FEATURE: Attitudes and Agendas: The BRIT Awards Nominations and a Predictable Reaction

FEATURE:

Attitudes and Agendas

IN THIS PHOTO: British rapper Little Simz was not nominated (for some reason) in the Mastercard Album of the Year category for the phenomenal and award-nominated GREY Area, provoking the question as to whether sexism is dominating once more - all five nominated albums were from male artists

The BRIT Awards Nominations and a Predictable Reaction

___________

THE title of this feature might seem vague…

HAVE BEEN NOMINATED FOR 4 BRIT AWARDS!!!!🏆 from the shit awards to the Brit awards, dream can come true. who said sex appeal can’t get you to the top 🤷🏻♂ @BRITs x pic.twitter.com/naxxD3t0m8

— Lewis Capaldi (@LewisCapaldi) January 11, 2020

but I shall make it clearer. The nominations for this year’s BRIT Awards has been released and it is another case of some good artists mingling alongside the most commercial and sound! One can say that the BRIT Awards is among the least relevant shows and it is about record companies succeeding; a bit of a back-slapping exercise that celebrates the biggest chart acts and does not truly reflect the quality of British music. Others say (the BRITs) is like any other awards: they are there to congratulate people and, really, do we really need them at all?! Those are fair points but, actually, I feel award shows celebrate achievement and it is important to give artists a chance to enjoy their accomplishments. It is good bringing the music world together and having a night where we can see which artists have made the biggest impact over the last year. Like so much of the industry now, sexism has dominated the headlines. Before I come to that, here is a brief overview of the big nominees for this year’s ceremony:

“The nominations were announced this afternoon (January 11) in a special televised programme that featured a lineup of performances from Mabel, Aitch, Freya Ridings, Dermot Kennedy and Liam Payne. The winners will be revealed next month at the annual awards ceremony, which is due to take place at London’s The O2 on February 18.

All of the nominations for #BRITs 2020 have been revealed and we now can't WAIT for 18 February! 🙌 https://t.co/KBddpl79cx

— BRIT Awards (@BRITs) January 11, 2020

Lewis Capaldi and Dave are the most nominated artists this year, with four nods apiece. Both the ‘Someone You Loved’ singer and ‘Location’ rapper are up for awards in the Male Solo Artist of the Year, Song of the Year, Best New Artist, and MasterCard Album of the Year categories.

Sam Fender in the running for Best New Artist, where he’ll go up against Aitch, Mabel, Lewis Capaldi, and Dave. Stormzy and Mabel have three nominations each”.

2020 is, I feel, a year when sexism is going to be under the spotlight in a very big way. I thought this year would start off with positivity and progression in that sense. I am still hopeful all the major festivals will adopt a fifty-fifty gender balance with their line-ups and we will see discussions occur that tackle sexism and attitudes right through the music industry. It is a little galling that we are still in January, and one of the most high-profile award shows in the calendar has made the headlines for the wrong reasons. Looking at the categories and there are two things that strike me – one good and one bad. I will say that the BRIT Awards have done something BAFTA failed to do regarding their award nominees: there is diversity and there are BAME (Black, Asian and Minority Ethnic) artists to be found. Artists such as Stormzy, Michael Kiwanuka and Lizzo ensure we do not have to endure another white faces-only show. The film industry could learn something from the BRITs, but both share common ground: there is a distinct lack of women to be found!

In the Mastercard Album of the Year category, the nominations are as follows: Dave – PSYCHODRAMA; Harry Styles – Fine Line; Lewis Capaldi – Divinely Uninspired to a Hellish Extent; Michael Kiwanuka – KIWANUKA and Stormzy – Heavy Is the Head. It is great seeing three black artists nominated and, alongside that, a variation of sounds that means the category is at its most diverse in years. Whilst one cannot accuse the judges of racism or narrow focus, where are the women?! Many people took to social media when the nominations came out, and we got two schools of thought – the former is the correct position. There were those (myself included) who wondered why a category that marks the best albums of the past year is lacking women. I will admit so many of 2019’s best albums were made by women outside of Britain but, even then, there are a few great artists who have been omitted. Little Simz’s Mercury-nominated GREY Area was better-reviewed than Lewis Capaldi’s latest album – and Stormzy’s for that matter! Also, FKA Twigs’ Magdalene scored better reviews that nearly everything on the shortlist – bar Michael Kiwanuka’s KIWANUKA. One could easily have replaced Lewis Capaldi and Stormzy and replaced them with Little Simz and FKA Twigs. We would not only have an even more diverse line-up in terms of race, but there would be two deserving women in the mix! Some will retaliate saying the BRIT Awards recognises Pop artists and it is more about the commercial than the edgy. If Capaldi has been dominating the press and conquering the world, why would one omit his album?

IN THIS PHOTO: Mabel has been nominated for three awards at this year’s BRITs: Female Solo Artist, Best New Artist and Song of the Year (for Don't Call Me Up)

This brings into question another question: Why would an award show place popularity and marketability above quality and critical acclaim!? Categories like the Album of the Year suggest there were no truly great albums from British women out there – which is patently untrue. The Best New Artist category has Aitch, Dave; Lewis Capaldi and Sam Fender on the list and only one woman: Mabel. Again, I argue against the imbalance and why an artist such as Nilüfer Yanya's could not have made the cut instead of Aitch?! There are so many great women who are coming through that warrant a nomination – Grace Carter is another promising artist who has a bright future. Whilst, again, there is a diverse field in terms of genre, I wonder why it is four-fifths men when there are so many great female artists who could have made the running. The Group of the Year category has no female artists. This is a category that is harder to balance and, whilst The Big Moon have just released a sensational album this year (Walking Like We Do), I do feel like the overall ‘quality’ of the nominees this year is worrying. Song of the Year has nine names and only one song is led by a woman: Mabel’s Don’t Call Me Up. The BRIT Awards trimmed a couple of awards. This article from last year explains more:

“The Brit Awards have announced a major revamp for 2020, with fewer awards and an end to fan votes.

Organisers promise "more music" as a result, with artists being given full creative control of their performances.

Prizes like best British video and best international group have been cut, while the outstanding contribution award has been retired for 2020”.

If you look at the Female Solo Artist of the Year category, you have some great names. Charli XCX, FKA Twigs; Freya Ridings, Mabel and Mahalia are all nominated. I wonder why, then, Dua Lipa’s Don’t Start Now or FKA Twigs’ Cellophane were not nominated when they are far superior to several of the tracks on the Song of the Year List? Although there are a couple of collaborations on the list that include women, both of the songs feature American women in the ‘featured’ role: Mark Ronson ft. Miley Cyrus – Nothing Breaks Like a Heart and Sam Smith ft. Normani – Dancing with a Stranger. I will come to the second point of this article – the vitriolic and patronising reaction from many men following criticism regarding sexism – in a bit but, before moving on, there is a general positive we can all respect: the fact 2019 was synonymous with terrific women making brilliant music. It is a reason why festivals HAVE to be gender-balanced and improved this year. The International Female Solo Artist category is stuffed with talent: Ariana Grande, Billie Eilish; Camila Cabello, Lana Del Rey and Lizzo are all in the running! I was reading a couple of tweets that said there are many great international women/albums made by international women, but relatively few by British women – meaning the problem is more with British music and less about women in general. Sure, if the BRIT Awards were renamed and we had something more like the Grammys in this country, there would be an embarrassment of riches to choose from.

IN THIS PHOTO: Charli XCX has been nominated for Female Solo Artist - but her album, Charli (which was a commercial and critical success), and single, White Mercedes, have not been nominated in the album and song categories respectively

As most categories concern British talent, artists like the above women and Sharon Van Etten, Taylor Swift and many others would be included. That being said, Charli XCX’s Charli was a commercial success and won huge reviews. Why was she not nominated in the album category, and why were singles like Gone not in the running in the song field?! The BRIT Awards does have this reputation regarding placing sales and press inches over credibility, pure talent and promise. Maybe the buzz around artists like Lewis Capaldi has distorted the judging panel’s vision, or maybe they were not looking hard enough. If one looks at the successful singles from last year, why was Little Mix’s Bounce Back not nominated!? The song went top-ten in this country and has 35,815,570 views on YouTube (as of 12th January) and nearly forty-million streams on Spotify! Why could Tom Walker’s Just You and I and Calvin Harris and Rag’n’Bone Man’s Giant have made way?! Can anyone legitimately claim quality is a factor in the gender imbalance? I don’t think so. Even if sales are the deciding factor, Little Mix and Dua Lipa are far ahead of a lot of those nominated this year. I do wonder why British Video and the Outstanding Contribution award were cut because, if they were still going, you could have had some great women in contention!

I get the BRIT Awards needs to evolve and, with so many artists identifying as non-binary (such as Sam Smith and Janelle Monáe, will we have a new category for non-binary artists? Should we dispense with gender-specific categories altogether?! Those are reasonable questions, and I think they will become more pressing as we move through this new decade. Even if we integrate men and women or leave things as they are, one cannot deny women are being overlooked and shunned. This year’s BRIT Award nominations is, I fear, the start of a year that will see women side-lined as we look to see parity across the industry. Even if you feel the BRITs is meaningless and out-of-touch, it is one of the most-watched award shows in music and a lot of people look to it regarding those artists we need to see at festivals. Mabel is the only woman who appears in non-gender-specific categories so, does that mean she is the only great British woman?! Little Simz and FKA Twigs are out there; Cate Le Bon’s Reward is a remarkable album and, as Charli XCX has been nominated in Female Solo Artist of the Year, why were her singles and albums omitted? The fact the ever-popular Dua Lipa is missing makes me a little perplexed. What is done is done (sadly), and it was good to see articles from male journalists react strongly.

PHOTO CREDIT: @diklein/Unsplash

Normally, it is women in the music media who have to call out sexism but, in The Guardian, both Ben Beaumont-Thomas and Alexis Petridis had their say. The former did mention how the BRITs has improved in terms of racial equality – the awards have been criticised for being too white in previous years -, but it was Petridis’ words that resonated hardest with me.

“More recently, it spent several years apparently going out of its way to ignore grime, self-evidently the most important and exciting thing around, until artists and viewers started wondering aloud if the awards had an issue with representing black British music. That seemed to have an effect. The last few years’ choices have been more ethnically diverse. This year, it’s women.

At the 2019 Brit awards, the 1975 used their acceptance speech for the best British group award to protest against sexism in the music industry, quoting a feature by the Guardian’s Laura Snapes about misogyny. Twelve months later, a grand total of one British female artist has been nominated out of 25 available slots in mixed-gender categories.

Curiously, there’s the sense that the Brits knows there’s a problem here. The longlist nominations came accompanied by a statement that sounded suspiciously like a caveat: “The eligibility list has been compiled by the Official Charts Company and includes artists who have released product and enjoyed top 40 chart success. Record companies have had the opportunity to inform Brit Awards Ltd (BAL) of any eligible artists they wish to be added or inform BAL of any incorrect entries.” In other words: don’t blame us, it’s the record companies who are at fault.

IN THIS PHOTO: Billie Eilish is nominated in the International Female Solo Artist category

It’s clear there’s a wider issue here, one that involves the British music industry’s ability or otherwise to sign and develop female artists, to turn them into lasting success stories. It’s clearly not beyond the music industry to do this. After all, it was a British female artist who made the biggest-selling album of the 21st century thus far, 21 by Adele. It just doesn’t seem to happen very often, especially compared with the US, where there are so many big-hitting female artists that the Brit nominations can’t contain them all: Taylor Swift isn’t there, edged out by Lizzo, Lana Del Rey, Billie Eilish, Ariana Grande and Camila Cabello.

It’s a subject that you wouldn’t bet against one of the more switched-on winners at the awards ceremony in February addressing in their acceptance speech. Even if they don’t, the Brit nominations seem set to provoke a conversation about it. With the greatest of respect to the nominees, that might be the best thing about them”.

The fact the international women category could have had Taylor Swift, ROSALÍA; Little Princess, Weyes Blood and Brittany Howard included shows that there is no short supply of brilliance from women in music. Even us Brits have enough stunning female artists that are not being recognised. Read the comments below both of those Guardian articles – and he corresponding tweets on social media -, and one sees the predictable mix of men (and a few women) moaning and wondering why we need tokenism. Many have commented how it would be tokenism to include women. Other, with mock expression, stated how these articles were woke – the word means ‘to alert to injustice in society, especially racism’.

IN THIS PHOTO: In a competitive category, Taylor Swift (who released the brilliantly-received album, Lover, last year) was not nominated for International Female Solo Artist

The comments and exasperated tone of many who contributed suggests they feel there are few decent women out there; the BRIT Awards is about quality and who is most popular so, if women were included more, does that undermine the purpose and conform to an overly-P.C. and snowflake-like culture? Others were dismissive of the BRITs’ point and why we need to bother with it at all; some others were hostile and found is ridiculous why a national paper like The Guardian would put an article out and waste everyone’s time. It is bad enough that televised award shows are ignoring women, but the slew of sexism and ignorance one finds online is staggering. Granted, there was support and empathy online regarding this year’s nominations and, in most cases, the ignorance was from men and not women. It is clear sexism runs right through the music industry and there are plenty of people out there who feel women are inferior and tokenism is rife. That would suggest men are greatly inferior and, like a P.E. class where we give an award or clap to the un-athletic kid who is trying but failing, the women of music should be let in the club, even though they have not earned their dues. I shan’t go too much into the idiocy of the ‘logic’ behind many of the comments, suffice to say there is a bright spot in the BRIT Awards’ nominations: Celeste was named the BRITs Rising Star winner for 2020, after being nominated alongside Joy Crookes and Beababadoobee. An all-female field in that category shows that, first, the future is bright regarding great women coming through and, secondly, we need to look closely at new and emerging artists rather than those who do well in the charts and are commercial. Even if you are not a fan of the BRITs, it doesn’t matter: the award show is vastly popular and it is symptomatic of the wider industry: even though so many tremendous women are out in the music world, it is still the men who get the honours and focus. It is clear progress is not happening quickly enough and, in 2020, the industry is doomed to be mired in sexism…

PHOTO CREDIT: @luzfc/Unsplash

WHEN it should be creating balance!

FEATURE: Twenty-First Century Bliss: The Very Best Billboard Hot 100 Hits, Singles and Album Tracks from the Year 2000

FEATURE:

Twenty-First Century Bliss

IN THIS PHOTO: The White Stripes in 2001 (their second album, De Stijl, came out in 2000)/PHOTO CREDIT: Pieter M. van Hattem

The Very Best Billboard Hot 100 Hits, Singles and Album Tracks from the Year 2000

___________

I have already written a feature…

that collated the very best songs from 1990 so that we can look back thirty years and remember the brilliance! As we are in a new decade, I actually wanted to go back twenty years and see how this century kicked off. After the 1990s ended, artists had that responsibility keeping the momentum going and, not only were there some great albums; there were some smashing songs that still sound incredible today. I might do another decades/decade-starting feature, just so we can see how previous decades have started, and whether 2020 has the same promise. Even if you were not alive in 2000, you will still love the cream of the crop from the start of the twenty-first century – a year that seemed futuristic years previously and, now, seems so far away. Here, in a handy playlist, is a year that provided the world with…

IN THIS PHOTO: Kelis

SO much top-notch music!

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

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: PONGO

An All-Female, Winter-Ready Playlist (Vol. I)

__________

THIS is the first playlist of the winter…

IN THIS PHOTO: Yazmin Lacey

celebrating some of the finest women in music right now. This week has been a packed one for new music, so I have tried to include as much as I can! There is a great spread of music through this playlist, and I hope you discover some new favourites among the pack! This weekend is a bit gloomy and cold, so I think we need music to give us some warmth and energy. Have a listen to the magnificent artists below and I just know there will be something in there that takes your fancy. I am not sure what this year will produce but, with so many great cuts out this week already, I am confident it will be…

IN THIS PHOTO: The Big Moon/PHOTO CREDIT: Pooneh Ghana

A wonderful 2020.

ALL PHOTOS (unless credited otherwise): Artists

__________

Bad Honey – Easily

Sofia Wolfson – Party Favors

Georgia – 24 Hours

Agnes Obel – Broken Sleep

PONGO – Canto

Aunty Social – Cortex

Aoife Nessa Frances - Libra

Frances Quinlan – Your Reply

Alexandra Savior - Can’t Help Myself

Poppy – Sit / Stay

IN THIS PHOTO: Anoushka Shankar

Anoushka Shankar, Shilpa Rao, Ayanna Witter-Johnson – Those Words

PHOTO CREDIT: Ian Horrocks

The Big Moon – Holy Roller

Anna Pancaldi – Why

Caroline Rose – Feel the Way I Want

Elley Duhé – MIDDLE OF THE NIGHT

Halsey – You should be sad

Kiesza – When Boys Cry

Charlotte Rose Benjamin – Party City

Sia – Original (from Doolittle)

Yazmin Lacey – Not Today Mate

Lanterns on the Lake – Baddies

IN THIS PHOTO: Normani

Megan Thee Stallion (with Normani) - Diamonds

The Secret Sisters – Hand Over My Heart

Beach Bunny – Cloud 9

Winona Oak – Lonely Hearts Club

SAYGRACE – Loyal

Royal & the Serpent – MMXX

Selena Gomez - Fun

Celeste – Stop This Flame

Susanne Sundfør – Lene

Little Big Town – Nightfall

IN THIS PHOTO: Jenny Lewis

Jenny Lewis, Habib Koite, Artists for Peace and Justice - Under the Supermoon

FEATURE: Musicians and the Australian Bushfires: What Now Going Forward?

FEATURE:

Musicians and the Australian Bushfires

IN THIS PHOTO: Sir Elton John/PHOTO CREDIT: Ben Gibson

What Now Going Forward?

___________

I am writing this feature…

IN THIS PHOTO: A firefighter hoses down trees and flying embers in an effort to save houses near the town of Nowra in New South Wales/PHOTO CREDIT: AFP

on a day (9th January) when Australian bushfires are still wreaking havoc and destruction. It is hard to comprehend the full scale of the carnage and what has been lost. Apart from millions of animals and wildlife to acres and acres of land, the toll is horrendous – not to mention the loss of homes and human life. There is hope the fires will abate in the coming days, and there will be an end. As it is summer in Australia, there is a danger new fires will start and there will be a lot more to ensure. In this article from The Telegraph, they investigate why the bushfires have been so severe:

“Australia is no stranger to wildfires, but this season has been unprecedented in scale and intensity - and the summer is far from over.

So far at least 17 people have died in blazes that have swept the country, more than 1,200 homes have been destroyed and 5.5 million hectares (13.5 million acres) of land has been burnt.

So what has caused the blazes which have devastated huge swathes of the country?

Why are the fires so bad?

Australia’s deadly fires have been fuelled by a combination of extreme heat, prolonged drought and strong winds.

The country is in the grip of a heatwave, with record-breaking temperatures over the last three months. In mid-December the nation saw the hottest day in history - the average temperature was 41.9 degrees Celsius.

These conditions, which show few signs of abating in the next few weeks, have been accompanied by brisk winds which fan the flames and push the smoke across Australia’s major cities. On Monday wind speeds were recorded at 60 miles per hour.

All this follows the country’s driest spring since records began 120 years ago, with much of New South Wales and Queensland experiencing rainfall shortfalls since early 2017. Trees, shrubs and grasslands have turned into the perfect tinder for flames”.

So so so sad. It’s breaking my heart. My home is on fire. I’m donating $100,000 to @WIRES_NSW to help injured, displaced wildlife. Please see here to find out how you can help Australia: https://t.co/2U6v1NQnn8 pic.twitter.com/dRgfGniJWp

— Flume (@flumemusic) January 7, 2020

A lot of people feel helpless, and they want to do what they can, wherever they are. If you want to donate to help out, this link provides good information. Of course, nothing can bring back all that has been lost so far, but it is heartening to see so many people united and donating. Around the world, people are sending their support to Australia. In terms of donations, millions (of Australian dollars) has been raised already. I have been especially struck by the music world’s reaction to the bushfires. Sir Elton John has donated to help those affected:

“Sir Elton John has pledged $1m to the relief effort in Australia where wildfires have devastated a swathe of the country.

The singer made the announcement while on stage in Sydney, telling the audience they should be “in awe of the work that the firefighters are doing”.

He added: “This is a magnificent country that I’ve been coming to since 1971.

“I love it here so much. To see what is happening here breaks my heart and so we have to come together and we have to fight, and this is my bit towards it.

“I love Australia so much and to those that have lost their homes, God bless, I hope that your lives will be repaired very soon.”

It came as the smoke from the fires – which previously covered”.

PHOTO CREDIT: Brett Hemmings/Getty Images

As NME report, other musicians have joined the wave of support. It seems like artists from all corners are donating and playing gigs to help in the effort:

“Nick Cave & The Bad Seeds bandmate Warren Ellis have pledged $500,000 (£382,000) to help victims of the Australia bushfires.

“Our thoughts and prayers are with all of those affected by the fires destroying our beloved Australia,” wrote Cave in a statement posted on Instagram.

“We are pledging $500,000 to some of the many organisations carrying out selfless and courageous work aiding and supporting communities and wildlife who have been hit by this overwhelming devastation. We urge everyone to do whatever they can to help.”

Queen have also revealed they have been asked to perform a Live Aid style benefit concert in Australia to help the victims of the bushfires".

It has been upsetting seeing images of animals and wildlife left dead or uprooted by relentless fires. Brave and dedicated fire crews are working around the clock, and the money that has come in will go a long way. It is not only Elton John and Nick Cave & The Bad Seeds who have provided money and support for the Australian bushfire relief effort. Many different artists have also joined together:

“Courtney Barnett is throwing two benefit shows in Melbourne, Australia, with Camp Cope and Alice Skye, with all proceeds going to “bushfire disaster appeal, vic/nsw fire services and wildlife rescue.”

Sydney producer Flume has also pledged $100,000 to WIRES, posting to Instagram “It's so sad. It's breaking my heart.” Following a performance in Melbourne, Vampire Weekend donated $10,000 to Wildlife Victoria and encouraged others to lend their support.

Pink has also pledged to donate $500,000 to local firefighters, tweeting links to various fire services. A “disheartened” Kacey Musgraves asked her Twitter followers how she could help, ultimately finding an undisclosed organization to donate to”.

IN THIS PHOTO: Lizzo visits a food bank in Victoria, Australia

I think we feel those who are famous or well-known do less when it comes to charity than most regular people. When it comes to crisis like we have seen in Australia, it is humbling than those in the music industry are helping and making sure they can do all they can. There have been benefit gigs in Australia, and I wonder whether we will see any in the U.K., U.S. or the rest of the world. I shall come to that in a minute, but I want to quickly mention Lizzo, who volunteered her time earlier in the week. As NME explain, she has volunteered her time at a Melbourne food bank:

“Lizzo volunteered at a Melbourne food bank earlier today (January 8) as aid efforts for those Australians affected by the country’s ongoing bushfire crisis continue.

The ‘Cuz I Love You’ artist is currently on tour in Australia, and she pitched in at a Foodbank Victoria warehouse today to help the cause as she helped sort and pack food hampers.

Speaking to volunteers at the food bank, Lizzo said: “Thank you so much for volunteering your time and your energy and your hearts. Let’s go get some boxes!” (via 10Daily).

Foodbank is the largest provider of food relief in Victoria, with the organisation issuing urgent food relief hampers to those affected by the bushfire crisis.

“​​​​​​​We need your support to continue delivering emergency food relief and water to Victorians affected by this devastating bushfire crisis,” a statement from Foodbank Victoria reads.

“With roads in the area cut off, many Victorian families are isolated – without food, water, electricity, or communication. Foodbank Victoria sent life-saving food and water to Mallacoota by sea to assist.”

You can donate to Foodbank Victoria here.

IN THIS PHOTO: Grimes/PHOTO CREDIT: Eli Russell Linnetz

As I said earlier, the fires will continue, but we all hope the weather improves in a way that allows for some rain, stability and relief. The massive outpouring and awareness raised on social media regarding the situation in Australia and climate change is something that must be a priority in 2020. If our government in the U.K. and Trump in the U.S. has been slow to acknowledge and respond to the effects of climate change, they cannot remain motionless now. Seeing kindness from musicians and so many people around the world has been inspiring, but there is that concern as to whether there will be a lot more bushfires in Australia and, indeed, what other horrors we have to see. I have covered this before, but what can the music world do regarding climate change and reducing their impact? I have to make it clear that, of course, the events in Australia have not been caused by musicians and the receptibility for change lies with politicians – they are the ones who hold power and can affect change. Apart from donations and raising awareness at gigs, I think 2020 is a year where the effects of climate change will be at the forefront of many albums. Grimes’ forthcoming album, Miss Anthropocene, is out on 21st February and will put the environment at the forefront. This article from last summer explains more:

 “Grimes is one musician choosing to dive headfirst into the topic. In an interview with The Washington Post last week she announced that her upcoming fifth album will be a concept record about “the anthropomorphic Goddess of climate Change”. In practice that might not be so overtly calling for environmental action, but at least it is focusing on the issue. The same goes for Foals, who talk about the state of the world on their most recent record Everything Not Saved Will Be Lost Part 1. Speaking to us about the issues that fed into the record, frontman Yannis Phillipakis said: “What scares me right now is what scares you, right? … the bee population that’s going, environmental collapse, biodiversity collapse – the fact that on an aesthetic level there’s a plastic flotilla the size of France in the Pacific”.

IN THIS PHOTO: Madonna performing at the 2019 Billboard Music Awards/PHOTO CREDIT: Getty

Every generation has to deal with something world-changing and unsettling and, whilst it is not the same as political action and laws, music can raise greater awareness and spur others into action. It is important climate change becomes part of the scene this year, and I hope many mainstream artists do their part. 2020 is an exciting one for festivals and big artists hitting the road – everyone from Elton John to Madonna are touring -, but there are considerations regarding travel, sets and environmental damage. This Vice article talks about the way artists can reduce the negative effects their tours have:

But beyond recording albums, what happens when we start to think about practical steps musicians can take with regard to climate change? If we’re talking about the same things that we non-musicians can also do to minimise a personal effect on the planet, then yes, there are some basic starting points. They can use paper straws, energy saving light bulbs, try and get an electric van when hiring a vehicle on tour – all the stuff that’s been pushed in the past few years and is now starting to be common sense. But the bigger issue of trying to combat climate change as a musician falls on shoulders of those higher up the food chain. Soon, you realise that kicking the problem up to promoters, venues and so on really requires investment from government and major multi-national companies.

For example: is there a way for venues to bring their cost on the environment down, whether that’s removing all plastic cups and straws, or something more dramatic, such as running on renewable energy? Could a promoter who owns a venue back their plan? Thing is: things get tricky when it comes to installing renewable energy, involving planning permission and building warrants from the local council. Then there's costs, paperwork, extra checks to follow up on. So while it's not impossible, it would be a process. One venue that's already achieved this is east London's Village Underground, who describe themselves as an 'ecological project' and run on 100 percent green energy”.

PHOTO CREDIT: @chazmcgregor/Unsplash

It is great seeing a show and having a moment to be in a stadium or venue and seeing something magical and spectacular. Whilst that is important, can artists scale things back and still entrain their fans without needless excess and theatre? This BBC feature from November is worth investigation:

"Do we really need 27 scene changes? Do we need cars hanging from the ceiling?"

It might not be an obvious question for a superstar agent to be raising, but it's one Emma Banks, who co-founded the UK arm of one of the world's biggest music tour agents, is increasingly having to ask.

She says your favourite artist's tours can have up to 60 trucks moving equipment all over the world.

And she says musicians "have to be proactive" about the impact tours like that have on the environment.

Emma's roster at the Creative Artists Agency ranges from other female superstars like Katy Perry, Lorde and Kylie to some of the biggest bands on the planet - including Arcade Fire, Red Hot Chili Peppers, Green Day and Muse.

Although it's difficult to calculate the exact impact of each individual tour, a 2016 report on the impact of live music events suggested the UK festival scene produced 19,778 tonnes of carbon emissions every year - excluding the travel of artists and fans.

In comparison, football tournament Euro 2016 is reported to have produced a total on 2.8m tonnes, including travel of fans and players.

It's also been suggested that private jets, which many artists use to keep up with their hectic tour schedules, burn 40 times as much carbon per passenger as regular commercial flights.

Some artists have announced plans to reduce the impact of their tours.

PHOTO CREDIT: @maxwbender/Unsplash

There is a lot more that can be done regarding musicians and ways to improve their carbon footprint, but I know how hard that can be, seeing as there is demand for new and established acts to tour and bring their music to the masses. I do feel every artist, regardless of popularity, needs to make cuts and take small steps in every area. It might be as simple as fewer tour dates or not flying as much. That might sound severe, but the music industry is one of the most loving and community-led, and fans around the world, I know, would rather artists look after the environment, even if it means they loss out. One only needs to look at the images and news reports of artists donating their time and money to help Australia to realise the music world wants to see change and action. I have argued a lot how this year needs to be more fun and together and, whilst that might sound counterintuitive, I think we can mix the serious and fun; songs that put the environment under the spotlight and others that take our minds elsewhere. Things might seem hopeless at the moment, and the task of reversing climate change is one that seems lost and futile. Maybe our politicians are unconcerned and docile, but there we will see action from the music industry – from bands who tour less to those who donate proceeds from sales to environmental charities; others that put environmental concerns in their albums and songs. It is a long road ahead, but it is very clear that…

PHOTO CREDIT: @wildlittlethingsphoto/Unsplash

ALL is not lost.

FEATURE: The January Playlist: Vol. 2: i should be sad…but I’m not

FEATURE: 

The January Playlist 

IN THIS PHOTO: Halsey

Vol. 2: i should be sad…but I’m not

__________

THIS is the start of a fresh assault…

IN THIS PHOTO: Alicia Keys

of great music. 2020 started a little slow but, in the past few days, there has been a slew of remarkable songs out there. Not only is there new material from Hasley, Selena Gomez and The Big Moon; Tame Impala, Field Music and Wire have new tracks out. There is also fresh stuff from Alicia Keys, The Orielles and Georgia to get your weekend kicked off. It is stunning how much music has come through. Artists are not wasting any time, and I cannot wait to see what come nest week. It is cleat this year will be an exceptional one! I know there is enough in the playlist to give you a kick and boost as you head about your day. This week’s very best, it must be said, is quite…

IN THIS PHOTO: Field Music

A fabulous assortment.   

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

_________

Halsey – you should be sad

Selena Gomez - Rare

Georgia – 24 Hours

PHOTO CREDIT: Hollie Fernando Photography

The Orielles - Space Samba (Disco Volador Theme)

Tame Impala – Lost in Yesterday

Ethan Gruska (ft. Phoebe Bridgers) - Enough For Now

The Big Moon – Barcelona

Lawrence Rothman, The Turning (ft. Pale Waves) - SkindeepSkyhighHeartwide

STORMZY – STILL DISAPPOINTING

PHOTO CREDIT: Christian Högstedt

Algiers - We Can't Be Found

Agnes Obel - Broken Sleep

Gengahr - Never a Low

PHOTO CREDIT: Michelle Shiers

John Legend - Conversations in the Dark

Easy Life – Dead Celebrities

Field Music – Coffee or Wine

Wire - Primed & Ready

Alicia Keys – Underdog

Taylor Hawkins & The Coattail Riders - Middle Child

Nada Surf - So Much Love

Megan Thee Stallion & Normani - (Birds of Prey: The Album) - Diamonds

PHOTO CREDIT: Daniel Topete

Fontaines D.C. - Liberty Belle

Ozzy Osbourne (ft. Elton John) - Ordinary Man

Circa Waves - Move to San Francisco

PHOTO CREDIT: Alexander Black

Moses Sumney – Me in 20 Years

Kodaline – Wherever You Are

Lanterns on the Lake – Baddies

Future (ft. Drake) - Life Is Good

Celeste – Stop This Flame

TRACK REVIEW: Celeste - Stop This Flame

TRACK REVIEW:

 

Celeste

PHOTO CREDIT: Matilda Hill-Jenkins

Stop This Flame

9.5/10

The track, Stop This Flame, is available from:

https://www.youtube.com/watch?v=BGmI8IkiWII&feature=emb_title

GENRES:

British Soul/Alternative R&B

ORIGIN:

California, U.S.A./Brighton, U.K.

RELEASE DATE:

9th January, 2020

LABEL:

Polydor

__________

THIS is my first review of the year…

PHOTO CREDIT: Matilda Hill-Jenkins

and I was waiting for the right moment to launch it. There have been some great songs out this year, but I wanted to feature Celeste because she is a talent everyone needs to check out. I will get to her latest track very soon but, before that, I have a few things I want to investigate and explore. Now is a very good time for Celeste. The BBC has announced their Sound of 2020 winner and, deservedly, it is Celeste who gets that top honour: 

 “Soul singer Celeste has been named the BBC’s Sound of 2020, the broadcaster’s annual poll to evaluate the year’s brightest new musical hopes. Her win follows her victory in the Brits rising star award in December.

In a statement, the 25-year-old British-Jamaican star reflected on her recent run of success: “I could never have predicted half of the things that happened … I’m so grateful for every opportunity I’ve had so far and am looking forward to what 2020 will bring.”

BBC Radio 1 DJ Annie Mac described Celeste Waite, who grew up in Saltdean, near Brighton, as a “phenomenal” talent: “Her songwriting is personal and poignant but with universal appeal. I think she could easily join the long list of Sound Of winners who went on to be global stars.” Previous winners include Adele, Sam Smith, Haim and Ellie Goulding.

Celeste began writing music and performing in bands as a teenager. At 16, she was discovered by a manager after she posted her first song online. He encouraged her to take writing classes and she started working with writers and producers at Trevor Horn’s Sarm studios.

Lily Allen signed Celeste to her label Bank Holiday Records, an imprint of Warner UK, and released her debut EP, Milk & Honey, in 2017. The following year, Celeste signed to Polydor. Her single Strange made

the BBC Radio 1 playlist, and she was recently named BBC Music Introducing artist of the year”.

I have been familiar with Celeste for a little while, but she is really blossoming into someone who has the promise to be an icon of the future. I do not use those words lightly. You have these artists who produce some good tracks but, honestly, you do not remember them that long after hearing them. In the case of Celeste, she is someone who stuns through her music and can win your heart when you hear her speak.

I think there is a real humbleness and maturity from someone who is relatively new to the industry. Although Celeste has been recording music since she was very young, her path into music was one many can identify with. This BBC article highlights when Celeste was bitten by the muse of music:

“Three years ago, the singer moved to London with just £100 in her pocket; but was fired because she kept skipping work to write songs.

"I'd rather call in sick and go to the studio than have the money for that month," she tells the BBC, "and there was a couple of months where I was like, 'What am I going to do?'"

Luckily, unemployment coincided with Celeste's discovery - first by Lily Allen's label Bank Holiday Records, which released her first EP, and later by Polydor, who signed her in 2018”.

Later in this review, I will discuss Celeste’s roots and family and how, in 2020, she is primed for the biggest year of her professional life. I love the fact Celeste is very much driven by music and it fill her soul. For some, you get the sense music is a way to get famous or, at the very least, give them some sort of meaning. For Celeste, it goes far beyond that. She is someone who wakes and breathes music; it is a way to express herself and make the world beautiful. So many people are reacting to what she is putting out into the world. It is interesting learning how artists get started and how their songs take shape. I fancied myself as a songwriter when I was younger because I was a natural poet – and I knew it! I loved the way one could take language to new places and write in a way that was poetic, beautiful and individual. I do not read or write music, so poetry was a way for me to write like my musical heroes. Celeste has a love of poetry and, when you read her lyrics, one is moved by their depth and passion. There are many reasons why Celeste is being championed and why her music is resonating.

PHOTO CREDIT: Lauren Maccabee

In terms of genres, Celeste blends R&B and Neo Soul with incredible poetry. In this interview, Celeste explained why her particular potion was so potent:

 “You blend poetry with soul and R&B. What makes it so powerful in your opinion?

I think the language in poetry can be very powerful and it feels like you can say a lot more. I know a band called Fontaines DC. They’re very inspired by poets and they kind of see themselves in that way. They’re a band I love listening to.

Poetry is a bit closer to the rhythm of your speaking voice, so you can kind of say more and get more words out, whereas singing a melody kind of, sometimes, puts a limit on how much you can say. That’s, for example, why rappers can say so much more, because their rhythm allows them to. I think, when you sometimes write in that form, you can kind of deliver so much more clear narrative that has a story from start to finish. It’s more laid out.

You have the gift to tell a story with your voice. Is it difficult for you to put deep emotions in a song?

When I’m about to write a song, I just let it naturally come out as it wants to. If that’s a day that I might be feeling really empowered, or might feel really sad, I let my body speak for itself. Some days, it’s hard because it doesn’t really want to come to the surface. But most of the time, in the music I’ve written, it all came quite naturally”.

It is the honesty and spontaneity that Celeste puts into her music that makes it so powerful and moving. She can elicit so many different emotions but, more than anything, I think everyone can relate to her songs. You do not have to know her or what she is going through to respect and understand her words.

PHOTO CREDIT: Grace Difford

Celeste was born in the U.S. and, whilst she is up in London now, Brighton was where she was raised. Brighton is my favourite place in this country, so I can understand why it is a place easy to love and settle into. It is a shame people have to move to London to find opportunity, as Brighton is such a haven and safe place. Although, as we all know, it does not take long to get from Brighton to London. I can identify with Celeste, as she is someone who has felt her way into music and was not necessarily a natural performer and writer straight from the off. When she spoke with Dummy last year, she explained how she was a little shy at first:

 “Surrounded by musical peers in the English seaside town, she was increasingly reluctant to perform. “I was quite shy about singing when I was a teenager but I think people just knew I could,” she says. A boy approached her in the school corridor, saying, ‘I heard you can sing.’ “It was so silly, I probably denied it,” she says, but ended up going to his house for songwriting sessions. She wrote her first song, ‘Sirens’, about the death of her dad when she was 16, and it caught the attention of a prospective manager after she posted it on YouTube. They met up in a Costa, and Celeste promised to send him some demos. “Four months went by and I hadn’t sent him any demos!” she says. “I was just singing ‘cos I liked singing. I knew I wanted to do it, I just didn’t know how to go about doing everything.”

Eventually he just booked her in for a studio session. “It was only five years ago but mobiles weren’t such a necessity – I remember looking at Google Maps and drawing the route with a pink felt tip,” she says. The people at the famed Sarm Studios – owned and run by Trevor Horn – were so impressed with her writing that they kept giving her more time there. “It was a place that had so much history, you could just feel it in the walls,” she says. “I remember once seeing Seal at the top of the stairs. I need to wear glasses and never wear them, and there are these massive open doors into Studio 1, but I’d never seen it before, so I was peeking in. Then I see him standing outside with a sandwich in cling film, and he’s like, ‘Hello!’ I’m like, ‘Alright mate?’ He found it really funny that I seemed so unfazed by him”.

Maybe Celeste is not at the stage where she could confidentially stride into an arena and play to tens of thousands of people, clearly, she has risen in confidence and this is reflected in her music. She is an extraordinary talent who is blowing people away with her voice. Many have noted influences such as Billie Holiday and Amy Winehouse. These two artists are finding new fans in artists like Celeste and Jorja Smith. There is this corner of British R&B/Soul that is really promising and stuffed with brilliance. I am not sure whether Celeste is acquainted with the work of Fiona Apple, but I wonder whether Celeste might take her music more in that direction or any elements from her. Not that I want to dictate Celeste’s future; it is evident she has an epic voice and grew up around so many great artists. Influences are as important to a musician’s direction and personality as their upbringing and environment. The question regarding influences is one interviews have asked Celeste since the start. Here, she talks about her early life and some of the artists who affected her:

 “When [his death] happened I had just started college, so optimistic and thinking I was going to be a fashion designer,” she says. “Until that point my life had been rosy to an extent. It shocked me. Then after that I had so much more drive to do something I cared about. I focused everything on doing music from that point.” She worked in a pub and sang in a band with friends in Brighton, covering classics and writing original songs. They prided themselves on being into music other teens they knew weren’t — jazz, rare groove, old soul. Celeste says that early diet might explain the comparison she hears most frequently, with Amy Winehouse. “We probably grew up listening to a lot of the same music — Sarah Vaughan, Billie Holiday — and that’s where you’re getting your phrasing. So I understand it. It’s a big comparison for people to make. It’s very sweet and flattering because she’s someone a whole generation love so much. Her music was incredible”

PHOTO CREDIT: Matilda Hill-Jenkins

So much spotlight is shone on Pop and the mainstream whereas it should be aimed at artists like Celeste. Her music is so much more appealing and engaging than most of the Pop crop out there. She is a unique artist, but there are artists, past and present, that inspire her. It seems that Aretha Franklin is someone who is very important to Celeste:

“She's an old-school Aretha fan...

"I remember the first album I ever listened to all the way through was an Aretha Franklin tape. My grandad used to have this cherry red Jaguar that he'd take me everywhere in and he would play it. I remember the first time I heard her voice, my face literally lit up".

There is, I understand, a debut album coming from Celeste very soon. She has already accomplished so much already, and this year looks set to offer more rewards and riches. Many artists wait for many years before they can support huge artists and have that rare moment. Every musician dreams of supporting their favourite artists but, in the case of Celeste, she has already supported some big names:

“The message she tries to convey through music is: “Be true to yourself. If you have something you believe in standby it. Stay in touch with who you are even if people don’t treat you the way you’d hoped. Fight against prejudice and educate people if you’ve got the opportunity, but remain focused on your goal."

Other than supporting the iconic Neneh Cherry in her hometown of Brighton and Janelle Monae in Berlin, the most surreal moment of Waite's career came when she recently performed with legendary British singer-songwriter and musician Paul Weller. Crediting The Jam founder as one of the first people to publicly support her music, and reminiscing about the cover of his song "Wildwood" she did at the age of fifteen, she tells me, “ We performed ‘You Do Something To Me’ together and thinking about the fact that I liked his music - and how it made me feel when I was younger - and now ten years later I’m collaborating with him is unbelievable”.

Although influences and other artists are important to Celeste and her musical determination, family are also vital. I have briefly touched on Celeste’s young life and how she moved from the U.S. to the U.K. but, in this interview from 2017, Celeste discussed her family:

“MUM, NAN, AND GRANDAD: My mum looked after me from three years old by herself. She’s a makeup artist, so she was working away for a few days at a time, then coming back. When she was away, I’d be at my nan and grandad’s house and [theirs] was the first music that I heard, really, from a really young age. Just because of their age, it tended to be those classic singers like Aretha Franklin, Ella Fitzgerald, Billie Holiday, and things like that. Naturally, then, as I got older, I got used to that music falling upon my ears, and it not really seeming like a thing. When I first heard it, when I was younger, it was amazing to me, but then to grow older, it seemed to me like there’d be no other music that I would like [in that way].

My mum is funny because she’s not musical at all, but she loves music and she’s always singing weird versions of how she thinks the song goes around the house. When I grew up, I found it really interesting, her weird off-kilter, off notes, the way she would sing certain things. The whole thing is unrecognizable! [laughs] I’d be like, “What are you singing?” But I think maybe in my head, it painted this picture of how I could then make my own versions of songs that I really liked. As I got older, I had more time to go and buy my own tapes, then CDs, then all of us would be on iPods. That’s when I started listening to more than just different hip-hop, because I really liked their producers. Then I started collecting quite a lot of vinyl, so I tried to shop at the thrift shops, and that’s an ongoing thing”.

I think Celeste’s background and rise is deeply interesting. You just know music was an essential part of her upbringing and shaped who she is now. Whilst she seems pretty content and happy now, I cannot help but think of the way she talks about her family and the role they have played. It is hard to put into words; I just feel family is something Celeste carried with her and they go into each and every one of her songs. The sad loss of her father, obviously, had a profound impact on Celeste. Early last year, she released Father’s Son, and it spoke of the changes that came with the loss of her dad. In this interview with Wonderland Magazine, she revealed more:

“Her most recent single, January’s “Father’s Son” touches on that coming- of-age and the change that came with the death of her father. “Maybe I’m my father’s son/Or I’m nothing like you” she wonders aloud on the song, over muted instrumentation and echoing organs. Celeste deals primarily in lyrics about heartbreak but is resolutely restraining from writing about its romantic root. The result is an instant connection with Celeste as a listener. By sharing her most vulnerable moments in song, you can’t help but feel close to her.

“I’ve tested myself this year to not put the word ‘love’ into a song,” she explains. “I want it out… It’s such an easy way to make something make sense… It used to be my rule when I first started writing but then I got lazy and slipped back into it.” She laughs, “unless there’s one song that has to have it!” Her next track due for release is called “Love is Back”. She’s allowed a pass to her own rule, after all”.

I have already mentioned how Celeste is a very humbled and rooted artist. She is not one of these ego-driven artists that needs to show off or thinks they are the best thing since…well, themselves! Instead, one sees this young woman who wants to give to the world of music, the same way music has given so much to her. I can only imagine how busy this year will be and where she will head. Celeste has won polls and been heralded as one of the finest new artists in the world. For some, this would be cause for arrogance or resting on their laurels. Celeste is not an artist who takes honours lightly or will be changed by them. I was reading an interview she gave to The Line of Best Fit and that nature of humbleness was addressed:

“While ambitious to succeed Celeste hasn’t let the rising fame and busy schedules dampen her humility. Talking about what she gets up to in her down time, she explains, “Even if I’m not working I’m still trying to stay inspired by simply taking in my surroundings. But more than anything I like watching films and I enjoy conversations with real people - friends, family and even strangers.”

It’s certain she isn’t making up the part about loving conversations, because what one question she wished she was asked in an interview, she’s playful – yet interested-as she laughs and says, “ I’d love to be asked something really obscure that you’d know if you grew up with me.” So she’s posed with the following question: "What were you doing on today’s date in 2010?".

I recent interviews, she has explained how she wants to her music to reach right across England and touch as many people as possible. She does not feel pressure from the BBC Sound of 2020 recognition: this is the time where she is properly excited and can take her music to new audiences. E.P.s such as Lately (released in 2018), show incredible talent, but I think her best days are still ahead.

PHOTO CREDIT: Lauren Maccabee

There is a new single out now, Stop This Flame, that is a great way to kick off Celeste’s 2020 campaign. There is also going to be an album so, if you are wondering which albums are going to be among the most-anticipated of this year, you can add Celeste’s name to the list. This feature from Dummy from early last year showed that an album was already in her mind:

“Having ticked off a few bucket list items throughout her stay, Celeste is now eyeing up an album for 2020 (“it feels like a good number”). She explains how, aged 18, she’d play Kanye’s ‘My Beautiful Twisted Dark Fantasy’ three times each night. “I’d listen to every single part – all of the voices that have their own story on it. It was the first modern album I’d heard where it didn’t stop from track to track – I’d only ever heard that in ‘70s experimental jazz, like Sun Ra or something. It felt very free and experimental, but there were still songs I could play at a party, or on the bus. That’s something that’s stuck in my head for how I would want a body of work.”

With this in mind, her objective is to “be able to make music for a long time, and music that actually matters to people. We’re in a world where there’s so much music, and I think that’s amazing, but it does mean you have to try harder. It’s like what my friend was saying: in Internet years, a year is like ten years!”

I should probably stop rambling and actually get to the business of reviewing Celeste’s new track. We are only a couple of weeks into the new year, but Celeste has produced an absolutely red-hot cut. It is a song, I imagine, will be on her debut album.

PHOTO CREDIT: Lauren Maccabee

There is something delightfully old-school and vintage when you hear the opening to Stop This Flame. The piano rolls and, for a moment, there is a tinge of Dave Brubeck’s Take Five – there is a similar funkiness and sense of the supremely cool! In any case, one transports themselves to a Jazz club back in the 1940s or 1950s; smoke holds ghostly in the air whilst a bartender mixes a cocktail that is full of exotic delight. Songs that draw and drag you into their world – and such a heady one at that! – are the ones I come back time and time again. Soon, percussion rattles and taps as a heavier beat joins the fold. The song’s introduction layers itself and has this great momentum and vivid energy that, as I said, takes one’s mind somewhere else. The piano and beats conspire in a delirious romance as Celeste’s voice arrives. “My heart goes up/My heart goes down/We fall in love” is delivered in such a way that one shivers and feels the promise and candour in her voice. I am not sure who this romance is with, but the heroine is riding the wave of a relationship that burns hot and then slides way. Again, there are no indications in the early phases that indicate why this love has been so unpredictable. Whilst Celeste’s voice begins quite subdued and controlled to start, it becomes more charged and electric as her emotions come fully to the surface. “I’ll give you anything you want” seems to suggest that the other party does not appreciate Celeste or this relationship can be saved – this is just a bad moment. The texture changes from Jazz to a fired R&B sound as the song races and rises. A lot of people in Celeste’s position might want to step back and review the situation, knowing things might fail. Instead, she is fighting for a relationship that means a lot to her. Even though there is a lot of emotion in Celeste’s declarations, there is a sense of melody and movement that gives her words so much relevance and memorability.

This lover, it seems, is a pill and addiction; someone that Celeste needs but, evidentially, they are being foolish. Celeste proclaims that she will never let them go. “You think you’re somebody, don’t you?” is what our heroine says. She follows that by asking if they are scared of commitment and why they want to see this flame die out. When the song calls for something more reflective and deep, Celeste’s voice deeps and she hits those low notes. When she needs to get her message out clear and sharp, the vocal explodes and you feel the effect of her delivery. It is a confusing time, as Celeste asks if things are moving too fast or she gave too much. Whilst there is this need to keep things going, Celeste wonders whether she was crazy to give everything and to commit so hard. There is also a more seductive and racy edge to the song where the heroine is being bold and succumbing to passion. “Tell me to stop but I keep going” is a line repeated, and the words gallop with feverishness and determination. I like a song that keeps some mystery and does not reveal all of the story. We know Celeste and her lover are on different plains, but you are not sure what has created this division. Maybe there has been dishonesty or her sweetheart has strayed; maybe they are taking things for granted. Rather than accusing and scolding the or party, Celeste realises that this bond is important and it cannot be snuffed out so easily. Celeste is a passionate woman, and she warns her lover to stay away if they cannot take the intensity and commitment. In short, Celeste is not interested in flings or somebody who does not value what is in front of them. Stop This Flame is yet enough example of Celeste’s range, confidence and talent. From the opening notes, you are fascinated by the song and where it will lead you. Celeste’s voice is full of life and colour. She can go from the soft and teasing to sky-high without pause for breath! I cannot wait for her album to come out because, on the basis of Stop This Flame, it will be among the very best of the year. Make sure you are familiar with this stunning artist.

PHOTO CREDIT: Bryan Rivera

Although we have just finished with 2019, Celeste has tour dates lined up, so go and see her if you can! She is one of those performers who puts her heart into every moment. I think she is going to get some big festival dates this year and, as we are still wondering why festivals are not booking women as headliners, Celeste is a definite headliner of the future. I am going to wrap up soon but, just before, I want to quote from a live review from NME; they checked out Celeste in London in November and were suitably impressed:

 “There are only 48 days until the end of the decade, but it seems that we’ve already been gifted with an artist who could define the next 10 years. Celeste, you see, is a once-in-a-generation talent. With a voice that balances the fragility of Billie Holiday against the sheer power of Aretha Franklin, she’s the finest British soul singer to emerge in years.

The proof of this doesn’t get much clearer than on the second night of a three-show residency in the intimate surroundings of London’s Omeara – an achievement in itself which suggests much bigger things are on the horizon. It begins from the moment when she immediately states her case on the powerful ‘Both Sides Of The Moon’, with her powerhouse vocals effortlessly portraying the pain of being subjected to a cheating lover.

It won’t be the last time she commands this kind of reaction, but certainly the last time that it’s on a level as small as this. Bigger shows will follow (she’s already set to play Shepherds Bush Empire next year), but few will capture the intimate magic of this early showing. If there’s any justice, super-stardom is just around the corner”.

It has been wonderful reviewing Stop This Flame and getting to hear a sensational artist in full flight. There is a lot of expectation on the shoulders of Celeste, but she sees this as a positive thing. People want to hear her music and there is no denying she can live up to the promise set already. I think this is a wonderful time for British music, and strong women like Celeste are leading proudly. I have put her social media links at the bottom of this review, so go and follow Celeste and show some love. This year will very much be hers, and Stop This Flame is a tremendous song. Like moths to a flame, when it comes to the light and heat of Celeste’s music, it is absolutely…

IMPOSSIBLE to resist.

___________

Follow Celeste

PHOTO CREDIT: Maya Patterson

Official:

https://www.celesteofficial.com/

Twitter:

https://twitter.com/celeste

Facebook:

https://www.facebook.com/celeste/

Instagram:

https://www.instagram.com/celeste/

Spotify:

https://open.spotify.com/artist/49HlOY4gkHqsYG9GCuhkcc?si=QeH36DOnTUm9kkPXPddhSA

YouTube:

https://www.youtube.com/channel/UCry6nkgqYYSfk_nrwbEF9Ow

ALL UNCREDITED PHOTOS:

Celeste

FEATURE: Good As Gold (Stupid As Mud): Paul Heaton: A Genius Songwriter Overlooked

FEATURE:

Good As Gold (Stupid As Mud)

IN THIS PHOTO: Paul Heaton/PHOTO CREDIT: Simon Fernandez

Paul Heaton: A Genius Songwriter Overlooked

___________

THIS is one of those random pieces…

IN THIS PHOTO: Paul Heaton and Jacqui Abbott - formerly, both were members of The Beautiful South - have recorded three albums together; a fourth, Manchester Calling, is slated for release this year

that is not related to anything happening in the music news or relevant, as such. I am peppering a few of-the-moment features and bits about artists to look out for this year. As my blog is about capturing the current and mixing that with musings, it is appropriate I give a nod to one of this country’s greatest songwriters: the sensational and always-brilliant Paul Heaton. I wrote a feature not too long ago that was about Paul Heaton as this songwriting architect and inspiration that people could learn from. As a member of The Housemartins, The Beautiful South and alongside Jacqui Abbott (a former Beautiful South vocalist who reunited with Heaton years after her departure), Heaton’s words have become anthems. Of course, like all top songwriters, there have been a few less-than-titanic songs, but one can rattle off a list of classics that proves Heaton is in a league of his own. I was sad when The Beautiful South called it a day back in 2007 because, to be fair, there is nobody around like them today. That unique combination of three lead vocalists – Paul Heaton, Dave Hemmingway and Briana Corrigan/Jacqui Abbott/Alison Wheeler – singing songs that are rich in the everyday and the extraordinary is something the music world has been lacking. There was an ordinariness to The Beautiful South’s songs that was easy to love. Rather than singing about abstract things or being too experimental, the band were about these relatable songs/sounds; Heaton’s lyrics could make you laugh and provoke a tear when they needed to.

Unbelievably Paul Heaton has never won an award for his songwriting or music. No Brits, no Ivor Novello, no Q Award. No nothing. #totp #totp89

— Complete Control PR (@pollybirkbeck) January 3, 2020

Although Heaton did some brilliant work with The Housemartins, it is the material he wrote for The Beautiful South that is my favourite. The tweet above caught my eye because, amazingly, Paul Heaton has not been truly recognised for his songwriting! Maybe he has won a few awards here and there but, when it comes to the big gongs and nods, there has been nothing. Maybe some critics feel The Beautiful South were a bit middle of the road or, as often is the way, Pop artists and big commercial artists win the big songwriting awards. Awards should go to those with the most talent and the most original so, considering that, why has Heaton been overlooked? The Beautiful South were a fantastic band whose songs were so rich and full of wonderful images and phrases. After the band split, Heaton formed the band, The Sound of Paul Heaton; he released his second solo album, The Cross Eyed Rambler, in 2008 and his third, Acid Country, in 2010. In 2014, Paul Heaton and Jacqui Abbott released What Have We Become?, and although Heaton was writing with his long-term collaborator Jonny Lexus and his bandmate Abbott, it is his brilliant and hugely memorable words that stay in the mind the longest.

This 2014 review of a Paul Heaton and Jacqui Abbott gig in London makes some great points regarding Heaton and his status:

“In his bomber jacket, librarian spectacles, crew cut and awkward grin, Paul Heaton could hardly look less like a pop star. Yet see past this unpromising exterior and it is difficult to dispute the fact he has been one of British pop's most routinely underrated figures of the last three decades.

Heaton recently returned with What Have We Become, a collaboration with Jacqui Abbott, his former co-vocalist in the Beautiful South. The album went top three in its week of release – behind only Coldplay and Michael Jackson, as he reminds us tonight with relish – and confirms that the spiky yet honey-voiced Abbott has always been his most effective musical foil.

If Heaton were a dramatist, he would surely be Mike Leigh. The songs from all stages of his lengthy career boast observational acumen, dry wit and a big heart. New track Costa del Sombre is a sensitively empathic portrait of a middle-aged woman on a package trip throwing herself into a Shirley Valentine-type holiday romance with dancefloor "steps she had been saving up since 1972".

Co-fronting their six-piece band, Abbott is vivacious and full-voiced on DIY, a sardonic country-tinged diatribe written from the perspective of a wife traded in for a younger model. When they plunge into the pop alchemy of the Beautiful South's back catalogue, as with the gorgeously melodic Rotterdam, you recall exactly why their 90s greatest hits collection went platinum five times over.

A 23-song set has virtually no filler, and they close with a sweetly harmonious revisit of the Housemartins' 1986 a cappella No 1, Caravan of Love. Paul Heaton would doubtless be horrified to be categorised as a national treasure. Sadly for him, he has no real say in the matter”.

Heaton is very normal and unassuming so, perhaps, judges and prize-givers sort of miss him out. I am out of ideas as to why Heaton’s songwriting has not been properly acknowledged and, regarding the tweet earlier in the article, Heaton himself was at a loss to explain why – and he is someone who, I am guessing, would welcome an Ivor Novello or big award. Maybe he would cringe at the notion of being a national treasure, yet Heaton is one of the greatest songwriters ever, in any genre. I heard a lot of The Housemartins when I was a child, but it was The Beautiful South’s debut single, Song for Whoever, from their 1989 album, Welcome to the Beautiful South, that really caught me. The idea – as the song explains – that the song’s anti-hero (Dave Hemmingway takes lead vocals and is this cynical and ruthless songwriter) is thankful to his other half for giving him ‘inspiration’ and making him lots of money without her knowing about it is inspired. Rather than Heaton writing lyrics about the usual stuff – relationships and dishonesty -, you hear a new angle and something very fresh. The band’s music was full of these unconventional twists, tales and nuggets that, again, makes me wonder why Heaton has not been acknowledged. Maybe there are other songwriters who have been missed out and not given proper respect. Heaton has been writing gems for decades and nobody has the same gift and imagination as him. With Heaton’s golden lines familiar to us all, it is baffling he has not been given a lifetime achievement award or something bigger. Let’s hope things change, because Heaton is still working and shows no sign of slowing down. I have ended this feature with a playlist of some career-spanning belters that prove…

WHAT a truly mighty lyricist Paul Heaton is.

FEATURE: Top of the Flops: What Happened to the Glory and Heady Taste of Music Television?

FEATURE:

Top of the Flops

IMAGE CREDIT: MTV Australia/NZ

What Happened to the Glory and Heady Taste of Music Television?

___________

IN a few days…

I will put out a few names that I think we need to look out for this year. I keep putting it off, but I want to wait a while and see which artists put out singles and how things go. It is hard to narrow down those who will succeed in 2020 and, in a sea of artists, making sure you do not leave anyone aside. I think streaming sites and articles are good – those that tip the artists you need to be aware of this year. It is a good radar and sense of who will make waves and who is ahead of the pack. Apart from charts and radio playlists, one is left to discover on their own and wade through the music out there: from the brilliant to the rare through to the commercial and forgettable. I admit it is fun and exciting discovering fantastic new music and getting involved with an artist on the ground level. I know things have moved from T.V. to streaming sites and the Internet when it comes to promotion and musical discovery. This is another of those subjects that I have covered frequently through the years. I have pitched ideas for music T.V. shows in the vein of Top of the Tops, The Old Grey Whistle Test and the sort of stuff we saw on MTV back in the day – the epoch of music television. Whilst many argue everyone is online and T.V. is less necessary and powerful when it comes to music discovery, I actually think people are more engaged with television compared with streaming; there is something about a well-constructed and immersive show that you cannot replicate on the Internet – unless, of course, you combine the two in the form of a Netflix or Amazon Prime show!

The reason I am re-launching this subject is because of the latest in a line of T.V. music talent shows: the skin-crawling and bizarre The Masked Singer. The concept is both unique and utterly pointless. The ITV show features a range of ‘celebrities’ that are dressed in various costumes and sing a song; the audience votes which they want to keep on and the panel guess who might be in the costume. For a start, the title of the show is flawed. Singers are not ‘masked’; they are in full costumes so, for that reason, I wonder what the point of a ‘mask’ is, as it is not their face that is obscured but their entire body. The show has featured in countries like the U.S. and, whilst they have had guests like Chaka Khan feature, the U.K. version is a lot more budget-friendly and far less impressive. Also, the ambition of guesses is laughable. In the opening show, everyone from Sir Ian McKellen to Margot Robbie was guessed, as though people of that calibre would be on a ridiculous ITV show dressed as God knows what! The idea behind the show is laudable enough: bringing a sense of joy and fun to T.V. after a year that has been bad and divisive. Britain is never good when it comes to fun. Our comedies are laughable – not in a good way -, and T.V. is full of crap panel shows and predictable drams.

IN THIS PHOTO: A typically odd line-up in The Masked Singer/PHOTO CREDIT: ITV

Occasionally, we do create an interesting and stunning show, but this is rare. Some reviews of The Masked Singer have been positive, but this example sums up the tone and bottom liner of most: why the show even exists in the first place!

“The judges are Ken Jeong, Davina McCall, Jonathan Ross and Rita Ora. Jeong, best known to British audiences for The Hangover film franchise, also judges the US version of the show and so is here because… he knows the ropes? It’s in his contract? I have no idea. He made a joke about Paula Radcliffe “taking a dump in the street”, which suited the tone of the programme perfectly.

He at least invests the panel with an off-the-wall energy. Ross is jolly. McCall is super-earnest about the whole thing, for which we can only admire her. Ora is on the panel for the reasons she is on anything, which is that her agent works hard. Her main contribution was to shout out the names of her friends: “Cara Delevingne!” “My friend Charli XCX!”

Most of the singers can’t sing, because being able to sing is not a requirement of appearing in a televised singing contest. Joel Dommett presents, proving it’s possible to radiate delight (that he’s hosting a prime-time Saturday night entertainment show) and alarm (that the show is this one) simultaneously. “Queen Bee versus Duck! Unicorn versus Butterfly! Chameleon versus Hedgehog!” were actual words spoken. I do not advise watching this programme while sober.

The only conceivable way for it to work would be if extremely famous people were behind the mask. Harrison Ford. Vladimir Putin. Princess Anne. The judges threw out wildly ambitious guesses: was the duck Margot Robbie? And that chameleon was so sexy (they really said this), surely it could only be Idris Elba?

In the end, the butterfly turned out to be Patsy Palmer, aka Bianca from EastEnders. Still, there are weeks of this to go. That duck might be Clint Eastwood”.

Admittedly, The Masked Singer is not the only disaster we have to contend with on T.V. I can understand why commissioners wanted to bring some fun to television but, given the absurd format and pointlessness of the entire show, it is a waste of time and money. When I have pitched music T.V. shows to networks, the response is the same: it costs too much money to produce. Given the costumes, guests and studio involved in shows like The Masked Singer, how can that be more cost-effective?! Look around and there are various versions of music and dancing shows. From The Greatest Dancer and Strictly Come Dancing through to The Voice and X Factor, we have to endure the same tired format. The dancing shows are not as bad but, when it comes to singing shows, the same boring, commercial and instantly forgettable artists belt out songs, get the overly-excited judges whooping and teary. I don’t think I have ever bought a record from a T.V. singing talent show contestant and, in all the years they have been running, I have never been moved or invested – and I have given these shows time. The Masked Singer has no point, really. You guess who a singer is and…that’s it.

Nothing happens after the show has finished, so I wonder what anyone gets from it. Look at the so-called ‘talent shows’ and the artists who compete will never reach the standard of real and honest artists who tread their own path. Look at the lists of ones to watch 2020 and, mostly, these are artists who have made their way through the ranks without having to rely on a talent show or some bleeding hearts sob-story – the cornerstone of every talent show around. I know times have changed but, as recently as the 1990s and early part of this century, we have enjoyed a golden period of music T.V. The advent of streaming and the Internet shifted music discovery away from the box. I know we can get music videos on YouTube, so there is not the same appeal and uniqueness when it comes to MTV, once to the must-watch station for those who wanted to see the latest hits on the screen. Apart from Later… with Jools Holland, there isn’t really a platform on T.V. to bring us the best in new music. One can say that what constitute the ‘best’ is subjective: shows like this do not cover a wide spectrum and you can only fit so much in to a single episode. That is fair, but there is scope and demand still for music T.V. From news and features to performances and new music discovery, a T.V. show seems more concise and digestible than wading through the Internet and streaming services.

New artists rely on gigs to get exposure, so bringing some of the hottest to T.V. would definitely be a good idea. Whilst doing so, we could promote venues and put the importance of live music under the microscope. Also, there are classic albums that could be featured and find a whole new audience; videos that could get an airing; album reviews and music news alongside a mix of the old-school and new. The main focus of any good music T.V. show should be new music and having a diverse platform. Recent attempts like Sounds Like Friday Night have been admirable but flawed. The last series of that show went out in 2018 and the concept was similar to Top of the Pops. With a youthful tone and music guests that were more on the Radio 1 side of the spectrum – Pop and chart-based acts -, it was too limited. The music was also too narrow and the attempts at skits, sketches and comedy was ill-judged and unnecessary. There were also guest presenters and, whereas there was something charming and appealing regarding presenters on Top of the Pops and The Old Grey Whistle Test, the lack of chemistry and consistency with Sounds Like Friday Night was another reason it did not last. If broadcasters like the BBC can afford to commission big-budget dramas, then they can commission music T.V. shows. The reason shows profit and remain on the air is because of ratings. If a music T.V. show is brilliant in terms of its concept and wins critical praise but does not prove popular with audiences, then it will still be subject to cancellation.

The act, God help us, shows like The Voice survive is because people still find time to watch T.V., despite the distractions of Smartphones and the Internet. From families and young people through to those who prefer the entertainment value rather than the music, there is at least one good thing about these talent shows: people watch, and it gets us talking. One cannot say, therefore, there wouldn’t be a demand and place for a music show that expands on these talent shows and takes away the worst elements of them, namely the facsimile singers, bleeding hearts and rigid formats (judges on the panel and the voting element). From the ridiculous drama of talent shows – winners announced after a never-ending pause to build some form of fake tension – through to the anonymity of the winners and their anodyne, overly-commercial sound, talent shows like this have had their day. There are other shows that are genre-specific, but take away the judging element, the fakery and voting and have a music show that showcases new talent from across the musical spectrum, without having the public voting and stupid judges acting like pantomime villains! I know for a fact people crave the days of Top of the Pops and the classic shows; they love old albums and magazine shows and, as a handy all-in-one, I struggle to see why a network would deny a great music T.V. show concept, given the fact it could pull in big ratings and acclaim.

I know it is risky putting a show out there with high hopes to see it mauled, yet Later… with Jools Holland has lasted decades and, endlessly, people talk about the brilliance of older music T.V. shows and their memorability. I know we cannot go back and magically summon the magic of the past in a modern format, but we can learn from recent and past failures and, with some gauging, research and sensibility, produce a new music T.V. show that pleases most people and has legs to survive. Maybe it would be more suited to Netflix or Amazon Prime, but music T.V. has so much promise. From untapped drama ideas – specific artists and albums could be brought to life – through to a world of new artists that are perfect for some airtime, I disagree that music T.V. has run its course and it is out of tune with the modern world. It is about getting the tone and concept right and, whilst tricky, it is possible and would prove successful. It is evident the talent show format has run its course and, even if shows like The Masked Singer and fun and fluffy, they lack any purpose and, judging by the critical attacks, they will not last long! Music, new and old, is so wide and fascinating, I think there is a golden T.V. show idea that would make for an irresistible proposition; one that does not rely on the conveyor belt-type formats we have now and go behind mere commercial Pop and digs deeper.

PHOTO CREDIT: @anthonydelanoix/Unsplash

START a new wave of music television.

FEATURE: Spotlight: Tyler Bryant & The Shakedown

FEATURE:

Spotlight

PHOTO CREDIT: Robby Klein

Tyler Bryant & The Shakedown

___________

EVERY year…

there is a debate whether Rock is dead. Obviously, things are not like they were. There are fewer great Rock bands, and the scene is very different. Rock has evolved and there are sub-genres that allow artists a bit more freedom. Are there any Rock bands around that summon up the same stomp and  memorability as the greats of before? It is rare these days to unearth genuine Rock contenders, but Tyler Bryant & The Shakedown are well worth a closer look! Having relocated to Nashville aged seventeen, Tyler Bryant met drummer Caleb Crosby and, just a week after that meeting, the two formed ‘The Shakedown’. Calvin Webster came in on bass; Boston guitarist Graham Whitford joined up as did Noah Denney. I do love a band with that lead who gives their crew a sobriquet. I am not sure where ‘The Shakedown’ emerged, but it seems apt when you hear the band’s music. They are better known in the U.S. but, with an album out last year, there is an opportunity for Tyler Bryant & The Shakedown to gain traction here in the U.K. I shall get to that album but, before then, I would recommend people check out the band’s debut, Wild Child, of 2013. It stands as a confident and original release from the band that merges Hard Rock and Blues Rock. Although a lot of major publications passed by the album, those who reviewed Wild Child were impressed.

Blues Rock Review gave their assessment:

“From the opening notes of Wild Child, it is clear this is a band that absolutely knows what it’s doing. Everything is just right. The songwriting is simply sublime. The performance is extremely tight, focused, and expansive. And while not lacking in the least on From the Sandcastle, the production quality has been dialed up as well. This is an amazingly huge-sounding album. Nearly every track could be a single, and each one commands undivided attention. Even so, the album works exceedingly well as a cohesive unit, all while packing in a fitting amount of musical variety.

The styles vary from some hints of more traditional blues influences on “Poor Man’s Dream” to more progressive blues-infused rock similar to The Black Keys on tracks like “Say A Prayer” and “Last One Leaving.” The latter immediately felt reminiscent of the Keys’ hit “Gold on the Ceiling.” This is a very impressive, essentially perfect album. Honestly, basically any track could have been listed as one of our ‘Can’t Miss Tracks.’

Simply put, Tyler Bryant and the Shakedown have totally, unequivocally arrived. And this is only their first full length album. It’s unbelievably exciting to consider just how far this act will go when they’ve achieved what they’re ultimately capable of. Wild Child is a massively impressive effort by one of the most promising groups today. If you’re skeptical, just listen to “Last One Leaving,” the first single from the album and you’ll see. We may already have the greatest record of 2013”.

Although the band released the E.P., The Wayside, in 2015 and the album, Tyler Bryant & The Shakedown, in 2017, I want to get to their latest release as soon as I can. Before then, I wanted to source from an interview Tyler Bryant gave to Muse on Muse, back when the band were promoting their debut album:

 “MM: The credits on the album show that many of the songs were co-written by you with other songwriters. How were the song/lyric writing tasks shared? Can you tell us a little bit about the song writing process, how the songs on the album were actually written?

TB: I have a couple of friends here in Nashville that I call up when we’re not on the road. “Hey, you wanna come over and write a tune?” I love the writing community here in Nashville. I wrote most of the tunes off of Wild Child with Neil Mason. We’ve probably written 50 songs together. We’re buds and have similar musical tastes. It just kind of works. The ideas come from all over the place. There’s really no process for me. It just happens when it happens.

MM: The live feel on “House That Jack Built” and “Say A Prayer” sound very impressive. What was the reason behind having the same songs you had on the previous EP featured again on “Wild Child”?

TB: That was a thing that the label asked us to do. They felt like since this was our first full length album it would be good to put those tunes on there to help people understand who we are. If I remember correctly it was a “We’ll do those tunes if we can put “House On Fire” on the album” situation. I think we all ended up happy!

MM: The later half of the album have a great energetic rock vibe with songs like “Still Young(Hey Kids)”, “House On Fire”, “Where I Want You”. Sounds like some great tunes to play live!

TB: For sure! We go to town!

MM: The closing song on the album “Poor Boy’s Dream” sounds magnificent with a great vibe. The album seems to have a nice mix of blues, soulful passion, and energetic rock, making it a superb album.

TB: Thanks very much. That’s my favorite song on the album. It’s the most personal to me. I’m glad you like it”.

I think it is worth people checking the band out on social media – links are at the bottom of this feature –, because I think Rock has been getting a kicking for years now. Commercial bands like Imagine Dragons are popular, but I don’t think they represent what Rock is capable of and should be. Bands like Tyler Bryant & The Shakedown are a much more exciting proposition. In terms of those underground, underrated treats from 2019, Truth and Lies is an album that takes them on from the promise of their debut and their eponymous 2017 release. Since the beginning, the band has sharpened their chops on the road and have support some giants of Rock. In this album review from Rock ‘n’ Load, we learn more about the band’s progress:  

 “This young six-string-slinger and his compadres return with an absolute banger of an album, continuing on their meteoric rise via support slots with AC/DC, Guns & Roses and Aerosmith to name but a few. A worthy addition to any line-up, TBSD is the real deal. A band that when you have the pleasure to capture them live, you’ll get it for yourself, Tyler Bryant is an enigmatic frontman alone but the band as a whole are made up by the sum of its parts, a fine collection of musicians that live and breathe their craft 24/7, 365. As a band, they have been knocking out serious quality recordings for the last few years now, from their 2013 debut album Wild Child to their more recent sophomore self-titled full-length album the progression has been there for all to see.

Fast forward to 2019 and now we have Truth & Lies, one seriously ballsy collection of tracks that are a culmination of years of grafting on the road, playing the sold-out stadium tours in support and back to reality in a dive with 30 people TBSD have seen and done it all, paid their dues and now we are reaping the rewards through these sonic delicacies. The album kicks in with a killer track in ‘Shock And Awe’ with his signature fuzz-guitar being pushed to its limits signature sound and classy vocal delivery you’re immediately thrust into TBSD in all its glory. The ride doesn’t stop there, the album is packed with first-class quality songwriting and guitar wizardry in abundance, but the beauty of Tyler is his understanding of not overplaying, tastefully done he always leaves you begging for more. Overall though the album is beautifully balanced taking you through its peaks and valleys and on a sonic journey that keeps you intrigued from start to finish. From gnarly Rock numbers to slower more melodic tracks there is a storytelling quality to engage and keep you coming back for more again and again.

For sure, their finest work to date, Truth & Lies is a perfect addition to an already impressive catalogue, a decade down the road and these guys really are coming onto their own”.

The band played a few great gigs last month, and I am not sure whether they are going to be playing this month at all. There is a fanbase in the U.K. for the Texas band, so I would not be surprised if they made the cut at a few festivals in the summer. If you want to discover a great Rock band that does not dilute their sound and evokes some of the greats of old, you need to get behind Tyler Bryant & The Shakedown. This year, make sure you…

TAKE a look in their direction!

___________

Follow Tyler Bryant & The Shakedown

Official:

http://www.tylerbryantandtheshakedown.com/

Facebook:

https://www.facebook.com/TylerBryantAndTheShakedown/

Twitter:

https://twitter.com/tbshakedown

Instagram:

https://www.instagram.com/tbshakedown/

Spotify:

https://open.spotify.com/artist/3Ig1cmnFAUxpTEYVjTRkLo?si=eNSSYpdcTIScHeqctHIW3g

YouTube:

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

FEATURE: The King at Eighty-Five: The Ultimate Elvis Presley Playlist

FEATURE: 

The King at Eighty-Five

The Ultimate Elvis Presley Playlist

___________

IT is a little unusual…

IN THIS PHOTO: Elvis Presley at the Ellis Auditorium in Memphis in May 1956/PHOTO CREDIT: MPTV

celebrating the birthday of musicians who have departed. I think it is important we keep these artists alive and, when it comes to big birthdays, one cannot help but salute the greats who have left us. Even though The King of Rock and Roll, Elvis Presley, died in 1977, he is one of the most influential artists ever and someone that will always be popular. In honour of The King’s eighty-fifth birthday today, I have compiled a career-spanning playlist that shows The King in all his glory. As we are in a new decade, one would feel the interest and fascination with Presley would have died down a bit. On the contrary, there is a biopic coming next year, and Presley’s eighty-fifth birthday will receive a lot of celebration and attention. Although his later life was dogged by ill health, Presley is the most successful solo recording artist ever and his name and voice are recognised around the world. Before I get to a playlist, I want to source from Biography, as they provide information about The King:

“Elvis Aron Presley was born on January 8, 1935, in Tupelo, Mississippi. (He later changed the spelling of his middle name to the biblical form of Aaron.) Presley was supposed to be a twin, but his brother, Jesse Garon (sometimes spelled Jessie) was stillborn. From very humble beginnings, Presley grew up to become one of the biggest names in rock 'n' roll.

Raised by loving, working-class parents, Presley's family had little money, and they moved from place to place frequently. He was deeply devoted to his parents, especially his mother, Gladys, and was raised to have a strong faith in God. Presley attended the Assembly of God Church with his parents, where gospel music became an important influence for him.

In 1955, Presley began to develop a following with fans being drawn to his unusual musical style, provocative gyrating hips and good looks. That same year, he signed with RCA Records, a deal worked out by his manager, Colonel Tom Parker. Presley was on a roll, scoring his first No. 1 single with "Heartbreak Hotel," as well as his first No. 1 album, Elvis Presley, and signing a movie contract with Paramount Pictures — all in 1956. Despite the uproar that his sexy dance moves caused, he also became a popular guest on a number of television variety shows.

After leaving the Army in 1960, Presley resumed his career and was soon back at the top of the charts with the soundtrack for his film GI Blues. He continued recording music and acting in such films as Blue Hawaii (1961), Girls! Girls! Girls! (1962) and Viva Las Vegas (1964). Though his films were often hit or miss with both critics and audiences, they brought in a profit and the soundtracks usually sold well. By the late 1960s, however, the enigmatic performer appeared to be losing his box office appeal. Proving he was still the "King of Rock 'n' Roll," he recorded his first TV special in 1968, often referred to as the "'68 Comeback." He wowed audiences with his performance, which showcased his talents as a singer and a guitarist.

Around this time, Presley's personal life also seemed to be on an upswing. He and Priscilla wed in 1967 and had a daughter, Lisa Marie, the following year. Unfortunately, this joyous time would not last. By the early 1970s, Presley's marriage was falling apart. The couple divorced in 1973, and Priscilla received custody of Lisa Marie. Presley was also wrestling with other personal problems, including a growing addiction to prescription drugs; the once-thin rock star was battling a weight problem, and his destructive lifestyle caught up with him that fall when he was hospitalized for drug-related health problems. Despite his personal obstacles, Presley remained a popular draw in Las Vegas and on tour. He performed at his last concert in June 1977, in Indianapolis, Indiana. After the concert, he returned home to his Memphimansion, Graceland, to prepare for another tour.

Since his death, Presley has remained one of the world's most popular music icons. Over the years, several documentaries and films have explored the enigmatic performer, including a 2005 television miniseries starring Jonathan Rhys-Meyers as Elvis. In 2018, a two-part documentary, Elvis Presley: The Searcher, was released and explores his early life, rise to fame and his myriad musical influences”.

It is impossible to distill the brilliance and importance of Elvis Presley into a feature so, rather than try, I have compiled a playlist featuring some of his greatest performances and most iconic tracks. Although you always hear reports people have ‘seen’ Presley about, it is nonsense. Rather than spin conspiracies, we need to appreciate a man who, in his forty-two years of live, provided millions of people with joy. Although The King is no longer with us, his spirit and influence…

IN THIS PHOTO: Presley performing during his ‘68 Comeback Special on NBC/PHOTO CREDIT: Gary Null/NBC

LIVES through the music.

FEATURE: Vinyl Corner: Joanna Newsom – Ys

FEATURE:

Vinyl Corner

Joanna Newsom – Ys

___________

I have been covering, over the past few weeks, some of…

the albums that I feel have defined the 2010s. As we are now in the 2020s, I am looking further afield and to those albums that warrant some serious investigation on the vinyl format. Today, I am looking at Joanna Newsom’s second studio album, Ys, released in 2006. Produced by Newsom and Van Dyke Parks, it is a sumptuous and stunning effort. Newsom is not one to travel the straight and obvious; her work is more experimental and challenging. As such, there are five songs on Ys that range in length from seven to seventeen minutes. Not that Ys is a concept album as such, yet the songs do address the people who have been important to her the year prior to recording. Life in Newsom’s life prior to the album coming together was pretty tough. She has lost a close friend, was ill herself and went through a hard break-up. There is a lot to recommend and love about Ys, but I especially adore the musicianship throughout. With bass guitar from Lee Sklar and electric guitar by Grant Geissman, one can discover an incredible blend of musicians throughout – also in the mix is Matt Cartsonis who played mandolin and banjo. I would suggest one gets a copy of Ys on vinyl because, like so many great albums, it is not as common on that format as you’d hope. I might write a feature on this: how there are so many wonderful albums out there one cannot purchase on vinyl. Regardless, one can get Ys on vinyl and it is definitely worth the money.

Joanna Newsom is one of those artists who have been on a golden run. Ys’s follow-up, Have One on Me, was released in 2010 and gained big reviews; so too did 2015’s Divers. In fact, that album scored her biggest reviews to date. As Newsom releases, roughly, an album every five years, I do wonder whether this year will be the one she brings us her fifth studio album. Whereas 2004’s The Milk-Eyed Mender was more conventional in terms of the number of songs and the length of each, Ys – released only two years after her debut – takes five tracks and builds these incredible stories. Based on personal events, the songs on Ys are very personal and important, but one does not have to know the circumstances to appreciate the incredible musicianship, production and Newsom’s stunning voice. Some were unsure of Newsom’s unique voice on her debut and, like all originals, people soon got on board. Ys finds Newsom with a more nuanced and extraordinary instrument at her disposal. The long and challenging songs could, on paper, be viewed as hard to understand or self-indulgent but, as many reviewers pointed out, every string and moment has its place. I want to bring in a couple of reviews that outline what an impressive and staggering album Ys is. Here is AllMusic’s take:

“Along with the beautifully filigreed arrangements and melodies, which mingle strings, jew's-harps, and spaghetti Western horns with Appalachian, Celtic, and even Asian influences, the album shows Newsom's development as a singer. She has more nuance and control, particularly over the keening edge of her voice, which is recorded so clearly that when it cracks, it tears the air like a tangible exclamation point.

Ys' daring, plentiful wordplay makes it even more of a rarity: an extremely musically accomplished album with lyrics to match. On "Only Skin" alone, Newsom goes from rhyming "fishin' poles" with "swimmin' holes" to "heartbroken, inchoate." These songs are so full of words and plot twists that sometimes it feels more like you're reading them instead of listening to them, and indeed, actually reading the lyrics in the book-like liner notes reveals that Ys has a library's worth of children's stories, myths, romances, and of course, fairy tales woven into its words. As the album unfolds, it seems like Newsom can't get more ambitious (and more importantly, pull it off), but with each song, she does. Two of the best moments: the darkly whimsical fable "Monkey & Bear," a forest romp that boasts some of the album's best storytelling and some of Parks' liveliest arrangements, and "Sawdust & Diamonds," which is surreally sensual and coltish, with surprisingly direct lyrics: "From the top of the flight/Of the wide, white stairs/For the rest of my life/Do you wait for me there?" Ys isn't exactly a reinvention of Newsom's music, but it's so impressive that it's like a reintroduction to what makes her talent so special. Its breathtaking scope makes it a sometimes bewildering embarrassment of riches, or as one of "The Monkey and the Bear"'s lyrics puts it, "a table ceaselessly being set." Yes, Ys is a demanding listen, but it's also a rewarding and inspiring one. Letting it unfold and absorbing more each time you hear it is a delight”.

There were some mixed reviews but I feel, in those cases, the reviewers did not give the album time or were prepared to immersive themselves fully. For those who want to discover a record that envelops you and is so different to anything out there, I would point you in the direction of Ys. Ys is not available on Spotify – nor is most of her work – but you can access it on TIDAL if you would rather stream the album. This is what The Guardian had to say when they reviewed Ys:

“The lyrics are fantastic. You hesitate to compare Newsom to the Fall, partly because she sounds nothing like them and partly because Mark E Smith might get wind that you have equated his band with a singing Californian harpist with plaits and a medieval bent and jump on the first train from Salford with the intention of belting you one. But what Newsom does share with the Fall's dissipated leader is a rare ability to craft lyrics so mysterious and allusive that to all intents and purposes they make no sense, but which still manage to draw you in and hold you with the richness of their language. Doing this is a tall order, particularly when an album features the sheer volume of words that Ys does. There are moments when Newsom stumbles into the grim territory where prog rockers once set up camp: her love of "thee" and "fain" can seem a bit affected.

More often, her obvious love of words just carries the listener helplessly along. It's hard to work out what the 16-minute Only Skin is on about, but that doesn't stop you being beguiled by the way she turns a description of a river into something infinitely more lubricious, going from nature trail to knickers off in a matter of seconds: "I watched how the water was kneading so neatly, gone treacly, nearly slowed to a stop; frenzied coiling flush along the muscles beneath," she sings. "Press on me, we are restless things." Nor does it stop the song's denouement, which for some reason concerns a bird flying into a window, from being inexplicably moving.

Ys is full of moments like that: magical for reasons you can't quite put your finger on. Within minutes of it starting, you're struck by the rare sensation that you've entering uncharted, original territory. A hard sell, perhaps, but it could be the best musical investment you make all year.

It is a new decade, and I wonder if Joanna Newsom is working on new material. Whilst she is gigging at the moment, Newsom is an artist that does not have a Twitter or Instagram, so you never really know what is brewing. I guess we will find out in time whether new songs are a possibility. It is exciting to speculate but, until then, get Ys and discover this great artist. Once you have listened to Ys, have a listen to Joanna Newsom’s other albums as they are all different and full of gems. When it comes to musical richness, a beguiling voice and songs that hit the heart, I think Joanna Newsom is someone…

PHOTO CREDIT: Brian Vu for FADER

WITHOUT any modern-day equals.  

FEATURE: Homme Mystérieux: What Now for the Queens of the Stone Age Leader?

FEATURE:

 

Homme Mystérieux 

IN THIS PHOTO: Josh Homme

What Now for the Queens of the Stone Age Leader?

___________

I wanted to break away from the 2020-related pieces…

PHOTO CREDIT: Andreas Neumann

and return to a musician I have covered a number of times. As head of the amazing Queens of the Stone Age, I am always interested in what Josh Homme is up to and whether he is okay. Homme himself as not been free from controversy as a member of Queens of the Stone Age and Kyuss. During a Q.O.T.S.A. gig in 2017, he kicked photographer Chelsea Lauren in the face. It is also reported Homme took a shot at Foo Fighter Taylor Hawkins when the drummer sent him a song about his son. Entitled Son of Mine, Hawkins was taken aback by some harsh words from Homme. The legendary frontman has not been free of troubles for many years. That may sound glib, but we almost lost him back in 2010. When speaking with NME in 2011, he talked about an operation he had that went horribly wrong:

“I had an operation and died and survived on the table,” he said. “I had surgery on my leg and there were complications and I died on the table. I was in bed for three months”.

Homme was in a state of depression whilst recovering and, although Queens of the Stone Age brought out …Like Clockwork in 2013, it was a hard road to recuperation. The band have since released another album – 2017’s Villains -, and I wonder whether we will see another album from the Californian band. Although it has only been three years (less, even) since that album, recent events make me wonder whether the band are scaling things back and, indeed, whether we will get more music from them in the future.

Homme himself has not been idle in terms of recording since 2017. Last year, with a crew of artists including Jake Shears and Royal Blood’s Mike Kerr, we were treated to Desert Sessions Volumes 11 & 12. The album gained some positive reviews, and I think we might get more albums from the rotating collective. A few personal developments in Homme’s life have left some questions and mysteries in the air. One heartbreaking piece of news is that Homme and his wife, Brody Dalle, have ended their marriage. Consequence of Sound have provided more details:

 “Queens of the Stone Age’s Josh Homme and The Distillers’ Brody Dalle are ending their marriage after 12 years. According to TMZ, Dalle filed for legal separation on Friday (November 15th).

Homme and Dalle married in 2007. They have three children together.

As Homme recounted in 2018 interview with the Sydney Morning Herald, he first met Dalle backstage at a Kyuss show in 1997. “She came up to me backstage and asked if I was in Kyuss. We talked for an hour and a half and I never forgot her,” he remembered.

“I didn’t like her ex [Tim Armstrong from Rancid], so I lied and said I had made out with her in the hope that he would find out,” Homme added. “I didn’t see her again until seven years later.”

In his interview with the Sydney Morning Herald, Homme described Dalle as “my punk-rock dream girl,” adding, “I always thought if I could go out with a chick with a mohawk who also read philosophy, I’d be winning. Brody is the real deal. She does everything the boys can do and a whole slew of things no boy ever could.”

Beyond their personal relationship, Homme and Dalle also collaborated in the studio on several occasions. She contributed vocals to QOTSA’s song “You Got a Killer Scene There, Man” and also played on several Eagles of Death Metal tracks alongside Homme and his collaborator Jesse Hughes”.

There are various reports out there as to why they have split, but it is clearly a tough time for both. Normally, I would not usually cover subjects like a musician’s marriage ending, but I have been thinking about where Rock will head this year and whether bands like Queens of the Stone Age will play a role. They are, to me, one of the last remaining properly good Rock bands; those that can pen a catchy tune and bring plenty of undiluted swagger and punch to the party! Whilst there are no signs and suggestions Queens of the Stone Age are calling it quits, one cannot help but be concerned hearing how their lead, Homme, is going through sh*T. Of course, one does not know the circumstances behind his separation from Dalle, but it has had a big impact on him.

View this post on Instagram

To the only woman. I love you Brody Dalle. @nerdjuice79 @truelove @TLA

A post shared by Jho Baby Duck Joshua Homme (@jhobabyduck) on Nov 10, 2019 at 4:03pm PST

As Alternative Nation reports Homme has taken to Instagram:

“Queens of the Stone Age singer Josh Homme appears to have quietly joined Instagram in the last month, with a new account launched that while it isn’t verified, it is followed by his best friend Jesse Hughes and Queens of the Stone Age, so if it’s an impersonator, it’s a damn good one, as Hughes has even commented on posts. Josh Homme’s wife Brody Dalle recently filed for legal separation, and Homme appears to be taking the news very hard.

The Homme Instagram account wrote, “When there was only one set of footprints on the beach, it’s because I was learning to walk alone. #jhobabyduck #queensofthestoneage #qotsa #bobrossjoyofpainting #alone #homealone #homealone2lostinnewyork.”

It later posted, “To the only woman. I love you Brody Dalle. @nerdjuice79 @truelove @TLA.”

Homme recently did charity work for a children’s hospital, with a video of Homme with a child shared, “Thanks to the children’s museum of palm desert for allowing the sweet stuff to do the sweet stuff. #thesweetstufffoundation #qotsa #queensodtheatoneage #nerdjuice #desertkids”.

Having gone through a near-death experience back in 2010, I and many people sort of hoped Homme would start this decade with a lot more happiness and hope than he did the last. The dislocation and depression will pass but, as many Queens of the Stone Age fans think a new album this year would be just the ticket, we might have to wait a bit longer for any news on that front.

IN THIS PHOTO: Homme performing in 2017/PHOTO CREDIT: Getty Images

In regards his separation, another article caught my eye. Again, Alternative Nation reported. When it comes to mystery and cryptic-ness, Homme has got many people wondering about his state of mind:

“Queens of the Stone Age singer Josh Homme posted a cryptic famous poem that many fans thought referenced his state of mind after his separation from wife Brody Dalle.

“IF- If you can keep your head when all about you Are losing theirs and blaming it on you, If you can trust yourself when all men doubt you, But make allowance for their doubting too; If you can wait and not be tired by waiting, Or being lied about, don’t deal in lies, Or being hated, don’t give way to hating, And yet don’t look too good, nor talk too wise:

If you can dream—and not make dreams your master; If you can think—and not make thoughts your aim; If you can meet with Triumph and Disaster And treat those two impostors just the same; If you can bear to hear the truth you’ve spoken Twisted by knaves to make a trap for fools, Or watch the things you gave your life to, broken, And stoop and build ’em up with worn-out tools:

If you can make one heap of all your winnings And risk it on one turn of pitch-and-toss,

And lose, and start again at your beginnings And never breathe a word about your loss;

If you can force your heart and nerve and sinew To serve your turn long after they are gone,

And so hold on when there is nothing in you Except the Will which says to them: ‘Hold on!’ If you can talk with crowds and keep your virtue, Or walk with Kings—nor lose the common touch, If neither foes nor loving friends can hurt you, If all men count with you, but none too much; If you can fill the unforgiving minute With sixty seconds’ worth of distance run, Yours is the Earth and everything that’s in it, And—which is more—you’ll be a Man, my son!”.

I did not want this feature to be all about his separation and relationship troubles but, as we have started a new decade, I have been thinking about Homme and Queens of the Stone Age. They are one of my favourite bands and, whilst Homme is no saint, he is one of the most electric leads and a terrific songwriter. I was lucky enough to catch the band at London’s 02 during their Villains tour. On stage, the man is part-mystic, part-rebel, alternately quoting quasi-philosophical messages and commanding the crowd get excited and tear the roof off. I have been following the band since 2000’s Rated R and been blown away by their stamina and brilliance. That album is twenty on 6th June, and it is amazing Queens of the Stone Age are still turning in sublime music – they are a lot stronger and more interesting than a lot of newer Rock bands. Homme is forty-six now, so one can understand why he might want to slow things down a bit. He has explained he will be cutting back on the world tours in the future:

“Queens Of The Stone Age‘s Josh Homme has said that the rock giants are likely to scale back on massive world tours in future.

After concluding touring for 2017’s ‘Villains’, Homme says he was left feeling burnt out by the globe-trotting jaunt.

“After the last Queens tour, I needed to take a break,” Homme told the Los Angeles Times. “I don’t think that style of putting out 10 more songs and touring for two years, I could ever do again like that.”

Discussing future plans for the band, he said: “In terms of notoriety, I really have no interest in getting any bigger. And if it were a little smaller, I’d probably be fine with that because there’s nothing down that road — unless it allows me to pull musicians from a farther world to do this”.

This will be a time of rest and reflection for Josh Homme, and I do hope this year brings him a lot of happiness and calm. As I have said, Homme has been involved in some controversy in the past – that goes beyond the attitude and edge you’d expect from a Rock lead -, but he has provided the world with so much tremendous music. A recent Instagram post has raised concerns, but I think he just needs time to get his head around his marriage troubles. As a massive Queens of the Stone Age and an admirer of Josh Homme, I hope The Ginger Elvis and his Queens cohorts will be…

BACK in full swing soon enough.

FEATURE: So Fresh, So Clean: Revisiting the Phenomenal Stankonia

FEATURE: 

So Fresh, So Clean

Revisiting the Phenomenal Stankonia

___________

I could have done this as a Vinyl Corner…

but I wanted to spend a few moments talking about OutKast’s Stankonia in another light. We are now (just) in a fresh decade, so that means a lot of people will be ready to see which sounds and artists define the 2020s. Maybe it is too early to predict where music will head, but the first year of this decade is an important one. Some truly genius albums have arrived since the start of this century, but OutKast’s fourth studio album set the bar immensely high as early as 31st October, 2000. Rather than it being a Halloween fright, it is an absolute treat from André ‘André 3000’ Benjamin and Antwan ‘Big Boi’ Patton. OutKast formed in 1992 in East Point, Georgia, and had been making steady steps up to the point of Stakonia. Named after their recently-purchased Stankonia Studios in Atlanta, André 3000 and Big Boi wee free to experiment more and were not being confined by usual studio rules. With production from Earthtone III (consisting OutKast and Mr. DJ) and Organized Noise, Stankonia must rank as one of the finest albums of the twenty-first century. If you are new to Hip-Hop or OutKast and feel like you need to know their history, I would encourage people to dive into Stankonia as it is so alive, varied and accessible. Comprising a series of skits and full-length songs, Stankonia is OutKast creating an experimental musical aesthetic and pushing beyond what they released on 1998’s Aquemini. In the frame of a Dirty South-orientated Hip-Hop context, OutKast fused everything from Rave and Funk to Gospel in a spellbinding album. Not only did I want to mention Stankonia because it is almost twenty years old; I also think it marks one of the best album one-twos in history.

Many can argue but how many artists have released two albums in a row that are as good as Stankonia and Speakerboxxx/The Love Below (2003) – although the latter is a double album, so many it should be a one-two-three?! One can say The Beatles and Bob Dylan have had a greater run, but Stankonia was the start of a hugely inspiring and memorable period from André 3000 and Big Boi. Whilst the music is catchy, fun and full of different flavours, the lyrics address sexuality, misogyny; African-American culture and parenthood. It is a mature, eye-opening and moving album that boosts as much heart and brain as it does sheer vitality and spirit. OutKast’s output pre-2000 was a bit more mellow and laid-back. Stankonia represents a change of the times; the duo feeling things had changed and they had to responds in kind. I guess things had changed around OutKast. New, harder drugs were on the streets and that was hitting the Hip-Hop scene. OutKast were aware and concerned by this. Rather than immerse themselves in older and new Hip-Hop whilst writing Stankonia, the guys, instead, took from Rock legends like Chuck Berry and Prince. Rather than producing something of that time or sound, they used it as a starting point. Stankonia is a very modern-sounding record and one that, to me, does not have a weak moment. I love how challenging and important the album is. A lot of Hip-Hop albums are concerned with excess, success and the author’s ego. Stankonia looks at the status of women in the South of America; it tackles misogyny in Hip-Hop and shows these women have rich and important spirits; they are not merely one-dimensional people.

Songs such as Toilet Tisha are so different to a lot of what Hip-Hop was producing in the 1990s. At the start of a new decade, OutKast wanted to change the game and reassess the way women are seen in Hip-Hop. The aforementioned song concerns a suicidal pregnant teen. The album’s biggest hit, Ms. Jackson, is about the mother of a mother of an out of wedlock child. Apparently, the song is where André 3000 takes from his own experiences. The song was inspired by his relationship with singer Erykah Badu, the mother of his child, Seven, and serves as an apology to her mother for causing her daughter pain. From start to finish, Stankonia is an album that still sounds utterly amazing and relevant. I still think there is a lot of misogyny in Hip-Hop and, with political and racial tensions still evident in the U.S., Stankonia continues to deliver sermons of truth and wisdom. Given the fact this remarkable work is held in such high esteem, it was hardly a shock that critics went nuts when it came out. The reviews are glowing and full of praise for one of the greatest albums of all-time. This is how Pitchfork assessed Stankonia:

“OutKast had always consisted of a politically conscious pimp and a spiritual gangsta, but on Stankonia, those identities came to the fore with a greater distinction that paradoxically allowed them to sound closer together than they had since their inception—even as André sat out songs like “Snappin’ & Trappin’” and “We Luv Deez Hoez.” On Stankonia’s first proper song, “Gasoline Dreams” Big Boi raps about their clout and the limits thereof—“Officer, get off us, sir/Don’t make me call [my label boss] L.A. [Reid], he’ll having you walking, sir/A couple of months ago they gave OutKast the key to city/But I still gotta pay my taxes and they give us no pity”—while André throttles out a brainy hook: “Don’t everybody like the smell of gasoline?/Well burn, motherfucker, burn American dreams.”

Stankonia is an album about many things and full of epigrams; so ahead of the curve that one of its many double entendres—“I got a stick and want your automatic”—is now a bona fide triple entendre. It’s about sounds as smells and music as sex, but mostly it’s about two black kids from Southwest Atlanta, boogieing with chips on their shoulders, making Molotov cocktails of songs that sound like a revolution’s afterparty. It’s peppered with personal narratives and small slips of autobiography, and it tackles big ideas both directly and obliquely. But, ultimately, it sounds like two artists going pop on their own terms while trying to make sense of, and change, the world around them. Closing in on two decades after its release, Stankonia remains loud as bombs over Baghdad and humble as a mumble in the jungle.

It was not my first experience of OutKast, but Stankonia was the album that really got me into the duo. I wondered where they could go from here and whether it was possible to improve – debatable, they did three years later with Speakerboxxx/The Love Below. In another review, AllMusic had this to say about OutKast’s masterpiece:

“Stankonia was OutKast's second straight masterstroke, an album just as ambitious, just as all-over-the-map, and even hookier than its predecessor. With producers Organized Noize playing a diminished role, Stankonia reclaims the duo's futuristic bent. Earthtone III (Andre, Big Boi, Mr. DJ) helms most of the backing tracks, and while the live-performance approach is still present, there's more reliance on programmed percussion, otherworldly synthesizers, and surreal sound effects. Yet the results are surprisingly warm and soulful, a trippy sort of techno-psychedelic funk.

Every repeat listen seems to uncover some new element in the mix, but most of the songs have such memorable hooks that it's easy to stay diverted. The immediate dividends include two of 2000's best singles: "B.O.B." is the fastest of several tracks built on jittery drum'n'bass rhythms, but Andre and Big Boi keep up with awe-inspiring effortlessness. "Ms. Jackson," meanwhile, is an anguished plea directed at the mother of the mother of an out-of-wedlock child, tinged with regret, bitterness, and affection. Its sensitivity and social awareness are echoed in varying proportions elsewhere, from the Public Enemy-style rant "Gasoline Dreams" to the heartbreaking suicide tale "Toilet Tisha." But the group also returns to its roots for some of the most testosterone-drenched material since their debut. Then again, OutKast doesn't take its posturing too seriously, which is why they can portray women holding their own, or make bizarre boasts about being "So Fresh, So Clean." Given the variety of moods, it helps that the album is broken up by brief, usually humorous interludes, which serve as a sort of reset button. It takes a few listens to pull everything together, but given the immense scope, it's striking how few weak tracks there are. It's no wonder Stankonia consolidated OutKast's status as critics' darlings, and began attracting broad new audiences: its across-the-board appeal and ambition overshadowed nearly every other pop album released in 2000.

There is no denying the power and depth of Stankonia. The first decade of this century offered a lot of marvelous albums, yet few can compete with Stankonia. Considering we were only in 2000 when the album arrived, and that shows you how keen OutKast were to reflect a sense of urgency and uncertainty that greeted the end of the 1990s. Whilst other Hip-Hop albums blazed a trail around the same time as Stankonia, the influence of OutKast’s breakthrough cannot be understated. This article from 2015 explains more:

“To put it in perspective, Stankonia was released on the same day as Jay Z’s The Dynasty: Roc La Familia. Both albums clocked in at the top of the Billboard 200. Both sold over 500,000 copies with The Dynasty besting Stankonia by 40,000 copies. One was a straight up East Coast rap record that is remembered for its intro and a few tracks near the back end. The other is OutKast’s answer in small parts to Parliament Funkadelic’s Maggot Brain and in smaller parts to Sly and the Family Stone’s There’s a Riot Going On. Both are important for particular reasons; Dynasty for laying the groundwork for what would become The Blueprint and Stankonia for steering a solid two years of Southern rap before crunk came and kicked down the buildings.

The most light-hearted moment on Stankonia? The roller-rink vibe of “Cruisin’ in the ATL.” The hardest? “Gangsta Shit.” It is a huge, huge pendulum swing that tells you there’s still nothing sweet about ’Kast or Atlanta in general. “Gangsta Shit” is nearly five minutes of the Dungeon Family from Goodie Mob to Slimm Calhoun to Dre and Big Boi breaking down what is gangsta to them. Dre offers what could be easily seen as an extension of his “Return of the G” verse and stomps all over the beat. “OutKast with a K, yeah them niggas are hard/Harder than a nigga tryna impress God/We’ll pull your whole deck, fuck pullin’ ya card/And still take my guitar and take a walk in the park….” It’s as if he’s still fighting for that legitimacy he told the world about five years prior at the Source Awards.

Stankonia also set things up for the Dungeon Family, who dropped an album, Even in Darkness, in 2001. Stankonia properly introduced Slimm Calhoun who was the next D.F. member to release a solo album. Backbone, the D.F. rapper who first broke through on 1998’s hustler’s prayer “Slump,” returned for “We Luv Deez Hoez” and released his own debut album, Concrete Law, in 2001 with his trademark single, “5 Deuce 4 Tre.” However, there is no greater debut on Stankonia than that of Killer Mike. He only gets one song, the back and forth of “Snappin’ and Trappin’,” but he declared with one verse that he’d already delivered a classic.

By the time the dust settled, Stankonia stood tall as one of the most revered rap albums of 2000 by critics, eventually landing at 359 on Rolling Stone’s list of the 500 Greatest Albums of All Time. It kicked in the door for Southern rap’s now understood dominance as more albums from Southern artists have gone gold or platinum. What Big Boi and Dre perfected here, they carried over to their 2003, Grammy-winning double album, Speakerboxxx/The Love Below. That’s what Stankonia laid the groundwork for. Not to mention it confirmed that OutKast was the undisputed greatest duo in hip-hop.

And still cooler than Freddie Jackson sippin’ a milkshake in a snowstorm”.

I wonder, as the 2020s have just begun, whether this revelation will appear; something that rivals Stankonia. It might happen, but I think Stankonia is on a different plain and, as I said, it still sounds so current and unrivaled now. If you have not heard it then go stream or buy it because, as it will soon become apparent, Stankonia is a work of…

PURE genius.

FEATURE: Modern Heroines: Part Fifteen: Julia Jacklin

FEATURE: 

Modern Heroines

PHOTO CREDIT: Nick Mckk

Part Fifteen: Julia Jacklin

___________

WHILST she is one of the newer artists…

PHOTO CREDIT: Gem Harris for Loud and Quiet

I have included in this feature, I love Julia Jacklin’s music and I feel, in years to come, she will rise through the ranks and will inspire many other artists. I am not sure if Julia Jacklin is still based in Sydney, but the Australian-born artist, like so many, must be pretty worried regarding what is happening in New South Wales. I am writing this feature on 2nd January, and I realise the situation may be worse by the time it is published. I hope everyone is okay there but, looking ahead, Jacklin has a very busy year ahead. I shall end by discussing her tour dates but, at the moment, I want to focus on an artist who is an icon of the future. By her own admission – more on that later – Jacklin’s debut album, Don’t Let the Kids Win is an artist unsure; maybe showing some weaknesses. I really like that album and it was one of my favourites from 2016. It is understandable that an artist who was very new to the industry would not be at her peak on her first album. I will come to that record in a bit but, now, a bit about Julia Jacklin. She grew up in the Blue Mountains, Australia, and hails from a family of school teachers. Listening to her brand of Indie Folk, one would not imagine Pop artists like Britney Spears would be a source of inspiration. Indeed, Jacklin took classical singing lessons, partly because of her love of Spears’ music. After graduating from the University of Sydney, she lived in a garage in Glebe (a suburb of Sydney).

It sounds like a pretty rough-and-ready setting; a struggling artist making their way up. I think it is quite romantic and, having studied Social Policy at university that, coupled with Jacklin’s musical tastes and personality, makes for an arresting and unique artist. Jacklin worked at an essential oils factory only a couple of weeks before she started to tour and, whilst she enjoyed that job, it is amazing to picture this wonderful musicians at her day job, not knowing she would soon become known around the world. From a young age, Jacklin’s family did not really know what it was to be a musician; they did not feel it was a viable career, and so, Jacklin did not have that support when she was working on her music. After being part of a band, Salta, together with Liz Hughes, Jacklin soon began to make her way out alone. My first exposure to her work was when her first two singles, Pool Party and Coming of Age, were being played across national radio in the U.K. There are some stunning Australian artists around. I think it is a nation that we overlook and do not see in the say light as, say, the U.S.A. With contemporaries like Julia Jacklin, Stella Donnelly (she is Welsh-born but grew up in Australia) and Courtney Barnett producing strong and incredibly interesting music, we need to look closely at the scene there. All three women are very empowering and inspiring and, in future edition of this feature, I may include Courtney Barnett.

I heard Jacklin’s music on BBC Radio 6 Music and, having appeared at various festivals since March 2016 (including South by Southwest), more and more people were being turned on to an amazing talent. Jacklin has played headline sets – she headlines A Festival Called Panama (in Tasmania) in March; she is headlining the Grampians Music Festival in February – and supported artists such as First Aid Kit. Magazines and critics were dubbing Jacklin as a star of today as early as 2016 and, almost four years on, there is no stopping her! It wasn’t until August 2016 when Jacklin decided she was a full-time musician and decided she could not balance work and music. Citing influences Doris Day, The Andrews Sisters and Billy Bragg, Don’t Let the Kids Win is a wonderfully rich album that nods to classic artists and a romantic tone together with something deeply personal – many saw the album as a woman going through a quarter-life crisis. Maybe Jacklin was finding her feet and still finding herself as an artist, but I really love her debut. The songs are relatable to me. I can identify with someone who sees others ‘growing up’ and moving on whilst being stuck in a job and not really taking a leap. I guess Jacklin feels differently now that her life has moved on considerably since 2016 but, back then, her situation was very different.

IN THIS PHOTO: Julia Jacklin and band at the End of the Road Festival in 2016/PHOTO CREDIT: Richard Gray

Loud and Quiet had this to say when they reviewed Don’t Let the Kids Win:

“What does a quarter-life crisis actually sound like? Julia Jacklin’s debut record has to at least be a close approximation. The Australian singer-songwriter took the decision, bright-eyed and not long out of school, to eschew the real world in favour of pursuing a career in music in her teens, but by the time she came to record ‘Don’t Let the Kids Win’, she found herself frustrated, disillusioned and stuck in a menial day job whilst her kid sister was doing the grown-up stuff: settling down, getting married.

That context is crucial because it’s Jacklin’s emotional state that makes this record such a triumph; there is a quite brilliant balance between nervous urgency, the realisation that something needs to happen soon, and measured perfectionism, born out of the knowledge that if this is her one shot, it better be the best it can be.

‘Pool Party’ and ‘LA Dream’ are exercises in softly soulful pop, ‘Sweet Step’ leans on pretty, melodic acoustic guitar, and the murky atmospherics of ‘Same Airport, Different Man’ put Jacklin’s formidable storytelling skills front and centre. Underpinning it all is her achingly sad vocal delivery, which oozes conviction throughout.

Jacklin cites Angel Olsen as a major influence (although there are some Ryan Adams melodies in there, too), and ‘Don’t Let the Kids Win’ should not be forgotten in the wake of the North Carolina native’s recent masterpiece, ‘My Woman’”.

Although some reviewers remarked how Jacklin was not quite a complete artist – some noted how there is filler on the album -, Don’t Let the Kids Win is a broad, honest and memorable album that gained a lot of positivity. This is what AllMusic wrote:

“Don’t Let the Kids Win is the debut of Australian singer/songwriter Julia Jacklin, who skillfully laces elements of alternative country-rock and early rock into haunting indie folk vignettes. Smoky vocals, discontent, and a presence that's mature beyond her twenty-something years suffuse the album with the character of a life hard-lived. That spirit is almost literal on the song "Same Airport, Different Man," a weary, single-verse rumination that ends with her deciding to try the train next time. It closes with a mumble and a quiet, dissolving guitar line, as if falling asleep over a whiskey. At the other end of the instrument range is the lush "Coming of Age," which uses echoing guitars, crashing cymbals, and a melody that yodels to express "I didn't see it coming, my coming of age." More sauntering tracks like "Leadlight" and "Small Talk" take on a light '50s nostalgia with triplet rhythms, rhythm guitar, and a country connection. The latter tune has her feeling the wrong age for anything, whether it be the cool kid at the bar, or imagining Zach Braff and Catherine Deneuve as her parents. In keeping with the album's self-consciousness about growing older and finding one's place, the title track closes Don’t Let the Kids Win with lyrics like "I've got a feeling that this won't ever change/We're gonna keep on getting older, it's gonna keep on feeling strange." Altogether, the album's palette and Jacklin's cracking, pensive delivery land her in a sphere with heavy-hitters such as Sharon Van Etten and Angel Olsen, with a touch of Lucinda Williams, making it a must for fans of thoughtful indie folk”.

Unlike a new artist out of America, I think there is an extra degree of fascination when we are made aware of someone from Australia or New Zealand. Maybe that relates to the size of the countries or the fact their music has had to travel further. There was a lot of interest in Jacklin when her album was released. One can learn so much about an artist from the music and, whilst Don’t Let the Kids Win spoke about a woman who was anxious and wondering whether she was achieving all she could, interviews allowed the musician to provide more context and story. In this 2016 interview with DIY, Jacklin spoke about her life before music and making those first steps:

“Fears familiar to a ‘quarter life crisis’ generation permeate the album. After studying Social Policy at university in Sydney, the feeling of time slipping away became an acute source of concern. “I was a bit like, ‘Oh! Was that a good idea to be at uni for like four and a half years when you knew the whole time you wanted to be a musician?’”

The answer was to set herself the goal of recording an album before she reached the age of 25. Her anxieties provided food for thought as she converted her feelings of self-doubt into song form. “It’s a nice way to be productive with them and not just whinge about them all the time!”

On ‘Motherland’, for example, she admonishes herself for being hesitant (“these new lines on my face, spell out girl pick up your pace, if you want to stay true, to what your younger self would do”). By the closer, the album’s title-track, she appears to have found some acceptance in the inevitability of ageing (“we’re gonna keep on getting older, it’s going to keep on feeling strange”).

Sure enough, before she hit 25, Julia’s restlessness had spurred her on to achieve the target she’d set for herself. “I need to feel worried to make music,” she confesses. “It’s shitty but I do need to feel a little inadequate in some way to drive me to produce I guess.”

“I grew up listening to a lot of folk music and you think you have to sing about rivers and mountains and stones and bones and stuff that doesn’t really mean anything to you, but you’re just kind of using the same tropes. But then I started listening to some artists that inject a bit of humour into it and it just felt a lot more natural for me. I realised that I was allowed to do that. I didn’t just have to sing pretty words.”

Leonard Cohen was a revelation in that respect. “He manages to be super heavy-hitting with some of it, like really melancholy but also just quite hopeful and I think it’s to do with his sense of humour.” Father John Misty and Fiona Apple are others she name-checks as writing inspirations.

There is so much more to Julia Jacklin than the music alone. I think she is a remarkably frank and accessible person who provides inspiration to those who are starting out. There is this emphasis on the very young being relevant; if you are in your late-twenties or thirties, then you are not cool or starting out too late. Jacklin knows where she wants to be, but it took her a while to realise music was her path.

I want to bring in one more interview before I move on to her latest album. Jacklin spoke with Interview Magazine in 2016 and discussed her creative process and route into music:

“LYRICAL FRAME OF MIND: When I’m really stuck, I have to listen to music. Sometimes I can create in a vacuum based on how I’m feeling, but if I get writer’s block or if I get really stuck, I also like to read artists’ lyrics. I read a lot of Leonard Cohen’s lyrics, I just love the way he writes—as does everyone—and seeing his turns of phrase. I also listen to a lot of Gillian Welch, because she just has these incredible song structures that blow my mind. If I’m stuck I listen to her music to see how she structures it. I think it’s a healthy thing to do.

STUDYING TO BECOME A SOCIAL WORKER: That was the big plan, I don’t know, it still might be a plan eventually, we’ll see how this goes. I kind of struggled through uni. I did well, but I took a few breaks when good things started happening with music. I finished my degree, but I guess I was always a bit naïve thinking that I could do both at the same time. Then I realized, to actually have a music career, you kind of need to charge ahead—at least for a certain time. I think maybe once you have established yourself and you can take breaks and pursue other things, it might be easier. Definitely in the beginning you need to make a lot of sacrifices.

WHEN SHE WAS IN A FOLK BAND: I was listening to a lot of folk music. I think one of the first songs I wrote was a very generic song about a sea captain, borrowing some overused folky themes. The more I wrote, the more I brought it back to my own voice and opinion. I started in a folk band. I was in this band with two of my best friends and we released an EP when I was younger and then we went to make another EP and halfway through doing it we all just realized that we didn’t really like the music anymore. We were kind of playing Appalachian folk music, we fell into playing that, but we didn’t really like playing it. We decided to break up and do our own thing. The other girl that I was in the band with is a singer-songwriter as well, so it was one of those bands where you’ve got two songwriters, so the set is always a bit weird because the songs are quite different and you have two lead singers. It was like we were doing our own thing anyway, but we were just putting ourselves together on stage.

HITTING THE ROAD: I quit my day job [a few] weeks ago. I’m very excited about that. I was working at an essential oil factory for two years. It was a good job, great people, they were super flexible with me going on tour and having time off to record and whatnot, but it was pretty repetitive work to say the least. I’m leaving on the 22nd of August and then I’ll be away until the end of November. I went backpacking in my gap year for seven months, but it’s definitely the longest time I’ve been away since then. I’ve never done this kind of touring, show after show after show. I’ll see how that goes. I’ve been waiting to do this for a long time. Until next year, my life has been planned out, so I’m just going to ride that wave and see what it’s like”. 

Between 2016 and 2019, Jacklin toured a lot and, in that time, honed her craft and strengthened as a songwriter. If Don’t Let the Kids Win showed flashes of brilliance and future promise, Crushing was the sound of a woman who was fully-formed and at her very best. Many critics named the album among their favourites from last year, and it is no surprise Jacklin has a pretty full diary this year! At the ARIA Music Awards of 2019, Crushing was nominated for six awards: Best Female Artist, Best Adult Contemporary Album; Best Independent Release, Producer of the Year; Engineer of the Year and Best Cover Art. From its wonderful cover – Jacklin looking awed and happy whilst surrounded by flowers and various nik naks -, to its amazing production (from Burke Reid), Crushing is a triumph! Like her debut, there is a lot of self-realisation on Crushing but, unlike Don’t Let the Kids Win, the ideas are huge and the songwriting is dripping in nuance. That might sound dismissive of her debut, but it is not intended to be: that record is a brilliant thing, but Jacklin hit new gears on her second outing. If Don’t Let the Kids Win’s backdrop is a woman in her twenties wondering whether she is as far along in life as she should be, Crushing is about break-ups and personal anxieties. Perhaps it Is a natural evolution in terms of her story.

Singles like Head Alone and Pressure to Party are, again, songs we can relate to. This sense of loneliness, heartache and societal pressure is universal, yet Jacklin articulates it in a way like no other songwriter. Running in at ten tracks and lasting less than forty minutes, Crushing is a focused album but one that is awash with beautiful textures, vivid scenes and the best vocal performances of Jacklin’s career to date. The reviews for Crushing are universally positive, and it is pleasing to see Jacklin winning the same publications that were a little ho-hum when her debut came out. The Telegraph loved what they heard when they sat down to review Crushing:

“Jacklin is a 30-year-old Australian singer-songwriter, working in an increasingly crowded field of fragile atmospheric indie. Her spiritual godmother might be Cat Power, but Jacklin has a touch of countrywoman Courtney Barnett’s rock swagger, too, with hints of something raw and unbridled that keeps listeners on edge. It is not a particularly modern style, unlikely to set charts alight, but done well it has real emotional potency. And Jacklin does it very well.

Crushing is a break-up album, forensic in its analysis of the causes and aftermath of a failed relationship. This is well-trodden terrain but Jacklin’s focus on physical agency lends it contemporary resonance. “I don’t want to be touched all the time/ I raised my body up to be mine,” she asserts on Head Alone. Don’t Know How to Keep Loving You is a powerful song about the boredom than can infect long-term relationships. Pressure to Party, Convention and Good Guy struggle with the guilt of self-inflicted pain. “You can’t be the one to hold him/ When you were the one who left,” she sings on mournful closer Comfort.

As a body of work, Crushing feels small, intimate and inward. But these are big songs, full of big ideas, from a big talent”.

More so than ever, Julia Jacklin’s work was attracting the critical ear. Maybe it was touring and experience that lead to improvement in terms of her material. Perhaps she reflected a particular moment that translated especially effectively to music. Whatever the reason, Crushing was among the most respected and adored albums of last year. I think Jacklin will continue to get better and more amazing as a songwriter. The fact she has produced such a complete and astonishing album only a few years from her debut shows that she was right to quit her day job and pursuit music. Here is what The Independent had to say when they reviewed Crushing:

“For my money, “Body” is the best thing on Crushing, a terrifically complicated breakup record that’s still got a hangar full of delights readied for takeoff. Those who fell for Jacklin’s 2016 excellent debut, Don’t Let the Kids Win, will find a continuity of alternative attitude and vintage influences. The video for new song “Pressure To Party” – Jacklin’s sneeringly ecstatic “three-minute scream” about what people expected of her after her relationship ended – is even shot in the same retro-fitted house as her first video, for “Pool Party”.

But there’s a deeper sense of personal connection to anchor Jacklin’s lyrical and melodic smarts. That snare drum keeps a relentless, nerve-snapping pulse throughout, with Jacklin sounding more confident in her contradictions: at once yearning to comfort a lover she’s dumped and then, on “Head Alone”, declaring: “I don’t wanna be touched all the time/ I raised my body up to be mine.” The rather glorious video for this one finds Jacklin running through the desolate streets of suburbia in a dress that looks like it’s been made out of 1980s curtain material for a sixth-form production of Shakespeare’s Romeo & Juliet”.

People around the world are keen to see Crushing’s songs performed by Jacklin. Last year was a fantastic one, but I think Julia Jacklin’s latest album ranks alongside the absolute best. She would have taken heart from the way critics and fans reacted; the positivity and interest it has garnered is reflective of a songwriter who puts her heart and soul into everything. Before I move on and finish up, I want to bring in two different interviews Jacklin gave.  When she spoke with The Independent last year, she was asked about ageism and sexism in the industry. Jacklin’s candour and honesty makes her a very inspiring and interesting interviewee:

 “In that case, perhaps it’s a good thing that Jacklin was well into her twenties before her music career took off. She released her debut album, 2016’s critically adored Don’t Let the Kids Win, at 26. She only half agrees. “It’s a young person’s game,” she says. “It’s ageist as hell. Sometimes, when people say to me, ‘You’ve got all the time in the world,’ I’m just like, ‘That’s not the reality I see. Sure there’s exceptions to the rule, but I think this is a very ageist industry towards women, and there’s definitely a lot of progress, but please don’t tell me I have all the time in the world. That’s bulls**t.’” Lily Allen recently discussed the same thing in a podcast interview, suggesting that at 33, she is now deemed too old to be played on Radio 1. “Thirty-three, that’s young,” says Jacklin. “I just don’t think men would have the same problem. Thirty-three, in male years, you’re still a baby.”

Jacklin has found the endless attempts to politicise her music frustrating. “I get pretty sick of the fact that every time a woman speaks about their experiences, it’s labelled political and radical,” she says, rooting around for something in her red backpack, pushing aside a copy of Sally Rooney’s Normal People. She resents “this hilarious idea that trying to advocate for your personal safety and privacy is a fashionable thing”. And she finds it vaguely patronising. “Everyone’s like, ‘Oh you’re so brave’, and I’m like… Urgh. That doesn’t make me feel good if you think that I’m doing something political and brave, because I’m not. I’m just writing about my experiences, just like men get to do, and my relationship with my body and the way that the world interacts with my body. It’s something that every woman experiences in some way or another. Yes, cool, people are starting to pay attention right now, but this is the reality of my life. I’m not trying to jump on some bandwagon. Just talking about my body as a straight, white woman, I don’t think I’m doing some crazy brave… you know? I don’t think I’m paving the way or anything”.

I do think attitudes need to change when it comes to women in music and how they are seen. Jacklin is right in what she says about women being labelled political if they have anything personal or bold to say.

Let’s hope things change this year and, with stunning artists like Jacklin putting out some of the best music in the world, I feel like steps will be made. In this interview with The Line of Best Fit, Jacklin discussed the changes between her debut and second album:

“Growth as an artist is a concept that fans and critics alike tend to latch onto but for Jacklin herself the difference between her debut and new album is immeasurable.

“I kind of just didn't feel that much pressure with the second record, because it feels like I'm a completely different person from my 24-year-old self," she says. Laughing, she adds: "I don't even know what my first record sounds like. I think a few people have asked me, ‘How does your second album differ from the first one?’ and I’m like, ‘I don't know, actually.’ I have to listen back to my first one and make notes.”

Jacklin is joyful, proud and simultaneously humble when discussing Crushing. She possesses a certain unique charisma that enables her to praise her work without seeming at all boastful.

Putting this down to confidence and experience, she explains: “I think just because the first record was my first time in a studio I didn't really have much confidence in the space. And I think when I listened back to it, I could hear maybe some concessions that I made because I was just a bit shy or like, some decisions that were made because I just didn't speak up and didn't kind of know how to ask for what I want.”

By contrast, it’s evident throughout Crushing that she’s an artist who knows what they want and knows how to ask for it.

“I really care about my first record. I don't think it's a bad record. It just reminds me of a time when I just felt pretty inadequate as a musician,” she says. “Whereas with this new record I think I just kind of understood that, you know, making a record is not about having a perfect guitar take or a perfect vocal take. I thought as it’s the first time, I've got to get the songs down perfectly, because they're going to be recorded for the rest of time”.

This year has been a busy and exciting one for Julia Jacklin. If you want to catch her on the road, here are her confirmed dates, and one might need to be a bit patient if you live outside of Australia. I like the fact Jacklin has not moved to the U.S. and U.K. because, in a lot of cases, artists in Australia who cannot get exposure move here. In fact, in many incidents, it is them wanting to be closer to these nations and having more of a visible platform. Things are bad in New South Wales are pretty bad right now with the bush fires, and I hope Jacklin remains safe – and upcoming gigs are not affected. I also wonder whether she will bring the bush fires and climate change into her third album. There are no confirmed plans regarding a third album, but new-found acclaim and what is happening in her country could not have helped inspire her in one form or the other. After the success of Crushing, so many new people had their ears opened to Julia Jacklin. I feel she will go from strength to strength and, in years to come, is one of those artists we look up to and proclaim a legend. Right now, the blossoming and phenomenal Jacklin is…

PHOTO CREDIT: Gem Harris for Loud and Quiet

AN artist we should all listen to and respect.

FEATURE: A Platform for the Mainstays and Newcomers Alike: 2020: A Year Where Gender Equality Needs to Come into Sharp Focus

FEATURE:

A Platform for the Mainstays and Newcomers Alike

IN THIS PHOTO: St. Vincent

2020: A Year Where Gender Equality Needs to Come into Sharp Focus

___________

I have written plenty of articles…

IMAGE CREDIT: Coachella

asking whether we will get gender equality across the board very soon. Last year was a pretty poor one when it came to festivals putting women at the very top of their bill. I can understand why you would not have a majority of women headlining every festival, but the vast majority of festivals last year has all-male headliners. Look at the footage from Glastonbury and so many of the best sets were from women – including Lizzo and Janelle Monáe. Next year will see one female artist headline Glastonbury (Taylor Swift), and I suspect Glastonbury will be the first festival to hit a fifty-fifty gender balance. Look at all the major festivals in the U.K. over the past decade and the lack of women headlining is shocking. Although this year has just started, Coachella have announced their line-up for April. Although there are women on the bill, it is the first year in a while where there are no women headlining.

 “Rage Against The Machine, Travis Scott and Frank Ocean will headline Coachella festival this year.

It's the first time since 2016 without a female headliner - Lady Gaga, Beyonce and Ariana Grande have each had a slot in the past three years.

The Californian festival is held over two weekends each April with the same line-up appearing over both of them.

Lana Del Rey and Megan Thee Stallion and Summer Walker are among the female performers.

The line-up features a lot of British artists - from FKA Twigs and Lewis Capaldi to Calvin Harris, Slowthai, Dave and Yungblud.

Thom Yorke will be performing but without Radiohead, who headlined the festival in 2017. Next to his name is "Tomorrow's Modern Boxes" - a solo album from 2014.

Run The Jewels, Rex Orange County, DaBaby and Flume are just a few of the other acts performing.

Headliner Frank Ocean hasn't performed at Coachella since 2012, before the release of debut album Channel Orange.

Despite Lady Gaga, Beyonce and Ariana Grande delivering consecutive must-see headline Coachella sets since 2016, it appears to be a short-lived tradition.

The festival has upped the number of female acts on the top tier of the line-up in recent years, a trend which continues into 2020.

But many will argue it's a missed opportunity to not give the likes of Lana Del Rey or FKA Twigs the chance to headline - especially given they released two of the most critically-acclaimed albums of last year.

Although other festivals, including the teams behind Glastonbury and Spain's Primavera, have pledged for more gender-balanced line-ups, Coachella organisers haven't addressed calls for more female acts to be topping the bill”.

Given the fact so many of last year’s very best albums were from women makes me wonder why, for instance, Lana Del Rey was not asked to headline. Lizzo would make a great choice and, even though she did not release a new album last year, St. Vincent would be a perfect fit – someone who would deliver a stunning headline set.

IN THIS PHOTO: Little Simz

2019 was a great year for Pop acts like Billie Eilish and established acts FKA twigs, Solange and Sharon Van Etten. Throw into the mix Little Simz, Brittany Howard and Angel Olsen, and there are a few ready headliners there! I am not suggesting every fantastic album from 2019 has been made by women, but the majority of the most striking and accomplished have been. Most of these albums have been from women who have only been releasing music for less than a decade. Look at the legends and established artists, again, who could headline a festival and you have a long list of possibilities – from Björk and Bikini Kill (who are back touring together) and Kim Gordon. I feel 2019 was defined by women and the fantastic music they created. I know Coachella is the first of many festivals who will be announcing their line-up, but I do hope this year reflects the incredible women – from female bands and duos to solo artists – who warrant a place. I am always baffled why festivals struggle to get a fifty-fifty balance; some say the pool is not deep enough and it is hard to hit that target. Listen back to all the superb music made by women last year and there is an embarrassment of riches available that means, I hope, 2020’s line-ups will be a lot closer to fifty-fifty than ever – I see no reason why any big festival would have a problem hitting a fifty-fifty split.

Even though festivals that have made a pledge to hit fifty-fifty bills have two more years to hit that target, this year needs to set an example. I have only skimmed the surface regarding women who can make it onto festival bills this year. From Dua Lipa and The Big Moon through to Weyes Blood and Jessica Pratt, there are female artists in a variety of genres that could add their voice to festivals. Of course, it is not only festivals that have an issue with gender disparity. One can argue women are underrepresented in the industry and there are more men than women; men release more songs and, therefore, are going to be more prevalent. The lack of visibility, as I have remarked in previous features, does not indicate a lack of drive and talent from women. With so many festivals struggling to put women on the bill despite the huge promise and variety (from women), it is no wonder many female artists are hesitant or being overlooked. There is still sexism in every corner, and one only needs to refer to recent articles such as this:

“In Britain, countless women who work in the business testify to frequent cases of sexual misconduct and misogyny. ‘Women I know often tell me stories about sexual harassment,’ says Lara Baker, events manager at the Association of Independent Music (AIM), the organisation that looks after some of the world’s most successful independent record labels. ‘The music industry involves a lot of late nights and drinking, and in those situations it’s common for people’s sense of what’s appropriate to go out the window. A woman will be in a taxi with her boss or a client after a gig and he’ll suddenly start kissing or groping her and she’s expected not to mind. It’s not easy for her to speak out when it involves a colleague or client and her reputation is at stake’”.

In the article, British songwriter Lauren Aquilina has spoken about her experiences of sexism in the industry and how she is viewed:

“Aquilina has also found that as a young female artist in the music industry, she has been patronised over her songwriting, and experienced pressure to change. According to PRS for Music, only 13 per cent of their 95,000 songwriters are currently female, so it’s little surprise that songs written by women are not always taken seriously – despite the phenomenal success of female singer-songwriters like Taylor Swift and Adele. The fact is, the majority of chart-topping songs performed by female artists, from Rihanna to Katy Perry and Miley Cyrus, are still written by men.

Aquilina says, ‘I’ve had a few mental-health issues and I’ve been told by men in the music industry that I needed to stop being so emotional; such a girl. I’ve been told to stop moaning and write a happy, upbeat song that befits a female pop star. I know for a fact a male artist would never be asked to ditch an emotional, raw song.  ‘Now, I have a female manager and A&R rep and that’s made a big difference to my confidence. I’ve learned to stick up for myself more. I’ve had to grow up at an alarming pace to handle the pressure and demands of being a 21-year-old woman in the music industry.’

It’s not just the artists who suffer as a result of sexist attitudes: they permeate the entire industry, with women who work everywhere from A&R to promotion and PR earning less than their male counterparts and struggling to rise through the ranks. The upper echelons of the business remain solidly male. Despite the music industry signing up to UK Music’s Equality and Diversity Charter in 2012, there is little sign of progress”.

PHOTO CREDIT: @dustinlee/Unsplash

I do genuinely feel this year will be one where progress is made and, maybe by bringing men into the conversation more, that might make a difference. By that, I mean it is traditionally women who are fighting for awareness and talking about being overlooked; more men need to do their part and getting men and women in the industry communicating with the common goal of gender equality is definitely what needs to happen. Music-wise, one cannot ignore the sea of women who are creating sensational music. Further afield, there are amazing female producers and women in every avenue of the industry making it richer and better. In the short terms, festivals have a lot of options regarding commercial and interesting female artists alike. Whereas last year saw festivals like Reading and Leeds woefully male-heavy, one hopes the situation will not be the same this year. Similarly, the incredible success and originality of female artists last year should be proffered and spotlighted. I know, in years from now, there will be a lot more women in the industry. From artists and producers through to record label bosses and festival organisers, the numbers will rise. I think there is a lot of toxicity that is resulting in discrimination against women already in the industry and discouraging others entering. There is so much passion and talent from women in music that is not being honoured. From brilliant artists who are festival-ready – and not being included on bills – to those who are side-lined and the subject of abuse, things need to change. It is easy to make those changes and, in so many ways, 2020 is the year…  

PHOTO CREDIT: @michaelbenz/Unsplash

TO make it happen.

FEATURE: Street Spirit: Music and Support for the Homeless

FEATURE:

Street Spirit

PHOTO CREDIT: @tomzzlee/Unsplash

Music and Support for the Homeless

___________

THIS time of the year…

PHOTO CREDIT: @evstyle/Unsplash

there is something especially tragic seeing so many homeless people on the street. Depending on where you live, you will see people on the street, many being overlooked by the crowds. As I live in London, I see so many homeless people about. It is winter and, as the weather grows colder, I do worry what the effect will be on those sleeping rough. Those who are on the street and not sleeping anywhere with shelter will be vulnerable to the full effects of the weather and, for those who can find a doorway or shelter, there is a chance they will be moved on. Not to mention the fact many will experience attacks and abuse, and it makes for a very bleak and sombre picture. Over the past year or so, it seems there are differing reports regarding the number of homeless people in London. I am not sure whether other towns and cities are seeing their number of rough sleepers decreasing, yet it seems like London’s problem is evident. It seems, at least, in Southwark, there are positive signs:

“The Homelessness Reduction Act, in operation for the past 12 months, is potentially the greatest piece of homelessness legislation for 40 years in England, according to Southwark council in south London. The Labour-run council pioneered the government’s new flagship act, and is upbeat about it. While homelessness went up in the borough last year, as it did across London, the rise was less steep than expected: 8.6% for families placed in temporary accommodation and a similarly small increase for rough sleepers. At the same time, there was also a 50% increase in the number of people the council helped to stay in their home. “It shows the act works,” says the council’s cabinet member for housing, Stephanie Cryan.

By 2020, the £73m provided to English councils by the government over three years to implement the act runs out. There is no sign it will be renewed. The assumption from Whitehall was that savings accrued from preventing homelessness (not least from reducing the huge bill for housing homeless families in temporary accommodation) would make the act self-financing. Cryan says that in a place like Southwark, that is absurdly optimistic. Last year, even with its preventive successes, the number of homeless families in temporary accommodation rose again, from 2,300 to 2,500”.

PHOTO CREDIT: @johnmoeses/Unsplash

Maybe there are improvements in some areas of London, but the wider picture is not so satisfying. Whether it is a lack of money, displaced immigrants or other reasons, so many people are hitting the streets in order to find shelter. Of course, there are brilliant charities like Shelter and Crisis that do exceptional work and are committed to ending homelessness. I want to bring in a recent article from The Evening Standard that outlines the true extent of the homelessness problem in London:

“Homelessness in London has reached crisis point, with around 170,000 people in total now thought to be homeless in the capital.

Last year, research found that more than 6,000 people were either on the streets or sleeping in tents and public transport in London.

In the same period, 148 people died on the streets of the capital, many lying dead for hours before they were found.

Temperatures will start to plummet as we head into Christmas and with places across the UK likely to see snowfall, it can mean life or death for many.

During the winter months, the government works with local charities and churches to provide emergency cold weather shelters for the homeless when the temperature drops below freezing.

You can report a rough sleeper with the StreetLink app - https://www.streetlink.org.uk/ - or via their local council homelessness services; this makes sure they can be connected to the most appropriate local support service”.

The best ways to help those homeless you see is to chat to them and offer them hot food and drink. I always try to give money too but, although you do not know where it is going, one hopes that person will use it for food and drink, although there is that lingering sense that the money could be used the wrong way. I am one of those people who thinks giving small change is a good idea because, at the very least, that person will feel like people care – walking on and ignoring them is far worse. Of course, reporting homeless people to local authorities means someone can reach out and support them; you can donate clothing and bedding and, at the very least, one is doing their part. It is sad to realise that, once you have walked on by, you are never sure how that person is and what will happen next.

PHOTO CREDIT: @zacdurant/Unsplash

I have noticed spots where a homeless person was one day and then, when I walk past the following day, they are gone – whether they have been moved or decided they cannot stay where they are I am not so sure. There are great charity events that use music as their backdrop, and chances for those who have experienced homelessness to be creative and use music as a way back. This is amazing, but I wonder about those who are living on the street already. It is essential these people feel as safe as possible and, where possible, members of the public do their bit. Most homeless people sleep alone. Many sleep and are in tents because they feel that isolated or they have nothing to do but watch people walk past. Some homeless people might have a book or magazine, but that is rare. Most of the homeless people I see, they seem to have no form of reading or distraction. I know many of those living on the streets cannot afford phones or radios, but I think music and radio would provide companionship and something useful. So many homeless people do not speak with others and have that important interaction. Music cannot replace human connection, but there is something powerful about music. Whilst I have already told you about a scheme/educational facility that offer creative courses to those who used to be homeless, I think introducing music at a street level can give a homeless person a sense of purpose, company and warmth. Music is an immensely varied tool that can help those with depression, anxiety and other illnesses.

PHOTO CREDIT: @rayanmuslem/Unsplash

Schemes like Songs to End Homelessness are, again, great ways for those who have experienced to channel their stories into something creative. It would be expensive for everyone to donate old iPods or radios to those on the streets, but there are inexpensive solar radios that one can do the job without disturbing other people too much. Of course, a normal radio is less expensive, but there is the issue of battery replacement. I think councils and governments could donate radios like this or, if you have a bit of money after Christmas, a radio and music can provide a wonderful gift. There are those on the street who have phones so, maybe, a Spotify gift card could be another idea. Many might argue radios are way down the list of priorities but, as I say, how often do people stop and talk to homeless people? How much company do they have? There is that thing of noise disturbance and whether people will complain so, yes, earphones might be a useful addition to a radio. In any case, I think there are benefits to music. Maybe the physical health benefits would not be applied to those who are homeless, there are psychological positives one can get from listening to music.

PHOTO CREDIT: @gonzalopoblete/Unsplash

Aside from people directly helping those who are on the street, I do think more needs to come from the music industry itself. This year has seen more artists open up about mental-health and subjects like climate change. This is vital, as music is a platform for awareness and change. I do think it is important personal topics are explored through music, but there is a whole world out there to address and explore. I feel homelessness is not often discussed by the music industry as a whole. How many songs have there been about homelessness in general? Articles like this collate a few and, whilst many of the songs are not serious looks at homelessness, I feel change could happen if musicians got involved more. Giving to homeless people is a wonderful thing, but real change can come about when there is commitment and impact from the music industry. As we are now in 2020, we can use this year to addressing areas of society that need support and do our part – homelessness is a big concern. Whether you provide a cup of coffee, a radio or are a musician who can write a song that raises awareness (and funds) to tackle homelessness, everything counts. The numbers of rough sleepers is shocking, so I do hope we see improvement very soon. My hope – which is echoed by so many – is to help bring all the homeless people out there…          

PHOTO CREDIT: @matheusferrero/Unsplash

IN from the cold.

FEATURE: This Is ’90 (Again?): The Music That Kicked Off an Amazing Decade

FEATURE:

 

This Is ’90 (Again?)

The Music That Kicked Off an Amazing Decade

___________

FOR the remainder of this month…

PHOTO CREDIT: @okcdz/Unsplash

I am going to spend my time looking at artists to watch, sounds that will define the 2020s and, like now, a look back at past decades. As it is the first year of the 2020s, lots of people will be interested to see the differences between now and the start of the 2010s. When a new decade is upon us, there is great excitement and intrigue. I do not think things will be radically different to last year and, indeed, most of the 2010s. It is clear the past year has been a challenging and dark one for many reasons – not least the result pf the General Election, worsening climate problems and anxiety. Now more than ever, I feel music needs to provide as much cheer and excitement as it does importance and relevance. The march of time and technology means it is impossible to replicate the feel and sensation of the 1990s. So many people and artists are inspired by the decade and, at a time when we need some guidance and spark, I think 2020 is a great time to look back at a terrific year: 1990 and everything that it put into the world. In political and social terms, there are major differences between 1989/1990 and 2019/2020. Even now, thirty years after the 1990s kicked off, we revere it. I know there were bigger years in the 1990s for music than 1990 itself – 1991, 1994 and 1998 suggest themselves right off the bat! I was six when the 1990s broke out, and I was just getting into music and understanding its power. The final years of the 1980s saw golden Hip-Hop mix alongside brilliance Pop, Dance and Alternative music.

Although the scene did shift between 1989 and 1990, just look at the albums and songs that started the 1990s! I will end with a playlist that, I feel, defines the start of music’s finest decade; perhaps giving inspiration to artists out there. I do think the 2020s could do well to nod back to the 1990s in a very bold way. I feel like Hip-Hop has lost a lot of its fun; Dance music is more underground than it was and Pop music is more repetitive, simple and darker. The year 2000 definitely had its fair share of great Dance artists and anthems; I feel the past decade or so has lost a lot of its smile and motivation – perhaps justly considering the state of the world and what we have to face this decade. 1990 was a bold and varied year that saw Alternative classics like Sonic Youth’s Goo sit alongside brilliant rich albums like Everything But the Girl’s The Language of Life and The Sundays’ Reading, Writing, and Arithmetic. For those who wanted some quality Art Rock, there was the brilliant Wrong Way Up from Brian Eno & John Cale; Sinéad O'Connor’s I Do Not Want What I Haven't Got is an absolute classic whilst Cocteau Twins’ Heaven or Las Vegas is as beautiful as any album gets! Whilst there were some great artistic and experimental albums in 1990, I associate the year with some truly colourful and captivating Dance and Pop.

Consider the epic World Clique by Deee-Lite. In terns of albums that could kick-start something magical in 2020, I think World Clique should be up there! Singles like Groove Is in the Heart and classics and, look around, and there is nothing like Deee-Lite around – many people would love a Deee-Lite 2.0! World Party’s Goodbye Jumbo offered sumptuous melodies and wonderful lyrics; stunning Pop craft that recalls The Beatles. Pop was well represented in 1990. Madonna, arguably at the peak of her powers, was one year on from her Like a Prayer album. She appeared in Dick Tracy and, whilst the film’s soundtrack drew mixed reaction, few can fault its standout cut: the classic, biblical Vogue. The song does not really fit the vibe of the film, and it seems like this out-of-the-blue song that, once heard, will never be forgotten. A slice of gold from the I'm Breathless: Music from and Inspired by the Film Dick Tracy album, we also received Madonna’s greatest hits, The Immaculate Collection, at the end of the year. Although The La's’ There She Goes was firs released in 1988, the song was reissued in 1990; The La's’ eponymous album was released the same year – the only album the band ever brought out. Although the album was celebrated by fans and critics, it was the result of nearly three years in the studio with a string of acclaimed producers. Each attempted to capture the sound sought by Lee Mavers, the lead singer and principal songwriter of the band. Because of Mavers' exacting expectations, the sound eluded each of the producers, and the album eventually released was immediately disowned by the band.

Just look at the variety of singles that were popular in 1990, and one cannot help but be blown away! Although a lot of the singles in that link were recorded or released in 1989, I am going to include some in my playlist because they were in the charts in 1990. In 1990, we had Madchester anthems like The Charlatans’ The Only One I Know nestling alongside the novelty Pop of Betty Boo’s Where Are You Baby. As we can see from NME’s favourite songs of 1990 there were these big songs like Primal Scream’s Loaded that lifted us and made us feel alive. I love the fact we had Pop from Europe and America inspiring us with great northern bands like The Charlatans and Happy Mondays bossing it - Happy Mondays’ Step On was released in 1990. Throw into the mix The Shamen’s Move Any Mountain; I've Been Thinking About You by Londonbeat and Beats International’s Dub Be Good to Me and it was quite a year for big tunes! With mainstream Pop and Madchester, there was also some fascinating stuff coming from Europe away from pure Dance. We all remember the bizarre yet brilliant Sadeness (Part I) by Engima – a song that managed to mix Gregorian vocals with French lyrics with style and genius! There was a lot going on in British music and there are those who argue a case the decade never got better than 1990’s wonder.

Back in 2014, Billboard made a case for 1990 being the apex of a sensational decade. They explained why its sheer variation meant there was something for everyone:

“All right stop, collaborate and listen. It’s hammer time. Strike a pose, rock the cradle, and then enjoy the silence. If you can hold on for one more day, you might just get a slice of that sweet cherry pie. But be careful. You can never trust a big butt and a smile.

These were the mixed messages brought to us by the pop giants of 1990, a year of glorious highs, shocking lows, and a whole lot of Wilson Phillips. It was the start of the decade that pushed “grunge” and “gangsta” into the lexicon, and yet, according to Billboard’s year-end Top 100, the biggest rock and rap songs were by Billy Idol and Vanilla Ice, respectively. That is, unless you count Roxette’s “It Must Have Been Love” and MC Skat Kat’s rap on Paula Abdul’s “Opposites Attract,” which dropped in November ’89 but didn’t hit No. 1 for a few months. Either way, the bold new era just around the corner hadn’t quite arrived.

That's what makes 1990 the greatest musical year of the greatest musical decade not called the ‘60s or the ‘80s. It didn't bring truckloads of transcendent albums, like '91 or '94, nor did it delight with the mindless teen-pop and nu-metal pleasures of '98 or '99. It was a great big neon-colored New Jack mess, and before the ‘90s could really get swinging, the last vestiges of the ‘80s had to be swept from the room. It was such a scary and exciting time that we needed two songs called "Hold On."

Speaking of holding on, Wilson Phillips and En Vogue weren’t the only ones. Pop’s old guard was hanging tough but showing signs of wear. Phil Collins and Billy Joel loomed large with late-‘89 holdovers about being old white men, and taken together, their chart-topping singles left 30- and 40-somethings feeling simultaneously guilty about their wealth ("Another Day In Paradise") and blameless in instigating the world’s problems ("We Didn't Start the Fire"). Aging boomers must have been even more confused than teenagers trying to decide if Jane Child's ear-to-nose chain was a better look than Sinead O'Connor's shaved head.

Amid all the frivolity, there was Fear of a Black Planet, Public Enemy's multi-front sonic war against everything wicked, and Depeche Mode's dark and sensual Violator. If 1990 had only given us these two albums, it would be worth building a time machine to revisit. Produced by the aptly named Bomb Squad, Black Planet is 40 years of pop music and four centuries of complex racial politics packed into aural shotgun shells and blasted into the brain at point-blank range.

This decade will be a great one, but it is this year that is especially interesting. I know we cannot replicate 1990 – which is a shame! -, yet artists can learn a lot from a sensational year. We do not have the same giddy Pop and Dance. I feel a dose of fun and 1990 back in music would add necessary spark and, maybe, inspire a fresh wave of unifying and hugely memorable Pop and Dance – the sort that boasts big choruses and memorable hooks! Music is great now, but I am hearing so much anger and darkness, without the fun to balance it out. There are some enjoyable and light songs here and there, but few actually hit you that hard or stick in the memory. The 2010s started off with some staggering albums and songs, but I feel the start of the 2020s could go even further. It is not regressive looking back at 1990: it is a decade that we all adore, so one would be foolish if they ignored it truly outstanding start. There were some bad songs and moments in 1990, but few decades have started as well. The 2020s will be full of big messages and all manner of great new artists making their way through. Maybe this decade will see stronger years than this one, but I think 2020 is going to be the most important. The scene is missing something that takes it from the excellent to the simply mesmeric. I feel, as we look ahead, a glance back would be wise. 1990 gave us so much treasure and I feel music can learn a lot and borrow from that year…

THIRTY years on.

FEATURE: The January Playlist: Vol. 1: After the Festive Excess…

FEATURE:

The January Playlist 

IN THIS PHOTO: Michael Stipe

Vol. 1: After the Festive Excess…

__________

AS this is the first week of 2020…

IN THIS PHOTO: Oh Wonder

artists are still recovering from 2019 and we will not see too many new songs for a few weeks. Regardless, there are a few ace tunes out in the world that are worth investigation. Not only have Michael Stipe and Field Music released gems; Hannah Grace, Pet Shop Boys and Oh Wonder have also started 2020 in style. I have compiled the highs and lows of this week that gives us an indication as to what this year holds in terms of sound and direction. If you need a bit of energy and some music to get you on your way, I have a collection of songs that will do the job. I am interested to see what else comes in January and whether we will get any surprise releases. In this first edition of my Playlist, there are some diamonds to be found. Although Christmas has only just passed us by, the songs that have come out since then show that 2020 is off to…

IN THIS PHOTO: Pet Shop Boys

A pretty good start.   

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

_________

PHOTO CREDIT: Albert Urso/Getty Images

Michael Stipe – Drive to the Ocean

Field Music – Do You Read Me?

Pet Shop Boys – Monkey business

Justin Bieber – Yummy

J Hus – No Denying

Hannah Grace – When I Ruled the World

PHOTO CREDIT: Luke Farley

Blaenavon - whatever ü wanna B

RAT BOY – VICTIM OF A SYSTEM

Oh Wonder - Happy

PHOTO CREDIT: Laura Hayes

Cub Sport – Air

Bombay Bicycle Club – I Can Hardly Speak

Lauv – Changes

IN THIS PHOTO: Gabrielle Aplin

Gabrielle Aplin, Nina Nesbitt – Miss You 2

Camden Cox – Healing

IN THIS PHOTO: Travis Scott

JACKBOYS, Travis Scott – HIGHEST IN TH ROOM

Hailee Steinfeld - Wrong Direction

Carly Pearce – Call Me

Wild Nothing – Foyer

FEATURE: Dreams, Awakenings and Rapid Eye Movement: The Iconic, Inspiring Michael Stipe at Sixty

FEATURE:

Dreams, Awakenings and Rapid Eye Movement

IN THIS PHOTO: Michael Stipe of R.E.M. photographed by Kris Krug at South by Southwest in 2008

The Iconic, Inspiring Michael Stipe at Sixty

___________

THERE are quite a few big birthdays…

IN THIS PHOTO: Stipe captured in 2016 by Tony Cenicola/The New York Times

coming up in the next few days. I want to mark a particularly important one today but, even though my subject turns sixty tomorrow, the legendary Stephen Still is seventy-five today (3rd January). Beth Gibbons (Portishead) is fifty-five tomorrow but, because he fronted one of the most influential and popular bands of the past thirty years or so, R.E.M.’s Michael Stipe is in my thoughts. He is sixty tomorrow, and it is amazing to think! I am not going to write a big thing about Stipe himself, because I am keen to present an R.E.M./Michael Stipe playlist that shows just what a songwriting/singing talent he is. Although Stipe has recorded music outside of R.E.M., it is the band from Athens, Georgia that he is synonymous with. Whilst he attended the University of Georgia, Stipe could often be found at Wuxtry record shop, where he met the clerk there, Peter Buck, in 1980. The two quickly became friends and started writing music together.

IN THIS PHOTO: R.E.M./PHOTO CREDIT: Frank Ockenfels III

Buck and Stipe were joined by Bill Berry and Mike Mills and named themselves R.E.M. – the name was chosen at random by Stipe out of the dictionary. When it comes to debut albums, few are as original and interesting as Murmur. Released in 1983, Stipe’s unique vocal delivery – mixing mumbles and keening vocal figures – and lyrics caught the public attention. My first real experience of the band was when their 1991 album, Out of Time, was released. Their seventh album, it boasted massive hits like Shiny Happy People and Losing My Religion and, whilst the former was practically disowned by the band, it is one of their earliest songs I remember.

As an eight year old discovering the album upon its release, I was mesmerised by this incredible band. If Out of Time was promising and contained a few gems, 1992’s Automatic for the People was a huge step. Not only is it one of the best albums of the 1990s, it is one of the best albums ever. Flawless, beautifully programmed and with stunning singing and songwriting throughout, Automatic for the People is a masterpiece. Although R.E.M. called it a day in 2011 - they were inducted in the Rock and Roll Hall of Fame in 2007 -, their legacy is strong. They helped develop the Alternative Rock genre; the band’s early success spurred other Alternative bands. The way R.E.M. guided their career and found success on their own terms was compelling for bands that followed, such as Nirvana and Sonic Youth. R.E.M. were a prime example of a band who were hugely successful but were still cool. One can hear R.E.M. and Michael Stipe’s brilliance in bands like Radiohead, Pearl Jam and Pavement. When it comes to Stipe himself, he has inspired everyone from Kurt Cobain (Nirvana) to Radiohead’s Thom Yorke. Stipe is Thom Yorke’s favourite lyricist; Stipe and Cobain were friends and, as a call for his friend to seek help, Stipe wrote Let Me In (from Monster, 1994) about him – Cobain took his life in 1994 and, sadly, that song/message came too late. There is so much to discover and discuss when we think of Michael Stipe and, though I have only skimmed the surface, I wanted to put together a career-spanning playlist to celebrate his sixtieth birthday – including work with R.E.M., solo stuff and bits he worked on with other artists. Michael Stipe, I hope, will continue to make music for many years to come. He is one of those astonishing artists that comes along only…  

ONCE in a generation.

FEATURE: Numbers and Solutions: Streaming in the 2020s

FEATURE:

Numbers and Solutions

PHOTO CREDIT: @austindistel/Unsplash

Streaming in the 2020s

___________

THERE are so many reasons to love streaming services…

PHOTO CREDIT: @neonbrand/Unsplash

and promote them. Spotify was created in Sweden in 2006 and, in the 2010s, it has changed the way we consume music. The instant accessibility and variety is a reason why so many people can get into music and broaden their horizons. Rather than be choosy regarding albums and songs we listen to, one can browse a host of different sounds for very little money. Back before streaming, one had to rely on record shops and traditional outlets. It meant we had to be specific about the albums we were buying because, unlike today, we could not buy everything we wanted and do that regularly. Now, we all have playlists and libraries full of the best established and new music. That is a great thing, and I love how I can go online and get the latest tracks without having to wait and pay a lot of money. There is that debate as to whether streaming services pay artists enough and whether we need to improve that side of things. Certainly, the amount artists generate from streaming figures is meagre, unless you are a huge artist who can attract millions of streams. I think streaming sites have changed music more than anything else over the past decades. As we are now in the 2020s, its influence and relevance will increase and continue to dominate. For consumers who love their music, I do think streaming sites have an important role and allow newer artists to have their stuff heard. Again, years ago, there was no way for new artists to be heard and discovered. Sites such as MySpace opened that door, and now streaming services provide a platform for pretty much anyone and everyone.

PHOTO CREDIT: @fixelgraphy/Unsplash

I am not going to attack streaming sites because, as I say, they are very useful and allow everyone to access music from around the world for very little expenditure. That is a good thing when one considers the sheer volume of music out there. I know we have YouTube as well so, if we need all the best new and older music, we have options. A reason why I wanted to write this is to see how streaming sites will affect music in the 2020s. Look back at the past decade and, despite some controversy – issues regarding compensating artists for example -, there have been a lot of benefits regarding streaming. The last few years especially have seen streaming sites blow up and dominate how we consume music. I do wonder, though, whether streaming will consume music and replace conventional purchasing. I can understand why sites like Spotify are popular and, whilst I and so many others use the site, are we spending as much on albums as we should? So many people use Spotify and other streaming sites for free, and many of us idly scroll through songs without listening to them the way through. In practical terms, I suppose it would be impossible to have a music industry where we were expected to buy rather than stream. It would mean so many new artists would never be heard and, in this day and age, are people going to buy singles?!

PHOTO CREDIT: @annietheby/Unsplash

In order for us as music fans to discover and investigate some great new artists, streaming sites need to be around. I am a big supporter of people buying music and getting out to shops, but I do feel, as the years roll on, so many people are relying on the Internet because it is convenient and inexpensive. Not that one can blame streaming entirely, but has the shift and evolution in the industry lead to things becoming more about streaming figures and less about the excitement of an album? By that, I mean so much stock is put in how many streams a song or albums gets. I think we are losing a lot of anticipation and that feeling of build-up. Because there is so much music around and there is a sea of artists in the world, there are very few artists that remain for years; few occasions when an album arrives and there is that enormous excitement and desire. Whilst streaming services need to be around, I wonder whether we rely too heavily on them and whether they are too prevalent. The same is true with T.V. and streaming: there is Netflix and Apple TV alongside Amazon prime Video and other services. In music, we have Spotify and Tidal and, really, it can be quite exhausting and too much. I have found myself backing away from streaming over the past few months, and I am endeavouring to buy more music (from retail outlets) this decade.

PHOTO CREDIT: @chichi1813/Unsplash

I wanted to introduce an article from The Guardian that talks about streaming and how services, on T.V. and music, have overwhelmed us and, at the same time, made us more isolated:

“It feels like there are fewer household names, more cult figures – and the gulf between the universally famous and the known-to-just-some grows wider and wider. A discussion about music with an old friend or a new acquaintance can go quite a long way before you find something that you have both heard. Not only there is a sprawling span of contemporary niche sounds and micro-genres, but there are several generations of ageing stars and tenacious fringe figures still out there gigging and recording, Meanwhile, the reissue industry constantly rescues obscure artists from oblivion and repositions them as deserving of attention and ear-time, while the amateur archivists of YouTube and album-sharing sites mop up anybody and everybody else remaining with a scintilla of significance.

The idea of Spotify introducing a similar function seems unlikely: while a TV narrative could be compressed without loss of information, in a profound sense music simply is a particular experience of time, so altering its rate of flow would be to change its essence. But who knows? The challenge of too much music and too little time could drive a music fan to desperate measures. Research suggests that average song lengths have decreased significantly in response to streaming, while canny writers and producers are placing the chorus at the start of singles (such as High Hopes by Panic! At the Disco) to hook browsing listeners instantly. The rise of TikTok as a teenage go-to discovery engine for new music plays into this syndrome, with its 15-second fan-created videos that turn songs into bite-size samples at the pop supermarket.

A sense of sanity-endangering overload was already apparent in the 2000s. The shift between the first decade of the 21st century and the 2010s can be partly conveyed by the contrast between “torrents” and “streaming”. Both terms evoke the new liquidity of cultural products freed from solid form and turned into pure information. Visiting torrent sites or filesharing platforms was a purposeful activity, though – like going to an MP3 retailer such as iTunes except without a financial transaction taking place. Legal and illegal downloading alike was still tethered to the notion of music ownership, even if the collection was now infinitesimally inconspicuous, crammed into a hard drive or that antique object, the iPod”.

I do love the fact streaming means we can widen our mindset and are not limited in terms of cost. Anyone can listen to what they want, which means we do not have to miss out. I wonder whether we are getting too much for free; if we are being overloaded and, as this decade progresses, what impact that will have on the music industry. Streaming has to exist, but I do worry we are not taking time to listen to music and, with so much in front of us, what that effect is. Although streaming is helping to generate more money, artists are still not getting their just rewards. I do hope we all use this decade as an excuse to get out to record shops and take a bit of a step back from streaming sites.

PHOTO CREDIT: @halannahalila/Unsplash

Whilst it might be rich for me to say something like that – as I use it a lot for my work -, I do sort of miss the days when I could get excited about an album coming out and there was that anticipation. I am not saying we all need to return to past decades and forge streaming sites, because there are many benefits to be found. This article discusses the plus-sides of sites like Spotify:

“Spotify speaks to this silent majority of music fans. Audiophiles, object fetishists, anti-capitalists, musicians – these groups noisily protest Spotify, but are marginal compared with the number of ordinary listeners, who never read the liner notes in the first place. For many people, music is just for mood, something to work, exercise or have sex to – situations that Spotify usefully caters to with playlists such as Productive Morning, Extreme Metal Workout and 90s Baby Makers.

It is a badge of pride for musos to say that Spotify’s machine-learning algorithms – when you listen to a track and it recommends things you might also like – don’t cover their cosmopolitan taste. But there are plenty more people who have relatively narrow taste, for whom – in a world where not everyone has the time or inclination to read up on new music – this kind of recommendation is really cherished. And if you do happen to have catholic taste, or fannish obsession, there are some very deep back catalogues to go down (even, should you so desire, Basshunter’s). There are debates to be had over revenue sharing and the acts it chooses to promote, but Spotify’s free, total access makes it essentially utopian”.

PHOTO CREDIT: @wesleyphotography/Unsplash

The main reason why I would suggest people spend less time on streaming sites is because of the types of songs favoured: something quite populist and monotonous that will get some big streaming numbers but will not necessarily stick in the head. There are downsides that will continue to exist and rule this decade:

“It limits music discovery and the sound of music itself. Singles are tailored to beat the skip-rate that hinders a song’s chances of making it on to a popular playlist: hooks and choruses hit more quickly. Homogenous mid-tempo pop drawing from rap and EDM has become dominant: New York Times pop critic Jon Caramanica regularly disparages this sound as “Spotifycore”.

The algorithm pushes musicians to create monotonous music in vast quantities for peak chart success: hence this year’s tedious 106-minute Migos album, Culture II, and Drake’s dominance. Add in Spotify’s hugely popular artists with no profile outside the platform, widely assumed to be fake artists commissioned by Spotify to bulk out playlists and save on royalties, and music appears in danger of becoming a kind of grey goo.

It continually perpetuates such inequality: a report by Pelly found that despite the “woke optics of playlists like Feminist Friday”, women are underrepresented on its most popular playlists. (Meanwhile, Drake benefited from Spotify’s first “global artist takeover”, his face and music appearing on every editorialised playlist when he released this year’s Scorpion.) These function as echo chambers, popularity begetting more support, the antithesis of musical democracy”.

I do think streaming sites are vital when it comes to new artists and giving them a platform. It would be unrealistic to charge everyone something to play every song they access or return us to a time when we could only buy albums/singles and there was no streaming. I put together playlists and love the fact I can get every song I need with the click of a mouse. What I am going to do this decade is rely on streaming less. I love the radio and still get a buzz going to record shops and actually purchasing music. Whilst we may have passed a time where an album release is an exciting and curious thing, getting out to gigs and taking a step back from streaming is a wise thing. I think, if we all used streaming services less frequently, it would have a benefit on the mainstream. Songs would become longer – as many artists create shorter songs because of people’s tendencies to skip through tracks -, and I feel we would appreciate the album form more. Maybe we have come too far to reverse the negative effects of streaming, but I do feel we all need to be a bit more aware of how reliant we are on streaming sites. As much as anything, there is still that debate as to whether artists are paid enough and, as more people turn to streaming, whether this means only the biggest mainstream stars will profit. Use the 2020s to be broad and explorative, but we also cannot ignore record shops and the joy of buying music; the community and sense of satisfaction of owning something. Also, in a sea of music and playlists, I do think we are all getting a bit buried and hooked on streaming. I hope this decade sees more people returning to buying music but, at the same time, using streaming sites to discover hidden gems and the best new artists around. I hope we do see some changes and steps forward that mean we have the best of both worlds. Hopefully, if more people buy music (either from shops or sites like Bandcamp), it means artists can…       

PHOTO CREDIT: @joshappel/Unsplash

GET their fair cut.