunky players and boom-boxes. It was quite social having a cassette player or boom-box; one could bring it out into the open and people could share their prized artists. Thinking about it and it didn’t allow for much subtlety and privacy. On 1st July, 1979, Sony introduced the portable and awesome Walkman – a device that would eventually evolve into the Discman (a rare case of taking a huge step back when it came to technology). Before I tell you why me and a lot of people my age love the Walkman, let’s get some historical perspective. This Time article charts the beginnings of the Sony Walkman:

“The Walkman wasn't a giant leap forward in engineering: magnetic cassette technology had been around since 1963, when the Netherlands-based electronics firm Philips first created it for use by secretaries and journalists. Sony, who by that point had become experts in bringing well-designed, miniaturized electronics to market (they debuted their first transistor radio in 1955), made a series of moderately successful portable cassette recorders.

But the introduction of pre-recorded music tapes in the late 1960s opened a whole new market. People still chose to listen to vinyl records over cassettes at home, but the compact size of tapes made them more conducive to car stereos and mobility than vinyl or 8-tracks. On July 1, 1979, Sony Corp. introduced the Sony Walkman TPS-L2, a 14 ounce, blue-and-silver, portable cassette player with chunky buttons, headphones and a leather case. It even had a second earphone jack so that two people could listen in at once.

All the device needed now was a name. Originally the Walkman was introduced in the U.S. as the "Sound-About" and in the UK as the "Stowaway," but coming up with new, uncopyrighted names in every country it was marketed in proved costly; Sony eventually decided on "Walkman" as a play on the Sony Pressman, a mono cassette recorder the first Walkman prototype was based on. First released in Japan, it was a massive hit: while Sony predicted it would only sell about 5,000 units a month, the Walkman sold upwards of 50,000 in the first two months. Sony wasn't the first company to introduce portable audio: the first-ever portable transistor radio, the index card-sized Regency TR-1, debuted in 1954. But the Walkman's unprecedented combination of portability (it ran on two AA batteries) and privacy (it featured a headphone jack but no external speaker) made it the ideal product for thousands of consumers looking for a compact portable stereo that they could take with them anywhere. The TPS-L2 was introduced in the U.S. in June 1980”.

Although the Walkman was a revolutionary and welcomed introduction, it was quite a pricey option for music-lovers back in 1979 – can one put a price on its importance?! This feature from The Verge shows how the humble Walkman grew in stature; how it is hugely important to his very day:

“The first of Sony's iconic portable cassette tape players went on sale on this day, July 1st, back in 1979 for $150. As the story goes, Sony co-founder Masaru Ibuka got the wheels turning months before when he asked for a way to listen to opera that was more portable than Sony's existing TC-D5 cassette players. The charge fell to Sony designer Norio Ohga, who built a prototype out of Sony's Pressman cassette recorder in time for Ibuka's next flight.

After a disappointing first month of sales, the Walkman went on to become one of Sony's most successful brands of all time, transitioning formats over the years into CD, Mini-Disc, MP3 and finally, streaming music. Over 400 million Walkman portable music players have been sold, 200 million of them cassette players. Sony retired the classic cassette tape Walkman line in 2010, and was forced to pay a huge settlement to the original inventor of the portable cassette player, Andreas Pavel. But the name lives on today in the form of new MP3 players and Sony's Walkman app. They heyday of the Walkman may be over, with kids today baffled and disgusted by the relative clumsiness of cassettes. But the habit it spawned — listening to music wherever and whenever you want — is bigger than ever”.

IN THIS PHOTO: Sony’s first Discman was released in 1984/PHOTO CREDIT: Sony/Getty Images 

I will end by looking at how the Walkman has dwindled since its introduction but, in an age where we carry everything on our phone, it is sad that we do not have this groundbreaking piece of kit on our person! I recall my parents talking about the introduction of the Walkman and how it was this desirable object that eventually made its way to our shores – it is a Japanese invention and, as I shall show later, the fact it slowly crept around the world made it all the more desirable! My earliest music-listening days (around about 1987-1990-ish) were spent, largely, listening to a bigger unit where I had a double tape deck. It was pretty cool having that and it allowed me to listen to tape out of the house. I have a huge fondness for vinyl but I often find a record player does not allow the portability we crave. Early cassette players and devices were a bit large but it did mean me and my mates could take cassettes out of our homes and share them with one another. We could sit on the grass and marvel at these great albums, played loud, without having to worry about our parents’ (dis)approval. I cannot recall the day I got a Walkman but the effect was instant: the ability to listen to music privately whilst on the move. One might say that the Walkman made music-listening more insular and less communal but, from the earliest days of music, there has always been that desire to listen to music peacefully and in a very personal way.

 ILLUSTRATION CREDIT: Sam Cooke

I think there is something magical about sharing music and listening with peers but, for that sheer release and affirmative rush, listening to music without interruption and expectation is hard to beat! Now, as I type this, I have headphones on am listening to Beyoncé’s Homecoming album. If I was listening to the album with a group of people, we could all react and it would be cool seeing how people respond to the music. I feel, with the music in my ears (and only mine) it is more intimate and personal – like Beyoncé is performing directly to me. Music is at its strongest when it has that direct touch and power to move you. I am not saying the earliest days, pre-Walkman, were not good but there was something about the Walkman that took music to a new level! I had a large collection of cassettes and, before, I had to play them in my room and it didn’t allow for much movement and personal space. When I got my first Walkman – maybe the early-1990s, now that I think of it – I was able to walk around and, not only did I get to listen to all my tunes with smoothness and peace, but I was actually getting active at the same time! The portability and sleekness of the Walkman, as Mental Floss explained in this feature, was marketed at a younger audience:

“The teen angle also meant that Sony had to produce new, more stylish and lightweight headphones, improving on the earmuff-like ones available at the time.

The initial ad campaigns emphasized youth and sportiness: young people on roller skates and bicycles, earphones on their ears and Walkmans on their belts. One advertisement said it all: a young, pretty girl with a Walkman wearing futuristic earphones walking past an elderly monk wearing a clunky, old ’60s-style headset”.

As I said early, the Walkman was reserved to Japan for a long time. It took a while for it to make its way to international markets:

“Two months after the July 1 rollout, Sony sold out of the initial production in Japan. The company intended to introduce the Walkman to foreign markets in September 1979, but scrapped that plan in order to dedicate production to meet Japanese demand. This only made the Walkman more desired in other countries. Tourists and airline crews searched them out and brought them home. Whenever Sony executives went abroad, colleagues badgered them about obtaining Walkmans.

In 1979, the year of the Walkman’s release in Japan, recorded music sales were about $4 billion in the U.S., half of which went to vinyl, a quarter to compact cassettes, and a quarter to 8-tracks, according to Mark Coleman's book Playback. The Walkman made its U.S. debut in June 1980, and just three years later, in 1983, cassettes overtook vinyl as the top format. By the time Sony stopped manufacturing the Walkman portable cassette players in 2010, the company had sold around 385 million units”.

Was the Walkman, at a time when music was sociable and shared, taking us more into private and closed-off territory?

“In an essay that may seem either quaint or prophetic in the age of smartphones, Japanese professor Shuhei Hosokawa accused the Walkman of altering the urban landscape, from one in which experiences were shared and spontaneous into one where individuals were preoccupied and autonomous in thought and mood. In a 1984 article for the journal Popular Music, entitled "The Walkman Effect," Hosokawa, of the inter-university International Research Center for Japanese Studies, wrote that the “listener seems to cut the auditory contact with the outer world where he really lives: seeking the perfection of his ‘individual’ zone of listening.”

IN THIS PHOTO: The invention of the Walkman has, indirectly, led to the portability and convenience of the Smartphone/PHOTO CREDIT: @jens_johnsson  

I have mentioned how, if the Walkman made music more personal and less sociable, it did encourage people to move and, with music in their ears, the health benefits were clear:

“The Walkman coincided with the exercise craze of the ’80s, which saw the Western middle class, newly confined to office jobs, take to the gym and fitness classes. “[A]lmost immediately, it became common to see people exercising with the new device,” Richard James Burgess wrote in The History of Music Production. “Appropriate personalized music eases the boredom and pain of repetitive exercise.”

I think there has not been another move in music technology since 1979 that has changed how we listen and experienced sounds. One can say Smartphones have transformed things but, look at what was before the Walkman, and you have to admit that (the 1979 invention) was a seismic shift. We all know what sort of went wrong when it came to following the incredible Walkman: making C.D. listening portable was fraught with challenges. This AdWeek article discusses the ways Sony tried to make other forms of music mobile but, as anyone who has owned a Discman will tell you, there were more problems than benefits:

“Groundbreaking as it was, however, the Walkman would also become one of branding's cautionary tales. Sony initially kept apace with the changes in technology, introducing its CD-playing Discman D-20 in 1987. But when the era of MP3 arrived, Sony wasn't hip to the groove. The MP3 Walkman arrived in 2004, but its high price ($400) and Sony's insistence on using its Atrac MiniDisc format alienated many consumers—who were all too happy to defect to Apple's iPod after it hit the market in 2001. "Sony was not defending its space as it should have been," Reed said. "One of the brilliant things that Apple did—and that Sony had done—was to create a category."

 IN THIS PHOTO: This is what the Walkman looks like today: the modern-day and slimline NW-ZK1/PHOTO CREDIT: Sony/Getty Images

I am not down on the Discman at all: it meant we could all listen to C.D.s on the move but, as C.D.s are more fragile than cassettes, it meant harnessing a device that could play them smoothly was always going to be a challenge. Now, we look back and laugh at how one used to hold a Discman: usually in the air, making sure tracks did not skip; perhaps walking very gingerly as not to irritate the mechanisms and get that horrible skipping sensation. Walkmans, in a way, were way ahead of Discmans and much more inviting. There was always the dilemma one would have when the cassette would sound a bit off – normally one would have to unspool the tape because the bloody thing was stuck and beyond saving! This article charts where Sony went from the Discman. By 1992, Sony brought out its first HD Walkman - Sony created the world’s first MiniDisc Walkman® MZ-1 that featured recording, playback; a numeric keyboard and anti-skip technology. This device could record for up to seventy-four minutes, and those recordings could be divided, combined; deleted and named (all new experiences to tape recording!). From there, as newer technology came out, the Walkman changed its shape and appearance. I do wonder whether the so-called ‘Walkman Effect’ is responsible for this big modern-day issue of people on their phones; nobody looking up and everyone keeping to themselves.

If one can argue the Walkman encouraged technology companies to pioneer music/devices that were more private and personal than social and communicative, they (Sony) at least made portable music-listening possible. They made it possible for us to listen to music on our own and not have to be anchored and constricted by overly-large cassette players and worry about volume! Is the Walkman due a revival? As this feature explains, the Walkman had a brief resurgence a few years back:

“They have since licensed the name to Chinese manufacturers and used it themselves for MP3 players and even phones, but the original Walkman had become a thing of the past...or had it? In 2014 the Walkman was revived thanks to the release of the Marvel movie Guardians of the Galaxy in which the main character uses his Walkman and mix tapes as a lifeline to his childhood on Earth. After the release of the movie, the price of second-hand walkmans increased dramatically thanks to this retro reboot”.

As our modern world keeps vinyl alive and there is never going to be an end to our love of record shops, does that mean there is a space for cassettes? Definitely, there are disadvantages with cassettes: you cannot easily skip tracks and you have to wind forward/backward; it is a rather frustrating experience unless you want to listen to an album in one go.

I do think cassettes – if we get rid of the plastic – could make a comeback and inspire the next generation. A lot of D.I.Y. labels and artists still put out cassettes and there is no danger of them disappearing. Maybe it is hard to revive the format and get it to where it once was. At a time when  so many of us listen to music on our phones and have the freedom to listen where and when we like, I feel we ignore what started it all: the incredible and life-changing Walkman. It started out in Japan in 1979 but it would find its way around the world. Many felt its popularity would not be that great; considering there was no record function and there were some limitations it was a raging success and a hugely important time for music. To be alive on 1st July, 1979 and hear news of this strange and near-space-age device coming into the world! Forty years on and the Sony Walkman remains iconic and progressive. It definitely changed how we listened to music and meant that people could hear their favourite artists in a whole different way. When the official fortieth anniversary comes, I think it is a perfect excuse to get your hands on a Walkman – you might need to do some research first – and understand why it is such an important invention. Maybe digital has taken over and the cassette is facing extinction in years to come. I would hate to accept that because people like me grew up around cassettes and they were a vital part of childhood. When I think about the Walkman and how it changed my life, it makes me smile a lot. That is a memory/sensation that…

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 IMAGE CREDIT: Sony/Getty Images

CAN never be taken away.        

FEATURE: Female Icons: Part Four: Beyoncé

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Female Icons

IN THIS PHOTO: Beyoncé shot for the cover of Vogue’s September issue in 2018/PHOTO CREDIT: Tyler Mitchell 

Part Four: Beyoncé

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IN future parts of this feature…

 IN THIS PHOTO: Beyoncé captured here for GQ in 2013/PHOTO CREDIT: Terry Richardson

I want to investigate Joni Mitchell and Stevie Nicks but, when we think of a modern-day icon, Beyoncé has to be near the top of the pile; close to the imagination when considering those who have pushed music forward. In fact, a lot has happened with Beyoncé over the past few months. Not only has her 2016 album, Lemonade, been unleashed on Spotify – it was not on there since its release; various reasons and so forth – but it is great to have it on there (even if the songs with coarse language have been heavily edited for no apparent reason). I love that album and will address it a bit later but, having been off of Spotify for a while, it is a chance for people to experience the record – it is always good buying records but for those who rely on streaming, having this great album on Spotify is a definite boon. Elsewhere, we saw the incredible Homecoming documentary arrive. It concerned Beyoncé’s iconic performance at Coachella last year and the rehearsal performance footage. It was not only a chance to see her practise and put together the routines but we get some behind-the-scenes material and we also get to witness that legendary performance. The Guardian, when reviewing Homecoming, explained how the stage is, essentially, where Beyoncé is most free and at home:

“So Coachella, she explains, was the homecoming she never had, but also a paean to the rich culture and vibrant aesthetic of historically black colleges and universities, the insignia of which can be spotted on the bright yellow and pink hoodies worn by Beyoncé and her onstage battalion (the film brilliantly cross-cuts between Beyoncé’s two Coachella sets to create an almost kaleidoscopic effect, edited down to each gyration and stutter-step)…

And even with the relative sparsity of information about how the concept came together, Homecoming is, alongside the southern gothic feminism of Lemonade, Beyoncé’s grandest articulation yet of her artistic mission. It’s a mission so great, she looks to no less an authority than Maya Angelou to put it into words. “What I really want to do is be a representative of my race,” Angelou says over grainy rehearsal footage near the end of the documentary, in what was the last interview she gave before her death in 2014. “I know that when I’m finished doing what I’m sent here to do, I will be called home.”

Home, for Beyoncé, is the stage. It simply agrees with her, as does every light source, camera angle and audience member, many of whom are seen howling blissfully in the crowd, gobsmacked with pride and hero-worship. But Beyoncé, queen she may be, doesn’t ask us to bend the knee. Homecoming is about the collective. It’s about the experience of viral, transitory togetherness for which musical festivals are one of the last remaining conduits. Beyoncé lets us see as much of the sweat as she’s willing, and some will perhaps want more. But she’s less interested in unraveling the mythology than letting us plebeians revel in it”.

Make sure, if you can, you watch Homecoming and get a sense of Beyoncé the performer (you can also hear the album here). One cannot overstate how important and impactful her Coachella performance was and why, in 2018, she was outclassing and outdoing her peers – many of whom have been compelled by her music since the early days of Destiny’s Child.

I have never been to a Beyoncé gig but, in terms of showman(woman)ship, there are few out there who put on a show like her. So, then, where does she go from here? Her side-project, THE CARTERS (with her husband Jay-Z), spawned the celebrated album, EVERYTHING IS LOVE, and gained a mass of effusive reviews. It was a slightly different step from Beyoncé and Jay-Z but, rather than it being a second-rate solo effort, it was a unified and interesting collaboration – one where both artists retained their core attributes but were able to take their talents to new heights. Beyoncé went on the road with Jay-Z to promote the album but now, with Lemonade three years in the past and the shockwaves from Coachella starting to settle…many will ask whether there is new work coming from Beyoncé. She has to balance business, music and being a mother but one feels that there might be something from her in the next year or so – 2020 would be a good and apt year for her to explore equality, perfect vision and something very bold. In a year dominated by female artists, I think a Beyoncé album would further the cause for equality and gender balance in music. With festivals still ignoring women for headline slots, Beyoncé’s headline Coachella set and her incredible music, surely, should give pause for thought and encouragement. I will look back at Beyoncé’s past work and her rise but, when we think about her, there are two schools of thoughts; a polemic that divides people and, I think, does her an injustice.

There are those who feel Beyoncé has a lot of people making her music and she is not as individual as artists who write their own stuff. Every Beyoncé album has had a fair few writers and producers – the same is true of so many mainstream artists. For someone who prides herself on being independent, how is having others construct her music, marketing and product staying true to her ethos?! There is something to be said for that but many see Beyoncé as cynical and a bit fake in that respect. Beyoncé is always at the front and it would be unrealistic for an artist as busy and high-profile to take care of every element and aspect, considering there is such pressure on her. I think having other bodies in the kitchen adds different ideas to the mix and, whereas some of her albums have been bit ho-hum, they are always interesting and unique. Even Lemonade, with several collaborations and producers, was synonymous with Beyoncé’s voice and vision. There is debate whether the album’s theme and narrative was a reaction to rumours Jay-Z was cheating on her – she maintains it is not – but one cannot fail to hear the anger and sense of outrage as she rallies against lies and low-down cheating. Whether cribbed from her own experiences or coming at it from a fictional perspective, the messages on Lemonade gave heart and courage to those who were going through the same things; huge songs that were full of heart, striking moments and deep passion.

One could not help be moved and overwhelmed by Lemonade and its whole personality. Beyoncé put out seventeen videos for Lemonade: a visual album that was groundbreaking and provided her music with a cinematic flair. One can say that others have helped boost Beyoncé’s profile and music but you only need go back to the start of Destiny’s Child to realise that the hunger and ambition was there from the earliest days. On the 1998 eponymous album, Beyoncé was already starting to establish herself as a star that was more than the sum of the band. That is not to say there was an early power struggle but there was a line-up change by 1999. Kelly Rowland and Michelle Williams, together with Farrah Franklin and Beyoncé completed Destiny’s Child 2.0 and, on their second album, there were bigger hits and increased quality. One can look at the management problems and stuff that was happening in the backrooms when the band started out but it was clear things were not smooth and especially harmonious at the beginning. Whatever was happening away from the studio was, at times, ugly but the music on The Writing’s on the Wall is sensational. I often associate the 1990s with the rise of girl groups and, with the likes of En Vogue, All Saints; TLC and the Spice Girls adding their own take to the scene, Destiny’s Child mixed strong and defiant songs with catchy hooks and sweet choruses.

Consider songs such as Bills, Bills, Bills, Jumpin’, Jumpin’ and Say My Name: these are some of the biggest songs of the late-1990s and we can all recall their memorable choruses! Knowles (Beyoncé), by 1999, was becoming even more involved with the songwriting and, together with Kelly Rowland, establishing herself as the leader. 2001’s Survivor whittled the line-up down to Beyoncé, Michelle Williams and Kelly Rowland and it seemed like this move helped them create greater unity and memorability. I love what Beyoncé and co. were doing in the late-1990s but Survivor’s strongest songs – Independent Women ,Part I, Survivor; Bootylicious, Nasty Girl and Dangerously in Love – marked them out as a stunning force. Beyoncé, clearly, was the most popular member of Destiny’s Child by 2001 and you can hear a lot of Destiny’s Child in her solo work – songs about independence, overcoming hurdles and defiance would become her calling cards. 2004’s Destiny Fulfilled was the group’s last album and, whilst there were some tough and raw songs to be found – Lose My Breath and Soldier are the very best – gone was a lot of the hook and freshness. Beyoncé has remained on good terms with the other girls from Destiny’s Child – there was a reunion at her Coachella show last year – so you can never say they are over for good. It is the solo path that Beyoncé is walking and, right from 2003’s Dangerously in Love, there was this sign that she was the star and this was her moment.

Destiny’s Child was a group effort but now, going solo, Beyoncé was allowed to shine and strike. AllMusic, when reviewing her debut solo album, noted the highlights and changes:

“Knowles doesn't save this voice just for the ballads -- she sounds assured and sexy on the dance numbers, particularly when she has a male counterpart, as on the deliriously catchy "Crazy in Love" with her man Jay-Z or on "Baby Boy" with 2003's dancehall superstar, Sean Paul. These are the moments when Dangerously in Love not only works, but sounds like Knowles has fulfilled her potential and risen to the top of the pack of contemporary R&B divas. It's just too bad that momentum is not sustained throughout the rest of the record. About halfway through, around the astrological ode "Signs" with Missy Elliott, it starts crawling through its ballads and, while listenable, it's not as exciting as the first part of the record. Still, the first half is good enough to make Dangerously in Love one of the best mainstream urban R&B records released in 2003, and makes a strong case that Knowles might be better off fulfilling this destiny instead of reuniting with Destiny”.

2006’s B’Day capatalised on the success of her debut and (her sophomore) was a stronger and more arresting album. Songs like Déjà Vu, Ring the Alarm and Green Light find Beyoncé baring her teeth and strutting but there are ballads and softer moments; able to blend emotions and moods without losing focus and identity.

 IMAGE CREDIT: Max Vadukul

Like Madonna transition to become the Queen of Pop by the time of 1989’s Like a Prayer, Beyoncé transformed from the princess-in-waiting of R&B to become the Queen by 2006. There were a couple of below-her-best albums after B’Day but 4 (2011) contains pearls such as Love on Top and Run the World (Girls). 4 was a more intimate album than many were used to be but, again, there was that splicing of the fiery and tender. Her eponymous album of 2013, debatably, started her ‘golden period’ – she would follow it with Lemonade in 2016 and has been sort of untouchable since then! All of Beyoncé’s albums have inspired other artists and pushed music forward but her self-titled release came with no fanfare and was just put out there. This surprise release sent the Internet into meltdown and showed that Beyoncé could do what she wanted; other artists have followed her lead and not been slavish to convention and the usual drip-feed marketing cycle. Releasing an album with no run-up and hoopla impressed critics and, as Pitchfork said in this review, it was a big move that paid off:

“Which is all to say that Beyoncé has delivered on the promise she inadvertently made by dropping an album and its expansive visual counterpart late on a Thursday night in December on iTunes, free of traditional fanfare. Call it a coup or just another victory for her mammoth PR apparatus, but consider the alternatives: The strategy probably would have failed if the quality wasn't there, and the album could not have achieved such an impact without its rogue—in spirit, at least—method of distribution…

Beyoncé was unleashed upon the world in a way that could only succeed right now, with an aim to make the audience consume it the way it would have long ago. It’s a line that could be ripped straight from the mouth of an investment-drunk tech startup founder, but it’s true: Beyoncé seized the powers of a medium characterized by its short attention span to force the world to pay attention. Leave it to the posterchild of convention to brush convention aside and leave both sides feeling victorious”.

That sort of takes us up to Lemonade and, again, that innovation remained: releasing a visual album was another bold move from Beyoncé and the sign that she was at her finest and most confident – concerned as much with subverting expectation and expanding horizons as producing music of the highest order. Maybe increased success or motherhood led to this big leap but it is clear that, from 2013-present, Beyoncé has been in a league of her own. There are articles that talk about Lemonade’s influence and impact; ones that explore the cinematic influences on her visual album; others that discussed themes on the album (motherhood, black rights and independence) and hypothesised where Beyoncé found guidance. It is clear that, unlike any other album Beyoncé had put her name to, Lemonade took her to new levels. Not only did she revolutionise the visual aspect of videos/an album but she created this bittersweet masterpiece.

 IN THIS PHOTO: Beyoncé in a still from the Hold Up video/PHOTO CREDIT: Parkwood Entertainment

The Telegraph, when looking at Lemonade and its dichotomy of the forward-aiming and fierce and the heartbroken; they underlined just how inspiring and important Beyoncé’s 2016 album was/is:

“Following BEYONCÉ’s vision of a perfect marriage, Lemonade’s narrative thread revealed a marriage in trouble; adultery and anger in the first third, reflection in the middle and a kind of acceptance by the end. Chapters were marked by Kübler-Rossian titles: Intuition, Denial, Anger, Apathy, Emptiness, Accountability, Reformation, Forgiveness, Resurrection, Hope and Redemption and linked by eerie recitations of poems by Warsan Shire, casting new shadows across familiar concepts of love and anger.

By focusing on the personal, Beyoncé created a space to dissect the political, both visually and aurally. The music was a huge leap forward for her too; with a litany of collaborators (Jack White! Father John Misty! James Blake!) and a reference library of samples and homages (Soulja Boy! Yeah Yeah Yeahs!) she probed her (and, by extension, our) pain from every angle. From the wild and raw rock of Don’t Hurt Yourself to the bluegrass country of Daddy Lessons, nothing was beyond her; the sheer fury of her sneeringly telling a lover to “suck on her balls cos I’ve had enough” was very un-Beyoncé – until, suddenly, it wasn’t.

US eatery Red Lobster reported a spike in sales after Bey claimed to take a lover there as a reward for spectacular performance in the bedroom. The video accompanying Hold Up – where Beyoncé takes a stroll down a street in bright yellow couture, gleefully wielding a baseball bat to smash images of the patriarchy and the exclusionary nature of white culture – sparked a litany of reaction memes. The entire album was homaged in an episode of the Netflix series The Unbreakable Kimmy Schmidt, coining the verb “to Lemonade”.

But beyond the critical acclaim, gossip column fodder and meme-ification, the album and its visual accompaniments made waves in more serious areas. Its focus on feminism, race and identity and the thousands of visual and sonic references to black history made Lemonade ripe for academic study”.

So, then…why put Lemonade on streaming services after getting everything from the album the first time around?! Not only do new fans get to discover it but, as the article continued, it seemed like another power-move from the superstar:

“She’s also explicitly addressed Lemonade’s absence from other streaming services in song – in 2018, Beyoncé and Jay-Z released an album as The Carters on which she raps: “If I gave two f---- about streaming numbers / Would have put Lemonade up on Spotify.” She’s not the only artist to withhold her work from Spotify as a statement; Prince was staunchly anti-streaming, and Taylor Swift’s new releases and back catalogue were famously absent from Spotify for years (she relented when 1989 reached 10 million sales).

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IN THIS PHOTO: Beyoncé pregnant with her twins, Rumi and Sir, in 2017/PHOTO CREDIT: Parkwood Entertainment

To now allow Lemonade on to Spotify, which famously pays out very small amounts per stream, is less cowing to the machine and more of a classic Beyoncé power move. The promotional hoopla for Lemonade has ended: anyone who was going to buy it digitally or physically probably already has, anyone hoping to see Lemonade’s songs live has already bought tickets to do so”.

The words ‘Beyoncé’ and ‘interview’ do not really go together naturally. There is no single reason for it but it seems a combination of intrusion and wanting to remain private has enforced her decision. I have talked about Beyoncé as an artist but not really addressed her in terms of being a role model and businesswoman – more on that later on. She did speak to Vogue last year and, as Variety explain in this feature, she did cover a lot of ground:

“Beyonce is the cover star of Vogue’s prestigious September issue, and she was reportedly given unprecedented editorial authority over her presentation in the issue. As such, it’s a 1,500-word as-told-to in which she talks about subjects ranging from pregnancy and body image to her galvanizing Coachella performance earlier this year, and the ongoing On the Run II Tour with her husband, Jay-Z.

IN THIS PHOTO: Beyoncé shot for the cover of Vogue’s September issue in 2018/PHOTO CREDIT: Tyler Mitchell  

“I was 218 pounds the day I gave birth to [twins] Rumi and Sir” in 2017, she tells writer Clover Hope. “I was swollen from toxemia and had been on bed rest for over a month. My health and my babies’ health were in danger, so I had an emergency C-section. We spent many weeks in the NICU. My husband was a soldier and such a strong support system for me. I am proud to have been a witness to his strength and evolution as a man, a best friend, and a father. I was in survival mode and did not grasp it all until months later.”

“She also speaks of her own parents’ challenged marriage and how it has informed her own. “I come from a lineage of broken male-female relationships, abuse of power, and mistrust,” she said. “Only when I saw that clearly was I able to resolve those conflicts in my own relationship. Connecting to the past and knowing our history makes us both bruised and beautiful.

“I have experienced betrayals and heartbreaks in many forms,” she continues. “I have had disappointments in business partnerships as well as personal ones, and they all left me feeling neglected, lost, and vulnerable. Through it all I have learned to laugh and cry and grow. I look at the woman I was in my 20s and I see a young lady growing into confidence but intent on pleasing everyone around her. I now feel so much more beautiful, so much sexier, so much more interesting. And so much more powerful.”

“She also speaks at length of the inspiration behind her Coachella performances in April, which were an elaborate and reference-laden celebration of black culture. “I had a clear vision for Coachella,” she said. “I was so specific because I’d seen it, I’d heard it, and it was already written inside of me. One day I was randomly singing the black national anthem to Rumi while putting her to sleep. I started humming it to her every day. In the show at the time I was working on a version of the anthem with these dark minor chords and stomps and belts and screams. After a few days of humming the anthem, I realized I had the melody wrong. I was singing the wrong anthem. One of the most rewarding parts of the show was making that change. I swear I felt pure joy shining down on us. I know that most of the young people on the stage and in the audience did not know the history of the black national anthem before Coachella. But they understood the feeling it gave them.

“It was a celebration of all the people who sacrificed more than we could ever imagine, who moved the world forward so that it could welcome a woman of color to headline such a festival”

“I’m in a place of gratitude right now,” she concludes. “I’ve worked long and hard to be able to get to a place where I can choose to surround myself with what fulfills and inspires me.”

I think it is good that there are not too many interviews around of Beyoncé. If she keeps repeating herself or gives too much away then it distills her essence and actually makes her work less potent and personal. There are rumours that a new interview might come soon: whether this signals a fresh album or new tour, who knows. It is exciting to think that, some twenty-one years after Destiny’s Child released their debut album, Beyoncé is still turning heads and growing stronger. There are article such as this and this that list reasons why Beyoncé is a role model but, back in 2017, Michelle Obama called Beyoncé a role model – as this article explains:

“Beyoncé and Michelle Obama are the epitome of women supporting women. They not only have a long history of supporting one another, but also, together, of supporting women as a whole.

On Monday, Beyoncé took to her website to announce that she would be launching an initiative that she has aptly named “Formation Scholars.” The purpose of the program is “to encourage and support young women who are unafraid to think outside the box and are bold, creative, conscious and confident.” Involving Berklee College of Music, Howard University, Parsons School of Design, and Spelman College, each school will award a scholarship to a single student who best fits the above description.

After the announcement, Michelle tweeted her support for Beyoncé, writing, “Always inspired by your powerful contributions @Beyonce. You are a role model for us all. Thank you for investing in our girls. 👑🐝 👑🐝”

There is no denying that, with her music, sense of ambition and role model status, Beyoncé is an icon that has inspired women around the globe. She has talked about black culture and equal rights; she has spoken for those overlooked and continues to be this pioneer that keeps taking music to dizzying heights. As a live performer, she is unstoppable and one of the most dazzling artists in the world. I will end with an article from Variety that has just come. It asks whether Beyoncé can be seen as a true icon and whether, ahead of Michael Jackson, she is the most important black artist who ever lived:

“Queen Bey certainly would qualify as a legitimate successor to the King of Pop. Like Jackson, she’s sold millions of records, racked up an impressive string of hits, and amassed a sizable fan base and fortune. Jackson’s 2009 death left a hole in the hall of hallowed black music stars that Beyoncé was primed to fill.

But where one is celebrating and making black history, the other is black history – five decades of it. Beyoncé has driven some of the pivotal pop culture moments of this millennium – from “Independent Women” to “Single Ladies” to “Lemonade” to her Coachella “Homecoming” performance – but nothing in black entertainment in the last half century can match the impact of Jackson and “Thriller,” the all-time best-selling album by a black musician. That both have been so difficult to mute post-“Leaving Neverland” is a testament to their artistry and enduring importance.

Beyoncé is an undeniable creative force, but she’s first and foremost an entertainer. Her talent as a singer and performer is often jaw-dropping, but it takes a village to make a Beyoncé hit. Jackson was more of a self-contained, independent artist. He worked with accomplished producers but composed many of his greatest hits solo. As he proved with his career-making moonwalk on “Motown 25” in 1984, he didn’t need a battalion to leave a lingering impression.

His perennial success has been against substantial odds. In future centuries, he will serve as an example of how to remain a beloved star despite ever-mounting negative press. “Leaving Neverland” may have damaged his legacy irreversibly, but it’s impossible to erase him from black history.

This isn’t to understate Beyoncé’s musical and cultural significance. In paying homage to black womanhood, she’s brought it into white living rooms in a way no other performer before her has. Though her black consciousness can seem choreographed and calculated at times, especially when compared to earthier forerunners like Nina Simone, Aretha Franklin, and Mary J. Blige, Bey dares to go there in a way Jackson — who became figuratively and literally more colorless as time went by — never did.

At just 37, and 22 years into her career, she’s opening more doors and breaking down more barriers than any living black music star. She can headline Coachella in California and Glastonbury in England (the first black woman to do either) and still bring down the house at the Apollo in Harlem. Critics and fellow artists are as enamored of her as fans, and although her personal life makes headlines, unlike Jackson, her legacy is untarnished by scandal”.

Beyoncé means something different to everyone. She is not one of these fake stars that follows the beat of a record label’s drum and produces these very samey and empty songs. With every move and note, there is a conviction and sense of energy that gets under the skin and into the bones. She has been this champion for decades now and, still in her thirties, there is no telling how far she can go and what she will do next. Whether she sets up her own charity or reforms Destiny’s Child, it seems like she has already lived this remarkable life – even though she has decades left in music. To me, she is an artist who has produced some of the most memorable music of the past twenty years and someone who the music world needs to preserve and put on a platform. She is this gorgeous and sexy woman who has provided so much impetus and conficence to young women around the world. One cannot that Beyoncé is a hugely vital figure in an industry where there are so many false idols and fakery.

IN THIS PHOTO: Beyoncé captured here for GQ in 2013/PHOTO CREDIT: Terry Richardson

She is not perfect at all – some of the music misses the mark and one would like to see some solo-written songs now and then – but she is an incredibly powerful and important woman who has given so much to so many people. I do think that critics need to understand all the good she does and how her music connects with people. Long may her reign continue (some call her ‘Queen Bey’) and there is a lot of talk right now that something might be coming up. Maybe Beyoncé will surprise us with an album in 2019 but we have that incredible Homecoming documentary to Watch and mustn’t forget what she has produced over the past couple of years. She continues to dazzle, amaze and surprise at every turn. Whether you see her as a queen, a role model or just merely a Pop artist, one cannot deny that the Houston-born mother-of-three is…

 IN THIS PHOTO: Beyoncé performing at the Grammys in 2017/PHOTO CREDIT: Kevin Winter/Getty Images for NARAS

TRULY wonderful.

INTERVIEW: TRACE

INTERVIEW:

TRACE

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BEFORE heading on to a new feature...

I have been speaking with TRACE about her new song, All My Friends, and the story behind it. She reveals the music that matters most and how her own work has evolved since the start – TRACE recommends some rising artists to keep an eye out for.

I wanted to know if there are gigs coming up and whether there is more material afoot; what it is like to be revealing and open in songwriting and how she spends her time away from music – TRACE selected a great song (or two) to end the interview with.

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

Howdy. I’m actually pretty exhausted but very well. The week has been crawling but I think it’s only because I’m releasing my new single on Friday and the butterflies are flowing right now.

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

Hi, everyone, I’m TRACE. I live in Los Angeles and the current weather is super-grey which makes me super-happy. My music is consistently centered around my emotions and my hope is that it makes you feel a little less alone when you hear it.

What can you reveal about your new single, All My Friends, and its story?

I wrote All My Friends from a place of contemplation. Initially, it was about my move to Los Angeles a handful of years ago and feeling like I chose a path to follow that was different than most of the people around me. I had to accept that friendships and relationships change and that’s ok. All My Friends is also a commentary on what true friendship means and a questioning of intimacy and connection: how we are to foster these things in our lives.

In a world of social media and easy access to people, it’s almost ironic that we are a ‘lonelier than ever’ generation. So, with this song, I want to ask the listener ‘Who are your friends?’.

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

Absolutely. Hopefully, very soon and I cannot wait to share what I’ve been working on for the past year and a half.

How important is it to write songs and ‘put yourself on the page’, as it were?

It’s pretty crucial for me to not overthink when I write: meaning, I’ve learned the more I TRY to be ‘real’ or honest, the more obvious it is that I was trying - and it doesn’t  actually feel real or honest. ‘Putting myself on the page’ happens the most naturally when I take the pressure off and just am. It’s easier said than done, but it’s important because I know writing music is an opportunity to share something about myself…and I want to grow deeper relationships with my listeners as I continue to write music.

 Looking back, how do you think your music has developed and changed?

I think the biggest thing is that I’m writing more candidly with more of an understanding that people will hear what I’m going to write and sing about. In the beginning, I wouldn’t say I was careless but I didn’t really think anyone would be listening to what I had to say.  Now, there’s a weight that I feel honored to hold, so I’m finding my music more intentional and purposeful.

Being based in L.A., how important are the people and the general vibe regarding your music and creativity?

This city has a distinct air that is definitely dreamy and that has definitely benefited me and inspired my music. People, in general, inspire me but Angelenos are a specific kind of people and, at the very least, are so interesting. I love being surrounded by what this city has to offer.

What plans do you have for the rest of 2019?

I plan to release more music for sure and hopefully more live performances!  

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

My first headline show at the Echoplex was SO fun. Also, meeting a fan and her whole family who she brought out for her birthday was a really special moment that I will never forget!

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

Gosh, there are a lot of bodies of work that have changed my life. But, three I could share off the top of my head are:

The Reminder by Feist

As one of my favorite artists, her raw and distinct vocals and the way it was engineered was so distinct and felt so special (similar to how Dylan recorded vox), paired with her writing, really made me feel a deeper love for music than ever.

Sylvan Esso – Sylvan Esso

The production of that album was the main reference point for my first E.P. in 2016. They perfected what feels like combining an Indie-Folk-type of writing with an electronic sound and vibe, which I find so impressive.

Pure Heroine - Lorde

This changed Pop music for me. And inspired me with my own writing.

Shoot, bonus? For Emma, Forever Ago by Bon Iver was the soundtrack of my life for a few years.

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

I love these questions. First, it’s a toss-up. I’d say Frank Ocean or Feist.

Secondly, my dream rider would for sure include palo santo and a lighter; wet wipes, spearmint gum; San Pellegrino, Yola Mezcal; dried mangos, fresh fruit; jalapeno potato chips, beef jerky; RX bars, pistachios and peanut butter cups. I LOVE snacks.

What are your other plans regarding gigs/touring?

There’s still some mystery around it; but I do hope to be able to hop on the road in the near-future.

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

Surround yourself with good people you respect and know that no one will or should work harder for your music dreams than you.

 IN THIS PHOTO: Arlo Parks

Are there any new artists you recommend we check out?

I’m really loving DRAMA, Arlo Parks; Men I Trust and Barrie right now.

 IN THIS PHOTO: Emma (Men I Trust)

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

It depends on the season of my career I’m in but I definitely make time for myself outside of work to maintain a balance. I really enjoy traveling, visiting art museums and galleries; exploring nature in L.A., watching films; writing (outside of songs) and cooking.

These things definitely help me to unwind.

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

Fade Into You by Mazzy Star or You’re Not Good Enough by Blood Orange (sorry, I cheated)

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Follow TRACE

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TRACK REVIEW: Hayden Thorpe - In My Name

TRACK REVIEW:

 

Hayden Thorpe

In My Name

 

9.7/10

 

 

The track, In My Name, is available via:

https://www.youtube.com/watch?v=5wUwaffYLMw

GENRES:

Indie/Alternative

ORIGIN:

London, U.K.

The album, Diviner, is available via:

https://music.apple.com/fr/album/diviner/1456813144?l=en&ign-mpt=uo%3D2

RELEASE DATE:

24th May, 2019

LABEL:

Domino Recording Co.

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NOW that I have transferred over to reviewing...

 PHOTO CREDIT: Matthew Parri Thomas

the bigger artists, it gives me a bit more depth and reach regarding subject matter. I have been a fan of Hayden Thorpe since his days with Wild Beasts – one must nod to them. Before I come to his solo work and a song from his debut album that I wanted to address, I feel it is only right to talk about moving from bands to life as a solo artist; debut albums that are very different from past work and take you by surprise; artists who strike you with their personality and intelligence; putting something deeper, lyrics-wise, into albums; where Thorpe might go and what (to me) makes him pop – I will end by looking at a very special song and predicting the next few months for Thorpe. One cannot help but mention Wild Beasts in the context of Hayden Thorpe. He was their lead and chief songwriter and someone who struck the imagination from their debut album. I remember listening to the imaginatively-titled Limbo, Panto and revelling in the strangeness and originality of the songs. All helmed and propelled by Thorpe’s gymnastic and resonant voice, the Wild Beasts’ sound was unlike anything I had heard before. It seemed like the Kendall-formed band had this great connection and, in terms of their music, they evolved from album to album. I do love how (Wild Beasts) changed from this somewhat eccentric-at-times band who were quite theatrical and high-spirited to a more mature, romantic and nuanced group. I love their debut album – don’t get me wrong – but I feel Wild Beasts really sort of honed their craft as time elapses. Thorpe was at the centre of everything they did and blew people away with his incredible voice and his stunning lyrics. He seemed to articulate love and desire in a way no other writer was doing – almost like a poet compared to the more conventional and formulaic songwriters around him. Things are quite different for him now that he has stepped out alone.

I am not sure what the reason was behind Wild Beasts’ split – it seemed like they had done everything they could – but the sound of the band was, for the most part, quite racy and intense. Thorpe spent years in this group, writing a certain way and having his musical brothers around him. There was a comfort in that, for sure, but I feel like Thorpe was always straining to go solo and have more of a say. The Wild Beasts template was solid and exciting but, when you are in a band, there has to be a sense of diplomacy and I guess you have to write in a certain way. Once the band had put out their debut and established themselves, they could not jump in too many different direction or stray that far from the mould. Now that Thorpe is doing his own thing, he could sort of rewrite the rulebook and break away from the Wild Beasts sound. It must be very strange adapting from the comfort of a band and that routine and going solo and having to shoulder a lot of the responsibility. To be fair, Thorpe has people around him and he is not completely alone. There are differences in terms of texture and tone when you compare Thorpe’s new work and the band material. I think Thorpe is a lot more ambitious, varied and comfortable when on his own than with Wild Beasts. Maybe that is strange to say but I think Diviner, his debut album, has that sense of comfortable and freedom that was perhaps missing from the Wild Beasts days. A lot of former band members have struggled to go alone and they have not really been able to match the giddy heights of their former glories – I am thinking of Liam Gallagher (Oasis) as a perfect example. In any case, the man is out in front and he has released an album scooping kudos and great critical affection. It does seem that there will be (I hope) much more from Hayden Thorpe and he has managed to transition from Wild Beasts to his own material without too many problems.

Before I look at the way Thorpe’s solo music is different to the work of Wild Beasts, I wanted to bring in an interview from NME, where Thorpe talked about going solo and what it is like being out in front:

“So much of your life and identity has been wrapped up in being creative. Is it nice to have that element of yourself back out there?

“Yeah, totally. I often think musicians are kind of like tennis players, in that they become so hyper-specialised at that one very specific thing, they’re actually ultimately very useless at other ways of being. I kind of feel either hyper-specialised, or completely maladjusted – or maybe both at the same time. The thing is, once you’re used to crafting beauty and the cadence of your life is towards trying to create beauty, that becomes the compulsion, and nothing else matches that. That is everything.”

Had you always intended to go it alone, once the band came to an end?

“I had no idea what I wanted to do, because I had always relied on music as a compulsion. And you can’t rely on compulsion – it’s either there or it’s not. To start to make plans upon a compulsion, it’s a bit like navigating by the stars, it’s trial-and-error. I didn’t want to bank on it, and I had no expectation that anyone would want to listen to my [solo] music. There was no sensation of inheritance or righteousness to this position. All-in-all, what happened felt so right – the alignment and the perfection of the ending of the band, and how much closure and peace it gave meant that there was a massive forward propulsion from that. Which I hadn’t expected.”

One of the great things about Thorpe going solo is that he does not have to follow the last Wild Beasts album (Boy King came out in 2016) and have that pressure. Diviner is less aerobatic and saucy as a lot of the Wild Beasts material and I think the sound is more cerebral and soulful. Thorpe discuses and dissects his passage and progress and is very candid. Where Wild Beasts’ songs had their sensitive moments and were pretty frank, I think Thorpe is even more revealing and honest with his lyrics.

 PHOTO CREDIT: Phil Smithies

There is never a sense of gloom or oppression coming through but, instead, there are all these mixtures and contrasts. He can go from revealing and tender to this quivering and insatiable lead. One might say that this is similar to Wild Beasts but listen to Diviner and its general feel and you can detect something very different indeed. I think Thorpe is placing lyrics and the power of his words above, perhaps, the flexibility of his voice or the compositions. That is the impression I got as the lyrics definitely dig deeper and linger the longest. On the subject of his voice, it has always been his calling card and something that has provided excitement and wonder. I am not suggesting Thorpe’s voice is more restrained on his debut album but I think it has calmed a little and is more graceful; less wild than his former self but, if anything, more varied and interesting. Perhaps it is impossible to define the differences between Thorpe as the Wild Beasts lead and what he is doing now. One can find similarities between the two ventures but there are big differences, too. Following the band’s split in 2017, Thorpe set about crafting an album that was his own vision. Recorded over the course of 2018 with his long-time collaborator, Leo Abrahams, this was a strange period for Thorpe. No longer with his bandmates, other artists might have felt unsure and struggled to move forward. Instead, Thorpe took to the task of recording a new album and has transitioned wonderfully. It is great that Hayden Thorpe is carrying on post-Beasts and he seems to have entered a new creative phase. Is it just the music of Thorpe that strikes the heart and seduces the senses? Alas, there is a lot more to the man and I do think he is one of these artists that can captivate and intrigue away from the studio.

Let us consider his interviews and how he comes across. Ever since the Wild Beasts days, Thorpe has provided these very intelligent, rich and unique interviews. I love the way he talks and how he describes things. His imagery and use of language is superb and he comes across as this very witty, intellectual and interesting human. Maybe you think that is pretty normal and of little note but consider all the artists out there and how many of them actually get under the skin. I would say there are very few that resonate and connect in a power and long-lasting way. Perhaps I just need to do more research but Thorpe is far more interesting than a lot of his peers. You can hear that intelligence bleed into his songs and, when he talks to journalists, he comes across as very warm and engaged. Rather than provide the same answers (to a lot of the same questions) one gets something different and fresh every time. That is rare in the modern landscape and it is an attractive quality. It is not a slight on musicians but many of them tend to provide very ordinary interviews and do not really hook you with their personalities. Sam Fender is another great artist who has that blend of intelligence and humour – there are a few other artists that have that similar level of colour and excitement. I don’t know. Maybe there is too much music out there and it is harder to find those who are going to stand in the mind. Hayden Thorpe compels with his music but he also makes you stand to attention when he speaks. I do think that this helps when you listen to the music. If you have an artist that appears dry and not especially striking during interviews then it creates this sort of odd tone in the music. I listen to Thorpe speak and how he comes across and I get more from the music because of it; it makes me want to listen to what he is saying and the music remains for longer.

 PHOTO CREDIT: Matthew Parri Thomas

Perhaps that is just me but I am always looking for artists that have that attractive personality or something about them. The depth and wisdom Thorpe conveys during interviews comes across in his songs. I have mentioned how Diviner is different to his Wild Beasts output. Perhaps more honest and stirring, this (the album) is the sound of a man who has experienced a lot of change the last couple of years and can finally let these feelings and stories come to the surface. There is no telling how far Thorpe can go and what comes next but I love his debut solo album and feel that there will be huge demands. I will nod to touring and the future in the conclusion but, if you have not experienced Diviner yet, make sure you listen to it. For those who loved Wild Beasts and their more exuberant moments, you will find something to love on Thorpe’s album. Before I move to review my favourite song from Thorpe’s debut album, I will bring in another interview where Thorpe explains his move to solo work and what the main differences were (from Wild Beasts’ sound); what motivated him and what defines Diviner:

“Although ending the group left him unmoored at first, he didn’t find working alone daunting, largely because he sees Diviner as a record made on intuition: the title reflects his belief that songs are “foot-soldiers of the subconscious”, and that this album was already there, just waiting for him to write it. There are differences, though. “In society now, the individual is king,” he says. “The individual success is absolutely placed at your door, and therefore the failure is absolutely at your door, so the scrutiny, self-interrogation and attention on yourself to make a record on your own is something to behold.”

PHOTO CREDIT: DIY/Phil Smithies

Most of its songs search for clarity and catharsis after confusion and chaos. Every morning before writing, he says, he would watch YouTube videos from philosopher Alain de Botton’s The School of Life. “You be my diviner / Show me where to go,” he sings over the title track’s shimmering pianos; “A world is waiting for us outside / No more hiding in plain sight,” he promises on the dreamy Impossible Object. Thorpe describes it as an album about breaking up with his idea of who he was, which isn’t as fraught as it sounds. “If people go through a struggle, they have a breakdown,” he says. “But why can’t you break up? When people go through these phases, are they not going through some necessary reincarnation?”

I ask if the record’s penchant for spiritual sensuality, instead of the wordy sauciness of songs past, means he has changed in other ways. Thorpe agrees it’s “less Viz”, but says there is still sexuality in the record, and he never got tired of people harping on about Wild Beasts’ fondness for sex. “I revelled in it!” he hoots. But, he says, “there’s a limit to how sexy things can get when you spend a lot of time on your own”, and that he does feel less cocksure nowadays. “Don’t things get more wondrous and confusing as we go on?” he asks. “It’s more of a mystery now, in a beautiful way.” Out of the blue, the automated voice on his phone interrupts to ask if he wants to open an app. “Tinder!” he says in a stage-whisper.

You can see what I mean about giving good value in interviews! There is the sexuality and sensual searching from the Wild Beasts days but, from that fire, a renewed and different man has risen from the flames. There is a lot of wisdom and truth on Diviner; some common threads and songs that everyone can relate to. Out of the ten tracks, I was spoiled for choice regarding a song to assess - but I plumped for the excellent In My Name.

 PHOTO CREDIT: Matthew Parri Thomas

If one is expecting Diviner’s songs to leap around and have the same sort of growl as Wild Beasts, songs like In My Name take you in a very different direction. Piano-led, it starts with this very elegant and romantic sound. You are immersed in the beauty of the piano and where it will lead us. I think songs that go in too hard sort of put you off or sap the energy. Appropriately relaxed and intrigued, Thorpe steps to the microphone and provides some curious expressions. He is, it seems, tired of shaking these hands and can smell their perfume. He has slept in their room and knelt in the dirt. There are these powerful images and scenes unfolding and, when it comes to the chorus, a bit more light is revealed. He asks (the unnamed subject), if they must crusade and do what they are doing then not to do so in his name. One can apply that sort of proclamation to political avenues. It is hard not to think about things happening in British politics right now and people doing our bidding. Given the sights of Thorpe fighting demons and kneeling in the dirt, one can also speculate about romantic endeavours and how, maybe, there is a split occurring. Rather than overtly and explicitly reveal the truth behind the song, one can come to their own conclusion and build their own story. I do love the sheer majesty of the piano and how it is joined by strings. Wild Beasts did employ a statelier and romantic sound in their later work but Thorpe has taken that up a notch. The endless beauty and grace of the music perfectly accompanies the lyrics; always arresting and vivid. You can see Thorpe in this wind of turmoil and pleading to someone – the anonymous villain – not to sully his name and use him/people as a pawn in a game. You can hear a bit of Kate Bush in the sound of In My Name.

The building and brooding composition reminds me of Aerial and 50 Words for Snow; the way Bush could build these soundscapes and unite them to a stunning and passionate vocal. Maybe I have been looking too deeply at political themes: maybe the past life of Hayden Thorpe is under the microscope on this song. In Wild Beasts, there would have been these demands and impressions; journalists reading too much into what he did and misconstruing the words. Perhaps there is this feeling that, now he is solo, this is a chance to be truthful and set the record straight. In My Name is, as I say, a song that can be interpreted in a number of different ways from different angles. I adore how the song sweeps and swoons; it flies like a bird and has this haunted quality. Thorpe, his voice delicate and determined, does not want people flying “that flag” is his name. When thinking about the image of a flag being waved, I am back to political avenues but, being too literal, it might be other people speaking for him or getting the wrong impression. Thorpe seems to be battling against false ideologies and lies; a sense that other people are talking for him and causing huge strain. Although Thorpe’s voice never explodes or loses control, you can hear this sense of tension underneath everything. The composition is this beautiful thing that brings the best from Thorpe’s voice and takes the song in new directions. I have mentioned Kate Bush but there are elements of Tori Amos’ early work and what she was doing on albums like Under the Pink. You are stunned by the stillness and beauty of In my Name but fascinated by the lyrics and the pictures they paint. I had to listen to song a few times to really get to the bottom of it and, to be fair, even after that much time, there are mysteries and questions lingering. That is the mark of a great song: one that can get under the skin but still leaves you itching a bit. Maybe Hayden Thorpe is addressing his past life or what is happening in the U.K. right now. There is no real telling but I like the fact there is a sense of the ambiguous and mysterious. I love In My Name and it seems to join all the aspects of Diviner. From the gorgeous, kiss-like vocals with tremor and passion through to the stunning compositions and the compelling lyrics. It is a marvellous song from a truly remarkable debut album. Hayden Thorpe has always been a wonderful songwriter but I think he has really progressed and come on leaps since the days of Wild Beasts. Make sure you get Diviner and check out stunning songs such as In My Name.

PHOTO CREDIT: Phil Sharp

It is always hard accepting an artist on their own terms when they step solo. I was a big Oasis fan but have different opinions regarding Liam and Noel Gallagher’s solo work. Any big artist that leaves a band and goes alone will always be compared to their former days and have this pressure on their shoulders. That is fair enough but I do think we need to judge every album on its own merits and not expect the same thing to come through. Rather than duplicate the work of Wild Beasts and feel the need to please the critics in that sense, Hayden Thorpe has produced an album that contains remnants of his band work but is a lot more personal and different that all of that. I think Thorpe sounds freer and more natural here. More of a reincarnation than evolution, I love all the different sides to Thorpe that were not necessarily exploited during the Wild Beasts days. I have a huge affection for the band and really liked everything they put out. I am not sure, as I say, why things ended for them but it must have been tough for Thorpe to adapt and realise that he had to go solo. Some artists would be overwhelmed by that but Thorpe has shouldered all of this and seems to be in a really good place. What comes next for him? Now that Diviner is out, it is unlikely there will be too many other singles but there will be tour dates. Not only does Thorpe have his fans from Wild Beasts but he will appeal to a whole new set of people. Thorpe has a couple more in-stores to come and will get a chance to meet fans and get their reaction. The critical response to Diviner has been positive and that must give him heart and energy. I know there will be people around the world who want to see him play and get a chance to hear the songs unfurled in the live arena.

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 PHOTO CREDIT: DIY/Phil Smithies

It has been a strange and wonderful past few years for Hayden Thorpe. Think about the music he has been responsible for and how he has had to go from this band leader to the solo artist. I think his debut solo album is incredible and there will be, I am sure, ideas in his mind regarding material for a second album. I hope to catch Thorpe perform live – he was in London yesterday so I missed the opportunity – because he is a fantastic performer and someone who has a natural bond with the crowd. Let’s end things here but I am really chuffed Diviner is out in the world. I wanted to single out a track, In My Name, because is struck me harder and I feel it only fair to delve into a song with depth and passion – giving a few words about each track seems a bit causal and ineffective. I urge everyone to get the album and experience all the different moods and subjects explored. It is a very rich work that gets stronger and more compelling the more you listen to it. You can tell how much heart and soul has gone into the music and how personal the music is. That being said, everyone can relate to what Thorpe is saying and he definitely involves the listener in the album. I will keep my eyes on Thorpe and see where he heads off to next. After his gigs and plans this summer, there will be that period where he can evaluate and think where he steps next. Will there be another album or will there be a few more dates later in the year? It is a great time for Hayden Thorpe and I wish him the best of luck as he pushes forward. With Wild Beasts, he was this unique and vibrant lead who amassed a huge following. Now, as he steps out alone, he has even more sides to him and I feel like he can accrue a whole new audience. It is a great time for the man and many eyes will be trained his way. Make sure you follow Hayden Thorpe’s next moves and keep abreast of all his happenings. Diviner is a truly wonderful album that is among the year’s best but I do think there is a lot more to come from…

THIS beautiful former Beast.

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Follow Hayden Thorpe

FEATURE: Bernie’s Jets, a Tiny Dancer and the Mona Lisa’s Smile: The Five Essential Elton John Albums

FEATURE:

 

 

Bernie’s Jets, a Tiny Dancer and the Mona Lisa’s Smile

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IN THIS PHOTO: Elton John (circa 1970)/PHOTO CREDIT: Michael Ochs Archives/Getty Images  

The Five Essential Elton John Albums

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I have yet to see the Elton John fantasy musical, Rocketman…

 IN THIS PHOTO: Jamie Bell as Bernie Taupin and Taron Egerton as Elton John in a publicity shot for the Elton John fantasy musical, Rocketman/PHOTO CREDIT: New Republic Pictures/Marv Films/Rocket Pictures

but those who I know who have seen it report the same thing: it is breathtaking and well worth seeing! I am a fan of John’s music and had some reservations regarding the concept of the film and how it would be approached. It seems that lead Taron Egerton has tackled playing the iconic musician with aplomb and nuance – one expects a few awards to go his way pretty soon! In any case, it has made me think of all the classic Elton John albums that have been part of our/our parents’ lives for many years. Many people just rattle off the hits but we forget what an incredible artist Elton John is and how many great records have been put out there. Make sure you snap up as many Elton John records as you can and marvel at the man’s genius. I have been considering his best albums and, whilst it is unfair to limit them, I have selected what I think are his finest five. If you are an Elton John fan or someone approaching his music for the first time, here are the albums that need to…

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 PHOTO CREDIT: Getty Images

BE in your vinyl collection.

ALL ALBUM COVERS: Getty Images

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 Goodbye Yellow Brick Road

Release Date: 5th October, 1973

Producer: Gus Dugeon

Labels: MCA (U.S.)/DJM (U.K.)

Standout Cuts: Funeral for a Friend/Love Lies Bleeding; Candle in the Wind; Bernie and the Jets

Review:

“This was truly the debut of Elton John the entertainer, the pro who knows how to satisfy every segment of his audience, and this eagerness to please means the record is giddy but also overwhelming, a rush of too much muchness. Still, taken a side at a time, or even a song a time, it is a thing of wonder, serving up such perfectly sculpted pop songs as "Grey Seal," full-bore rockers as "Saturday Night's Alright for Fighting" and "Your Sister Can't Twist (But She Can Rock & Roll)," cinematic ballads like "I've Seen That Movie Too," throwbacks to the dusty conceptual sweep of Tumbleweed Connection in the form of "The Ballad of Danny Bailey (1909-34)," and preposterous glam novelties, like "Jamaica Jerk-Off." This touched on everything John did before, and suggested ways he'd move in the near-future, and that sprawl is always messy but usually delightful, a testament to Elton's '70s power as a star and a musician” – AllMusic

Buy: https://www.amazon.co.uk/Goodbye-Yellow-Brick-Road-Elton/dp/B00I480SGG/ref=sr_1_1?crid=3QIRGRJ79ZCSF&keywords=elton+john+goodbye+yellow+brick+road&qid=1558803376&s=music&sprefix=elton+john+goodbye%2Cpopular%2C157&sr=1-1

Key Cut: Goodbye Yellow Brick Road

Captain Fantastic and the Brown Dirt Cowboy

Release Date: 19th May, 1975

Producer: Gus Dugeon

Labels: MCA (U.S.)/DJM (U.K.)

Standout Cuts: Captain Fantastic and the Brown Dirt Cowboy; Tower of Babel; We All Fall in Love Sometimes

Review:

“The narrative guides us through the rise to fame of Captain Fantastic (John, obviously) and his pen-bothering, Western-fixated sidekick as they fight to pay the rent in London in the late 60s. Taupin focuses on reality here and, while hugely narcissistic, draws his most acute, affecting creations. John, for his part, knocked out the music while on a cruise, but his chords are at their most intimate and moving, particularly on the closing double-whammy of We All Fall in Love Sometimes and Curtains. They echo the portentous mood of Someone Saved My Life Tonight, which reveals how Long John Baldry talked Elton out of an ill-advised engagement to Linda Woodrow (who is spared no acrimony by Taupin, in astonishingly vicious couplets), and touches on John’s 1969 suicide attempt.

There are sparkling pop songs here too – Bitter Fingers, Better Off Dead, the sugar-coated country of Writing. But the overriding feeling one takes from the colourful, theatrical, Captain Fantastic is that this is the big artistic statement that Goodbye Yellow Brick Road was touted as. It’s extraordinary that a pop star then on top of the world found the wherewithal to carve out such candour. And it’s ironic that the John-Taupin pair then descended into blandness and self-parody for years. They revisited these themes with a kind of sequel in 2006’s The Captain and the Kid, but by then they’d long since lost it on the wind” – BBC

Buy: https://www.amazon.co.uk/Goodbye-Yellow-Brick-Road-Elton/dp/B00I480SGG/ref=sr_1_1?crid=3QIRGRJ79ZCSF&keywords=elton+john+goodbye+yellow+brick+road&qid=1558803376&s=music&sprefix=elton+john+goodbye%2Cpopular%2C157&sr=1-1

Key Cut: Someone Saved My Life Tonight

Madman Across the Water

Release Date: 5th November, 1971

Producer: Gus Dugeon

Labels: Uni/DJM

Standout Cuts: Levon; Madman Across the Water; Indian Sunset

Review:

“Trading the cinematic aspirations of Tumbleweed Connection for a tentative stab at prog rock, Elton John and Bernie Taupin delivered another excellent collection of songs with Madman Across the Water. Like its two predecessors, Madman Across the Water is driven by the sweeping string arrangements of Paul Buckmaster, who gives the songs here a richly dark and haunting edge. And these are songs that benefit from grandiose treatments. With most songs clocking in around five minutes, the record feels like a major work, and in many ways it is. While it's not as adventurous as Tumbleweed Connection, the overall quality of the record is very high, particularly on character sketches "Levon" and "Razor Face," as well as the melodramatic "Tiny Dancer" and the paranoid title track. Madman Across the Water begins to fall apart toward the end, but the record remains an ambitious and rewarding work, and John never attained its darkly introspective atmosphere again” – AllMusic

Buy: https://www.amazon.co.uk/Madman-Across-Water-Elton-John/dp/B000001EGC/ref=sr_1_1?crid=2AYN2F11S46JE&keywords=madman+across+the+water&qid=1558803933&s=music&sprefix=madman+across+%2Cpopular%2C140&sr=1-1

Key Cut: Tiny Dancer

Honky Château

Release Date: 19th May, 1972

Producer: Gus Dugeon

Labels: Uni/DJM

Standout Cuts: Honky Cat; I Think I’m Going to Kill Myself; Mona Lisa and Mad Hatters

Review:

“Let's not forget "I Think I'm Gonna Kill Myself," a surprisingly happy song with a great bass melody. Self mocking at times, this humorous song is another stand-out on the album, with some great slower melodies. I've always considered "Mellow" to be the worst song on the album, but that's not saying that much as that is still a pretty good song. I just don't like some of the key changes, but the chorus is great, and the regular verse parts are slower, just what you would expect from the title.

"Salvation" is one of my favorites, a moving gospel piece with great vocals. The instrumentations work just right, and the little bass riffs really add a nice touch. "Slave" is a country/ folk piece, and it has a nice, moving chorus. The bongos are a great touch, and Elton uses falsetto at just the right places. It may be a bit boring to some, but not to me. There are some nice guitar riffs too, this song is mostly guitar.

"Susie (Dramas)" is a nice, upbeat rocker with a very catchy chorus. The guitar riffs is are awesome, the only bad thing is that the song isn't exactly memorable. "Amy" is another fast rocker with a great groove to it. It does suffer the same thing as "Susie," it's not exactly memorable, but it is a great song. The most memorable part (in my opinion) is near the end, and it only appears twice.

"Hercules" is an acoustic guitar-inflicted boogie song, and it has the same upbeat feeling as you get on so many other songs on this album, and this one is polished perfectly. It also has some great doo-wop and Beach Boy back-up vocals. A very memorable and great way to end a great album” – Sputnik Music

Buy: https://www.amazon.co.uk/Honky-Chateau-Elton-John/dp/B000001EGE/ref=sr_1_1?crid=2CTI6O4BZWIET&keywords=honky+chateau&qid=1558804405&s=music&sprefix=honky+chat%2Cpopular%2C148&sr=1-1-catcorr

Key Cut: Rocket Man (I Think It's Going to Be a Long, Long Time)

Don’t Shoot Me I’m Only the Piano Player

Release Date: October 1972

Producer: Gus Dugeon

Labels: Uni/DJM

Standout Cuts: Daniel; Elderberry Wine; Have Mercy on the Criminal

Review:

“Don’t Shoot Me has its share of swipes, too—the album’s second cut, "Teacher I Need You," features an unexpected Phil Spectoresque vocal bed under the chorus, and of course the perennial wedding favorite "Crocodile Rock" is an homage to every throwaway dance platter that ever spun. There’s muscle here, too, in the Stax-flavored horn arrangements from "Midnight Creeper" and "Elderberry Wine."

The album is anchored by two of John’s most underrated ballads. "Blues for Baby and Me" is a story of two young lovers hitting the road to the west, one of them of course looking back with (here it comes) nostalgia for the trip. Paul Buckmaster’s string arrangement swirls and twists around the melody.

Don’t Shoot Me closes with "High Flying Bird," which John would later claim echoed Van Morrison’s sound. Stately and elegiac, the song brings a record full of stylistic gyrations and aching for the past to an appropriate close” – Ultimate Classic Rock

Buy: https://www.amazon.co.uk/Dont-Shoot-Only-Piano-Player/dp/B000001EG2/ref=sr_1_2?crid=33VLONH3SV8M8&keywords=dont+shoot+me+im+only+the+piano+player&qid=1558805893&s=music&sprefix=don%27t+shoot+%2Cpopular%2C153&sr=1-2-catcorr

Key Cut: Crocodile Rock

FEATURE: Merely Players: Are Women Always Going to Be Underrepresented at Festivals Whilst Men Are in Charge?

FEATURE:

 

 

Merely Players

IN THIS PHOTO: Janet Jackson (photoed in 2009) is confirmed for this year’s Glastonbury Festival but not, oddly, as a headliner/PHOTO CREDIT: Mary Ellen Matthews  

Are Women Always Going to Be Underrepresented at Festivals Whilst Men Are in Charge?

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THERE are articles out at the moment…

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 PHOTO CREDIT: @v_well/Unsplash

that concern Glastonbury this year and which artists will make surprise appearances. NME have predicted some acts who will turn up but, as you can see, it is largely male. I am not signalling out Glastonbury but, as I have said on a number of occasions, there is this real problem that seems to get blown over. A few shocking and ridiculous omissions have meant that, once more, there is an all-male headlining situation. Many might say that this is not a problem but, when one bears in mind the rest of the bill is still tipping the way of men, it makes a lack of female headliners glaring and troubling. I know organisers Emily and Michael Eavis have addressed the imbalanced and said they have tried to make it more even but, when you consider the problem is less to do with logistics and money and more to do with arithmetic, it does dumbfound. If the Eavis’ and the crew behind Glastonbury had just invited a few more female artists – there is still time but I do not see the bill being fifty-fifty in terms of gender – then that would have been something. Headline slots are important because they are what people talk about most. These names appear at the top of the bill and it represents a certain measure of popularity and achievement. I was stunned Kylie Minogue – who was due to headline Glastonbury in 2005 – was not asked to rightfully come back and headline this year.

 IN THIS PHOTO: Kylie Minogue was due to headline Glastonbury in 2005 but had to bow out because of her breast cancer diagnosis and, whilst she is at Glastonbury this year, one has to ask why she was not asked to headline/PHOTO CREDIT: Getty Images

She is on Glastonbury’s ‘legends’ stage and, whilst she gets some exposure, why was she not asked to headline the Pyramid Stage?! She is worthy of that top slot and it is rather worrying that she was not asked. The fact that The Cure, The Killers and Stormzy are headlining means you do not have that much variation and quality. One can say Stormzy’s booking is a big move forward from Glastonbury, why not a Grime equal like Little Simz? She has a richer catalogue and would, I feel, put on a better show. The Killers are past their best and (their booking) reeks of a lack of real effort. The Cure might be okay but it is another year where our biggest festival lets down women. I keep addressing this subject because there is never a defence against the imbalance. Look at Glastonbury and it took them until 1989 when the first female headliner, Suzanne Vega, was booked – given the festival started back in 1970! In fact, in 1989, 1990 and 1992 – 1991 was a fallow year – there was one female headliner per year. The last woman to headline Glastonbury was back in 2016 when Adele took to the Pyramid Stage. Since 2013, there have only been two female headliners – Florence and the Machine replaced Foo Fighters in 2015 – and it makes for shocking reading. There are reports that incorrectly say Miley Cyrus is headlining too.

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 IMAGE CREDIT: @GlastoFest

I am not sure where that rumour started and, whilst she is performing at Glastonbury, there are only three headline acts. She is on the bill but she is not one of the headline acts. The same is true of Janet Jackson. Some have stated she is headlining but that is not the case. She cheekily edited the Glastonbury poster to put her name in a headline slot and it made me ask why she was not given that honour. I am sure she would have accepted and just think how popular that appointment would have been. Even if we had one female headliner, it would have still seemed a bit lacklustre – the fact there are zero makes it another embarrassing year. It is great that artists like Janet Jackson and Lauryn Hill are playing Glastonbury but it makes me wonder why they were not both asked to headline – they would have made superior bookings to The Cure and The Killers. Even though Miley Cyrus is booked, her absence from the headline slot underlines the fact that Pop has taken a back seat. This year’s Glastonbury headliners are all men and, in terms of their tone and style, there is not a lot of upbeat music and Pop flavour – anyone from Janet Jackson, Lauryn Hill and Janelle Monáe  (who headlines the West Holts stage) would have made better options. One can say the fact Monáe  and Minogue have technical headline slots means that counts – making it three men to two women!

 PHOTO CREDIT: @trapnation/Unsplash

When it comes to festivals and the headliners, we look at the main stage and that is where the emphasis lies. I do think there is progression regarding women but Glastonbury’s true headliners are on the Pyramid Stage – why are there no women featured there at all?! I am not only referencing Glastonbury when I pick on the lack of women headlining. There are endless names one can rattle off – including Beyoncé and Björk – who could put on stunning sets and it would not aggrieve people or ruffles feathers. I think we have got into this mindset where people are pacified and placated if female artists are given spots of stages like West Holts and the legends stage. It is great that women are top of those bills but the ‘true’ Glastonbury headliners have always been male – there have been very few female headliners since the start. Is it the feeling that it doesn’t matter whether it is all-male or there is not enough female talent around?! Apart from Christine and the Queens headlining All Points East in London, there is a real absence of female headliners around the U.K.’s festival scene. It is not even the case that women are being fairly represented away from headline slots: look at every bill for every British festival and I defy you to find one that is gender-equal. Would the world end if there were a couple of women headlining festivals?

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 IMAGE CREDIT: @IsleOfWightFest/Unsplash

What if one festival has a female-only headline year? I do not think fans would revolt, and yet, it seems that there is a real nervousness and stubbornness to book women to headline. We must make the distinction, when it comes to the likes of Glastonbury, what a headliner is – it is the Pyramid Stage (Glastonbury) and it is not good enough to ignore women on the main stages if there are a couple of headliners on lesser stages. Look around festivals such as Isle of Wight and Reading and Leeds and, again, there is that vacancy. I do honestly believe  festival organisers sprinkle in women and almost make the bill fifty and think that, well, that is good enough, right?! Nope. Not even close! I opened by stating booking acts to play is not based on educational qualifications or anything bar the music itself. By continuously ignoring women for headline slots and having festival bills where men are the majority it is saying that women are either not as good as the men or they are not able to headline. What other reasons would there be?! That quality-related argument is ball as one could easily name a few dozen female acts that are worthy of headlining. I like the fact festivals such as Reading and Leeds are diversifying their line-up and including genres like Rap. Whilst there is sonic diversion and expansion, festivals are still doggedly featuring men at the top.

 PHOTO CREDIT: Tim da-Rin

There is a link between the men at the top of festival posters and the people who are responsible for booking artists – who are, in the main, men. In a year that has been dominated and owned by women – look at the best albums of the year so far and few men are among the pack! – it is appalling that there is such myopia and ignorance. I am not sure what defines a headline-worthy artist but there are women who will be appearing at U.K. festivals who have serious clout and promise. I have already mentioned heavyweights Kylie Minogue, Lauryn Hill and Janet Jackson. One can throw in Lana Del Rey and Sigrid. In fact, one looks at the posters from the biggest festivals and there are so many female names that could have been added that seem to have been omitted. I keep touting names like St. Vincent but with good reason: someone like her would be perfect to headline. I am not slating all festivals but there has been plenty of criticism regarding the quality and level of excitement regarding confirmed acts this year. I do not feel music has got less thrilling and emphatic but festival bills – especially the headline acts – seem to suggest a lack of invention, progression and, well, they do lack a sense of fun! There are so many great women coming through that could spice up a festival; plenty of icons who could headline but, alas, there is this familiar miasma.

 IN THIS PHOTO: George Ezra is appearing at several festivals this year, including a headline set at the Isle of Wight/PHOTO CREDIT: Phil Smithies

If one argues that there are comparatively few great new female artists coming through that could headline then I suggest you look at the festival bills and count the number of ‘new’ artists headlining! It is great there are some older acts headlining festivals this year but it does make me wonder, again, why female acts were not asked in that case! I do think it is the fact men are at the top and making the decisions that is creating this lack of movement. Apart from Emily Eavis at Glastonbury, most of our major festivals are controlled by men. It is all very well some of these organisers getting excited about their bookings and how great things are but, when you put the question of gender inequality at their feet, do they have a straight answer?! There is this attitude problem (mainly men) who sneer and festivals book on the basis of talent and organisers are booking the best out there – the fact there are fewer women on bills is only fair, in that case. I think it is this misguided assumption that is in the heads of men as they select artists to play. I already mentioned how women are dominating 2019 and I wonder whether they will be recognised in the coming years. Will the likes of Little Simz, Cate Le Bon; Self Esteem, Jamila Woods and Sharon Van Etten get headline slots because they have created masterful albums in 2019?

 IN THIS PHOTO: Jamila Woods (a future festival headliner, perhaps?)/PHOTO CREDIT: Getty Images

If we are equating headline slots and festival equality with quality then, surely, we will see greater balance and more female headliners in the next year or so?! It is complete crap, of course, because 2019 is no strange year where women are suddenly coming out of nowhere: they have always been making great music but this is not being reflected in terms of festival visibility. There are countless other areas of music where one can look at gender imbalance but, as we are preparing to get our tents ready for another year of festival-going, it makes me wonder whether there will ever be a day when we see women treated the same as men. It is almost like male festival organisers are straining and sweating when they count up the confirmed bookings and counting how many are men and how many are women – proud of themselves that they almost created a fifty-fifty split and leaving it at that. I do agree that festivals should be based on quality and potential and this is definitely the case of headline slots. One can look at the bills of this year’s big festivals and you wonder whether the very best artists are headlining. There are numerous women who could make for stronger headliners and many more who warranted an appearance at festivals this year but have, as always, had to make room for the men.

 IN THIS PHOTO: Foo Fighters are no strangers to festival headlining and are one of the headline acts at this year’s Reading and Leeds/PHOTO CREDIT: Getty Images

Away from the lame excuses and apathy, there is a lot of anger coming from women and a real impotence from men. At the very least, there is this real lack of interest either way. It really should bother people that huge festivals are ignoring women for headline slots because we will look back in years to come and see festival bills dominated by men. Are musicians coming through now going to be deterred because there are very few women headlining? I think so. If they look at minor concessions like we see at Glastonbury then that is not going to change their mind of make them feel women are represented and heard when it comes to festivals – as I said earlier, one needs to be clear that headliners on smaller stages are not THE headliners. I do fear that there is always going to be this male dominance at the top of festival bills. I do understand there are women in positions of power when it comes to festivals but how much say are they having? Is it the case that the same names are being trotted out – because they are commercial or have a reputation – and women are being overlooked needlessly? I do think there is something in that and, as we strive to create a gender-balanced festival line-up by 2022, is that going to include the headliners? It is great festivals are pledging to put women on a level footing with men going forward but that pledge does not include headline acts – just so long as the entire bill has a fifty-fifty split.

 IN THIS PHOTO: What will Lauryn Hill bring to this year’s Glastonbury?/PHOTO CREDIT: Getty Images

I do think we will continue to see festivals giving the top slots to men time and time again – complete needless considering the female talent out there and the sort of message it sends to the world. Glastonbury f*cked up not asking Janet Jackson to headline and I think there would have been this huge wave of positivity if she was confirmed as a headliner. What about getting more say from the public and those in the industry?! I do think festival organisers can get a little lazy with bookings and do not realise why it is important to have a more gender-balanced line-up. Perhaps there is not enough resistance and anger aimed their way that provokes them to change and make improvements. I think I have vented enough at festivals this year but I do know that it will not make a difference. Whilst festivals are making small steps in the right direction regrading gender equality and other areas – a few of the big festivals have pledged to go plastic-free going forward – I am constantly exhausted seeing more men on festival bills (compared to women) and, every single year without question, more men headlining festivals. In fact, look at all the major festivals in the U.K. and U.S. and has there been a year in history where we saw two women/female acts headline or it being all-female? I am struggling to bring one to mind and that makes it even more disgusting. Of course, the festivals themselves are more than headline acts and the quality of the music itself is the main thing. Organisers do need to be more aware of the huge gender gulf and why they are not giving more recognition to women. All the excuses in the world cannot disguise the fact that, for literally no reason at all, women are (largely) being excluded…

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 IMAGE CREDIT: @allpointseastuk

FROM the headline slots.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Grace Lightman 

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

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GIVEN that this is a Bank Holiday weekend...   

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 IN THIS PHOTO: Charlotte OC

it is just the time to have another female-led playlist. There is a lot of great music about at the moment and, as always, it is hard to drink it all in. I have been looking through some of the new releases – and a couple of songs that are a bit older – and have compiled them in this playlist that is guaranteed to get the sunshine burning bright. The weather is okay at the moment but we could all do with an extra lift and boost. Have a listen through the songs here and I know there will be something that gets you in the mood. As we head into this three-day weekend, I know a certain playlist that will give you all the good vibes…

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IN THIS PHOTO: Peaness/PHOTO CREDIT: Asupremeshot

YOU need.

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

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Riva Taylor – This Woman’s Heart

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Faye Webster – Kingston

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GRACEY – If You Loved Me

Peaness – Breakfast

PHOTO CREDIT: Karl Walsh  

Just Mustard – October

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Grace Lightman – Aztec Level

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Miya Folick – Malibu Barbie

Miraa May - FWM

Lila Drew – take it back

Charlotte OC – Better Off on My Own

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Honeyblood – Take the Wheel

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FLETCHER – About You

Farrah – Nothing

Hey Violet – Close My Eyes

Mae Muller - Anticlimax

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NUUXS – Safe

PHOTO CREDIT: @emilyscarlettromain

Sonia Stein – London Used to Feel So Cool

Harlea – 99

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Josie Dunne - Same

Carlie Hanson – WYA

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Mabes – Saint

Soft Streak – Reasonable Lie

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Arlo Day – This Love

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Joviale - Dreamboat

Orla Gartland – Inevitable

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Skye Wallace – There Is a Wall

Olivia Lane – So Good It Hurts

INTERVIEW: Annie Drury

INTERVIEW:

Annie Drury

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MY first interview of the weekend...

concerns the wonderful Annie Drury. I have been following her music for years so it was great to catch up with her and talk about the new single, You Took Me Dancing, and the upcoming album, Luna; which albums are important to her and what else she has coming up.

Drury talks about the artists who got her into music and why she took some time out to pursue floristy; how her music has changed since the start of her career and whether there is a memory that stands above the rest – she ends the interview by selecting a classic slice of Al Green.

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

Hey, I'm good, thank you; hope you are too?!  It’s been a nice start to week. I'm very excited (and rather nervous) for the single to be released this Friday. 

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

I'm a singer-songwriter based in a small village on the outskirts of Leeds/Bradford, West Yorkshire. I have been writing and performing since the age of eleven and the music I write is piano-based Pop/soulful melodies. 

 

You Took Me Dancing is your new single. Is there a story behind it?

You Took Me Dancing is a love song - and I hope the audience listening can interpret the song in whichever way they feel. I love people to create their own images when listening to music as I find it fascinating how different minds work. When I was writing the song, my imagery was an old couple dancing and swaying together in their kitchen; the same way as they did when they were young. I wanted to create a romantic timeless kind of feel. 

It is from your upcoming album, Luna. What sort of themes inspired the album?

Yes. It is a track on the album, Luna. I have been writing and working on this album for some time. Luna is filled with songs that are personal to me (and have been throughout these last few years). It holds tales of the highs and lows of the music industry, love; heartbreak, loss; grief and personal growth. It will actually be a strange feeling to have it open for anyone to listen to as I've had it to myself for such a long time. I've over-thought it for so long but I think it's the right time for others to listen and hopefully enjoy. 

I have been following your music for years. How do you think you have progressed and changed since the earliest days?

I think the answer to that would be time. Time changes everything. The people you meet, the experiences you have; the music you listen too. With time, we grow and with growth we progress. My music-writing style over the years has changed. The way I think, write; play and perform has also changed. I'm changing every day and I hope that shows in the new album. 

Is it true that you took some time out of music and worked as a florist? What was the reason behind that?

I’ve always adored flowers and nature ever since I was a child. I felt I needed something else that was separate to being a musician. I felt the need to learn about something totally different, so I went back to college to study Floristry. I now run a small business from home. I still have a lot to learn but that's part of the beauty of floristry: you never stop learning. 

Were there particular artists and albums that got you into music and lit that fuse?

Growing up our home was always filled with music. That could be live or on radio/tape/C.D. I remember listening to Joni Mitchell's stuff from a young age her lyrics have such strong imagery…and I remember thinking she was on another level. In my teens, I was a big Amy Winehouse fan. I loved her soul and the depth in her lyrics and voice. I had, and still have, a wide mix of music I like, from Soul, Motown to Pop, Indie; Electronic to Folk. I think there's an amazing variety of artists out there that always have and always will light my fuse. 

What plans do you have for the rest of 2019?

Plans will be releasing and promoting the album and live sessions. Hopefully, getting some live dates in too! I am also writing new material for a second album. 

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

One of the standout memories I have from my time in music was probably last year when recording the album. I went to Abbey Road to hear the strings being recorded by the wonderful English Session Orchestra; it was on my twenty-sixth birthday and  that was a pretty special birthday. 

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

Joni Mitchel – Blue

It holds so many significant memories and some of my favourite tracks of hers are on that album. 

Fleetwood Mac – Rumours

It just always makes me happy and I'm a big Stevie Nicks fan. 

Bon Iver - For Emma, Forever Ago

Whenever I listen to this album it brings me back to my teenage years. I remember listening to Bon Iver's songs on-repeat when I was around sixteen. It always took me to another place and I find it captivating when music has the power to do that. 

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

Joni (Mitchell)? A girl can dream! 

My own rider would have to include: good food (I'm a huge foodie; I literally dream about food); Yorkshire blue cheese, chocolate eclairs (the ones with cream); lots of cups of tea and a few nice beers (I do have a normal diet, I promise). 

What are your other plans regarding gigs/touring? 

Once the album is out, I will be looking at booking some shows and live performances. I love to play live and that's something to look forward to. 

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

Never give up and try not to lose faith. I have had many battles in terms of not believing in myself as I think so many of us do. If you feel you are losing faith, take some time out to realise why you started music (or anything for that matter) in the first place. If it's part of you; it will never leave. 

Are there any new artists you recommend we check out?

Unfortunately, I'm not great on the new artist front: I'm still listening to the same old albums from years ago. I need to get with the times! 

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

My way of unwinding is spending time with my loved ones. I wouldn't be where I am today without the support of my family and friends. Nature and being outdoors is another way I unwind; taking my dog for long walks and switching my phone off for a while. 

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).

Al Green - Let's Stay Together 

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Follow Annie Drury

FEATURE: The May Playlist: Vol. 4: A Former Wild Beast Holds Our Earthly Needs

FEATURE:

 

The May Playlist

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IN THIS PHOTO: Hayden Thorpe/PHOTO CREDIT: DIY 

Vol. 4: A Former Wild Beast Holds Our Earthly Needs

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THIS is one of these classic weeks…

 IN THIS PHOTO: Steve Lacy/PHOTO CREDIT: Getty Images

where there are some big names in the pack but a lot of lesser-known artists and smaller songs. It is not a bad week for music but it is not exactly overflowing with big-name quality at the same time. When it comes to the heavy-hitting acts, we have the excellent Hayden Thorpe and Cate Le Bon nestling alongside Vampire Weekend, Two Door Cinema Club and Steve Lacy. Things are definitely interesting and you cannot say there is a lack of spark from this week’s releases – overflowing as they are with all sorts of unique textures and colours! Have a listen to the rundown of songs here and there is going to be plenty in the mix that will capture the ear. I think things are starting to hot up this year and there are some great releases ahead. If you need a kick to get the weekend going then I have some songs that will…

 IN THIS PHOTO: Cate Le Bon/PHOTO CREDIT: Getty Images

GET the blood racing.  

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

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PHOTO CREDIT: Phil Sharp 

Hayden Thorpe - Earthly Needs

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Cate Le Bon – Daylight Matters

Mavis Staples – Never Needed Anyone

Joan As Police Woman – Real Life

Vampire Weekend - This Life

Two Door Cinema Club - Dirty Air

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DUCKWRTH – The Falling Man

Steve Lacy – Playground 

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Girlpool – Minute in Your Mind

PHOTO CREDIT: Janne Rugland

Astrid S – The First One

Clairo – Bags

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Denzel Curry – Speedboat

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Emeli Sandé – Extraordinary Being

Honeyblood – Gibberish

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Underworld – Listen to Their No

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PHOTO CREDIT: Jessica Lehrman

Ezra Furman - Calm Down AKA I Should Not Be Alone

Taron Egerton – Crocodile Rock

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Kaiser Chiefs – Record Collection

Louise – Small Talk

YUNGBLUD – Parents

Frank Carter & The Rattlesnakes - Kitty Sucker

Ms Banks – Remember the Name

PHOTO CREDIT: Scott Liston

Madonnatron – Flesh Pond

IN THIS PHOTO: Sheryl Crow

Sheryl Crow (ft. Bonnie Raitt, Mavis Staples) - Live Wire

whenyoung – A Labour of Love

PHOTO CREDIT: MOJO

Amyl and the Sniffers – Angel

The Amazons – Doubt It

Faye Webster – Come to Atlanta

Swimming Tapes – It Gets Old

Hey Violet – Close My Eyes

Yoshi Flower – empty

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Bananarama – Looking for Someone

Orla Gartland – Inevitable

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Charlotte OC – Better Off on My Own

Kemba – Last Year Being Broke

TRACK REVIEW: Cate Le Bon - Miami

TRACK REVIEW:

 

Cate Le Bon

Miami

 

9.6/10

 

 

The track, Miami, is available via:

https://www.youtube.com/watch?v=vLfoGZTgt5o

GENRES:

Folk/Singer-Songwriter

ORIGIN:

Wales, U.K.

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The album, Reward, is available via:

https://catelebon.bandcamp.com/album/reward

RELEASE DATE:

24th May, 2019

LABEL:

Mexican Summer

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I have a bit to cover when thinking about...

Cate Le Bon so, in that regard, I shall get to my points. With her new album, Reward, out now, it is an aptly-titled work that has been celebrated and commended by critics. I have chosen a track from it to review but, before I get to Miami, I wanted to discuss inspiration for albums and why Reward came from a very difficult period for Le Bon. I will also talk about warmth (in records) and alums that invite you in; strange inspirations and focuses that artists have and want to fulfill; how artists like Le Bon can inspire others; why this year is particular strong regarding sounds and competition – a hint to where Le Bon might go and where she will head next. Before getting down to reviewing the song I have chosen from Reward, I wanted to look at Le Bon as someone who has created something genuinely warm and inviting. That might sound simplistic but many reviewers are noting how tender and open Le Bon’s new album is. I do think there is a lack of real warmth and colour in music right now and we have entered a new period where a certain anger and darkness is taking over. Maybe there is an understandable reason why this is happening: if things are tense in the country, that is going to be reflected in what is being put out. I know that there is light to be found in the modern scene but there is too much darkness and oppression. This can create a very heavy and bleak landscape that is hard to embrace and get behind. Cate Le Bon’s latest album does have some moments of spike and darkness but, for the most part, it is a very nourishing and wonderful thing. I will talk more about why this is and how it can inspire other artists. Cate Le Bon composed material for Reward on the piano whereas she usually composes on guitar. That working practice, perhaps, has led to this slightly different sound. Le Bon sounds at her most composed and fascinating on Reward.

There are personal songs and, to be honest, this is possibly Le Bon’s most personal record to date. A lot of other artists have produced very personal albums this year but Le Bon has this sense of ambiguity that means you do not get hit by a darkness and weight that other artists throw around. Does this mean that the lyrics fail to penetrate and people misinterpret? I do think that there is a hard balance to strike. On the one hand, you do have to guess and interpret some of the impressions yourself but there is never this feeling that things are too obvious. I like to listen to music and have my own impression when it comes to the music. Le Bon, I feel, has written in this very stream-of-consciousness way that means her words might have one take on the first listen and then, when you get more into it, there are other revelations and threads that come into the light. I must complete my take on warmth in albums and the fact that one gets a distinct feeling of sunshine and embrace in many moments. I do think there is this thing in music where artists are being very gloomy and there is a tendency to avoid the nourishing. I did mention how Le Bon has put some deeper and more challenging sounds into Reward but there is this pervading sense of overcoming the darkness and finding a sense of hope. Maybe that is me misinterpreting things but I listened (to the album) and was instantly transported and uplifted. It is a gorgeous and interesting work that does put personal matters at the fore but does not leave you feeling isolated and overwhelmed. Maybe it was the recording process and how the album came together that means one gets that feeling of embrace and the horizon opening up. How does one spend time away from music and, indeed, if there is a moment of burn-out, is it possible to come back and make music?

For Cate Le Bon, she was feeling a bit lost and exhausted by the early part of 2017. She was caught in a wave of touring and commitments and it seemed like the demands of the road were taking a toll. She was playing shows for her fourth solo L.P., Crab Day, and there was this feeling that a recharge was in order. It does happen with a lot of artists when they get into this cycle that is hard to break from. In terms of recovery and getting back on track, there was a rather strange muse that Le Bon embraced: furniture. Not just furniture itself but constructing furniture and actually making a finished product from scratch. Apart from Jack White, I cannot think of another artist who has been involved with upholstery and furniture-making. Many musicians do gardening or yoga but, for Le Bon, she was caught by this article that was written by someone who attended a three-year furniture school in London. That person was already interested in furniture and decided that this was a logical step. Le Bon herself was interested in design, and so, she wanted to do something similar. Already captivated by modernists such as Frank Lloyd Wright and Lina Bo Bardi, Le Bon knew she couldn’t take three years away from music and make furniture. Instead, she enrolled in a smaller woodworking programme in the Lake District. This sounds pretty ideal and it seemed like it was a perfect thing for Le Bon. Many might think that something like a woodwork course would distract from music and would not lead to a creative resurgence. Rather than isolate herself from creative pursuits, Le Bon had this sense of focus and discipline that sort of rebooted her or, at the very least, was a welcomed counteraction to the sense of fatigue and depression she felt. I do wonder whether other artists who are in a similar position might be motivated to pursue something like woodworking or furniture-making in order to regain a sense of clarity and energy.

 PHOTO CREDIT: Jason Evans

In any case, there was this need to sort of get away and re-examine things. When speaking with Huck, Le Bon explained why she took up furniture-making and whether it was a challenge being solitary for so long:

“Before you recorded this album you took a year out to live alone in the Lake District, specifically to enrol in a furniture-making school. Why did you feel the need to get away?
I’d been fantasising about a chance to learn how to build furniture for a long time. Often with those things, you’re waiting for someone else to grant you some kind of permission to do it.

I guess I’ve been in a cycle of recording, touring, making records as DRINKS with Tim Presley. It’s been four or five years in that cycle and I think it’s good to stop and re-prioritise; to make sure you’re doing it for the right reasons, and not because you’re just going through the motions.

But a year in solitary? That’s a lot.
People came and went but when I was there alone, I was really alone. I felt like I may have lost my mind a little bit at times – genuinely. I was living in an old cottage by a river and it couldn’t have been more idyllic, but there were times when I really felt the presence of the house.

I made a lot of decisions that completely changed the architecture of life. With a year of making furniture in the Lake District, you can concentrate on the montage of all the good bits and the romantic parts. It lets you do a lot of soul-searching. It was the perfect place for a reckoning of things.

You realise a lot of things; you dissect a lot of things when you spend an extended period by yourself. Self-pity can be quite delicious when you’re by yourself. You can allow yourself that self-pity because you’re not really burdening anybody else with it”.

That impression sounds like Bon Iver recording an album in a log cabin and being detached from the modern world. Whilst there would have been moments where Le Bon was etching close to breakdown, for the most part her time furniture-making was a rewarding one that allowed her to get some perspective.

The fact that the country is sort of falling apart means that a time in isolation was a good thing. Le Bon knows that things are pretty bad and there is a lack of direction. Emerging back into the world after time in isolation was hard but I think it means what we hear on Reward is less impacted by the political strains and fall-out and more focused on Le Bon and her mind. One might think that Le Bon’s quest and new adventure might have reflected in the album. By that, whilst she was off creating furniture and putting together something wonderful, the album would be quite sparse and acoustic. Is there a connection between physical pursuits such as furniture-making and an artist’s sonic outlook? If one was expected an acoustic guitar-led record that was quite humble and predictable then they need to think again. Instead, Reward has strings, saxophone and all sorts of sounds melting together. I will come to Miami in a minute and why it kick-starts the album in such brilliant fashion but, if you listen to the whole record, you will find so many different textures and avenues. I believe, when recording in L.A., things did not start too well. There was a lot of interruption in the studio and it seemed like things would not get done. Le Bon and producer Samur Khouja decamped to Joshua Tree in California and it seemed like things were on a better footing. Other artists have been inspired by Joshua Tree and it seemed like the time in the desert stopped time and calmed Le Bon. You can hear a sense of calm in her album but, when recording, there was that vista and the beautiful sunsets. I think Le Bon’s tale and progress will inspire other artists and add something new to their work. It might sound a bit excessive going to California and taking up furniture-making but I did say how much darkness and tension there is in music.

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I do think that artists need to take a different approach as there is a lot of strain right now. I do feel like the state of the nation is impacting music and we are provided little escape and sunlight in all of this. I can only imagine how much stress is in the bones of modern artists and what their creative processes are like. Maybe Le Bon’s furniture pursuit – where, as you can see here, she came up with something beautiful - is a metaphor for what she was feeling before she took this course. Life was a bit rough and uncertain but, with patience and discipline, she managed to turn out something very striking and wonderful. The same can be said for Reward and how it sounds very different to what she has produced. Not only is the piano the guiding light this time around – creating a different anchor and meaning the songs have a different tone – but Le Bon seems to be in a different headspace. Life has moved and changed and I think she sounds a lot more comfortable in her own skin than she did a couple of years back. Maybe I am wrong but it does appear Le Bon has been refreshed and re-inspired by her decisions and recording process. I do love what is being produced this year but, as I keep mentioning, there is a feeling that darkness and personal revelation is taking more of a stand. I understand why artists want to be personal and lay everything out but, inside all of this exposure and honesty, there is not a huge amount of relief and light. Cate Le Bon has produced an album that transports you somewhere warm and safe. There are these extraordinary musical interjections and moments that catch you by surprise and, the more you listen to Reward, the more layers reveal themselves. This year has been a very exciting and bold one for music. It has been led by incredible female artists.

I do think this year, more than any others, has been defined by female artists. I am not sure what has turned the tide but I do feel like there is this determination (from women) not to be overlooked. It is still the case there is imbalance and inequality and, with that being the case, female artists are coming through strong and, we hope, this will lead to greater opportunities for them. Le Bon’s music fits nicely into 2019 and the other sterling work put out by women. I am not dismissing the men at all but, when thinking of the best albums of this year, women do dominate. Le Bon’s experience and sound is a lot different to other artists around. I have mentioned how there is a lot of light in her work but there are moments of isolation and melancholy that sort of reflect something different. Away from all the adventure and warmth, you do get a sense of someone who is looking for answers and struggling with something. Composed on a second-hand piano, you do get an impression of Le Bon and what she was feeling during Reward’s creation. Given that view, one cannot fail to detect a sense of loneliness and sparseness but, in many songs, there is something lush and expansive. Her native Welsh brogue remains but, unlike her other work, there are few angular riffs and characteristics that made her name. Instead, after such a time of transition, there is a sense of new beginnings and her shedding her old skin. Le Bon is excited to be back. It is good to have her back because, when you look back at her previous work, you can tell this is an artist that will be an icon one day. She has this ambition and talent that is stronger than anything else out there and recalls some of the most innovative musicians ever. That declaration might sound vague but it is hard to put into words the skill and sound Cate Le Bon has.

Miami is a great way to start Reward. You might expect something quite subtle and obvious but, instead, there is a nice burble from the electronics and this sort of spacey sound that reminds one of David Bowie. The introduction has so much going on but it never sounds too packed and physical. Instead, you have this lovely sense of soothe and soulfulness where darting electronic bubbles pop alongside horns and other instruments. There is this stride and step that makes the song instantly connective and appealing. I love how horns sort of naturally mix alongside acoustic strings and hypnotic electronics. One is helpless to resist the sense of wonder and intrigue that you get from these opening moments. With Le Bon’s voice, I have always picked up aspects of singers like Nico and Joni Mitchell and, whereas those artists have slightly rough edges (that might sound insulting: there is a definite edge that other singers do not possess), Le Bon is a lot more soothing and accessible. She has a very special sound to her voice but it is one easy to love and understand. Le Bon talks about decorating your own discord and never being the same again. The city of Miami is name-checked in the first line and I wonder whether she is literally referencing Miami or it is more of a symbol for something or someone else. Like a lot of Le Bon’s best moments, there are lyrics that one needs to untangle and investigate. “Falling skies that people uphold, move with me” is a thought that takes some guessing and exploring. I love how she can paint these pictures with slightly abstract expressions but, the more you listen, you definitely get an impression of what she is trying to say. There are very few words on Miami itself: instead, it is more about mood and this song that takes you into Le Bon’s world. The gentle and determined chant of ‘Miami’ is more like a coda or prayer than it is a declaration.

One does wonder whether Le Bon has been inspired by the city or whether that place represents a particular escape and fantasy. Whereas artists would cram words into a song and it would make things too busy and confusing, Le Bon sprinkles in a few choice words and then uses the song to explore her voice and the composition. Opening Reward, you get this song that is beautifully lush and rich with life. There seems to be little stress and haunt in its soul. Indeed, you have all these sun-kissed horns and little notes that bring a smile and make you feel lighter. I went back time and time again trying to get to the bottom of the lyrics and, sparse as they are, everyone will have their own interpretation of what is being said. I love the track and it definitely takes away pressures and stress. The composition provokes images of expanses and a sense of freedom. The horns are never too intrusive and bold but they definitely have a vim and vigour that gets into the blood. Le Bon’s voice is always soothing and delightful but there are so many different sides that arrest and captivate. She is one of the most nuanced and skillful artists when it comes to baring her emotions and opening the imagination. There are many wonderful moments on Reward but I particularly love Miami because it has all these different sides and moods. Most of the time is spent allowing the vocals – many of them wordless – unfold and this incredible composition…it just does magical things! It is a triumphant song from Le Bon and one that you will return to over and over again. What is it about? It is hard to say where the inspiration came from but I do think there is personal biography. Le Bon experienced some stress and unhappiness before taking some time out and taking up furniture-making. Maybe it is about her sense of revival and how she had to beat a retreat. Perhaps it is more about fantasy and disconnection but I can hear something deeply personal in the vocals. Cate Le Bon is an artist that provides these unique and interesting words and it is down to the listeners to come to their own conclusion. I like this as too many songs are obvious and give everything away. Miami could mean something different to someone else but I think it is this moment where Le Bon returns to the world and is starting again. Maybe I am wrong but, in any case, the song is majestic and the perfect way to start a remarkable album. Make sure you go and buy Reward and spend some time with it. It is great having a new record from Le Bon: one of music’s most interesting and spellbinding artists. I do hope we get a lot more from her in the future because she provides something other artists do not. It is hard to pinpoint but, when listening to a song like Miami, you realise you are in the presence of someone truly special.  

I have spoken a lot about Cate Le Bon and her song, Miami. I could not review the whole album – as it would be somewhat brief and not do justice to each song – but I hope people investigate Reward and get everything they can from it. Le Bon has been touring recently but, with a new album out, most of her focus has been on that and getting it into the world. Look at her social media feeds and you can tell how excited she is and how proud of the record she is. That is understandable because, on the first listen, you are hit by all these different sounds and stories. There are shifts in moods and lovely little musical asides and angles that take you somewhere sublime. The more you listen, the more layers come through and the more songs start to focus. I have loved reviewing Le Bon and will follow her closely. I am a fan of her previous work but I think she has created something unique and unexpected with Reward. It is her most personal record and, debatably, it is her very finest. That might be a big claim but one need only look at reviews flooding in to see that sentiment reflected by other journalists. I shall leave things in a second but make sure you keep an eye out for Le Bon and where she is heading. I am not sure what her diary is looking like but she has a new album out and people will want to see it performed live. There will be U.S. demands and people around the world are eager to see this wonderful new album exposed and explored on the stage. It is amazing to imagine these songs being performed to thousands considering Le Bon spent a large chunk of time (more-or-less) on her own and making furniture.

 PHOTO CREDIT: Fabienne Cresens

Now, with this terrific album out, she will be in front of the adoring masses. It is quite a radical shift but I do think Le Bon’s career will go to a whole new level. What does the future holds for her, then? I do feel like there will be more albums but, with such turmoil and political division around, will her material start to reflect that more? I do hope that we get something like Reward – rather than the more tense and unsettled albums being put out now – because it is an album that provides soothe and gentleness when you need it. There is not a lot of that around now and that is why Cate Le Bon should be taken to heart and followed. She is a fantastic artists and someone who gets stronger as time passes. I am not sure where she is heading in the next few months but I know there will be demands and her life is going to be very busy. I do wonder, thinking about that, whether there is this vicious cycle. Le Bon needed to take time off following burn-out in 2017 and, with a new album out, does the same possibility await her? So many big artists are put under pressure and it gets to the point where they struggle to cope with what is expected. I do hope that the experience this time around is more pleasant and Le Bon gets time to chill and have time for herself. That can be hard for any musicians but I do feel Le Bon is in a good place right now and it would be a shame if things changed. Make sure you get Reward and experience this stunning album! I shall leave things there but, if you want to follow an artist who does things differently to anyone else yet has that accessibility, you need to get Cate Le Bon into your life. She is a fascinating artist and one who (I hope) will be around for many years to come. I have loved examining Miami (and Reward) and, as the notes and images bounce around my mind, I feel like they will be with me…

FOR a very long time to come.

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FEATURE: Spotlight: Ghetts

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Ashley Verse via PR  

Ghetts

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AFTER listening to the amazing Ghetts…

 PHOTO CREDIT: Getty Images

speaking with Mary Anne Hobbs this week, I have been utterly charmed by the man! Formerly known as Ghetto, Ghetts was a part of a Grime collective, NASTY Crew, abut left because of tensions within the group. He then moved to the collective, The Movement, which included future stars such as Wretch 32 and started to make a name for himself. These modest and encouraging movements, he started putting out impressive and unique releases. 2000 & Life – released in 2005 – contained twenty-four tracks and is a stunning mixtape. It was a big move in Grime and is responsible for pushing the scene forward; giving impetus and inspiration to young artists emerging. Ghetto Gospel arrived in 2007 and, compared to his previous mixtape, was a more mellow, tender and interesting listen. When speaking with Hobbs for BBC Radio 6 Music, Ghetts explained his family and the fact there are a lot of women in it; how he has grown up around women. It is easy to see that when we listen to the subjects broached in Ghetto Gospel: girlfriends, sisters and relationships with women are explored from various angles. Keen to not to be seen as an angry rapper with a lot of aggression, it was a stunning move and a mixtape that, again, pushed Grime forward and opened horizons for other artists. We often associate Grime with a sense of anger and fuel but a lot of modern-day artists such as Stormzy can mix the deep and emotional with the more fired-up.

Ghetto Gospel is Ghetts’ breakthrough release and one can quibble whether it is a mixtape or an album. I guess it is a more conventional album – even though it was labelled a mixtape when it was released. Since that debut album release, Ghetts has been breaking ground and stepping out more on his own. 2008’s Freedom of Speech (mixtape) featured very few producers and it signalled a darker and more aggrieve sound – very different to the tone and vibe on Ghetto Gospel. Full of great one-liners and moments, Ghetto Gospel is viewed by many in the Grime scene and a benchmark and classic. Whether you see Rebel with a Cause as Ghetts’ debut album – one can debate that fact – it was long-awaited and was a huge triumph. Released through the Disrupt label, the album explored many sides to Ghetts’ personality and life. It is a fascinating work and one that was a step in ambition from his previous work. Last year, Ghetts spoke with The Independent about his recent album, Ghetto Gospel: The New Testament. He chatted about that album and what music means to him:

 “Back in 2007, east London MC Ghetts dropped his mixtape Ghetto Gospel, aged 21”.

“Back then, I was very outspoken about how I viewed the world,” the musician, born Justin Clarke, tells me in a pub in Shoreditch, around six miles from where he was born in Plaistow. “Today I see it somewhat differently.”

Ghetts has gone onto become one of the UK’s most respected rappers, releasing a number of mixtapes, as well as his 2014 debut album Rebel with a Cause. Now, more than a decade after Ghetto Gospel, he has followed it up with Ghetto Gospel: The New Testament.

“When I make music, it’s therapeutic,” he says, explaining how he walks into the studio with a blank page (literal and metaphorical), with “no hopes other than that people might appreciate it”.

“I’m blessed enough to be able to make my own decisions,” he says. “But a song like ‘Black Rose’ … I did it because it was how I felt. I had my own space. The discussions off the back of it was an amazing surprise to me. Even though I’ve made songs in that realm before, I’ve not led with videos, so maybe in the past the message has been lost.”

Ghetts had a very clear opinion when it came to the question of Grime and whether, with so many new artists coming through, the genre was in danger of dying:

Ghetts scoffs at the mention of news articles asking whether grime is either dead or struggling to survive as the drill and Afrobeats genres grow in popularity.

“I feel that it’s weird that grime MCs even react to it,” Ghetts says, pretending to huff, and leaning back in his chair, arms folded. “I’ve seen people reacting to something that’s not true.”

“I love grime with my heart,” he continues. “I know a lot of people in the culture have love for me, but I’ve always deemed myself more of a tempo specialist. I’m not defined by a genre – a genre cannot define the artist. I respect grime enough to represent it because that’s what made me, that gave me my first listeners, and I will never deny being grime. Grime itself will never die”.

This year, Ghetts is busy and seems to be preparing something. When he spoke to Mary Anne Hobbs, he appeared relaxed but excited for what is to come. The Grime scene has evolved since Ghetts/Ghetto launched onto the scene and one of the reasons for that is the man himself. When speaking to Nite Life in this interview from last year, Ghetts talked about his latest album and what opened his eyes; why artists should not be constricted by form and expectation:

“‘I’m at an age now where some of my friends have sons that are 16. The other day a 14 year old died in Walthamstow and I just remember hearing it on the radio and thinking “wow”. Because I’m not 16 now and I’m not around it, I’m not thinking “that happens all the time, man”. At that age I was desensitised by a lot of things that I was around. So I wanted to write a song where I didn’t judge anybody, because I know what some of these kids are going through and it’s much easier said than done when you’re outside of it.’

‘I really feel like people should just make what they want. As I’ve grown I just feel like there are so many boxes and categories, and it was those same boxes and categories that really stifled me into playing up to a perception. As soon as I was free of those things, I really excelled musically because I didn’t care about how people think something is meant to sound.

‘I always say you can conform both ways. People only really acknowledge if you conform to the mainstream, but what about all the people who conform to the underground?”

Ghetts appears humble and modest but there is that determination and belief that makes his work sound so convincing, malleable and exhilarating. When reviewing Ghetto Gospel: New Testament, this review tapped into the essence of Ghetts and what makes his music so fresh.

“The real strength of this album is in its adaptability though, as soon as ‘Spiritual Warfare’ fades out we are met with Kenny Allstar’s booming voice on ‘Houdini’ where Suspect delivers some viscerally threatening lyrics on his feature. This is where we see the stage-show Ghetts that shone on 653 EP, assisted by an all-star cast with the likes of Little Simz, President T and Chip, his impeccable and satisfying wordplay come to the fore. ‘Shellington Crescent’ with Chip in particular pits two of grime’s top talents against each other, the chemistry and flow of their back to back bars building to such an intoxicating climax of machismo Ghetts starts boasting about his ambidexterity with guns.

Contrast that with the empathic and deeply considerate manner of song writing shown in ‘Jess song’, written for a friend suffering from cancer, since passed away. Or ‘Window Pain’, dealing with the heartbreaking deaths of young men in London gangs from the perspective of a mother.

The long awaited album is a satisfying, full, and exciting experience for listeners old and new. It’s a testament to both the ingenuity and the longevity of Ghetts’ craft that longtime listeners of over 15 years can enjoy the same songs as the fresh ears that might find their way to this record. Great care is taken with sound design, with the flow of songs from one to the next; there is a sense that this project was a labour of great love from a great artist and his collaborators. Well worth a listen”.

 PHOTO CREDIT: Getty Images

It seems like everything in right in front of Ghetts! He has already laid down this incredible body of work but one suspects his best days are still ahead. He is an engaging and fascinating interview subject that conveys so much wisdom and depth. I have been listening to the music he put out a few years before his latest album and what he sounds like now. There is definitely an evolution but, with every album/mixtape, you can hear something singular and unchanging. The once-angry young man seems to be in a better headspace – he spent time in prison as a youth – and it seems like music has been a focus and guide that has steered him from trouble and allowed him to express his inner-emotions in this very productive, compelling and beautiful way. Ghetts is an artist who has just spoken out against the prejudice dark-skinned women have been exposed to for centuries. I love what Ghetts is doing: it is scary to think just how far he can go. Check out his Spotify page and social media feeds regarding new music, tour plans and all the latest news. The Grime scene is changing all the time – although it would be unfair to label Ghetts simply as Grime artist – and Ghetts’ music is responsible for pushing it more to the mainstream. The man has been putting out superb music for years now but I think his very finest creations are…

JUST around the corner.

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