INTERVIEW: Nathalie Miranda

INTERVIEW:

  

Nathalie Miranda

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AN artist I have known for a while…

I have been speaking with Nathalie Miranda about her upcoming single, Echoes. An artist and songwriter with a distinct and memorable voice, I loved last year’s Back to Life. It seems that her forthcoming single (out on 14th April) is going to be among her most effecting, personal and memorable. I was curious to find out more about the song, what her musical tastes were growing up, and what we might expect going forward. If you have not checked out Nathalie Miranda, then follow her on the social media links below and prepare yourself for Echoes – a song sure to get a lot of love and airplay. It is great getting to know better an artist who is among the most distinct out there. Someone impossible to pigeonhole and define. There is a lot for her to look forward to. I am most definitely…

EXCITED to hear what comes next.

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Hi Nathalie. How are you? How had your week been?

Hi Sam! It’s been a busy week for sure - setting the promotional wheels in motion in time for my new release, Echoes. Today is my only free day!

Looking back at 2022, what would you say your personal highlights were?

I feel very fulfilled when I look back at 2022. I released my '80s-inspired song, Is This Love, which is something I’ve wanted to do for many years. In the summer, I released my first Greek release, Hilia Simadia. Being Greek-Cypriot is something I’m incredibly proud of, and writing and recording in Greek was a whole different experience. Finally, in September, I released Back to Life, which was all about self-acceptance and really reflected what was going on in my own life at the time.

“If I could go back in time and talk to younger Nathalie, I would tell her “You’re going to be ok, but you must believe in yourself and be proud of who you are”.

I understand you have a new track coming out. What can you tell us about it?

Yes. Echoes is the most personal song I’ve ever written. It’s about forgiving my younger self for everything I didn’t do for her, if that makes sense. It’s almost like I’ve come full circle, and now I’m an adult, I can really look back on the way I thought about myself and the way I treated myself. I have always struggled with self-confidence and self-image, which I think is something many people experience when they’re growing up. For me, it was detrimental to my development in many ways. If I could go back in time and talk to younger Nathalie, I would tell her “You’re going to be ok, but you must believe in yourself and be proud of who you are”. So, it’s very much about forgiveness and reflection.

How would you say your sound and direction has changed since your earliest work came out?

I would say that right now, I’m surer of the direction in which I want to go with each release. My first release was the Bulletproof E.P. in 2017, which consisted of three very random songs! I was very keen to release music, and so I rushed the process greatly. Since 2020, particularly from Catch-22 onwards, all my songs are crafted with a particular direction and sound in mind. I enjoy experimenting with genre and sound, and even though it’s not favoured by the industry, I intend to continue doing just that.

Songs such as Back to Life saw you receiving love and attention from the press and radio. How important is it to get this backing and exposure?

As much as artists don’t like to get involved with the business side of music, it is extremely important to give your art the exposure that it deserves so that it can connect with as many people as possible. The market is so incredibly saturated right now, and without that support or promotion from press and radio, it’s so much harder to reach a wider audience.

“Similarly, I didn’t really know who Queen were at the time, but I knew how I felt when I heard Freddie Mercury’s voice.  He is my biggest inspiration”.

Take me back to the start. When did music come in your life and which artists and albums struck you at a young age?

Music has always been part of my life. My mum would always be playing a variety of records at home, from Whitney (Houston) to Queen to Julio Iglesias, so I definitely have many influences. I remember hearing Prince’s album, Diamonds and Pearls, as I had an older cousin who was obsessed with him. I didn’t understand the subject matter as I was so young, but once I heard his music I was hooked. Similarly, I didn’t really know who Queen were at the time, but I knew how I felt when I heard Freddie Mercury’s voice.  He is my biggest inspiration. I also remember hearing Madonna’s Erotica album (another one of my mum’s purchases!) and I thought it was very experimental for its time.

Looking ahead, might there be an E.P. or album coming at some point? What do you hope to achieve this year with your music?

At the moment, I prefer releasing singles. It gives me the freedom to evolve as an artist with each release, both in genre, image, and subject matter. My plans for 2023 include releasing my first Spanish song, and later in the year my first Christmas song, which I wrote when I was 19! I’ve also started working on another Greek song so, yes, there is plenty going on!

I know a lot of people will want to see you live. Where might we be able to catch you later in the year?

I have a couple of live gigs scheduled so far. More to be confirmed. They are all in London, so the best place to check is my website, where you can find all the info.

Aside from yourself, there are a lot of great rising artists to watch out for. Who else would you recommend we check out?

Definitely check out my good friends WALWIN, and also Izzy T.

Finally, and for being a good sport, you can select any song (from another artist) and I will play it here.

Oh, that’s a hard decision! I’m going to say Gett Off by Prince. Just off the top of my head!

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INTERVIEW: Jen Dixon

INTERVIEW:

PHOTO CREDIT: Francis Fitzgerald



Jen Dixon

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WHEN it comes to interviews…

I do not get to speak with many artists from the North of England. Teeside’’s Jen Dixon is a terrific artist whose previous singles like Save Me (2022) and Pretty Face (2021) are extraordinary and got me invested into her music. With a new E.P., Less Than a Feeling, out in June, it is an exciting time for the extraordinary songwriter. She is getting a lot of love right now, and rightly so too! I have been speaking with Dixon about that forthcoming E.P., why the Teesside music scene is growing and what defines it, and what is coming next from her. With a new single, Over You, out on 7th April, people really do need to tune into the music of Jen Dixon. Go and pre-order her magnificent E.P. and get to experience a bright and original artist who has…

A very bright future ahead.

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Hi Jen. How are you? How had your week been?

Hey! Good, thanks. Busy doing lots of promo. Doing the day job, and of course spending time with the dogs and chickens.

Over You is your upcoming new single. What can you tell us about the song and its inspiration?

The song was actually one of the first I wrote back in the first lockdown. It’s about a journey and new beginnings; coming out of difficult times to discover that life can suddenly change for the better. I’m hoping it’s catchy and people get it stuck in their heads! There’s also a little rap (if you can call it that!) in this one similar to my previous single, Which Way Is Down?.

You must be excited that your debut E.P. is out soon. What has the writing process been like, and what can you reveal about the themes explored throughout?

It’s been a LONG process. I wanted it to be right. So it’s a collection of songs written since 2020. In the early days, some of the songs just didn’t fit with what I was doing, But as I progressed as a writer and a person, I felt it was now the right time to get them out there! They were all written and recorded by me in my bedroom studio, then mixed by Lisa Murphy and mastered by Pete Maher. I think there’s a few themes, all personal to me and my journey - who I’ve met, what I’ve experienced. That’s all I’m saying!

“Loving the obvious bands like Foo Fighters, Paramore and RHCP (Red Hot Chili Peppers), but also engaging with artists like Phil Collins and The Police”

What kind of sounds are explored on the E.P.? Is it you solo for the most part, or are there are a lot of other musicians in the mix?

It’s basically all me. I record all the different instruments myself but did have a couple of guitarists feature on a couple of songs because they’re much better than me! My first instrument is drums, so I normally record that then add in bass, synths, guitars, piano, vocals, harmonies… the list goes on! I love layers.

How did you get interested in music? Were there particular artists and albums that struck you at a young age?

I started playing drums at age 11, played drums at college and did sound engineering at uni. But I didn’t actually start singing and writing until the COVID lockdown. I guess growing up I was a bit sheltered with music - mostly my dad playing Elvis -, but I do remember a Stray Cats vinyl being on repeat! When I went to college, I explored much more. Loving the obvious bands like Foo Fighters, Paramore and RHCP (Red Hot Chili Peppers), but also engaging with artists like Phil Collins and The Police.

 I think some of the best and most interesting talent comes from the north of the U.K. There is so much attention still on London. What do you think it is about areas like Teesside, Yorkshire and Greater Manchester that produces such original artists?

That’s a big question! I’m not so sure about Yorkshire and Manchester, but I know Teesside’s music scene is buzzing and has been for a long time. Maybe it’s an economy thing? People need an outlet when things look bleak? I know on Teesside the steel industry etc. closing was a big blow. There’s a lack of funding in schools for music; high unemployment rate. But maybe it’s something that just grown, so having venues/festivals to promote the original artists is so important. It’s really worrying that so many of our grassroots venues have closed recently.

Your music has been getting love and attention from the press and radio station. As an unsigned artist, how important is it to get this backing and exposure?

It’s really important! I remember Tom Robinson saying that radio isn’t an end goal, it’s part of the journey - and he wasn’t wrong. In the early days, it doesn’t really make much different to streaming figures etc., but getting your name heard and getting a team behind you of supporters is such a good feeling. Without management or a label, I’m doing everything alone. So I appreciate every person that supports, listens, and shares. It’s amazing.

“It’s hard to get onto the local festivals because there’s so much talent, so the fact that I’ve been chosen for the line-up is the dream”

I think a lot of people would love to see you live. Are there dates coming later in the year in promotion of your debut E.P.?

First up is Stockton Calling! Awesome local festival. There’s also another to announce later in the year. I’m working on doing something nearer the E.P. launch, but I definitely want to do an end-of-the-year gig and get as many people as possible down!

I know you are announced for Stockton Calling in April. How are you feeling about that?

Great! It’s hard to get onto the local festivals because there’s so much talent, so the fact that I’ve been chosen for the line-up is the dream. I just hope people actually come and see me and the band play on the day!

You are one of the most exciting and promising young artists coming through, but are there any other emerging artists you would recommend we check out?

Soooooo many. Ladies first: SILVI is an awesome Scottish talent. I can’t wait to see her at Stockton Calling! Also, if you want something a bit different then Amelia Coburn is a Folk-y singer songwriter that is making waves. Fellas: I saw the Citylightz lads last year and they’re a bundle of energy! Sugar Roulette are a good local band that should be checked out too.

Finally, and for being a good sport, you can select any song (from another artist) and I will play it here.

I’m going to go for the new single by Docksuns - Real Thing.

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INTERVIEW: Kate Bush and Me: Maggie Boccella

INTERVIEW:

IN THIS PHOTO: Kate Bush in 1985

 

Kate Bush and Me: Maggie Boccella

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IN such a fascinating, deep…

 PHOTO CREDIT: Maggie Boccella

and remarkable interview, writer, journalist, and editor Maggie Boccella discusses her love of Kate Bush’s music. Based out of Pennsylvania, U.S.A., it is interesting getting the perspective from someone who lives in a nation that has a different relationship with Kate Bush than us in the U.K. Go and follow Boccella on Instagram and Twitter. Her work is amazing! I ask her about how Bush has impacted her as a woman and feminist, what she feels about the recent controversy concerning the Rock & Roll Hall of Fame omitting women when it comes to their inductees, Bush largely being associated (especially in America) with one song, Running Up That Hill (A Deal with God), and whether the media need to broaden their scope, what new material from her might sound like were we lucky enough to receive any, and which album of Bush’s Boccella has a special place in her heart for. Clearly someone who has a deep passion for and special relationship with Kate Bush’s music, it has been a pleasure to find out what this icon’s work means to Maggie Boccella. She has taught me quite a lot, given me new perspective and understanding regarding a few subjects and concerns I had, and also opened my minds to aspects of Kate Bush’s remarkable career and legacy I had not considered. Sit down and have a read of this interview from…

 IN THIS PHOTO: Kate Bush on the German T.V. show Rock Pop on 13th September, 1980 performing Babooshka

A true Kate Bush superfan.

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Hi Maggie. To start, tell me when Kate Bush first came into your life. Can you recall the moment or song that opened your eyes to her music?

Admittedly, the first time I came in contact with Kate’s music, it was almost a fluke. I was a senior in high school studying Wuthering Heights in AP (Advanced Placement ) English, and when I admitted to my then-stepmother that I was really enjoying the book (morbid taste in classic lit, I know), she showed me the music video for Kate’s eponymous song, specifically the red dress version that’s become so iconic. I was so captivated (and admittedly, confused) that I showed it to my teacher, and it became a bit of a running joke for the rest of the unit.

But it wasn’t until I moved to London to study abroad in the spring of 2019 that I really took a full deep dive into her work, inspired by my new surroundings and the fact that she showed up in some capacity practically everywhere — record shops, conversations, even my Shakespeare professor being in love with her work. I happened to be on a New Wave kick at the time too (though I’d argue that Kate doesn't necessarily fit the genre the way some people think she does), and the obsession seemed to hit me all at once, starting with Hounds of Love and then spiraling out from there.

As someone who is young and did not experience most of her albums the first time around, how did you approach tackling her catalogue? How did it compare to everything else you were listening to at the time?

Any time I find a new artist, particularly someone like Kate with such a large discography, I tend to take advantage of the blessing that is Spotify and work my way back to front, oldest work to newest, album by album. That’s the approach I took with Kate: once I’d heard her tentpole songs and knew I wanted more — it’s the approach that allows me to engage with B-sides and songs that might get blown off as filler for an album rather than just the massive stuff, and I credit that as the reason why songs like Violin and Get Out of My House are some of my favorites of hers.

“Bush’s lack of success in America (at least comparably to her success in Europe) is likely another major factor at play here; most people here are not familiar with her work beyond ‘Stranger Things’…”

Like I said, at the time I was listening to what I can only describe as a metric f*ck ton of New Wave, Punk, and British artists from the ‘80s — full immersion, right? Adam Ant, Siouxsie and the Banshees, Duran Duran, you name it, it was either on my playlists or in the ever-increasing pile of vinyl records I was collecting. So Kate wasn’t too far out of that ballpark, nor was she too far away from a lot of the contemporary female singers I was listening to at the time as well. (I would argue she laid the groundwork for a lot of them.) I was raised on loads of David Bowie and Lady Gaga, so both Kate’s sound and her aesthetic seemed like they fit in perfectly with what I knew and loved, which is perhaps why I grew to love her work so much, among other reasons. She was a natural addition to the catalogue.

There has been a lot of recent controversy around the Rock & Roll Hall of Fame and the lack of female inductees. Courtney Love Cobain took to Twitter to voice her disgust – including the ignorance when it comes to Kate Bush’s value and legacy. Why do you feel the Rock & Roll Hall of Fame has ignored Bush until now?

There’s been a systematic ignorance and oppression of women in music essentially since the business became commercialised the way it is now — we all know Elvis “borrowed” his biggest hits from Black singers like Sister Rosetta Tharpe, etc. etc. The Hall’s lack of female inductees in general can largely be credited to that, and to the fact that what the Hall of Fame considered “Rock” for a very long period of time was an incredibly specific genre of music, defined by hair Metal bands like Def Leppard and Poison and established by men like Jim Morrison and Syd Barrett in the 1960s. It’s only relatively recently (especially since the Hall itself was only founded in 1986) that they’ve begun to broaden the scope of what they consider to be impactful music, and therefore the artists that make those kinds of music. (See: Whitney Houston, Eminen, and Dolly Parton, all inducted in the last three years.)

Bush’s lack of success in America (at least comparably to her success in Europe) is likely another major factor at play here; most people here are not familiar with her work beyond Stranger Things (more on that later), and as the foundation is largely concerned with the kind of music/musicians that have made a significant impact on American culture (because we, naturally, see ourselves as the pinnacle of Western culture, vain as we are), Bush thereby goes ignored. This is especially true when you factor in the fact that Hall inductees are (at least in part, and at least made out to be) chosen by public vote — if no one knows her name when someone like, say, Cyndi Lauper is on the list, what reason do they have to vote for her?

I’d say that, largely, the Rock Hall is a popularity contest more than it means anything for the cultural impact of an artist. Chic, a band I would argue is even more important to the history of music as we understand it than Bush (we wouldn’t have Let’s Dance without Nile Rodgers!), has been nominated a whopping eleven times to Bush’s four, and have never made it in. Female artists and artists of color will always be ignored for the T. Rex-es and Bon Jovis of the world, much as I love them.

“…so I’d say she’s found a better hold with contemporary American listeners much more than she did in her “prime,” so to speak”

What is America’s relationship with Kate Bush now? It was only after Hounds of Love came out in 1985 that she was being noticed/successful there. She has struggled to get a foothold or much recognition. Why do you think this is? Have things changed now that we are in 2023?

As far as I understand, when Bush was most active, charting in America was significantly more difficult than it was in the U.K. and Europe, for reasons beyond my understanding that have to do with a lot of math that I purposefully avoided when I got a comms degree. We are, pardon my French, a f*cking huge country, and getting a foothold’s tough even now, with the advent of TikTok and streaming making it easier to find an audience. Her work was and is experimental, for a female artist or an artist in general, and the way she fits into a space that isn’t quite Pop, isn’t quite New Wave, isn’t quite Folk makes her unique, and sometimes that uniqueness can hurt your ability to make a mark when it comes to radio.

In 2023, I think the musical landscape’s changed significantly since her debut in the late 1970s; kids can reach out to find whatever music fits their soul best, so I’d say she’s found a better hold with contemporary American listeners much more than she did in her “prime,” so to speak. I remember seeing a big trend on TikTok of people dancing to Wuthering Heights, specifically those on “witchtok,” which embraces the kind of experimental sound Kate is known for, alongside other artists like Stevie Nicks, and it brought me so much joy.

I find it infuriating that, when one mentions the name ‘Kate Bush’ people only say the one song: Running Up That Hill (A Deal with God). For someone so popular, only knowing one of her songs seems very poor and inexcusable! Does the media and radio stations need to do more to go deeper, thus avoiding such narrow accusation?

I’m a little biased, as I keep a SiriusXM subscription in my car, meaning I have more access to Kate Bush in the wild because of the kinds of programming on those shows. I hear her probably once a week on Walmart trips or going out to the mall, so it’s hard for me to judge the state of radio as it exists in the moment. But Top 40 is Top 40, and there’s only so much a D.J. can do unless they’re on a specialized content show like the ones on Sirius. (And the fact that she made it onto a lot of Top 40 stations last summer with the premiere of Stranger Things season four is insane, considering the song’s almost forty years old.) Really, it’s a generational thing, combined with what we discussed about her not hitting as big in America as some of her contemporaries. People have access to her catalogue through streaming, but if their parents, friends, co-workers aren’t talking about her, there’s no reason to dig.

I’d argue that people also know Wuthering Heights as much as they know Running Up That Hill, especially if they studied the novel the way I did, but it still feels like a massive credit to her legacy to me that so many more people are familiar with Running Up That Hill than they were just a year ago. The inclusion of that song in Stranger Things introduced her work to so many people, which, for a song released twenty, thirty years before most of the show’s audience was born, feels utterly massive to me. Not a single person I knew was familiar with her prior to that season four needle-drop, and now, I see her work being hailed by people even younger than me as something massively important, particularly in queer spaces.

Really, people knowing Running Up That Hill is a win I’ll take. If a little girl hears that song in Stranger Things and it changes her life the way Hounds of Love did for me, that’s one more person on this train. One more world changed for the better.

IN THIS PHOTO: Kate Bush in 1993/PHOTO CREDIT: John Stoddart

Kate Bush has changed Pop culture in so many ways. As a young woman living in America, how has she impacted you or inspired you as a writer and journalist, or as a feminist?

There’s something about her work that makes me feel like I can accomplish anything, as basic as that sounds. I feel like she ought to be lauded as a feminist icon more than she should, considering the power she was able to wield over her own career in a way not many women in her time were — or even female artists now, for that matter. She never compromised her own, singular vision for the sake of anyone or anything, and it shows in a body of work that goes beyond simply Pop, both lyrically and from a production standpoint. There’s a kind of power in letting work like that influence you as an artist, both overtly and entirely subconsciously. I’ve written whole pieces about how much Kate’s works mean to me and to pop culture, but the things I’ve learned from her, the strength her work has imbued in me, fits in everywhere else where she’s not named, peeking in in the way I phrase things or the kinds of metaphors I use.

“To run up that hill, to dance in the rain, to create in whatever way my mind will allow”

For me, she’s a large part of the web of influences that make me the woman I am, as  writer and a feminist and a human being in general, alongside the hundreds of other women who dared to strike out as artists the way she did. I often find myself returning to a lyric from Cloudbusting that gave me comfort when I originally discovered her, in a time when the future was terrifying and nothing made sense: “I just know that something good is gonna happen / I don't know when / But just saying it could even make it happen”. To me, Kate is the sound of hopefulness, the knowledge that the future is huge and intimidating, but also mine for the taking, and the only way to take it is to do. To run up that hill, to dance in the rain, to create in whatever way my mind will allow.

My favourite Kate Bush album is The Kick Inside. What is your favourite of hers and why?

It’s a cheesy answer, but it has to be Hounds of Love. I remember listening to the title track of that album for the first time and feeling like I’d been punched in the chest emotionally. The themes of that album, especially when you consider the entire B-side suite, hit deeper for me as a young woman, an artist, a feminist more than any of her other work. I’m partial to The Red Shoes too, and Aerial as well, but nothing will compare to the unique sound of Hounds of Love — so very ‘80s, fitting into the kind of production that I love from that era, but also outlasting anything that might make it dated, particularly thematically, with her use of themes that I’m sure fans of artists like Hozier, with his mythical lyrics and general European folkiness, would appreciate.

I have a feeling we may get new music from her soon. What direction do you think her music might change, and what sort of themes do you feel she might tackle?

There’s something unique about older women in music, the perspective of years and years of experience dealing with things far more complex than any male artist ever has. While I’ll happily take anything I can get from her, because I know whatever she’s going to offer is going to maintain the special kind of experimental sound and oeuvre she’s known for, I’d love to see songs from that perspective, about getting older and the world changing faster than you can keep up with. Because even at twenty-five, that’s a feeling I’m starting to understand, but that no one seems to want to talk about. Everyone’s afraid of women once they turn thirty.

While I can’t really speak to what direction I think the work will turn in if we get any, because she’s so notoriously private that there’s little to no detail about her current life (as it should be — good for her!), I’m interested to see what production techniques she’ll employ. She’s always been on the cutting edge of things, ever since 1979, and while I don’t work in music enough to really articulate the kinds of things I love about her work musically, I know that if we do get new music, it’s gonna change my life the same way getting new Bowie music in 2013 did after a lifetime of growing up on Let’s Dance.

“We’re brilliant, complex creatures, and her music is the only music that’s ever been able to fully express that for me”

Bush turns sixty-five in July. She is without doubt one of the most important artists ever. What does she personally mean to you?

She’s an artist who opened me up to a world of possibility I was never even aware of. I discovered her in a time that was incredibly tumultuous for me emotionally, and her treatment of womanhood both in her lyrics and performance, as well as her general outlook as an artist, are unique from every other female artist I’ve ever encountered, and really changed my perception of artistry and being a woman in today’s climate. Her femininity is her strength, and she is not beyond embracing that and saying that a woman can be feminine, but also strange and powerful and all kinds of complex at the same time. She’s the godmother of all the “weird girl” artists I grew up on, opening up doors for women in production as a headstrong, take no sh*t woman who also happens to be soft-spoken, like someone’s lovely aunt or neighbor next door, proving that women aren’t just one mythical pillar of a thing. We’re brilliant, complex creatures, and her music is the only music that’s ever been able to fully express that for me.

To finish, you can select any Kate Bush song (one available on YouTube, Spotify, or Apple) and I will play it here. What shall we go with?

Rubberband Girl, from 1993’s The Red Shoes. An underrated bop, imo.

INTERVIEW: Kate Bush and Me: Mark Binmore

INTERVIEW:

 IN THIS PHOTO: Kate Bush in 1985

 

Kate Bush and Me: Mark Binmore

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I was keen to resume…

 PHOTO CREDIT: Mark Binmore

this Kate Bush interview series, as there is more love and focus on her than there has ever been. I follow a lot of people on social media who are massive Kate Bush fans. Someone who has loved and been following her music a lot longer than me is author Mark Binmore. Check out his Twitter and official website. Mark speaks to me about when he first experienced Kate Bush music, what he feels regarding her ‘resurgence’ following Stranger Things’ use of her Hounds of Love classic, Running Up That Hill (A Deal with God), which album of hers he counts as his favourite, his thoughts about Courtney Love Cobain calling out the Rock & Roll Hall of Fame regarding the lack of female inductees and their tin ears when it comes to Kate Bush being omitted, and whether he feels Bush will release new music soon. It has been fascinating hearing the insights and memories from an author and superfan who has been a diehard, loyal and passionate fan of Kate Bush’s since the beginning. I have learned new facts and perspectives after chatting with…

THE superb Mark Binmore.

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Hi Mark. To start, tell me when Kate Bush first came into your life. Can you recall the moment or song that opened your eyes to her music?

I was there at the beginning. Seven years old, clutching a £1 record token, holding a 7” Wuthering Heights in John Menzies. The song was unlike anything I had heard. I grew up in a house filled with music - ABBA, ELO, Queen, Dusty Springfield. There was always music. But it wasn’t just the music that I loved but the actual vinyl covers, which to this day I still treasure and sometimes dig out to look at the pictures and read the sleeve lyrics and credits. I could look at them for hours. Wuthering Heights just captured me as a kid - the words, the shrieking high-pitched vocal and that Kick Inside sleeve; the eye looking at you. It was looking at me.

To me, Bush is almost a theatre direction or author in the way she writes and comes up with song. Never conventional. As an author, how to do you view the way she finds inspiration and how deep her lyrics go?

My first editor gave me sound advice when I started. The audience needs to be held by the end of the first chapter, sometimes even by the first or second paragraph. If it doesn’t grip them, they will leave. But also, let the reader find their own journey. I find inspiration by watching people, sitting still, observing. In my novel, Beautiful Deconstruction, there was a whole section of life unravelling in a French village. All of what I wrote was true because I sat watching it happen before me. But what was interesting was the feedback from people who believed what I was writing about was actually about something else. Kate sometimes give a brief insight into her songs, but usually it’s up to the listener to interpret what is being expressed.

Take Big Stripey Lie from The Red Shoes. A great, quirky cookie song. Why is love so difficult? It is sacred, idealistic, but people don't acknowledge that. Instead they subscribe to superficial aspects of relationships, cheating, deception, coming up behind: big stripey lies. Mrs. Bartolozzi is a beautiful one to examine. On first listen, you believe it’s about a woman doing the domestic chores of the house but, watching the washing machine, she begins to daydream about a day on the beach and her thoughts all entwined like the jumbled tumbling blouse and trousers. But listen to the song again. Time telescopes when you’re encased in grief. After a grievous loss, days blur into days, moments prolong into agonizing hours, and the only way to endure the pain is to suspend time, to simply exist moment to moment and wait for the pain to ease. Did Mrs. B lose her husband? This song is pure BBC2 drama right there.

“I like to imagine Kate sat at home wondering what was going on!” 

Bush experienced new resurgence last year because of Stranger Things and Running Up That Hill (A Deal with God). What was your reaction when everything was unfolding through 2022?

Nostalgia can be a dangerous thing. I believe sometimes we would be better off valuing progress and modernity over the rose-tinted view that old stuff is somehow better. But, like all my thoughts and rules, they are made to be broken. It felt strange hearing young people say, “Oh I love this, who is Kate Bush?” and having her entire catalogue re-examined by new blood. For some reason, I felt protective. Kate was my era. Find your own path. Nonsense of course. I like to imagine Kate sat at home wondering what was going on! The last few years have been a kind of pause and re-set. At the start of lockdown, I was in France and couldn’t leave the country, so I wrote and wrote, four books in total. There was nothing else to do. Then 2022 arrived and the world started to open again, but it also felt reflective, a nostalgic feeling, the looking back. Running Up That Hill in 1985. I was 14, that difficult age, and Kate was seen then by many as that reclusive odd person who had disappeared (remember those rumours, 18 stone and living in France). And yet in 2022 Kate made front page news, loved by the nation, a proper national treasure. No wonder she felt bemused.

My favourite album of hers is The Kick Inside. Which one of her studio albums would you class as the absolute finest?

I remember hearing The Dreaming for the first time. I was 11. The beating drums of Sat In Your Lap were known, but what else I discovered was magical. The helicopter backdrop to Pull Out The Pin, the answer phone messages in All The Love (such an underrated gem), and the album ending with a baying donkey. This was 1982. It was the season of Bucks Fizz, Dollar, and Duran Duran, and yet here was Kate Bush singing cockney. At the time, it was a sinister album but looking back, '81 and '82 were dark times, so I guess the backdrop of an angry country played into the conscience of the album. But it is a disc to play with headphones on so you can hear the gentle sounds beyond the vocal. Hounds of Love/The Ninth Wave (the conceptual second side of Hounds of Love) played into that: the morse code, seagulls, astronauts, a submarine. Who doesn’t do a jig when Jig of Life is played? But The Dreaming. I can still play this album 40 years on and get thrilled by it. I also believe music improves with age. The Sensual World album I found stale when it was first released. A let-down from the brilliant Hounds of Love. But then you should never expect a big sister to a previous release. The Sensual World has grown fonder in my heart since. 

IN THIS PHOTO: Kate Bush in 1989/PHOTO CREDIT: Guido Harari

There has been a lot of recent controversy around the Rock & Roll Hall of Fame and the lack of female inductees. Courtney Love Cobain took to Twitter to voice her disgust – including the ignorance when it comes to Kate Bush’s value and legacy. Why do you feel the Rock & Roll Hall of Fame has ignored Bush until now?

For some awards, they insist you have to be there, to adhere to their terms and conditions. Wasn’t that why she turned down a BRTTs achievement award, because it came with a load of terms and conditions…you will perform, you will do these interviews? Is Kate bothered that she has been ignored. I don’t she think she is at all. Nice to be nominated; matters not if you win. But I am reminded of a Pet Shop Boys lyric: “You're another major artist on a higher plane/Do you think they'll put you in the Rock & Roll Hall of Fame?/Tell me baby how you generate longevity/Tell me baby how you really hate publicity/How can you expect to be taken seriously?”.

For anyone new to Kate Bush’s music who might only be familiar with Running Up That Hill (A Deal with God) and Hounds of Love, where would you say they should start/go next?

The Whole Story is a simple 12-song starter pack. It gives a brief introduction to her music. Even though her all-important debut number-one single is not here, but substituted for an eighties new vocal mix (should have stayed a B-side in my opinion). But it does omit some great songs like The Big Sky. Probably the closest to a traditional Pop song that Kate has ever done. And it’s such a hand-clapping, happy track. Then start at the beginning. Hunt out The Kick Inside with its gorgeous English storyboard and feel what it must have been like for a young Kate to commit lyrics to music. The journey had begun…

“But you know now she has the freedom to create and produce what she likes” 

I get the feeling we will get some new music from Bush this year. Based on what we heard on 2011’s 50 Words for Snow, where do you think her music might head next?

I love it when the rumour mill whirls into action. I remember when, in 1987, folk said ‘the album is ready’, then we waited two more years. But I think the time is right now. I would love Kate to return to a standard ‘I can still do it’ ten, three-and-a-half-minute Pop songs. But you know now she has the freedom to create and produce what she likes. The conceptual visual production is where she suits best; where she can let her imagination and time go. The Secrets of the Fish People would make a great album title. I think she has recently had a slight moment of looking back. But it’s always what happen next that counts. Of course, a greater expanded ‘hits’ album makes marketing sense, but then Kate has never followed the rulebook. She tore that up in 1978.

She turns sixty-five in July. She is without doubt one of the most important artists ever. What does she personally mean to you?

Someone who has been there throughout my life. As a child, a teenager, a young adult, a home-maker, and now in my fifties. I play a song and I am instantly back where I first heard it. Doing Wow dance routines in the school playground, hunting out the Japanese 12” sleeves in HMV back in '85, watching the Experiment IV video for the first time at the video party in '86, carrying a huge The Sensual World cardboard cut-out in '89. That’s the great thing about music: it never leaves you. But for me, when I saw her live in 2014 it finally felt I had come full circle. I remember being at the KBC Convention in 1990 and a tour was hinted at but never happened. And here years later, Kate tiptoed on to the stage barefoot to a standing ovation. A ten-minute ovation, and she had not sang one note. There was a smile (was it a smirk? I like to think so), then the hands were raised. “Sssh please”. The production began. And at the end, Kate returned to what she was at the beginning: a simple vocal and piano, Among Angels. Perfect.

To finish, you can select any Kate Bush song (one available on YouTube, Spotify, or Apple) and I will play it here. What shall we go with?

Night of the Swallow from The Dreaming. A sweeping Irish tune. “Let me, let me go…”.

INTERVEW: Maggie Miles

INTERVEW:

  

Maggie Miles

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IN this interview….

I get to find out more about an amazing musician. Maggie Miles is based out of Nashville, and she is a wonderful artist that everyone needs to know about. With an awesome new single, Asleep, out, I wanted to know more about it. Miles also discusses her upcoming album, The Lack Thereof. Out on 17th May via Warehouse West Entertainment/BMG Rights Management, she discusses the themes explored on the album, and which of the cuts stands out as her favourite from the pack. I ask which new artists coming through she would recommend, whether there are tour dates coming up, and whether Miles will come to the U.K. and play for fans over here. With such incredible music out in the world, there is a lot of love and demand around her right now. There is a growing fanbase in the U.K. I do hope that she is able to come over here...

VERY soon.

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Hi Maggie. How are you? How has your week been like so far?

Hi! Well. Thanks for asking. I’m pretty great. Currently posted up at Dose in East Nashville, cold emailing and tinkering away at some work.

Tell me about the new single, Asleep. What was the inspiration behind it, and what was your reaction hearing it back the first time?

Asleep came from a place of honest contempt for apathy. I had just released my debut project and knew that the next thing had to happen soon. My producer Liam and I produced the songs together in tandem while I wrote the lyrics. So, hearing it back the first time wasn’t much of a reality for me. It was more. We laid it out and created the soundscape all in real time.

The verse came from me hopping up to the mic not knowing what I was gonna say, but I started humming that intro with a hard tune on my voice and then decided to turn that hum into the word “I’m” then the following sentence “…needing attention, lacking every good intention”. Fell out pretty effortlessly. I remember turning to Liam, exchanging a glance of approval, and sort of running with it.

 It is from your upcoming album, The Lack Thereof. What kind of themes does the album explore, and what was it like recording it?

The Lack Thereof sort of tackles everything: from faith to doubt, apathy to inspiration, and pride to humility. It’s the duality, I think. But most of all, I want people to take what they want away from it, or the lack thereof. ;)

Do you have a favourite track from the album or one that means the most?

I’d say that’s a tough choice! I think Close holds a special place in my heart because it came as such a surprise to create. It was an accidental track. We went into the studio (which was just Liam’s living room decked out with synths, amps, instruments, and outboard gear) with the intention of creating what we thought would be the album ‘intro track’, later known as Stomach. But instead we came out with an entirely new cut. It’s short. It’s sharp. And it’s direct. I love it. Horrified to sing it live haha.

Take me back to the start. How early did music come into your life, and which artists and sounds resonated with you growing up?

Music was always around. But I was sort of too intimidated by it to pursue it. That, and I was pretty stage fright. But I loved the overwhelming emotion it instilled in me to be around it. I started writing because I kind of had to, and it greatly helped me and my mental-health in my formative years. I understood my songs most and they understood me back. That was super stable and affirming. I loved it. The music I listened to spanned throughout my growing up. But early years? One Republic’s Dreaming Out Loud, Coldplay’s Parachutes, Twenty One Pilots, Nirvana, Foo Fighters, The Fray.

Growing up as a pastor’s daughter, did that positively or negatively affect you as an aspiring artist? Were your parents accepting and open to your career path?

My parents have always been very supportive in my pursuit of music. I couldn’t be more grateful.

“There is such talent in this city, and I couldn’t be more grateful for that”

You are based out of Nashville. How important is the city and people when it comes to inspiring your music and creativity?

I think it’s a wonderful place to be sharpened. Lots of iron. But like anything, there’s lots of traps. I can’t become too concerned with comparison and never let it dictate my decisions or career. There is such talent in this city, and I couldn’t be more grateful for that. Let it inspire you rather then drown you.

With a new album coming soon, what does the rest of the year hold? Can we see you on your anywhere?

I’m working very hard to get on a tour for this summer. I’m determined to make it happen! But until then, yes! I am playing an album release show on release day - May 17th - here in Nashville! Headlining the beloved Exit/In. Can’t wait.

I know there are going to be people in the U.K. keen to see you one day. Have you played here before, or are there plans to do so in the future?

That question just hyped me up so much. The U.K. holds such a special place in my heart. I love my Brits! And I’d be elated to get over there! London has actually been my top-streamed city for about two years now. We gotta make it happen!

There are a lot of great young artists like yourself releasing such impactful and brilliant music. Are there any fellow artists you want to give a shout-out to?

There sure are. Here’s a few that I LOVE right now:

Manic.

Laney Esper

Abby Holliday

Moony

Little Image

Finally, and for being a good sport, you can choose any song you like (from another artist) and I will play it here.

Love it. Here’s IDK WHAT I WANT by Abby Holliday.

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Follow Maggie Miles

INTERVIEW: Eliza May

INTERVIEW:

 

Eliza May

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IN this interview…

I have been speaking with the simply incredible Eliza May. I have ben speaking with her about the stunning new E.P., Candy Heart. She discusses the inspiration and concept behind the E.P., some of the artists and sounds that have influenced her, and what the rest of this year holds. A wonderful and multi-talented emerging artist, everyone needs to follow and watch Eliza May. She tells me about some important gigs coming up, which other new artists we need to keep an eye out for, how important it is to know that people are connecting with Candy Heart, and whether there is going to be anymore music coming through 2023. Somebody I am tipping for big things and a long future, spend some time today listening to Candy Heart and the music of Eliza May. She is someone that we will be hearing music from for…

A long time to come.

__________

Hi Eliza May. How are you? How has your 2023 been like so far?

Hi Sam. I’m doing well, thank you! 2023 has been amazing so far. My new E.P., Candy Heart, has just come out, and currently people seem to be enjoying it, which is so nice to see! My band and I also independently held our own E.P. launch too, which was such a magical evening. I couldn’t have asked for a better start to the year! I hope your 2023 has been a good one so far too…

Take me back to the start. When did music come into your life? Which artists do you remember falling for at a young age?

To be honest, music has always been in my life. Ever since I was a child, my family always surrounded me with music, and when I was growing up I was always singing and trying to play every instrument I could get my hands on. I started singing when I was about three years old and fell in love with performing and singing instantly. I think the first artist that I loved musically was Avril Lavigne. I remember seeing her music video for Sk8r Boy on MTV and the more I heard her music, the more I loved her Rock-Pop sound and how fun her songs were to sing. I also loved a bit of S Club 7, but who didn’t at that age?

You have an original and personal sound, but are there any other artists that have influenced your music?

Thank you so much! For me, I’m quite heavily influenced by artists such as Paramore, The Wombats, Fickle Friends, and Olivia Dean. When I was a teenager, I loved Paramore and that love for their style of music has always stayed with me. I think that Hayley Williams’ music ability and vocals are unparallel with any other artist out there; she’s always been a big inspiration of mine. I’m also obsessed with Olivia Dean’s soulful Pop sound and the chord progressions she uses. I think that’s started seeping into the way I currently write music too, which is leading me towards a new sound.

“I’ve learnt that sometimes the best songs come from the most painful experiences though, and they’re just as important to share”

Your new E.P., Candy Heart, tells the story of a classic relationship cycle: starting off full of romance, originally tasting sugar sweet but over time, things turn sour as the relationship ends. How did you come to decide on that particular concept and arc for the E.P.?

At first, I didn’t really have a theme for this E.P., as all the songs were written separately over quite a few years. When I was listening back to them, I realised they all had a classic theme in common – love and heartbreak. I also loved the name and concept of my song Candy Heart, and liked the idea of comparing sweet treats to how we view modern-day relationships. Having a few sweet treats at first is great, but if you have too many, over time the taste starts to become sickly. As soon as I sat all the songs down together, I knew that the phrase “Candy Heart” would perfectly capture the whole concept for the E.P., and visually I knew we’d be able to have a lot of fun with it too.

You wrote these songs over the course of six years. Documenting various relationships, was it difficult revisiting some more painful moments for various songs?

Surprisingly not as painful as I thought it would be. But I think that’s mainly because I’m now in a very happy and healthy relationship, and have been for over four years. Whilst I was experiencing my previous relationships, I was writing each song pretty much in the moment, so the songwriting process for songs like Foolish, Edge of This and Empty Dreams for example were much harder to go through emotionally than songs like Green Light and Candy Heart. I’ve learnt that sometimes the best songs come from the most painful experiences though, and they’re just as important to share.

Do you have a personal standout track from the E.P. at all?

Even though I love all of the tracks on Candy Heart, for me Green Light is my personal favourite. It was the first song I ever wrote about my relationship with my current boyfriend - and it reminds me of the original feeling I had where everything seemed too good to be true. Part of me wasn’t sure if I was just seeing things with rose-tinted glasses or if everything genuinely was perfect. I was waiting for there to be a sign, signal or a green light to let me know it was as good as it seemed. I’m particularly in love with the middle eight section of this song when the harmony wall comes in; the lead guitar riff pans from ear to ear, and the keys dance effortlessly in and out of the rest of the instrumentation. Green Light always brings me joy, and it is a lot of fun to play live too!

Although you have just put out an E.P., what do you have your sights set on this year in terms of musical direction?

This year, I’d love to play some more gigs outside of my hometown, specifically in areas like Manchester, Liverpool, Brighton, and London. Last year, my band and I were lucky enough to play in Derbyshire at Y Not? Festival, in Hereford for Hereford Indie Food Festival, and we played a few gigs in London too. But I’d love to play in more new places and spread my music even further. I’m also hoping to record a couple more singles later this year, so keep an eye out for that!

“To see people smiling, dancing, and singing along at gigs makes all the hard work 100000% worth it”

The E.P. seems like it will be readymade for the stage. Quite cathartic for so many people. How important is it knowing that many of your audience will be able to identify with Candy Heart and feel empowered?

It’s so important to me, and it’s one of the main reasons why I started making music in the first place. My main goal is to make myself and other people happy through music, and I feel like this E.P. has done exactly that. My band and I have been playing some of the songs from Candy Heart for quite a while now, and we’ve seen first-hand the positive impact and relatability these songs have for people. To see people smiling, dancing, and singing along at gigs makes all the hard work 100000% worth it. It’s what I make music for, and if I can make at least one person smile, feel heard, or like they’re not alone, then I’m doing my job right.

 Where can we see you play this year? Do you have some upcoming gigs lined up?

So, we have a couple of really big gigs coming up that I’m extremely excited about. The first one my band and I are playing is at The Sunflower Lounge on 3rd March for the Isle of Wight Festival New Blood competition alongside four other amazing Birmingham-based bands. I’m also opening for the incredible Jennifer Owens at The Sunflower Lounge on Friday 10th March. We’re playing a few festivals later this year too, but we’re keeping those quiet at the moment as we can’t announce those just yet. Definitely keep an eye on my socials or my website to find out more though. We can’t wait to announce more gig and festivals soon.

There are so many great new artists out there. Apart from yourself, who else should we be checking out?

There are three artists in particular that you should definitely be checking out. First up is Izzii Grace. She’s a Queer Indie Pop artist from London who has the most catchy songs. Her vocals are lush, and her latest song, Hoodies, is absolutely incredible. Next is Naomi Dawes, who’s a singer, songwriter, and producer from Birmingham. She’s just dropped a brand-new E.P. called Siren, and it it’s an incredible listen from start to finish. If you like Florence + The Machine, then you’ll probably like Naomi. Then, finally, I highly recommend the amazing Amelia Wallace. Amelia is a very close friend of mine, and she actually sings harmonies and backing vocals in my band. But alongside that she writes her own music. Her vocals are mesmerizing, and everything she writes is always stuck in my head for days. If you like alternative, soulful Pop music, then Amelia’s music is definitely for you. All three artist’s music can be found on YouTube, Spotify, and other online platforms.

Finally, and for being a good sport, you can choose a song (from another artist) and I will put it here.

Thank you so much! I’d have to go for Hoodies by Izzii Grace! I constantly have it on repeat at the moment!

___________

Follow Eliza May

INTERVIEW: Collette Cooper

INTERVIEW:

PHOTO CREDIT: Blake Ezra

 

Collette Cooper

_________

FOR this interview…

PHOTO CREDIT: Rankin

I have been speaking with the amazing Collette Cooper. Cooper is multi-talented singer, writer, performer and critically acclaimed artist who has been championed by BBC Introducing, BBC Radio 2, BBC Radio 6 Music, Soho Radio, and Jazz FM. Her inspirations go back as far as Bessie Smith, Sister Rosetta Tharpe, Nina Simone, Kurt Weill, Billie Holiday and Mozart. Cooper discusses her stunning recent album, Darkside of Christmas, and her starring role in Tomorrow May Be My Last: The Janis Joplin Story. The hugely acclaimed show channels the true essence of the 1960s legend. It soon starts a residency at the Old Red Lion Theatre in Angel, London (between 14th February and 6th May). I would urge people to grab a ticket, as it is an experience you will not want to miss out on! The brilliant and mesmeric artist also reveals whether we will get new material this year. It has been a huge pleasure know more about…

THE fantastic Collette Cooper.

____________

Hi Collette. How are you? What has your 2023 been like so far?

Literally, on another-level busy (laughs). We started rehearsals for the show again (Tomorrow May Be My Last: The Janis Joplin Story), which opens on the 14th of February in the Old Red Lion Theatre in Angel. Then we plan to take it to the West End later in the year, so it is very much about the play this year. So, yeah, pretty full-on, but great at the same time.

You had quite a busy 2022. What were your personal highlights?

My favourite things to do are to walk on the heath with my lovely dog, Billy, and my partner, Mike. But highlights? I guess. I’ve got so many highlights. Personal highlights. We won our netball league finals (laughs). However, I’ve got a dodgy knee, so I sat on the bench a lot. I have to mention too Matthews Dukes’ Jukes Cordialities, who sponsored our netball team. I had quite a good year actually. I loved doing the Christmas album (Darkside of Christmas). That was great. Working with such amazing musicians. Ray Winstone being the star of the album, really. That was brilliant. I voiced a great children’s book called The Heavy Bag, which is a beautiful story by Sarah Surgey. It’s about children coming to terms with death, and how to teach them about that. It's a really beautiful book. I loved voicing that. Recording the book for Amazon, and the money going to the children of Ukraine.

Also, performing at the Roundhouse alongside Chrissie Hynde, Bob Geldof and other amazing musician to raise money for Ukraine. That was a real highlight, definitely, to be asked to do that. Such a huge audience. And, again, the play and winning that great award, which was brilliant. And the album and recording at Abbey Road. Working with Rankin, the photographer, who did the album cover. I was on the front cover of Darkus Magazine as well, which and I’d never been on the front cover of a magazine before, so that was really special. And they had their own little award ceremony, and the awarded me Best Musician of the Year. It’s really kind of them to give me an award, so that was really lovely. Performing our Christmas concert in the most beautiful chapel with thirteen incredible musicians.

I really loved your Darkside of Christmas album from December! Do you have a favourite song from the album at all? What was it like recording it?

A lot of blood, sweat tears….and snow went into that album! (Laughs). Do I have a favourite song from the album? (Pondering). I like them all for different reasons. I loved Silent Night, because I loved our version on there, and Rochard Harwood is an amazing, amazing cellist. He’s the principal cellist for the Royal Philharmonic Orchestra, and so it was a real honour to work with him on that because it was just me and him. And the most amazing gospel choir, Kings Voices. For all different reasons I love Santa Baby; it’s a fun song, really fun to perform. Quite poignant…and kind of done in an ironic way, I guess. Ain’t Necessarily So. I love how we mix that with Carol of the Bells (a popular Christmas carol which is based on the Ukrainian song called Shchedryk (Ukrainian: Щедрик). The song uses the original melody from Shchedryk, written by the Ukrainian composer Mykola Leontovych in 1914). I came up with that idea a couple of years ago. I wanted to record that, but I wanted to do it so differently, and I thought that this was a perfect way to do this as different as possible.

I loved performing It’s a Wonderful World with Liam Stevens, who’s an incredible pianist and great fun to work with. I loved that for so many reasons, because it was literally an old out of tune piano, you know? And we were in the studio and, anyway, and I just said “Oooh, shall we just ‘ave a go?”. And we literally, in one take, recorded it. And that’s how it sounds. With all its flaws. We just did it there and then. Very spontaneous. I love it for those reasons, and because me and Liam always crack up laughing.

“I never say that I am a ‘Jazz singer’ or a ’Blues singer’. I don’t put myself into any box. I don’t think I like to define my vocals by any genre“

Yeah, and I guess when you’ve heard the songs over and over a million times (chuckles) it’s nice to maybe leave it until this year, this Christmas, when you can have a fresh listen to it with fresh ears. I think definitely Ray Winston’s voice was the highlight for me. Him reciting the poem that I had written. And I just think…he made it really magical. So I guess, you know, the songs that he performed on like Silent Night and Darkside of Christmas. I think they’re the standout ones for me as well.

Before we look ahead, take me to the start. When did music come into your life? Which artists and albums inspired you when you were growing up?

Well, I’m a really huge fan of Bessie Smith. I my dad introduced me to her when I was really, really little. And she just blew me away. I loved her rawness. I loved her rawness and her ballsiness. And her truth. And her power. And…her distinctive vocals. And she just really had an affect on me. And I loved all the greats, you know: Billie Holiday, Nina Simone, Big Mama Thornton, Sister Rosetta Tharpe. I really love those guys. You know, the Bluesy guys. I think I’m really influenced by Blues and Jazz, so I’ve never classed myself. I never say that I am a ‘Jazz singer’ or a ’Blues singer’. I don’t put myself into any box. I don’t think I like to define my vocals by any genre. So I like to sing what I like to sing, but I’m definitely influenced by Blues ands Jazz, that’s for sure.

I loved Johnny Cash, David Bowie, Kate Bush when I was all little. I have a really eclectic taste. I’m a huge fan of Mozart. I LOVE Mozart. Yeah, I’d say I’m influenced by many, many great artists, and I admire all those guys.

Obviously, Janis Joplin is a huge inspiration. You have starred as her in the play, Tomorrow May Be My Last: The Janis Joplin Story. What is it about Joplin and her life that speaks to you?

It’s funny you say that about Janis Joplin, because I didn’t know much about her before I started the play. It was mentioned in a couple of reviews that I was like Janis Joplin-meets-Edith Piaf. And really weirdly, neither of those amazing artists were my influences. I knew a lot more about Edith Piaf, in the sense that my dad played a lot more Edith Piaf around the house. So maybe my subconscious…maybe she got into my DNA somehow somewhere. But Janis Joplin. I knew (Me and) Bobby McGee, Piece of My Heart. But I really didn’t know much about her. So I was always surprised when they said, you know, “You’re like Janis Joplin-meets-Edith Piaf”.

“And, so what attracted me to her life when I started doing the research is because she was just such an open, honest, lovely, beautiful soul. A real pioneer for women in music. And politically. You know, she was a pioneer”

Anyway, to cut a long story short, a West End producer came to see my show at the 100 Club back in 2018, and he said to me that you’d be great doing a one-woman show. Maybe of Edith Piaf. Or of Janis Joplin. And I thought, well I’m not going to do Edith Piaf with all that French I’ve got to learn. Forget that (laughs). So I thought, Janis Joplin, okay. I did research on her and I realised we had more in common than I ever realised. There were a lot of parallels between us and the fact that she absolutely adored Bessie Smith. Which was like a sign.

I read every book. I watched every documentary. I grew my hair. I wanted to be a bit more voluptuous like her. She had a beautiful, voluptuous figure. I was this skinny little thing. So, I was able to put on some weight and kind of mould myself into her whilst doing the play. Because the play. It is a play, first of all, driven by music. She tells a story backstage in her dressing room. It’s set in a Woodstock-style festival. And, so what attracted me to her life when I started doing the research is because she was just such an open, honest, lovely, beautiful soul. A real pioneer for women in music. And politically. You know, she was a pioneer  She came from a very backward kind of town, and she had to fight to get out of there. She was ahead of her time, and she was an old soul. She was deeply bullied growing up, and she, you know, felt very unloved. She was just a misfit, and felt very…like she didn’t fit in. I felt like that growing up at times. So I related, you know, quite a lot. I felt that we had a lot of similarities. So, I’m really enjoying playing her. But it’s like a marathon every night. I say this: Janis Joplin could not play Janis Joplin every night. It’s full-on (laughs), so I’m going to be knackered at the end of it. But it’s enjoyable and it’s going to worth it.

PHOTO CREDIT: Robin Pope

I understand the play is restarting, and it has been nominated for an Offie Award! What was your reaction when you heard the news? What has the reception been like from the audiences that have watched the play?

Yeah, it’s starting up again for three months. We start on February the 14th until May the 6th. And then we have a break; and then we aim to go into the West End, finding a suitable theatre. Yeah, we were thrilled. You know, when you work so hard on  something and you literally put blood, sweat and tears into it, which we did. And it’s gone through a lot of changes. I wrote the treatment in 2018. Started developing it, started doing all the research in 2019. Did the first read-through in March 2020 before we went into lockdown. And then we performed it for as small audience just as we were coming out of the first lockdown. When we could perform it with an audience of the third of its capacity with masks. So we used that to develop it. It went through a lot of changes, and developing it to a point where I wanted. I got the script to where I wanted it, and performed it. Premiered at the Old Red Lion Theatre in Angel, which is a legendary theatre! It’s an amazing theatre. It’s one of the oldest theatres in London. You know, it’s an incredible theatre. Perfect space for it to grow. The band have been with us from day one. Incredible musicians. I mean, they make me sound good, let’s put it that way (laughs).

“ It is a sad story, but there’s a lot of hope in there”

They are absolutely brilliant. So when we heard the news we’d been nominated for five Off West End Awards (Offies), and we won the Standing Ovation Award, it was just brilliant. It’s just nice to be recognised for your hard work. But you know, more than ever what was so important was the audience reaction. And how it moved them. And it was really nice that we touched so many people on so many levels and they really enjoyed it. It’s a really uplifting play. It’s a sad story, you know. It is a sad story, but there’s a lot of hope in there. There’s a lot of messages in there. So, yes, we’re very, very, very, very pleased about that.

I know climate change is a cause dear to your heart. You performed for the late Vivienne Westwood’s Cool Earth charity. A few high-profile musicians and actors are becoming involved in this fight and talking about climate change. How important do you think this is with regards engaging people and affecting action?

It couldn’t be more important, relevant than today. We’ve just got to try and do our bit. It’s beyond recycling. It’s our carbon footprint. Trying our best to become a vegan. I’m a vegan. I have been because I’m a huge animal lover. Another thing that is close to my heart is animal rights. And we’ve got to try and do our best. Do anything we can do to help save the planet. Less clothes. Less washing. Less buying. Don’t need to collect a lot of things. We need to downsize. We need to get rid of stuff. Recycle, recycle, recycle. It’s really important. Just little things you can be aware of. Just turning off the lights even (laughs). Using less water. Just trying to use less.

This year is shaping up to be a remarkable and fascinating one for emerging artists. Are there are any particular artists you would recommend we check out?

Luca Manning. They are amazing.

Might we get a Collette Cooper E.P. or album this year? Is there any new music in the works?

Yes, there’s definitely going to be new music this year once I finish my play in May. I’m actually releasing the title song of the play, Tomorrow May Be My Last, in March, which we recorded last year but didn’t officially release it. 2nd March that will come out.

Finally, you can pick any song you like to finish. It can be an old favourite or a new song. What should we play?

Me and Bobby McGee by Janis Joplin.

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Follow Collette Cooper

INTERVIEW: Marina Laurendi

INTERVIEW:

  

Marina Laurendi

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FOR this interview…

I have been finding out more about the sensational and hugely talented Marina Laurendi. She brilliantly mixes elements of Indie Rock, vintage Pop, and singer-songwriter Folk that fits around lyrics that are both honestly personal yet accessible. With a dreamy soundscape blended with something edgier, her music is an intoxicating and compelling blend! A Western New York native, Laurendi relocated to N.Y.C. after college, where she initially worked as an actress Off-Broadway and the East Coast. Her music is heavily inspired by the rush and stories of the city, but I think her heart and soul pulls towards home. Laurendi finds inspiration from the music of the 1960s and artists such as Lana Del Rey, Hozier, and Phoebe Bridgers. I have been speaking to her about the video for her sensational track, Stay Mine, and the E.P. of the same name. Laurendi discusses her musical influences, how New York and Buffalo impact her music, what she has planned for 2023, and whether she might come to the U.K. and play soon. It has been a pleasure spending time with…

A truly superb artist.

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

Hello! I’m doing well. This week has been busy. We’re going into the studio this weekend to record some new tracks - so it’s been a lot of rehearsing and planning on top of rehearsals for live shows.

Talk to me about your track, Stay Mine. There is a mix of desire and yearning together with something dreamy and vintage. What inspired you to write the track? Was it inspired by a real-life relationship, or was it more based around a more fictional wanderlust?

Well firstly, I really appreciate you picking up on all those things, because I think that was something I really wanted to get across in the production of the song. I have always had this sense of wanderlust and a curiosity for the world and different experiences. I’ve always been interested in traveling and it’s something I’m starting to do more but I’ve only scratched the surface so I find myself daydreaming about the places I want to go and the possibilities of what’s out there.

“It’s all about what could be”.

At the time I wrote the song, I was having these really interesting, deep intellectual conversations with someone who was really stimulating that part of my brain that just wanted to go live life and be free.  We never dated, but I think those talks sparked the realization in me of wanting a big life that’s full of new traditions. I want to find my way with someone who shares the same values and spirit as me. A lot of the times when I’m writing I’m using my life experience as a springboard for my imagination to go crazy and tell a story. I like things that are rooted in truth and reality but have a sense of freedom and fantasy. It’s all about what could be.

I love the video for the song! What was it like working alongside director Luke Haag on the shoot? How involved were you in the storyline of the video?

Thank you so much. Working with Luke was so great. I had looked really carefully and for a really long time for the right person to shoot this, and I had seen a video Luke shot for Fernway, another Buffalo band, and I immediately thought the way it was shot was so aesthetically beautiful and perfect for this project. I always wanted the story to focus on this couple and this '“can’t live without each other” kind of love, and we both really liked the idea of performing the song in certain moments, so we landed on this concept of snapshots of a relationship, intercut with performance moments.

We talked about having that element of nostalgia and restlessness, so choosing locations like the perfect dive bar, an old motel exterior, and tiny campfires gave it an intimate feel like these two people are living in their own world. Luke used this special lens to warm and soften the shots to give everything that subtle old-fashioned feel. It was one of the best collaborative experiences I’ve had, between Luke and the rest of our little team. We all just clicked and had so much fun which is why I think it turned out how it did.

Your music has been linked to artists like Lana Del Rey and Phoebe Bridgers. Are these artists that you would say are influences? What kind of sounds and music did you grow up listening to?

I’m a big fan of both Phoebe and Lana. What I’ve always loved about Lana’s music is that it’s dark, feminine, and unfiltered. She’s got this sad, romantic sort of “stand by your man” theme across her music, and a lot of music today is more “independent woman”, you know, you don’t need a man. Which you don’t. But it’s innately feminine to be in your feelings and to be emotional, and I love leaning into that softness and vulnerability in music. And really taking a lens to masculinity and romanticizing the good parts that feed your feminine power - I love that, and I lean into that when I write.

I grew up listening to all kinds of music: The Beatles, Queen, Britney Spears, Taylor Swift, show tunes; so I had a lot of wildly different genres to impact my musical taste.

“I’ve spent the greater parts of my life in Buffalo and then New York, so they couldn’t help but find their way into my music in some form”.

I feel New York and specifically Buffalo are a big part of your direction. How important is the dichotomy of New York rush and the quieter Buffalo pace to your songwriting?

I think every place I go has an impact on my music. I just think of every place I’ve visited, and in the quiet moments there I would feel inspired not by my surroundings exactly. But I think it was the peace and calm of being somewhere new, where there were no expectations other than to show up, do my thing and not worry about the future or external stuff. I’ve spent the greater parts of my life in Buffalo and then New York, so they couldn’t help but find their way into my music in some form.

I really love the Stay Mine E.P. and have a new favourite song and moment each time I listen. Is there a particular track that stands out or you rank as your personal favourite?

I want to say Stay Mine, but I really have a soft spot for Upper East Side. It’s probably the most personal song I’ve ever written. I’m most proud of that song, because it felt like the end of a chapter for me and really letting go of something.

As amazing as you are as a solo artist, are there any artists that are on your dream collaboration list that you’d love to work with?

Hozier, The 1975, Phoebe Bridgers, Jack Antonoff, Lana, Lady Gaga - the list is endless.

The reaction to the Stay Mine E.P. has been very positive, and you have had a busy 2022. What do you hope to achieve in 2023?

I really want to travel more and fuel my life and music with energy and purpose. I want it to be the most intentional year, so I want to get clear about my intentions and get specific.

You are playing New Year’s Eve at Nietzsche’s in Buffalo. How does it feel to be playing to live audiences after the pandemic and lockdowns? What is it like seeing that immediate reaction to your songs?

It’s so cool. Someone told me recently that they didn’t know how songwriters got up there and performed their material, because if people hated it they’d be mortified. And I guess I just don’t think of it, because I’m having too much fun to care when I’m playing live. Watching someone have fun and be wild onstage makes you have a good time. I get to go up there and dance and throw my body around and jump and release all this pent up energy, and I love it.

I know there are people who would love to see you and venues that would house you in the U.K. Have you any future plans to come and play over here?

I would love to come play in the U.K. I don’t have an international tour planned yet, but one day.

This year has been an extraordinary one for music. I think that women have been dominating and leading the way. What has been your standout album of 2022?

I’ve been loving Taylor Swift’s Midnights honestly.

Finally, you can pick any song you like to finish. It can be an old favourite or a new song. What should we play?

Play So Much Wine by Phoebe Bridgers! It’s what I am listening to at this very moment, so no time like the present…

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Follow Marina Laurendi

INTERVIEW: PRIESTESS

INTERVIEW:

 PRIESTESS

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FOR this interview…

I have been speaking with the London Alt-Pop artist, PRIESTESS. An extraordinary, hugely impressive, relevant artist, she released the new single, Landscapes, on 28th October. Landscapes won the 2021 Greenpeace/DJ's for Climate Action (DJ'S4CA) competition judged by the likes of Matt Black from Ninja Tune, BLOND:ISH, and Cosmo Baker. Also, and rather wonderfully, it was pressed onto the first eco-friendly vinyl. I talk to Kate (PRIESTESS) about Landscapes, the importance of pressing music to eco-friendly vinyl, working with producers James Mottershead and Oli Kilpatrick. PRIESTESS also discusses the artists that influenced her, as well as what we can expect from a forthcoming E.P., and what 2023 holds. It has been a real pleasure getting to know…

SUCH a phenomenal artist.

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Hello Kate (PRIESTESS). Landscapes is your new single. Can you reveal a bit about the inspiration and the story behind it…

This track is about connection. If we are so disconnected on a day-to-day basis from climate change and the destruction of our planet then we are also disconnecting from our own human experience. I thought about these incredible sounds that we used to make the track (The Climate Sample Pack by Greenpeace) and how they are the sonic imprint of Nature aligning us to a deeper part of ourselves.

This is a love song that imagines a future that is so wide and cinematic and technicoloured that you can get totally lost within it. Wandering, stumbling through a widescreen landscape of emotions, raw and natural, bright, and dark; always on the edge of trauma or pain which is also reflected in the way that we love but also destroy our planet. Ultimately finding your way home within that love to a place of greater connection and hope 

The track has been pressed onto eco-friendly vinyl. How important was it to you that Landscapes earned this rare distinction? Do you think this signals a larger move towards eco-friendly vinyl? 

Yes, I hope so! Landscapes was made from the Greenpeace sample pack and won the competition by DJ’S4CA (DJ’s for Climate Action) with judges such as Matt Black from Ninja Tune, Blondies, and Cosmo Baker. It was pressed onto the first eco-friendly vinyl alongside artists such as Acid Paulie and we were so excited to be part of this movement! It is one of the first of its kind. Vinyl - however wonderful and special - also impact the environment through the plastic and the process, and I think that as these new ways of doing things emerge then I have hope that it can become the new normal. It may take time, but hopefully it’s moving in the right direction. 

 

The video, created in Volta - a new software that creates 3-D immersive visuals and mixed reality experiences –, is especially impressive! What was the reason for harnessing this technology and innovation for Landscape’s video? 

Thank you! I wanted to explore the worlds of online and digital for this track rather than making a traditional music video. And as it’s called ‘Landscapes’, I felt it was fitting to create digital worlds that could express that in visuals.

Volta has been really supportive of me as an artist. I’ve used their software before and I always wanted to expand the experiments into a music video. This felt like the perfect track to do that. 

For PRIESTESS, you teamed with producers James Mottershead and Oli Kilpatrick. How did the collaboration start its life? 

I had formed the idea and vision for PRIESTESS and I looked long and hard for the right producers to help me realise it and work/write together. I first met James when he was intro’d by a friend saying we had some similar tastes, he has been with me since the very beginning and has been a total partner in the process - he’s so talented. I was then putting feelers out for a very beats-based producer and the universe gave me Oli! He is multi-faceted and amazing but creates killer beats and he’s been a totally integral part of the project since we started working together. We also play live together, and it has been a huge feat of his to take what we have all created in studios and made it into something you can take on the road. They are both brilliant and I’m so grateful I get to work with such lovely men. 

“The sound has evolved due to all of us creatively expanding and feeling more at ease”.

I love Landscapes and your incredible sound. How do you think your sound and creative vision has evolved and changed since the early inception of PRIESTESS? 

I think it’s just been following a feeling. Landscapes was beautiful - I wrote the melody over Oli’s beats/samples he sent me, then I wrote the lyrics, and we created it from there. The tracks get passed around the three of us until we are happy with them.

The sound has evolved due to all of us creatively expanding and feeling more at ease. The vision has always been strong, and I allow the creativity to lead. 

You recently performed at Ridley Road Social Club, Dalston. How was that gig, and how important is it to be on stage and delivering music directly to a live audience? 

So important! It’s taken a while to get the whole thing up and running technically, but we are there now and I’m so excited to play more. Performing live is a huge part of it and a massive love of mine. The gig at Ridley was amazing! We had such a good night, and the feedback was awesome. Watch this space…. 

In terms of sonic influences, which artists would you say are most important and impactful? 

For me, I’ve always given a list of artists to the boys and named inspirations to hold the vision and vibe. My top influences for Priestess are Moderat, Massive Attack, Fever Ray, FKA twigs, Little Dragon, Nine Inch Nails, and Portishead. I grew up with Folk music and Grunge (and a lot of Metal actually - one of my favourite bands is Metallica) so you can always hear a little bit of those flavours in there I think. 

I believe there is an E.P. due before the end of the year. Can you tell us more in regard to a title, songs and particular themes explored? 

The E.P. is called Landscapes - so Landscapes is the title track for this body of work. There are three songs - the first one, which was released in September, was Holy Flesh, and the next track to be dropped is called Hooks. They all were written in really different states of mind and from different places about different experiences, and so I felt that the idea of emotional, changeable landscapes encompassed the music as a whole. 

“…so I’m really excited to share the next body of work and stage of the journey next year”. 

Yourself included, there are some fantastic and hugely innovative acts coming through right now. In terms of artists we need to watch out for, who would you recommend?

Halina Rice, Ana De Llor, and Kathleen Frances.

Looking to 2023, what might we expect from PRIESTESS? What do you hope to achieve?

I am really excited to keep playing and putting out music. Another E.P. - maybe an album. Winter is the time for me to incubate these ideas before they solidify, so I’m really excited to share the next body of work and stage of the journey next year.

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Follow PRIESTESS

INTERVIEW: Tom Doyle

INTERVIEW:

PHOTO CREDIT: Tom Sheehan

Tom Doyle

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SOMEONE whose work and journalism…

I respect hugely, it has been great to hear from music journalist and author Tom Doyle about his upcoming book, Running Up That Hill: 50 Visions of Kate Bush. It is out on 27th October, and I would recommend people pre-order it. The Kate Bush News website gave it a glowing review. There have been a few Kate Bush biographies written – including Graeme Thomson’s excellent Under the Ivy: The Life & Music of Kate Bush -, though Doyle’s take is not a standard linear narrative. Rather than cash-in on the recent resurgence and resurrection of Kate Bush’s genius via Running Up That Hill (A Deal with God) appearing on Netflix’s Stranger Things, this is an affectionate biography that is mosaic and highlights Kate Bush’s incredible sense of humour. Funny, honest, and compelling, I have been lucky enough to read the book. As an ardent superfan, it was a delight to read the passion, affection, respect and brilliance throughout. I also came away learning new things about Bush. I asked Doyle about his 2005 meeting with Bush, when he first discovered her amazing music, whether he has anything else Bush-related in the future, in addition to why, in his opinion, Bush remains so loved and respected. Go and pre-order the stunning and must-read Running Up That Hill: 50 Visions of Kate Bush! An amazingly written book that is as useful and essential for the die-hard Kate Bush fans and new converts, it was a real pleasure to speak with…

 IN THIS PHOTO: Kate Bush in 2005/PHOTO CREDIT: Trevor Leighton

THE wonderful Tom Doyle.

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Hi Tom. Your book, Running Up That Hill: 50 Visions of Kate Bush, is out on 27th October. Compared to the biography by Graeme Thomson, Under the Ivy: The Life & Music of Kate Bush, this takes a more mosaic and  multifaceted approach. What was the reason behind this approach, rather than a more traditional and straight telling of Kate Bush’s life and career?

Basically, the mosaic approach was suggested to me by my agent and suddenly I thought, that sounds great. It was inspiring to me, really. I started imagining different chapters and scenes straight away, and that’s always a good sign. I always know I might be onto something with a book idea when I think to myself, I’d read that.

I know people have been pushing you to write a book about Kate Bush since around 2005. Why was now the right time to write Running Up That Hill: 50 Visions of Kate Bush?

Well, the interview with Kate in MOJO, in 2005 for Aerial, had gone down really well, with the readers and the record label and Kate herself, so I thought I should maybe just leave it there. But then, it was a four-hour interview and Kate had really committed to it, and so when the 2018 remasters were released, I wrote a second MOJO cover story from the transcripts. The first feature had basically been about her return with Aerial after 12 years, and her battle for creative control down the years. The second one had been more about her recording journey and went through us talking about her albums. But then I realised there was still tons of great stuff left over that no one had seen that could really help light up the corners of different parts of Kate’s story. Also, features in magazines tend to get forgotten as the years pass, so I decided it was a good time to put all of this into something more lasting, which became the book.

“For new converts, I hope this is the place where they can really dig into Kate’s story and understand her more”.

A lot of big Kate Bush fans will read the biography with interest. There might be some new converts who are thinking about buying Running Up That Hill: 50 Visions of Kate Bush. Is it a book that is accessible and welcoming to new fans as it is the faithful?

I really hope it is because that was definitely the plan. Long-devoted fans will of course know quite a few of these stories, but hopefully they’re told with renewed energy and added insight, particularly with Kate herself putting her point of view across throughout. For new converts, I hope this is the place where they can really dig into Kate’s story and understand her more. With the whole episodic nature of the book, I wanted to keep it pacey, and so hopefully it’s funny in places, like when she appears on Swap Shop or the whole “Kate is a Tory” affair. And then hopefully it’s moving in places (like the chapters on Kate and David Bowie, or Moments of Pleasure or A Coral Room).

You open the book with your interview with Kate Bush in 2005, as she was promoting her ‘return’, Aerial. What was it like to speak with her? What were your fondest memories from the interview?

It was a great and obviously very memorable day. At the start of the book, I write about how a car picked me up at my house and I didn’t know exactly where I was going, except that I was being driven to Kate Bush’s house. So, I wanted to put the reader in that car with me, because obviously it felt like some kind of brilliant and mysterious thing to be doing. Kate and I were both clearly nervy, but that didn’t last for long. There’re loads of great memories of that day – obviously meeting Kate, but also being invited by her to see her studio and having a little guided tour round the grounds of her house. But probably my favourite bits where when I said we should have a break, and a smoke (me, she’d given up), and we just sat around nattering away.

In the interview, you asked Bush whether she can understand why people build up myths around her (which she couldn’t). Do you think there are still misconceptions about her?

Yeah, well, the obvious one is her “recluse” tag. I point out in the book that rather than having escaped from the real world, Kate has actually retreated to the real world, which obviously is far-removed from the weirdness of modern celebrity. I also think the myth-building is kind of inevitable with someone like Kate, who never wanted to be famous, but whose music involves these huge flights of imagination. So, in the absence of her being out there in the public eye, explaining every aspect of her work, people’s imaginations fill that hole with whoever they think “Kate Bush” is.

“I found Kate to be really, really funny and the first to puncture the reverential bubble surrounding her”.

One thing that is clear from the music is that Kate Bush is this mix of grounded and relatable, but also almost superhuman and a genius. It is her sense of humour and kindness that comes through throughout the biography. Was this an important aspect to highlight? Do you think these are underrated aspects of her personality?

Her humour is underrated, for sure. I devote a chapter to her love of comedy and her friendships with comedians. I found Kate to be really, really funny and the first to puncture the reverential bubble surrounding her. We really did have a great laugh during the interviews I did with her in 2005/2006. I mean, I’d completely missed the fact that the backing vocals going “Ow, ow, ow” in Hounds of Love were supposed to be dogs. She said, “Oh yeah, it’s the Hounds of Love, innit!”

As a Kate Bush diehard and superfan, I have learned a lot about Bush and her life reading Running Up That Hill: 50 Visions of Kate Bush. Did you learn a lot of new things about her when researching for the biography?

Well, that’s great to hear, and I did, for sure. I suppose the main thing was why she retreated from the media. I keep returning in the book to the stories of her promo activities down the years – and it all starts off well when she’s young and on Swap Shop etc., but then particularly during The Dreaming era, she’s faced with all these idiots like Mike Read or Dave Lee Travis treating her like she’s some nutter and it’s easy to see why she would think, nah. I didn’t realise until I was about halfway through the book that in these sections I was actually writing a “show don’t tell” explanation of why someone who never wanted to be famous might decide they’d had enough of being in the promo spotlight. Kate says she felt after The Red Shoes that she was back in the same position of being treated like a weirdo, and she was clearly tired anyway, for various reasons. And so everything changed in her approach to interviews after that, becoming more selective, and I think when you read the book you can get a better understanding of why that happened.

You have interviewed Kate Bush and your biography is out soon. Do you have any plans for anything else Kate Bush-related in the future in the form of books or articles?

I’ll be doing some events around the book. I’m appearing at The New Cue’s Music Books of 2022 do at The Social in London on December 1 with a load of other authors, and there’ll be other things announced soon, so follow me on Twitter for updates.

“I remember very clearly seeing her on Top of the Pops with Wuthering Heights when I was 10. It was just so different and made an immediate impact on millions of people, I think”.

Take me back to the start. My first experience of Bush’s music was watching the video for Wuthering Heights when I was four or five. What was your first taste of her music and what why did it hit you so hard?

I remember very clearly seeing her on Top of The Pops with Wuthering Heights when I was 10. It was just so different and made an immediate impact on millions of people, I think. The first couple of albums I didn’t own, but I borrowed Never for Ever from a record library and taped it! But I think the first Kate records I bought were the Sat In Your Lap single and then The Dreaming when it came out. Then Hounds of Love was released when I was 18, and it was definitely an album for the “heads” as well as the pop audience. One of my mates at the time was, let’s just say, a small-time herbal supplier, and that album was played constantly round his place.

It might be an impossible question, but do you have a favourite Kate Bush album and song?

I’m still going for Sat In Your Lap. I didn’t realise the connection between it and Eno/Byrne’s My Life in the Bush of Ghosts until much later, but I loved that album at the same time. So The Dreaming is still the record I reach for (the 2018 remaster sounds superb on vinyl). But I could pick out so many other songs: And Dream of Sheep in particular is so beautiful and creepy. And I really love her unreleased early demo, Something Like a Song, which I write about in the book.

You end Running Up That Hill: 50 Visions of Kate Bush by writing “So concluded Catherine Bush, unequalled purveyor of lovingly made artisan albums since 1978. Still very much in business”. What has been your reaction to the success and new audiences she has found this year?

Well, as Kate said, the whole world’s “gone mad”. I actually started writing the book at the end of last year, and one of my mates texted me in the summer to tell me Running Up That Hill was being used in Stranger Things, and I didn’t think that much of it at the time. After all, Cloudbusting was used in Palm Springs in 2020, and so on. But then obviously, I was amazed by how the song and interest in Kate blew up so quickly. It’s easy to see why the song resonates now. It’s driving and empowering and modern-sounding, because it focuses on the beats and vocals and these strange sounds. For a whole new audience, it was the portal into Kate’s world, and there’s obviously plenty to explore there.

“We’ll find out, but I’d be very surprised if she doesn’t release at least one more album”.

Do you think we will hear new music from Kate Bush? Is there more to come from her?

It’s a fool’s game trying to predict Kate’s next moves, I reckon. But we’re getting on for nearly the same 12-year-gap that there was between The Red Shoes and Aerial, since 50 Words for Snow. Obviously, there’s been the huge production and staging of Before The Dawn since then, but I reckon there’s a good chance we’ll hear something new in 2023. Impossible to predict what that might be, really. Will the massive popularity of the beats-driven Running Up That Hill inspire her to make music that’s more groove-based? Will she push further into the long-form, conceptual suites? We’ll find out, but I’d be very surprised if she doesn’t release at least one more album.

Is it possible to explain why Kate Bush remains so loved and unique decades after her career began?

Well, her work is a whole universe to explore, isn’t it? Much like David Bowie’s, really. Plus, people are appreciating more and more just how singular a talent she is, and an uncompromising one too, which is always inspiring. I think basically the songs/albums/videos/shows are so strong, and lasting, on loads of levels that Kate’s position as one of the all-time musical greats is totally assured for generations to come.

Finally, I will include anything Kate Bush-related here. It can be a song, interview, or video. What shall we end with?

Let’s go for the bootleg home recorded demo of Something Like a Song. That haunting “ooo-oo-ooo” hook line is so amazing. I’d really like to hear her sample it in a new track, and duet with herself across the years. Now there’s an idea…

INTERVIEW: Kate Bush and Me: James Brown

INTERVIEW:

IN THIS PHOTO: Kate Bush in 1985

Kate Bush and Me: James Brown

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FOR the next part of this series…

 PHOTO CREDIT: James Brown

where I interview big Kate Bush fans about their experiences with her music, James Brown provides his thoughts and recollections. Brown works as part of the wonderful team behind Craig Charles’ show, weekday afternoons (between 1-4) on BBC Radio 6 Music. It has been interesting learning about what Bush means to Brown personally, what he thinks of her recent success and visibility thanks to Running Up That Hill (A Deal with God) appearing on Stranger Things, and where he thinks she may head next. Here is a fascinating interview with the excellent James Brown. It is clear that he holds a lot of affection, thanks and respect for an artist…

 IN THIS PHOTO: Kate Bush in 1979/PHOTO CREDIT: Getty Images

WHO means so much to him.

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Hi James. Can you tell me about the first time you heard Kate Bush’s music? I heard Wuthering Heights when I was three or four. What was your entry into her music and world?

Like you, Wuthering Heights is the first Kate track I remember being exposed to. I was sat in the back of my mum’s Citroën AX en route to a holiday in Anglesey. We were driving through the dramatic North Welsh mountains, and I remember marvelling at how well the music seemed to gel with the surroundings.

What do you think it was about Kate Bush that made you hooked and invested?

The flexibility and shear aching beauty of her voice got me hooked. It wasn’t until I became a teen and actually started understanding her lyrics that I discovered a whole new dimension to her songs, affecting this love-struck adolescent. I also love the themes she chooses - motherhood and addiction in Breathing and The Kick Inside; war in Experiment IV. The Hounds of Love album covers all her worst fears, such as being trapped under water. This is someone who puts her entire self into the music, unabridged. Very few artists are able to achieve this while making something that sells. For someone of such stature in British music, she comes across as incredibly kind and humble.

“Her impact is positive for the same reason we’re talking about her now. Her music has filled the world and made it richer”.

Is it possible to say what Kate Bush means to you personally and how she has affected your life in a positive way?

She’s definitely an artist I associate with the trying times in my life, particularly when wrestling with sexuality and unrequited love. But I’m a firm believer in the importance of sad music in our lives. While those periods were not fun, they were full of meaning and emotion. It’s so essential to feel things, and as we get older, our relationship with our senses changes. Her impact is positive for the same reason we’re talking about her now. Her music has filled the world and made it richer.

It might be an impossible question, but do you have a favourite Kate Bush song and album – or ones that mean the most to you?

Ok, this ain’t easy. I’m not of the generation that particularly appreciates whole albums…

This doesn’t count, but if I could pick a compilation it would have to be The Whole Story. It has everything. Hounds of Love, The Man with the Child in His Eyes, Breathing, Wow, it goes on. It’s an incredible showcase of her innovative approach to production. I love her use of the Fairlight CMI digital synthesizer sampler in Babooshka. Music production isn’t always about having the best and most expensive gear; it’s about how you work with what you’ve got. The smashing glasses at the end of the song I believe were factory pre-sets.

If I had to pick one album it would be The Kick Inside. There are some real belters on there - The Saxophone Song especially. And following our favourite Wuthering Heights is James and the Cold Gun. A total bop. And as I kid, it felt like she was singing to me, even if it was about a gangster who got shot by his own crew.

Favourite song, damn. It depends entirely on what mood I’m in. She can make me dance or cry. For happy, I choose Hounds of Love. For sad, The Man with the Child in His Eyes.

Kate Bush is being discovered by a new generation because of Stranger Things. How important do you think T.V. shows, films and social media is getting her music to the younger audiences?

I mean, why not? We’re living in the best time to be alive as far as music is concerned. We can consume almost the entire catalogue of every recording ever made. I always used to attract condescendence from a particular generation - usually saying things like “Bit before your time, isn’t this?; What would you know, you weren’t there?”. I detest that. The fact that younger generations can discover old music with the same wonderment felt by the people who were there is mind-blowingly brilliant. And if it earns our Kate a few extra bob, all the better. Nostalgia isn’t always a good thing; it’s nice to look forwards - but isn’t that testament to the timelessness of her sound? It’s crucial that the greats of the past are exposed to new generations. With any luck, it will inspire them to pick up an instrument and create some new art of their own. She might have faded into history had it not been for Stranger Things. The sad truth is there’s a lot of incredible art out there that doesn’t always go viral.

“I wonder if she would ever consider writing a musical for the West End”.

On 30th July, Kate Bush turns sixty-four. If you had a chance to buy her a birthday present, what would you get her?

Something in the form of a bribe to do another tour. Perhaps the plushest tour bus you’ve ever seen. And trapeze lessons for the moment she lifts off stage at the start of Wow’s chorus.

One of my dreams is to interview her. If you were sat opposite her and were interviewing her, what is the first question you would ask?

Where have you been? And what are you going to buy with your new Stranger Things dough?

It is impossible to predict, but what do you think will come next for Kate Bush? Do you think we might hear new music soon?

A new album would be amazing. Although I suspect she respects the rule of showbiz: leave them wanting more. It would have to be something different. I wonder if she would ever consider writing a musical for the West End.

Finally, you can select anything Kate Bush-related. It can be a song, interview, or live performance. What shall we end the interview with?

The Alan Partridge medley for Comic Relief 1999. Pure art.

INTERVIEW: Kate Bush and Me: Paul Mosley

INTERVIEW:

IN THIS PHOTO: Kate Bush in 1985

Kate Bush and Me: Paul Mosley

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I am hoping to…

 PHOTO CREDIT: Paul Mosley

get together a series of interview with people who are fans of Kate Bush. One reason is the fact she reached number one in the U.K. thanks to Running Up That Hill (A Deal with God) featuring on Stranger Things. It has played an important part and, as she told Woman’s Hour earlier this week, it was a big honour for her. Now, award-winning singer-songwriter Paul Mosley discusses Kate Bush and tells me when he discovered her music and what she means to him. Mosley composes for puppet theatre and writes concept albums with his chamber/junk ensemble, the Red Meat Orchestra. It has been insightful and a pleasure to hear from a talented songwriter like Mosley. He shows his passion and love for Kate Bush here. You can check out Paul Mosely’s official website here; his Instagram, Twitter, Facebook and YouTube. We all hope that Kate Bush will release new music. I guess we will hear news and get that long-awaited music…

 IN THIS PHOTO: Kate Bush in 1993/PHOTO CREDIT: John Stoddart/Getty Images

WHEN she is ready.

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Hi Paul. Can you tell me about the first time you heard Kate Bush’s music? Was it a particular song or album that captured you?

It was the cover art for Never for Ever that got me. I was eight, and it looked like Where the Wild Things Are - and turned out it sort of sounded like it too. I remember particularly loving Army Dreamers at the time; the spookiness of it.

What was it about Kate Bush that struck you? How did she differ to every other artist and album you were listening to at the time?

I was proper young, so I was listening to The Jungle Book soundtrack and my family’s records. I assume my sister Karen (ten years older than me) bought it when it came out (1980), but it was alongside The Beatles, Tony Christie, The South Pacific soundtrack. I listened to all of them pretty indiscriminately, but Never for Ever was like an adventure story, and I listened on (massive ‘70s) headphones to really get lost in it properly. It was quite a bit later before I formed any idea of Kate as a person – which I suppose is quite unusual as she is so striking and particular and amazing. But it was all about the world conjured up by that record for me for years.

Of course, there has been a lot of new celebration of Running Up That Hill (A Deal with God) after it went to number one in the U.K. following its place on the Netflix series, Stranger Things. How did you feel when you heard the news? How important is it that an artist like Kate Bush (who is sixty-three) gets to number one in 2022?

I was genuinely quite moved. She was always such a massive part of my musical landscape. For years, I was used to her being cited as an influence by anybody else I liked who came along. So, to suddenly realise that young musicians now didn’t know of her was simultaneously a shock and brilliant, because now of course they all do.

“The Ninth Wave (the conceptual song cycle that makes up the B-side of ‘Hounds of Love’) was the THING for me. I’ve been writing concept albums ever since”.

Do you think you have incorporated bits of Kate Bush into your own music? Has she directly influenced how you write and create as an artist?

Absolutely. Loads. That expectation that we writers incorporate ‘strange’ sounds into ‘proper songs’. That specific form of storytelling that has a very theatrical sensibility without being musical theatre. The non-Rock instrumentation mixed in with a band line-up. The magpie’s eye for musical styles and arrangements - all a big part of what I want my own music to be.

Is it possible to select the Kate Bush album and songs that mean the most to you?

Although Never for Ever was my entry point, The Ninth Wave (the conceptual song cycle that makes up the B-side of Hounds of Love) was the THING for me. I’ve been writing concept albums ever since. I have to ration how often I listen to it now, because I always want it to be special and to really hear it. There are so many bits that are perfect to my mind: the choir on Hello Earth; “Look who’s here to see you”; “Dum dum deeya dum dooo”… All of it!  

Also, Love and Anger from The Sensual World is probably my number one specific Kate song.

I think that, in spite of her recent acclaim, Bush remains underrated. Many of her songs and albums are not overly well-known. Do you think that would change? What would you say to someone who wanted to explore Bush’s work more but was not sure where to start?

I think we will get more covers now, and hopefully that will shine a light on some other songs. This Woman’s Work is well-loved and already has that excellent Maxwell version, and there’s a beautiful instrumental by Brandee Younger & Dezron Douglas. Maybe that could become a standard; the way Leonard Cohen’s Hallelujah did? Get Adele to do it!

In terms of starting point, I think I’d go with Hounds of Love, because you get the Hit! Hit! Hit! Hit! of Running Up That Hill, the title track, The Big Sky and Cloudbusting. Then you get the full-on mind-blowing masterpiece of The Ninth Wave. As a compilation, The Whole Story is excellent and definitely works for winning over a group of people on a car journey or something. But I like my Kate experience to be a one-to-one headphones thing and incorporate some of the quieter moments that grow on you over time. And I’d like to think somebody coming to her new would pick up on that about her and want to hear that side of her.

“There’s loads of ways to do it, but Kate’s way is right”.

Kate Bush means so many things to different people. What does she mean to you personally?

She’s fundamentally the real deal. Loads of people are, but when you think about the era she arrived in and the way she does everything on her own terms - amazing.  Musically, I think there still hasn’t been anyone else like her that I have heard. I am protective of her because what she’s doing is correct. That’s how you do it. There’s loads of ways to do it, but Kate’s way is right.

On 30th July, Kate Bush turns sixty-four. If you had a chance to buy her a birthday present, what would you get her?

Studio time?

One of my dreams is to interview her. If you were sat opposite her and were interviewing Bush, what is the first question you would ask?

I would be useless. I would be focusing on musical questions. I don’t really need to know anything personal about her. She is there in her work. Everything else is nothing to do with me, I think(?). So, I’d probably ask her about her current approach to writing and if she would please sing with me.

“So, yes, I hope so. And I do think she will. Keep believing!”.

It is impossible to predict, but what do you think will come next for Kate Bush? Do you think we might hear new music soon?

I really hope so. I loved 50 Words for Snow. The way her voice has changed, and her songwriting is getting more obtuse and leaning into Jazz more: very happy with all of those things. So, yes, I hope so. And I do think she will. Keep believing!

Finally, you can select anything Kate Bush-related. It can be a song, interview, or live performance. What shall we end the interview with?

Although even she doesn’t love the film, the video for Moments of Pleasure from The Line, the Cross and the Curve is wonderful. The visuals are simple (and, yes, of their time), but they fit the music and the story so well. And that vocal run - down and up - on the line “Spinning in the chair at Abbey Road” and “Every old sock meets an old shoe” and “Here come the hills of time” – shivers every time. Beautiful.

INTERVIEW: Fable

INTERVIEW: 

Fable

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I was keen to interview…

the magnificent Fable, as her album, Shame, is out on 29th July via Naim Records. I ask the Devon-born artist about the album and the new single, Onion Brain. She also discusses the video for Shame’s title track, what it was like working on an album during a pandemic, her love of Kate Bush, her early life in Devon, in addition to why it is so important performing live and connecting with the crowds after a long time away (due to the pandemic). Shame currently appears on BBC Radio 6 Music’s playlist. Fable has also been championed by BBC Radio 6 Music broadcaster, Chris Hawkins (he called her a ‘Devon Queen’). A remarkable artist gaining support, traction and a lot of love, here is someone who is going to go a very long way! It has been a pleasure interviewing a majorly talented young artist whose upcoming debut album, Shame, is one that…

IN THIS PHOTO: The cover artwork for Fable’s debut album, Shame

EVERYONE should hear.

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Hi Fable. Your album, Shame, is out on 29th July. How does it feel knowing it will be out in the world soon? What was it like recording the album?

Hey! Thanks for your curiosity…

This is the first album I've ever released, so naturally I'm apprehensive about getting it out there, but super-excited for people to hear some of the more experimental, non-single tracks that I had a lot of fun creating with my producer, Jonas Persson - involving bicycle spokes and drumsticks. The first single, Thirsty, and album track, Unequal, were written and recorded on our first meeting. It was after that session that I knew we had a vibe together…and over the next year and a half, we sporadically created the album. I was lucky enough to work with some amazing musicians along the way, including Joel Cadbury (UNKLE) and Max Grunhard (Ibibio Sound Machine), who feature on the album. Joel absolutely understanding the assignment on future single, Swarm, bringing such a graceful vibe to the sessions.

There are different themes and sounds expressed throughout Shame. Did the tracks come together quite naturally, or were there songs that you wrote and didn’t make the cut?

There were a few tracks that didn't make it. The songwriting is more considered and not as freestyled as my earlier stuff. It's about that massive sense of shame we're all gonna feel if we don't bother to change the system. That's the theme expressed through a bunch of contrasting sonics. The album isn't a tightly-wound concept, but a spectrum of all my influences. Trip-Hop, Metal, Jazz, Pop, Lo-Fi, Funk, Classical - it's all in there. But the theme that runs through them all is my state of mind during the pandemic.

“It kinda calms me down and simplifies things in my head when I hear it”.

What was it like writing and creating music during the pandemic? Did the wider situation and uncertainty affect the way you approached the music and wrote?

I think it brought the collective consciousness into a more reflective state from a very reactive one. During that time, I was in full swing with getting the album written. I'd write the demos from my partner’s student accommodation in Wales. And between restrictions lifting, drives to London to get some time in the studio, writing demos with limited equipment in a cold Welsh cottage, I found a more amateur attitude to making music - which helped me get rid of my blocks and be totally focused on message and melody.

Is there a track from Shame that stands as a personal favourite or has a particularly personal connection?

It would have to be my new single, Onion Brain. It kinda calms me down and simplifies things in my head when I hear it. I don't sit around listening to my own music very much, but it's got this self-soothing effect and I'm glad it came into existence.

Can you tell me about Onion Brain and the story behind it?

Onion Brain came to be one of my personal favourite tracks on the album. The main theme is the acceptance of loss, and the inseparable relationship of life and death. I titled the track Onion Brain with a hint to the Buddhist idea that the suffering we perceive is caused by there being a sufferer; a noun. We believe ourselves to be nouns, static and separate. But as we peel away the layers, we realise we are but verbs - living, breathing, digesting our experience; always flowing and affected by the world around us.

The video for Shame’s title track is particularly memorable. What was it like working with director Matt Hutchings and filming the video?

I really love working with Matt: an all-round talented good egg. He's responsible for the Thirsty and Orbiting videos too; bringing his animation and CGI to the table to bear the weight of my ridiculous ideas. The whole video was a sixteen-hour shoot at Camberwell Studios in London. He always brings a talented crew with him, and we just have fun all day to a strict time schedule. His mum gets massive mum points for making a fair few of the cakes on set. I felt pretty sick by the end of that scene. It was in the contract that the cakes had to be eaten.

Your music has been lauded by the likes of NME and BBC Radio 6 Music. How important is it having that sort of support and acclaim under your belt at such an early stage?

Well. It's pretty astonishing if you ask me. I'm very pleased to announce Shame has been playlisted on BBC Radio 6 now, and I can't thank the station enough for championing a small independent artist like myself. It genuinely means the world as a working-class artist that's just come out the end of a penniless pandemic. It made the hard work feel recognised and worthwhile.

“She was also the first woman I saw on T.V. that actually looked like she was being her authentic self”.

Take me back to your early life living in Devon. What sort of music caught your ear and inspired you as a child and teenager?

Grace Jones, David Bowie, Kate Bush, Portishead. I loved my mum's record collection when I was a kid. I took a slightly more menacing stance as a teenager with my love of Ragga-Tech, Aphex Twin, and Nine Inch Nails. Amy Winehouse had a massive influence on my emotional connection to music, and the Radiohead influence is very traceable in my writing.

Like me, you have a love for a certain Kate Bush. What is it about her as an artist that resonates with you?

When I first encountered Kate Bush, I was three or four. And I remember I thought she looked like my mother. I loved her magical performances on Top of the Pops. Unpredictable and clumsily graceful, her music videos are a kind of performance art. She was also the first woman I saw on T.V. that actually looked like she was being her authentic self. I think people forget that, back at the time, she was the butt of jokes in a 'burn-the-crazed-witch-sexist-crush-free-spirits'-kinda-way. I heard Björk say something like that - which made me love her even more. I love the fact that she just refuses to submit to the industry's demands and has always kept the focus on her music.

Do you have any gigs or festivals lined up for this year? Where can we see you play?

For the album launch, I'll be playing three dates. From 29th July in Totnes, Bristol and London, then we're gonna explore some of the North! Very excited about the prospect of a German tour as well this year.

“So many strong, inspirational women coming through at the moment. I wish I had them around when I was growing up”.

You have already played some big gigs, including Glastonbury. How important is live performance and connection with the crowds?

Playing live is my favourite part of the job. I've played with a full band and at some pretty large venues, but this year I'm stripping it back to play some sticky club nights with just my drummer and the decks. I really enjoy being able to see individuals and vibe with them from the stage. I grew up doing the club circuit, and I think the bigger you get the further away you become from people…which is kinda sad.

Are there any particular new artists emerging that you would recommend or would particularly like to collaborate with?

I AM IN LOVE WITH BILLY NOMATES. Also loving Bristolhead, Grove. So many strong, inspirational women coming through at the moment. I wish I had them around when I was growing up.

Finally, and for being a good sport, you can pick a song to finish with and I will include it here.

It would be great for more people to see the video for Shame – we’re really proud of it, and it takes you on a journey!

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Follow Fable

INTERVIEW: Róisín O

INTERVIEW:

Róisín O

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AN artist who I hold a lot of respect…

and affection for, the magnificent Róisín O tells me about her new album, Courageous. It is available to stream (it came out physically on 29th April in Ireland; the official release date for the UK is 1st July), although I would urge everyone to pre-order it on vinyl, as her immaculate, incredible, passionate and unique voice is best experienced on that format! From the songs that I have heard and enjoyed already, it is clear that the Dublin-born artist is one of the finest out there. A stunning talent who is following her 2012 solo album, The Secret Life of Blue, with, what I think is her strongest work yet, it was a pleasure learning more about the one and only Róisín O. As the daughter of Mary Black, it no surprise that music was a big part of her childhood! Róisín O also tells me about what it was like recording during the pandemic (her band, Thanks Brother, came to a natural stop in 2020), why more eyes should be on Ireland and Irish music, and what it has been like getting back on the road and connecting with fans after such a long time. If you have not heard the music and magic of Róisín O, then go and check out (and order) the wonderful Courageous – to me, one of the finest albums of this year so far. Here is a very special and gifted artist…

WITH a hugely exciting future ahead.

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Tell me about your new album, Courageous. Writing about dealing with loss, heartache, breakups, letting go, growth and hope, how easy was it to write so openly? Was there a sense of catharsis and clarity writing about these subjects so honestly?

When I first started writing songs on this album, I really didn’t have an album in mind. I wasn’t really thinking about releasing them; they were very much for my own ears. I think, with that weight of ‘what will people think’ off my shoulders, the songs were created much more openly and earnestly. They were extremely cathartic to write, particularly songs like Heart + Bone, Stolen and Courageous. It wasn’t until I wrote those lyrics down on paper did I get certain clarity about some difficult moments in my life.

“I think it’s really important to have light and dark on an album and within each song”.

Even though a lot of the tracks deal with hard subjects and deep emotions, they are also uplifting and fun. How important was it to put this energy and optimism in Courageous?

For me, the sad songs often come easier. I’m too busy being happy to write happy songs when I’m happy, if you get me?! Upbeat songs like 2023 came in the depths of lockdown when the future seemed so grim that I really wanted to write something that had hope and optimism about the future. I think it’s really important to have light and dark on an album and within each song. Songs like Night Stretches Through portray quite dark emotions of seeing someone you love with someone else. But juxtaposed against an upbeat, driving backing track.

Are there particular tracks from the album that are standout or mean a lot to you personally?

Heart + Bones was the first track I released as a solo act in about 5 years - and probably means the most to me. It was the most honest and bare-all song I’d ever written. And the response I got from fans was really mind-blowing. It really connected with people in ways I couldn’t have imagined. And getting that response gave me the push I needed to release the album.

The pandemic must have made it difficult when it came to recording and making plans. Did that sense of disconnection and isolation make you more determined to put this album out?

For me, I honestly feel if it wasn’t for the pandemic I wouldn’t have made this album. Lockdown gave me the time I needed to write these songs and bring them to life with people I really admire. Songwriting and recording always came second and third to me after performing live, and they have been parts of music that I never really felt at ease with. But writing and recording this album was so different. I poured myself into it even more, partly because I was really missing that live music outlet. And it ended up my best recording experience ever.

Courageous sees you working as a solo artist again. You have embarked on various different stages through your career. Why did you decide to come back to working solo in 2021?

My band Thanks Brother came to a natural end in 2020, and to be honest, I was very unsure what I was going to do with my life for a good few months that year. I remember chatting to my now-manager Adelle asking her advice: “Maybe I’ll start a new band; maybe I’ll go by a new name”. She stared me down and asked me: “What the fuck are you on about? People want to hear Róisín O”. I think I needed that kick in the arse. I released a cover of Lose You to Love Me soon after that which blew up online, and it gave me the confidence I needed to think about releasing solo work again.

“But the artist who influenced me most was Joni Mitchell. Her album, Blue, was a turning point for me from when I was about 14”.

You have collaborated with other artists (including working as part of Thanks Brother), and now you are back working as a solo artist. That said, are there any artists that you would really love to work with but haven’t done yet?

I love working with other artists! Just the other day, I was chatting to Faye O’Rourke from Soda Blonde (who I’d love to collaborate with). Their debut album is stunning. Collaborating with some of my idols would be a dream obviously, like HAIM or Arcade Fire!

Take me back to the start. Who were the artists who inspired you growing up? How important was music in your household?

My house was full of music growing up. From my parents, I got really into American Folk like James Taylor, Crosby Stills & Nash, and Fleetwood Mac. My two older brothers got me into bands like Radiohead, Oasis, Blur, and The Cranberries. While my friends got me into Red Hot Chilli Peppers and Muse. At a young age, I was always drawn towards women in all genres, particularly Destiny’s Child, Avril Lavigne, and Celine Dion. But the artist who influenced me most was Joni Mitchell. Her album, Blue, was a turning point for me from when I was about 14.

Your mother is the legendary Folk artist, Mary Black. How supportive has she been when it comes to your music and journey?

She couldn’t be more supportive. She’s the best mam ever.

You have an incredible and distinct voice! How do you think it has changed and developed since your debut as a twenty-four-year-old?

I think my voice has definitely got stronger since then. I feel I’m only scraping the surface now in terms of technique in (regards) what my voice can really do.

“It’s tough as an Irish artist to break through outside home. And it’s not made easier with the huge amount of American and U.K. music that gets played on Irish radio”.

Ireland is a country that, to me, is producing some of the best new talent. Despite that, a lot of the media still focused on England (and London especially). Do you think more eyes should be on Irish music?

 Yes, I do. It’s tough as an Irish artist to break through outside home. And it’s not made easier with the huge amount of American and U.K. music that gets played on Irish radio. It would be great to see that change, and for more up-and-coming Irish artist to be able to build up their careers at home.

You have done some live gigs recently. What is it like being back performing and connecting with fans? Are there plans to come to the U.K. at any point and perform?

I didn’t realise how much I missed performing live until I got back on stage. After that first show, I got off stage and was like, ‘Oh, this is why I’m a musician’. There’s no amount of songwriting or recording or live streaming that can substitute for performing for and connecting with a live audience. I’ll be opening for The Coronas on their U.K. tour, and with another Irish artist’s tour - which will be announced soon. All in September. Keep an eye on my Instagram for dates.

I think that your music would be perfect on the big screen and, in fact, you have this gravitas and personality that would translate to film! Is that an area you have thought about exploring in terms of acting or recording?

It’s something I’d definitely think of in the future. It’s always great for any act to get a sync in T.V. or film. But I suppose I don’t write for that in mind particularly. But I would love to pursue it more in future.

Finally, and for being a good sport, you can pick any song you like to finish with (it doesn’t have to be one of your songs) and I will include it here.

Róisín O - Better This Way.

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Follow Róisín O

INTERVIEW: Sarah-Louise Young (An Evening Without Kate Bush)

INTERVIEW:

Sarah-Louise Young (An Evening Without Kate Bush)

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I have been doing a run of features…

 PHOTO CREDIT: Clive Holland

this past few weeks, as Kate Bush’s debut album, The Kick Inside, turns forty-four on Thursday (17th February). In a related interview, I have been finding out more about acclaimed performer Sarah-Louise Young and her celebrated and hugely popular show, An Evening Without Kate Bush. It is a terrific mix of cabaret, music and comedy (“Kate’s not there, but you are. Acclaimed performer Sarah-Louise Young (Cabaret Whore, The Showstoppers, La Soiree) has teamed up with theatremaker Russell Lucas (Warped at VAULT Festival) to explore the music and mythology of one of the most influential voices in British music. From releasing Wuthering Heights at the age of 19 to selling out the Hammersmith Apollo nearly forty years later, Bush has always surprised and confounded her critics. Through it all her fans have stayed strong. Young invites you to celebrate her songs with this unique and mind-blowing show”). Currently showing at the Soho Theatre, I would recommend everyone who is a Kate Bush fan to go and get a ticket and see the show. Even if you are not well-versed when it comes to Bush, it is a brilliant night out that you won’t regret! I ask Sarah-Louise Young about An Evening Without Kate Bush, when she discovered the music of the British icon, whether there are any more dates of her tour planned, and what she would ask Kate Bush if she ever came to meet the icon. It has been informative, fun and fascinating getting to know more about…

A tremendous performer and Kate Bush devotee.

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Hi Sarah-Lou. Your incredible show, An Evening Without Kate Bush, is currently running at the Soho Theatre. What has it like being back on stage, and what have the audiences’ reactions been like?

Thank you so much for coming. It’s been a total joy to bring this show to London after nearly a two year wait due to Covid. We did a small U.K. tour last autumn of an extended two-act version, and the response both on the road and here has been tremendous. Of all the shows I have created, this is the one which most celebrates the people in the room and their stories. I was invited to perform it online during the pandemic, but I really wanted to wait to be able to do it in person.

The show is massively influenced by each audience on the night, and I never know how it’s going to go until it’s over! The first few live shows after a long time of performing just in my sitting room on Zoom were surreal - but it was wonderful to be back.

PHOTO CREDIT: Clive Holland

You celebrate the songs and music of Kate Bush in a unique show. The visual nature of An Evening Without Kate Bush is one of its strengths. What is it like preparing for each show and ‘inhabiting’ Kate Bush?

I do a lot of stretching!

When my brilliant co-creator Russell Lucas and I were developing the show, we never set out to impersonate Kate Bush. It would be impossible! She’s unique. We were more interested in the fans and their relationship with her music and mythology. We aim to treat the songs respectfully and playfully, leaning into Kate’s own sense of humour and fun whilst maintaining the vocal rigour they require. I have to look after myself physically whenever I perform, but for this show especially as there is so much movement in it. I warm-up my body, my voice and often sing through a few songs beforehand to climb back inside the often complex musical landscape of her music.

“We were more interested in the fans and their relationship with her music and mythology”.

It’s easy to get lost in tracks like Hounds of Love, because they are so brilliantly percussive and she weaves lyrics around each other so sections don’t always mirror each other. You can’t lose focus or you get lost! I also like to tune into the audience as they enter if I can (at the Soho, my dressing room is right next to the stage so, although I can’t hear specific words, I can get a feel for whether they are a lively crowd or a little reserved).

It might be an impossible question, but are there particular moments of the show that you relish the most? Any particular personal highlights?

It’s a great question. In my Julie Andrews show, Julie Madly Deeply, one of my favourite moments is eight seconds where I am moving a microphone. It’s nearly the end of the show; the audience is hopefully with me; the underscore is beautiful; there is a delicious lighting change and I’m about to speak with her words for the first time. It always makes me tingle. In A.E.W.K.B. I love the moment, usually about half-way through Don’t Give Up, when the couple dancing on stage have realised they basically get to hug for a six minutes and, after some expected clowning about, just start to relax and enjoy the opportunity to be close. The audience is often singing with me, and it’s a lovely moment of coming together.

At the end of the song, I thank them and guide them carefully to their seats and they often say a big thank you or lean in for a hug. I love that moment. I guess my favourite parts are when something spontaneous or unexpected happens as a result of some audience interaction. They keep me on my toes, and anything unique to that gathering of people reminds them and me that this night, this configuration of people will never happen again.

It’s special. I like theatre which is made with love and danger; that excites me.

Can you remember when you discovered the music of Kate Bush? What was it about her that struck you and fostered that devotion?

My big brother Matt was a big fan, so her music was always in the house. I do remember Wuthering Heights in 1979, although I was only four. Hounds of Love was the album which did it for me. I was ten, and each time one of her videos featured on Top of the Pops, it was like a mini-movie. I loved her eyes, her voice, the drama, the humour - it must have appealed to my theatrical nature.

Later, I listened with more mature ears to her other work and was just blown away by her constant evolution as an artist and trailblazing experimentation.

Do you have a favourite song, album or period of Kate Bush’s music? If you could travel back in time and spend a moment with her, where might that be?

We open the show with And Dream of Sheep, which is absolutely beautiful. I could pop back and tell her to put some more clothes on when she was filming the video in the flotation tank so she doesn’t get hypothermia!

Of course, I would have loved to have seen her live on her Tour of Life show back in 1979, but I would have got in the way! If I could be a fly on the wall for a video, it would be Sat In Your Lap. I used to be scared of the Minotaur - but it looked like a lot of bonkers fun to film.

Oh goodness, this is a tough question. Okay, ultimate moment to go back to but only if I could be an invisible ghost unseen and unheard… I’d love to have heard her composing The Man with the Child In His Eyes when she was thirteen. Alone with her piano… working out the melody and the words. That would be something. But her solitude is part of what makes her the artist she is, so instead I’ll settle for the recording of Get Out of My House when, if memory serves me well from the book, she asked people to wander around the outside of the studio making spooky noises to try and scare her! I could have been one of those people.

You did say I got five choices right?

Bush’s music and work seems more popular now than it ever does. Why do you think she remains so adored and intriguing to so many people?

Her fans have travelled with her and as she has evolved as an artist. She has become the soundtrack to their lives. That’s my oven-ready hypothesis. I also think she influenced so many other artists that the whole music scene is steeped in her musical juices as it were. She was one of the first people to experiment with the Fairlight. She mastered complex sampling of vocals, including the Trio Bulgarka from Hungary… and, if you read the list of pop royalty lining up to play a couple of bars on her albums, everyone wants to work with her.

She never shied away from writing about the largeness of life either - epic themes, the loneliness of love, the wonder of creation, the sensuality of being human. Her albums are somewhere you can climb inside and dream in. She’s one of us and yet totally Other. She’s a tea-drinking mum and an Ivy-Clad Goddess.

“She never shied away from writing about the largeness of life either - epic themes, the loneliness of love, the wonder of creation, the sensuality of being human”.

If you could ask Kate Bush one question, what do you think you might ask her?

“Please would you come and see our show?”.

We’d love her to but she’d have to come in a disguise, or else the audience would lose their reason. I feel like she’s said what she needs to say in her music. Perhaps I’d just ask her if she’d like a cup of tea and we’d see what happens next… 

Are there plans to take An Evening Without Kate Bush further in 2022? Might we see more shows after the current run?

Yes. We are on tour from 1st March and are hopping all over the U.K., from Guildford to Perth, Southend to Sale. The dates can be found at www.withoutkatebush.com, and we are adding more all the time. I’ll also be up at the Edinburgh Fringe again alongside a new show I’m making called The Silent Treatment about a singer who loses their voice. I’d also love to take the show to Australia (where she has a big following). We were in talks with Sydney Opera House, but then the world changed. My partner and I wrote a book during lockdown called The RSVPeople, and I would love to be able to get a copy to Kate somehow… if anyone has an address?

To end with, I will play out a Kate Bush song of your choice. Which one do you think we should hear and why?

Ooh, let’s have a bit of Hammer Horror!

We do this one in the two-act touring version of our show and it’s brilliantly theatrical. She’s amazing in the video. I was surprised to find that a lot of people don’t know it (to me, it’s one of the classics). If you asked me tomorrow I’d probably choose a different one, as they are all brilliant but, for today, it’s Hammer Horror. Thanks for asking!

INTERVIEW: The Anchoress

INTERVIEW:

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PHOTO CREDIT: Lily Warring Bush 

The Anchoress

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FOR my first interview of 2021…

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I have been discovering more about one of the most remarkable artists in modern music. The Anchoress is the stage name of the Welsh-born multi-instrumentalist, songwriter, producer and author, Catherine Anne Davies. I have been following her music since The Anchoress’ debut album, Confessions of a Romance Novelist, was released in 2016. As she prepares to release her second album, The Art of Losing on 12th March, I was keen to discover more about the album and an incredible and original songwriter…

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Hi Catherine. How has lockdown been for you? Has it been a period or greater creativity and production. Or has it been quite stifling in that sense?

“I’m still not quite sure what effect it’s had on me in terms of creativity, because a huge part of the time has been devoted to getting two albums released that had already been made prior to lockdown. My collaborative album with Bernard Butler that came out in summer 2020 and the new Anchoress album that is coming out in March. I am very lucky to have my own studio space at home and I had already been used to the rhythm of working from home making this last album. This meant I was able to get back to recording a series of covers/reworkings for Bandcamp once it was clear that touring wasn’t going to be happening for a while. That’s been joyous really to be able to make that monthly connection with fans without the usual delays put in by labels”.

Your new studio album, The Art of Losing, is out on 12th March. How excited are you to get it out there?!

“It will be such a relief to finally have it out there! I am so proud of this record and there is really not one thing I would change, which is really rare for a perfectionist like me. So many people have had their albums delayed due to COVID, so I’m sure I am not alone in having sat on an album way longer than is usual. It makes you feel a little creatively stuck when you are still waiting for that natural process to occur of moving on from one project to another. That’s been completely disrupted by world events. As well as the unusual situation of releasing an album with no live shows or touring”.

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I recently reviewed the stunning single, The Art of Losing, and I was hugely struck by it! You have said how the song is an interrogation of what we learn when we lose. How much of your own experiences and loss went into the song?

“Thank you. I started out with the idea of the song needing to have different stories of different individuals in each verse. I was really obsessed with ‘Blasphemous Rumours’ by Depeche Mode at the time, and I love how the lyric draws you in to a life story. So, I guess you could say it’s a melding of both my own experiences and other people’s. Like my debut album, I’m always interested in blurring the line between confession and fiction; and I guess I’ve continued that in the title track for album two”.

I love your music videos, as I feel they are very striking and original. Do you want to direct more, or do you feel you might direct videos for other artists some day? How important are music videos in terms of your own songs?

“It’s been quite an interesting learning curve for me having to get involved in producing my own video because of the restrictions during lockdown. I was very lucky to work with JJ Eringa last year - an immensely talented young filmmaker. We had already shot one video for ‘Show Your Face’ before the pandemic happened and had taken some footage for The Exchange too, luckily. I am always hugely involved in the visual aspects of my projects and have art-directed both album packages. I don’t think it would be a huge leap to experiment more in the visual realm but for the moment I’m starting to think about album three”.

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PHOTO CREDIT: Roberto Foddai

You produced, wrote and played almost everything on The Art of Losing. Is it important to have this sort of self-dependence and control when it comes to realising your vision?

“I can’t underplay its importance to how happy I feel with the final album, even a year on from finishing it. It’s important to say that I had some wonderful musicians playing bass and drums on the album too! Although I did play some drums and programming, I am not a drummer in any physical sense.

I’ve always been someone who tends to work best when I have complete control. I don’t find it easy to be subject to other people’s work rhythms, and I had a few not-so-nice experiences in the past where work that I’d done was held back from me or used for leverage.

Since I’ve been slowly building my studio over the past few years, I’ve hugely enjoyed the sense of freedom I get from not having to wait for an engineer or someone else to be awake/in the mood to get on and work when I feel I need to. I love it. I’d highly recommend it. It feels like returning to the methods I began with when it was just me in my bedroom with a multitrack recorder, laying down all the parts”.

Like me, I know you are as huge fan of Kate Bush. In the way you write and produce your music and push boundaries, there are clear similarities. How important has her music been to you through the years?

“I didn’t properly get into Kate Bush until I was university - although I vaguely knew ‘Wuthering Heights’, as most people do. As I delved into her catalogue, the thing that struck me the most was how uncredited she has gone as a really experimental and innovative producer. She’s hugely important to me for that alone, as the example of an artist in control of her vision”.

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PHOTO CREDIT: Jodie Cartman

Going back to the album, and a certain James Dean Bradfield of the Manic Street Preachers appears on The Art of Losing’s The Exchange. Have you worked with him before?

“Yes. I worked with the Manics on their last album, ‘Resistance Is Futile’. I duetted on ‘Dylan & Caitlin’ as well as singing backing vocals on another track. Obviously, I’ve supported the band a few times as well as being a bit of a regular guest at their shows; coming on to perform a few duets during both their arena tour and some festival shows. Cardiff Castle was actually the last gig I did before COVID changed everything. I’ve been a huge Manics fan since I was a kid, so it’s a huge thrill to get to work with them, get to know them and discover their wonderful work ethic and the bunch of lovely people they have around them”.

Speaking of Welsh artists, you were born in Wales. It seems like Welsh music is at its richest right now. Do you think the country gets overlooked compared to England and America? Which other Welsh artists should we keep an ear out for?

“I’m currently working with Tali (formerly of Welsh band Estrons) on her solo material. She’s really talented. Her lyrics are so clever and raw, and she’s got a wicked sense of humour. I’m really excited to get working with her again as soon as we can physically get in a room together again. So, you should keep an ear out for that! I always listen in to Adam Walton’s BBC Wales show most Saturday evenings. I never fail to discover something amazing. Adam has an incredible ear for talent, and there’s just such a lot of it coming out of Wales”.

One of my favourite tracks on The Art of Losing, Paris, is mostly instrumental - it is like an interstitial or break between chapters. To me, you write in a very literary and filmic manner, whereby you are always thinking about flow and story rather than putting together tracks (and hoping they coalesce and resonate). Would that be a fair assumption? Have you always approached songwriting like that?

“Absolutely. There are lines in there that echo back from the start of the album as well as the threads of the narrative that has run so far. I wanted it to feel a little bit like a dreamscape and be a container for all the whispered voices. There’s even a reference back to my debut album on there. The voices were a few of my close friends that I really wanted to be a part of the record. It felt appropriate that it would fragment at this point to not just be spoken by myself. I always think of albums as whole pieces of work, a bit like novels. I want to take the listener on a journey from start to finish. Perhaps that is the literary student in me!”.

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I love your 2016 album, Confessions of a Romance Novelist. How do you feel your music has evolved and changed in the ensuing years?

“Thank you. That’s a hard one to listen to for me now as I don’t like to look back too much. I want to keep pushing forwards with all the new things I want to do. I think there’s still some common threads there, especially from songs like ‘Bury Me’, ‘Doesn’t Kill You’, ‘Intermission’.

But I think I am much less concerned with writing something commercial by design now. I have a much clearer sense of who I am as a producer, writer and artist now. I am much more comfortable diving into autobiographical content too. I think the new album is just a much purer representation of what I’m into musically - and I’ve not shied away from exploring a darker sonic palette.

On the first album, I was probably just a little too malleable and listening to the opinions of people around me, rather than trusting my own instinct”.

At the moment, we are hearing how venues are being threatened and artists are earning very little from streaming. How does it affect you personally? Do you think we will see positive change and parity this year?

“It’s been a really difficult year. I am very lucky that I can work from my studio at home and keep creating. Bandcamp has been tremendously helpful in keeping things a little less tight in the face of no live income. But I do worry about what happens for the rest of the year. Touring is always financially tricky anyway as a solo artist, but I don’t feel very optimistic about European shows in the face of Brexit now. The additional costs of visas and the difficulty with importing merch may make it just too financially risky”.

It is hard to know when live music can return (although festivals have been announced for the summer). Do you have any plans for 2021 in terms of gigs or promotion for The Art of Losing?

“We are doing an online album launch event with Rough Trade on 12th March. I would usually do a special launch and listening event, but of course that’s just not possible this time around. I will be having an in-depth dive into the album with the wonderful Pete Paphides online, though. Anyone can buy a ticket to come and join us. The Queen Elizabeth Show is currently on sale for July 2021…but I have a feeling that we may see that rescheduled shortly for a later date”.

I know a lot of artists will look up to you and want to follow in your footsteps. What advice would you offer them regarding getting started and navigating the music industry?

“I really do feel that self-sufficiency is the key. It’s not enough just to write great songs or have a great voice anymore. You need to know and understand the business. You need to be able to record yourself, even if it’s just to demo quality. You need to understand how to reach an audience online. It’s running a small business. Certainly not for the faint-hearted”.

A lot of people are being asked what they will do first post-pandemic/when social distancing is dissolved. What is top of your list?

“I’m looking forward to an actual real-life trip to the supermarket. As I’m shielding, I’ve not been since last March and I’ve been relying on online shopping. I’m going to get all glammed up and  you’ll find me in the tinned soup aisle. Baxters Superfood Root Vegetables and Turmeric for everyone...”.

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INTERVIEW: Little Sparrow

INTERVIEW:

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PHOTO CREDIT: Shay Rowan (design by SHOTHOUSE, Brighton)

Little Sparrow

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IT has been a while since I have conducted an interview…

PHOTO CREDIT: Shay Rowan

and it is great to catch up with an artist I have been following for a long time. Little Sparrow (Katie Ware) came to my attention when she released her album, Wishing Tree, in 2014, and I have been hooked on her music since. Her latest single, Tears, is out, and I was keen to find out the origin of the song; how its amazing video came together, in addition to how she has fared during a very tough year. I also find out about Little Sparrow’s favourite albums of this year, the music that influenced her growing up, and whether we might get a new album soon…

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Hey. How has your week been? Have you got all your Christmas shopping sorted?!

Hi. I’m good, thanks! I am halfway through my Xmas shopping. I started early; I was impressed with myself, but now I’ve stopped so I will probably be panicking in a week’s time!

I don’t think I have asked you before, but your artist moniker, ‘Little Sparrow’…is that from the Dolly Parton song of the same name?

No, it isn’t, although I get asked that a lot…

It comes from Guy Garvey (Elbow) affectionately calling me “cockney sparra” when I first moved here (Manchester) from Cambridgeshire. My accent was strong! It was Guy that suggested using it for a stage-name - although I changed the ‘cockney’ for ‘Little’. It seemed more fitting.

Tears is your latest song. What was the inspiration and starting point for it?

Tears is actually written by my dad, Mick Ware, when I was a little girl back in 1984. It was my favourite song that he used to sing to me at bedtime. My dad had a home studio and he wrote many songs in this time - but Tears had such a pull on my heartstrings. I felt so sorry for my dad writing a song about being lonely in space. My dad was fascinated by space and talked often of wanting to be an astronaut and being able to go to the moon! I really don’t have the same desire…but I loved the fact that my dad was so excited by it.

I like the video! It seems like it was pretty cool to put together. What was it like working on that?

Yes. Making the video was lots of fun. Luca Rudlin from People Staring is the genius behind it. Luca and I have worked together for a few years now, and we have a great creative connection. He basically makes me feel that anything is possible. It’s great. We knew we wanted a space helmet and the feeling of being lonely. I also wanted to play on the title of the track, Tears, so the mime artist make-up was used because of the painted tear. It also added a sinister feel to the video. We shot the video several times using different stages of make-up in a blacked-out studio.

I was lucky enough to have a team of make-up artists to help me achieve this from Future Skills at MediaCityUK. A big thank you to Beverley Braisdell for making this happen! Luca managed to build a structure that would hold the helmet in the same position, therefore allowing us to shoot the video repeatedly without the helmet moving. We also used several people to hold small lights up in the blacked-out studio to act as stars reflecting in the helmet. It really was an exciting process trying to create that feeling of being alone in space.

Might we see a new Little Sparrow album come next year?

I do hope so! I have been working on the second album for a while. I had to take a natural break from music after the birth of my son, but gradually I am making a return. I really can’t wait to get things rolling again and try out some of the newer material!

Your music has received support from blogs, websites, and radio stations like BBC Radio 6 Music. How important is it getting that sort of backing?

I would say it’s vital!

All these things spread the word about your music, and this includes all radio stations: regional, national and international; all blogs: well-known or less well-known. They are all important in getting your music heard. It is always so lovely to get the support from any of these platforms and I am forever grateful.

Winding back to your childhood. Which artists and albums struck your ear early and influenced your love of music?

All About Eve - I adored this band! Every album! Kate Bush - loved her energy, her creativity, her freedom. Peter Gabriel (Us album). I listened to this album repeatedly! His voice is mesmerising. Tori Amos - Under the Pink. The Cure, New Model Army, The Mission, The Levellers - my Doc Martin years! (I had green tartan laces, plus a pair of oversized combat boots!).

This year has been tough for all artists. How has your 2020 been in general?

Yeah. This year has been tough - like it has been for everyone. On so many levels. As well as live music coming to a standstill, the whole impact of not being able to see other people has been mentally very hard. I believe it will take some time for us all to recover from this mentally, but we will hopefully find a new positivity and thankfulness in our everyday lives when life resumes to the new-normal. Maybe we will be more grateful for the simpler things in life. We will say ‘hello’ to the stranger passing us by; we might knock on our neighbours doors more often and ask whether they need anything from the shops?

We all respect our frontline workers for their hard work and we will be forever grateful, because we we’re all in this together. We all have a story to tell about this pandemic. My son was rushed to hospital right back in March (the 21st), the day after lockdown. It was very scary, but thankfully he was okay and recovered. My brother got COVID-19 in April and he was very poorly. Again, a very scary time. We have had COVID-19 twice in this house in September. It really has been a testing time for us.

But, in amongst the nightmare, there has been amazing kindness and care. Friends and neighbours really looked after us. It blew me away and proved to me that, when things get tough, we all pull together.  

PHOTO CREDIT: Shay Rowan

I am a big fan of your 2014 album, Wishing Tree. How do you think you have grown as an artist since then?

I have definitely got more experimental with my sound; pushed the boundaries a little; dipped my toe into some different sounds, and probably moved slightly over to the dark side!

Despite 2020 being rough, there has been some great music put out. What are your favourite three albums of this year?

Agnes Obel - Myopia

Ólafur Arnalds - Some Kind of Peace

The Slow Readers Club - The Joy of the Return

 IN THIS PHOTO: Elfin Bow

Are there new/rising artists out there that you suggest we check out?

I only ever know about the artists that I encounter on my journey through music, so I would have to say Elfin Bow.

Although not new, she is definitely rising. I am lucky enough to have met Elizabeth (Elfin Bow) a couple of years ago when I performed at the Liverpool Philharmonic. We were both performing. There started a wonderful relationship which has taken us to other wonderful venues and we even got to perform alongside the legend that is Bonnie Dobson at the Clyde Theatre in Wales. I have found my musical sister. Our paths were meant to cross.

I will be performing with her again next year at the Liverpool Philharmonic in April. This time, we will be joined by Daria Kulesh. I can’t wait to meet Daria. I also recommend you check her music out too.

What does your Christmas look like? Will you get to spend time with family?

This will be the first year in my life that I won’t see my folks at Christmas. There is normally about twenty of us that get together (I’m one of five kids and we all have children ourselves), but obviously this year is different. We will spend it here at home. I will have to make my first Christmas dinner (eek!). We will still try our very hardest to make it a great Christmas, though. I won’t be able to see my parents until they have had the vaccine. My dad won’t let us near him, so fingers crossed we’ll see them in the spring next year.

There are many new artists emerging that are navigating their way into music. What advice would you give to them?

Keep going. Even when you think things aren’t going your way. If you believe in yourself and you love what you do, keep going!

Finally, you can choose any song you like to end the interview – it can either be one of your tracks or a song you like.

Don’t Give Up - Peter Gabriel and Kate Bush x

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INTERVIEW: Gabriella Cilmi

INTERVIEW:

Gabriella Cilmi

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IT has been a pleasure chatting with...

Gabriella Cilmi as she discusses her new single, Ruins. I wanted to understand the story behind the song and how it feels being back after being away from music for a few years. She reveals her favourite albums and some of the artists who have driven her – I ask if she is excited about performing at St Pancras Old Church on 7th November.

Cilmi tells me how she chills away from music and, hailing from Melbourne, what she thinks of some of the other Melbourne artists striking hard right now; when music came into her life and what advice she would give to artists emerging at the moment – she ends the interview by selecting a classic Joni Mitchell track.

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Hi, Gabriella. How has your week been? How are you enjoying the weather at the moment?

Yes! There’s nothing quite like the U.K. in the sun. It reminds me of the Enid Blyton books I used to read when I was a kid. Our flowers have started blooming too, so we are being visited by pretty bumble bees and butterflies. I’m definitely happier in the sun and especially this week because I FINALLY released some new music. Yay!

Ruins is your new single. (It is one I love). Can you tell us how it started life and whether there was an inspiration behind the story?

I’m glad you like it (smiles). It’s always nerve-wracking releasing something new.

By the time Ruins came along I knew that I wanted to take things back to basics. My brother Joseph (my main songwriting partner) and I started revisiting some of our all-time favourite records such as the Janis Joplin’s version of Me and Bobby McGee and diving into Americana’s finest, particularly Emmylou Harris and Gram Parsons. We became really inspired and wrote most of the songs stripped back on acoustic guitar.

Ruins was one of those tunes that came about pretty quickly, It was the first time Eliot James and I had been in the studio together since he produced The Sting about five years ago. We basically blasted some Carole King; Eliot sat at the piano and I just started to sing whatever came into my head. It’s a song about how easily relationships can fall apart when we neglect them. Lyrics-wise, I was inspired by someone close to me…

Hope they don’t mind (smiles). 

How does it feel to be back with a new single after a few years? Are you surprised by all the love and positive reaction Ruins has acquired?

I’m really, really grateful that people have stuck around to listen. You never know what the reaction is going to be when you release something new and it can be bloody nerve-wracking, especially since I’ve been away a while. Things are really different now with social media: you can hear straight from the people who listen to your music and it’s been really cool to hear people are liking it (smiles).

Your last album was 2013’s The Sting. To me, it sounds like quite a vulnerable and soul-searching album. The mix of styles and sounds is amazing. Were there particular artists who inspired the songs on The Sting?

I was in a very vulnerable place: I kind of found myself alone for the first time since I was thirteen, without management or a major label backing me...but it turned out to be a really positive, liberating experience in the end. I wrote a lot of the tracks with my live band and even did a writing session with Tricky, whose record, Maxinquaye, was definitely an inspiration. I was listening to a lot of Kate Bush at the time as well (who's an endless source of inspiration!).

It might be premature to ask but might we see an album or E.P. coming along later this year? Are you in a pretty fertile creative state at the moment?

Yes. An E.P. is on its way. All of the tracks have been written; it’s just a case of finishing touches. I’m constantly writing, although I find it much easier to write when the weather’s a bit crappy…I’m a bit of a sun worshiper…

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You were born in Melbourne but are based over in London. What are the main differences regarding the music scenes in Melbourne and London? Do you manage to get home often?

I try to get home once a year. I see a lot of artists from Melbourne in London, now that the world is such a small place (which is great!). Most recently, I saw Tropical F*ck Storm who are a great Aussie Noise-Rock band, although not for the fainthearted - and I’ve seen Courtney Barnett quite a few times too!

Great Melbourne-based artists like Sampa the Great are really striking hard right now. Do you think we need to spend more time looking the way of great Australian artists?

Considering we are such a small country, I think we do produce a hell of a lot of good music. From Sampa the Great to Stella Donnelly, there are so many unique Aussie artists about right now, and the more that we can champion the better.

I first discovered music at the age of two or three and the first song I remember is from Tears for Fears Everybody Wants to Rule the World. Do you recall the exact moment music came into your life? Which artists would we have found in a young Gabriella’s collection?

Well. My mum has a picture of me standing in front of the radio as two-year-old, bopping to Shaggy’s Oh Carolina; apparently it was my favourite. She also says I used to attempt to sing I Will Always Love You while in the pram. For me, the first time I really had an emotional connection to music was listening to Cat Steven’s Wild World. My mum played it a lot but I do remember it really hitting me right in the chest. I love Cat.

I am a huge admirer of Kate Bush and her music. I love strong female artists in general; those who innovate and have a rare beauty. I get the sense you share that sort of desire when it comes to music? Are you a fan of innovative artists like Kate Bush and Björk, for instance?

I love them both. I really delved into Kate Bush’s records whilst writing the sting and I think in a sense her strength as an artist helped me to navigate my own career during a time when being independent was new to me. Her melodies are so unique, kind of like string lines…and she uses her voice like no one else I’ve heard. The Kick Inside and Hounds of Love are my favourite albums but This Woman’s Work is an absolute masterpiece of a song.

I love Björk, too. Jóga is my favourite, but Army of Me and Hyperballad are bangers and have some brilliant lyrics!

Given how busy you are, you might not have too much time to check out upcoming artists. Are there any you have come across that you recommend we investigate and get involved with?

Last year, I discovered an artist called Bedouine. I saw her play at The Islington in London and loved it! Her music transports you straight to the Canyon. I would definitely recommend checking her records out. She just released a newbie called Bird Songs of a Killjoy. It’s gorgeous.

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 IN THIS PHOTO: Bedouine/PHOTO CREDIT: Joyce Kim for Monocle Magazine

Although there is imbalance in music regarding gender, 2019 has been a year dominated by women. Does that give you a lot of encouragement or do you feel we still have a long way to go before there is parity?

I think there has always been a lot of women in the spotlight, but a lot of men behind the scenes. Things are definitely changing as us ladies are feeling empowered to take the reins of our own careers. It’s so exciting to see more female producers and engineers and a relief to see women heading labels and publishing companies. We still have some way to go but we are on the right track.

If I had to take three albums to a desert island, I think I would take Kate Bush’s The Kick Inside (my favourite ever), Paul Simon’s Graceland and Jeff Buckley’s Grace (or maybe Joni Mitchell’s Ladies of the Canyon). If I was to ask you for your choices, which records would you select?

I love all of those records, especially Ladies of the Canyon. This is a really hard question, but…

Astral Weeks - Van Morrison

Pearl - Janis Joplin

Tea for the Tillerman - Cat Stevens

And, if I could have one more, Houses of the Holy - Led Zeppelin (I can’t stick to three. Haha).

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

Playing Later… with Jools Holland was a highlight! Also, I remember playing my first festival (T in the Park) and thinking nobody was going to come and watch me as five minutes before the show the tent was empty, but when I went on stage the tent was full and the crowd were so lovely! It was a moment.

If you could support any artist alive today, who would that be and what would you have on your rider?

It would be Robert Plant…purely for selfish reasons because he’s one of my favourite voices and songwriters of all time! On my rider, I would have a Japanese banquet, watermelons; mangos and coconut ice cream.

St. Pancras Old Church is a gorgeous, intimate venue and you are playing there on 7th November. How excited are you about that and have you ever played the venue before?

It’s such a lovely venue. I played there about five years ago when I released The Sting. There’s something about performing in a church like St. Pancras. Even if you’re not spiritual, the environment is something special. I’m really looking forward to the show in November. It will be the first time playing my new tunes live (smiles).

In terms of the set, will it be mainly acoustic and what might we expect if we come along? Do you think there might be any other gigs before Christmas?

I’m not entirely sure what the set will be like yet. Last time I played, we managed to fit a full band in there so anything is possible! I’m talking to some musicians at the moment but I want to make sure it feels special, as it will be my first time performing in London for a while.

There are no other gigs planned as yet but definitely watch this space; hopefully there will be more to come!

A lot of upcoming female artists look up to you and will want to follow your lead. Is there any advice you would offer them?

I think it’s important to have a clear vision of where you want to take your music creatively before you take it out into the world. You want to make sure, when you start to build a team, you are all on the same page as well.

Surround yourself with people who bring out the best in you and go easy on yourself!! Trust me, there have been times when I’ve felt like nothing seems to be working or I’m not being productive enough. I’ve found that being patient and kind to myself, especially creatively, is better than putting myself down and thinking I'm not good enough.

It has been over a decade since your breakthrough hit, Sweet About Me, came into the world. Does it seem crazy looking back - and what advice would you give to your younger self?

It feels like a very pretty, colourful and blurry dream now, but I have a lot of great memories! I was always very nervous, especially when it came to doing interviews and live T.V., so I would tell her to relax; everything is going to be fine (smiles).

Do you ever get much chance to chill out away from music? What do you do when you get time to hang and relax?

When I’m in Australia, I go to the beach loads! There’s nothing like swimming in the ocean for me. I’m also into making clay pinch pots at the moment. I’m not sure I’m that great at it, though…I’ve decorated the apartment with them and most people can’t work out what they are (smiles).

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

Let’s play Ladies of the Canyon (Joni Mitchell), the title track from one of your faves! Also, one of mine (smiles).

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INTERVIEW: Moodbay

INTERVIEW:

Moodbay

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IN one of my last interviews...

I have been talking with Moodbay about their new single, Listen Up, and how it came together. They tell me how they got together and how songs come together for them; the sort of music they listen to and which approaching artists we need to check out.

I ask if they get time to relax away from music, whether there are tour dates coming up and which albums Anna and Alfie love – they end the interview by selecting a couple of pretty cool and epic tracks.

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

Hey. Good, thanks! And, yeah, it was great. We’ve been filming in London for one of our singles which was pretty fun. Hard work, though. Our director was so keen to capture as much as possible that we ended up shooting in her hotel room till 3 a.m. Her partner ended up having to sleep out in the corridor on the hard floor.

Poor guy...

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

We’re an Electronic girl/boy duo who met in BIMM Manchester. We both play piano; Anna sings and Alfie produces.

How did Moodbay get together? Was it an instant connection?

No. At first, we thought we were both lame-os and avoided each other. Then, later, we realised that we both had a passion for Electronic music, synths and melody. That’s when we formed Moodbay.

Do you both share similar tastes in music – or is there a sense of difference and individual spirit that makes your own music so strong?

Alfie: We share similar tastes in music t.b.f. Personally, I think that musicians with totally different tastes end up fighting for different vibes - which can lead to actual fighting because there’s nothing more personal and insulting than someone saying your riff is s*it.

You have a new track out. What can you tell me about it and how it came together?

Anna: This is our first single. It was originally called Wrong Wave, which refers to not being on the same wavelength as someone – “You’re riding on the wrong wave” and “Hiding on the wrong page”. I’m saying: ‘Look, I’ve had enough of you; we’re too different to be compatible’.

The melodies came to me in the shower and I ran downstairs, sung them to Alfie and he started making a beat on the spot to match. We were listening to future bass at the time so it has a bit of that vibe going on.

How do songs come together for you? Do you have a set process or does it change between releases?

We don’t have a set process, but this one came about through a common process of Anna writing verses at the piano and then bringing it to Alfie, who then thinks of chorus melodies and riffs and stuff. Sometimes, Alfie will produce the track without melodies and then we both work on the melodies afterwards. Sometimes, Anna has the whole thing and we just add a beat.

In terms of the stuff you listen to away from your own stuff, what sort of thing might we find in your collections?

Everyone from EST (Jazz triplet) to Justin Bieber (say what you want about him but he has an insanely good recording voice!).

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

Yeah. When we played at the O2 Ritz in Manchester, we only had a day to practice for the gig and it was a full room, but it turned out to be our best performance yet.

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

Alfie: For me, it’s a toss-up between Abbey Road (The Beatles) and The Bends (Radiohead). There’s nothing Electronic in those albums but they both contain some of the most striking melodies ever made and, for me, that’s what music is all about.

Anne: Gorillaz - Demon Days. Because every song is as good as the next. The album has such a strong identity you can almost taste it.

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

Alfie: There are so many acts that I would love to support but, again, I’d have to say my childhood heroes Radiohead. I’d ask for watermelons neatly sliced, not too thin. Seedless jam on toast with plenty of margarine; hand warmers and three grams of your strongest beta blockers to calm my nerves.

For Anna, it would be Chvrches (Alfie’s second choice). The best coffee money can buy. Dark chocolate, coconut oil and a super-reliable phone charger.

What advice would you give to new artists coming through?

Quit your job.

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

Alfie: Not yet. We will be performing live after the album has been released as we have a lot of writing and producing still to do for various projects. Gone are the days of performing to five people in a pub with s*it acoustics and a clinically depressed mix engineer - I just can’t hack it anymore.

What is a typical gig like for you guys? What might we expect if we come and see you perform?

Alfie: When we perform, you can expect a lot of swapping of instruments DURING songs, a lot of synths; some extended choruses for improv solos and plenty of awkward silences after one of us says something. We were thinking of hiring out tumbleweed.ltd to help us add character to these moments but, after doing extensive data analysis, we arrived at the conclusion that they were not cost-effective enough.

And piano-only versions of songs to show off Anna’s voice.

 IN THIS PHOTO: Litany/PHOTO CREDIT: Marieke Macklon Photography

Are there any new artists you recommend we check out?

Litany, Anelog and Pink Palace.

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

We went to France for a week recently. But, other than that, we don’t chill because we have so much we feel we need to do - and we love it so much and we have no money.

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

Anna: Georgia - Started Out

Alfie: Y Môr - Anelog

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INTERVIEW: Olympia

INTERVIEW:

PHOTO CREDIT: Pierre Toussaint  

Olympia

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I have had fun talking with Olympia...

 PHOTO CREDIT: Cybele Malinowski

who has been telling me about her new single, Hounds, and what we can expect from her upcoming album, Flamingo; what sort of music inspires her and which albums mean the most – she recommends some rising talent to look out.

I ask the Australian artist if there are tour dates coming and how she spends time away from music; whether there is any advice she’d give to artists emerging and who she’d support on the road if she had the choice  - Olympia selects a pretty cool song to end things with.

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

Hello. Great, thank you!

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

I’m an Australian-based artist performing under the moniker ‘Olympia’.

Hounds is your new single. Is there a story behind the song?

The whole album is a bit of a throwback to my love of albums having a narrative arc (or rather just albums in general). The album has high points and more fragile ones – Hounds is one of the Friday nights in the world of the album.

It means something as part of the whole and, on its own, it is about observing someone who is being a bit of a dickhead. Someone who performs tricks for others ‘cut in half’; to appease and someone who could ‘drown in the sun’.

It is from the album, Flamingo. What kind of things can we expect from the album in terms of themes and songs?

I’d set out to make something different to Self Talk with this record. I really wanted to challenge myself as an artist and try to break through to something that surprised me - something new.

When Self Talk came out, I often got labelled as a Synth artist - which was quite funny to me (less so to my friends who actually are Synth artists). But, there is always this tendency to pigeonhole with blanket terms like ‘Pop’, ‘Rock’ or ‘Synth artist’ - it’s limiting (for both the artist and also stymies the curiosity of the audience). I’ve always felt that what we were making was bigger than any one thing and that it would take another record to demonstrate that. And here it is!

Flamingo is an emotional force. It’s different to Self Talk from the get-go; how I wrote the album, instrumentation and production choices. Everything was about creating something urgent, confronting and modern; an atmosphere you step into from start to finish.

It’s a love record. More visceral than Self Talk – lyrically, it is speaking from within an experience, rather than from afar. I’ve heard writers/artists often discuss moving to New York to be close to the place where things happen and, on this record, I’ve tried create an environment so that the whole record is speaking from this emotional place and is informed by this energy. You’ll hear this in the choices of language: to strip out metaphor that you hear on Self Talk to, instead, try and tap into the unfiltered, uncensored self. Sonically, it’s probably more urgent. It is certainly not a passive record. There are no take-backs and no apologies; guitars are up front, vocals are sung hard and we drove the studio gear to distortion.

When growing up, what sort of music were you exposed to?

Everything - it was a very eclectic household. I have really strong memories of listening to artists as diverse as Patsy Cline; The Andrew Sisters; Bob Marley; Nirvana; Chicago; Tower of Power; The Ronettes, etc.

We didn’t grow up in a large city and weren’t necessarily exposed to a culture of icons/stars, so instead my discovery of music was (and still is) very organic. It also meant my approach to music was a little more egalitarian. It just felt like anyone could pick up an instrument and have a go – I didn’t grow up with a sense of ego about music. One of my all-time favourite things was to tape music off the radio. This exposed me to a broader range of music including a lot of world-music artists such as Sheila Chandra.

PHOTO CREDIT: Cybele Malinowski

What plans do you have for the rest of 2019?

We are releasing the record in exactly one month today, which is pretty huge. Following that, we’re lucky enough to be touring this record to the U.K. for Latitude Festival and Europe in September; Australia in October.

How important is music to you, emotionally and psychologically?

Music is how I’ve come to know myself and my place within the world.

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

Probably having Midnight Oil use Smoke Signals as their walk-on song all around the world.

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

I will instantly change my mind as soon as this discussion is over. But, first off my head:

Transformer - Lou Reed

There’s everything to love about this record - it’s perfect. Transformer is probably one of the strongest anchor points of the new album. The mix of melancholy and levity, dark humour (and subject matter); B.V. lines.

Pink Flag - Wire

This record has had a massive influence on me as an artist and is my go-to record whenever I’m feeling a bit stuck. It’s endlessly refreshing.

Portishead - Portishead

This is a painfully perfect record. It’s an incredible listening experience.

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

Alan Vega with a rider of a masseuse.

What are your other plans regarding gigs/touring?

We have some big shows planned that will encompass more of the visual aspects of the album.

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

The live show is high energy. We work hard at making it an immersive experience for the audience.

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

Remember to have fun.

 IN THIS PHOTO: Jade Imagine

Are there any new artists you recommend we check out?

Jade Imagine, Merpire; Emerson Snowe and Jess Ribeiro.

 IN THIS PHOTO: Merpire

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

I stalk Adam Curtis online.

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

Colour Television – Eddy Current Suppression Ring

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Follow Olympia