FEATURE: Feminist Icons: Jess Davies

FEATURE:

 

 

Feminist Icons

PHOTO CREDIT: Mefus Photography/Rhiannon Holland

Jess Davies

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THIS is a feature that…

never really got off the ground. The idea being to celebrate amazing women who I consider to be feminist icons. A chance to step away from music and focus on essential feminist voices who I admire and who are doing vital work. Maybe the women I selected do not think of themselves as feminist icons or would not agree with my words. However, when it comes to the women I have featured – including Michelle Obama and Caitlin Moran –, I think I am justified in elevating them to this level. The final edition of this feature focuses on someone I spotlighted earlier in the year. Jess Davies’s book, No One Wants to See Your D*ck: A Handbook for Survival in the Digital World is my book of the year. I also saw Davies speak for The Trouble Club earlier this year, and it was one of the best events they have put on this year. She is someone I follow on Instagram and Twitter and am always in awe of. I shall leave her be for the rest of the year, though I urge people to buy her book and follow her. Such an important voice, she is not only inspiring and empowering many young women. I was very affected by No One Wants to See Your D*ck: A Handbook for Survival in the Digital World, and I was shocked by the end. The extent to which many women are subjected to unwanted sexual imagers and abuse online. It is strangely relevant now. Alongside Laura Bates’s latest book – who covered some similar themes for The New Age of Sexism: How the AI Revolution is Reinventing Misogyny -, Jess Davies’s book is essential reading. I saw the news that Elon Musk’s A.I. has been accused of making explicit Taylor Swift videos. Jess Davies talks about deepfakes and image-based sexual abuse in No One Wants to See Your D*ck: A Handbook for Survival in the Digital World. It is horrifying to think how prevalent it is. Women’s photos and images used and placed on other women’s bodies. Simulating pornography. The number of men who access these videos and share them. An epidemic that is becoming more common because of A.I. and the fact social media sites do not do enough to protect women, it always makes me so angry!

Maybe Jess Davies would resent being labelled as a feminist icon. Perhaps too lofty a declaration. However, an icon is someone who is a representative symbol or someone worthy of veneration. She works tirelessly to raise awareness of the situation online. How there is this rise in image-based sexual abuse against women and girls. How technology and A.I. is helping create this horrifying state of affairs where personal photos are used to catfish people and appear in sexually explicit videos. Or men pay money to access the photos and share them with other men who, without spelling it out, gratify themselves. Also, consider the rise in sexual assault cases and the high-profile men this year alone who have been accused of rape, sexual assault and violence against women. Diddy among them. Jess Davies reacts to these stories, and she is someone who campaigns for women. I am not going to repeat too much of what I wrote recently, as I want to keep things fairly brief and new. However, in April, Davies spoke with The Guardian about No One Wants to See Your D*ck: A Handbook for Survival in the Digital World:

“Her book, No One Wants to See Your D*ck, takes a deep dive into the negatives. It covers Davies’s experiences in the digital world – that includes cyberflashing such as all those unsolicited dick pics – as well as the widespread use of her images on pornography sites, escort services, dating apps, sex chats (“Ready for Rape? Role play now!” with her picture alongside it). However, the book also shines a light on the dark online men’s spaces, what they’re saying, the “games” they’re playing. “I wanted to show the reality of what men are doing,” says Davies. “People will say: ‘It’s not all men’ and no, it isn’t, but it also isn’t a small number of weirdos on the dark web in their mum’s basements. These are forums with millions of members on mainstream sites such as Reddit, Discord and 4chan. These are men writing about their wives, their mums, their mate’s daughter, exchanging images, sharing women’s names, socials and contact details, and no one – not one man – is calling them out. They’re patting each other on the back.”

PHOTO CREDIT: Francesca Jones/The Guardian

It has taken years for Davies to shift the blame away from herself and on to them. For most of her adult life, she says, she carried shame and stigma around like a “weighted cross” on her back. “Every time I was taken advantage of, I kind of accepted it,” she says. “I thought: ‘Oh well, you’ve opened yourself up to this. What did you expect?’ Part of me believed that this is just how the world is, and this was all I was worth.” That message was delivered in so many ways. As a model, she tried setting boundaries, never shooting topless content. When she was once asked to pose in a mesh bodysuit, she agreed on the understanding that her nipples would be edited out. She was assured they would be. A month later, the pictures appeared in a Nuts magazine summer special, nipples very clearly on display, an image that was quickly scanned and shared on the internet. (Davies remembers crying in her mum’s arms as her standards collapsed in a “pathetic heap of lost hopes”.)

Her book sets the spotlight firmly back on the perpetrators to ask how their online behaviour could ever be accepted as “normal”, or “just what happens”. Davies doesn’t have to look very hard to find activity that should disturb anyone: nudify requests where AI apps are used to create fake nude images (“nudify my sister/cousin/mum/dead wife”); the collector culture – “One thread, for example, where someone requests images of girls from Birmingham or my home town Aberystwyth, gets hundreds of thousands of views because men from those places click on them,” she says. “Someone would say: ‘Has anyone got X from Plymouth?’ And men would reply: ‘Yes, I’ve got her, have you got Y?’ For me, that really hit home. These are men in our daily lives who we see every single day, whether it’s in the shops or at the school gate, or in our homes”.

View this post on Instagram

A post shared by Jess Davies- Presenter, Author & Campaigner (@_jessdavies)

Before moving on, I was affected by a piece Jess Davies wrote for GLAMOUR back in May. She noted how, for so long, she felt shame for daring to take an image of her own body. Now, she is taking back control and realising that this was not her shame to carry:

“Diving deep into the manosphere forums where their depravities were laid bare, I skimmed through threads that housed millions of non-consensual intimate images of women that were being traded and shared without their consent and clicked through the rotating pages of deepfake ‘porn’ requests that featured women that the men knew personally, including their family members. With a lump in my throat, I read through the sick rape fantasies they would each take turns to write and observed their online ‘games’ which saw them ‘risk’ women’s intimate images and personal details as currency.

Then when I’d finally seen enough I played the UNO reverse on them; learning about their twisted part-time activities, their sleuthing tactics and secret websites I pulled all this information together in a book that acts as a handy toolkit to arm women with the knowledge of what is unfolding in these online spaces in the hope of galvanising them to demand better from the tech platforms, the government and the men in their lives.

Each chapter concludes with accessible tips to help women don their own sleuthing hats and better protect themselves from the harms of online misogyny, while we wait for legislation and societal attitudes to catch up.

He believes there is a conspiracy against men, that our societies are not patriarchal and never were (because the very concept of patriarchy is a fabrication), and that women should not be allowed to have an abortion without a man's consent.

As Gisele Pelicot defiantly said, shame must change sides – and that goes for all victims of image-based abuse. While I almost lost myself in the darkness, not one of the multiple men who have removed my consent digitally and physically over the years has ever apologised. Society has failed to make them feel it’s needed; tech platforms have failed to hold them accountable.

I was done carrying the shame that was dumped on my back, and I wanted other survivors to feel that sense of relief too, which is why I wrote my book. No One Wants To See Your D*ck is an investigation into online misogyny and includes my own deeply personal experiences, along with interviews with incredible survivors, campaigners and experts of image-based abuse, including Glamour's Lucy Morgan, Professor Clare McGlynn and Elena Michaels from Not Your Porn.

It’s time we call out the deep-rooted misogyny that thrives online, that threatens to radicalise an entire generation of men through ‘masculinity’ grifters with podcast microphones, and call in parents, platforms and politicians to take a stand against the epidemic of violence against women and girls that is rampant in the digital world.

With Amnesty International UK’s recent polling finding 73% of Gen Z social media users have witnessed misogynistic content online and a fifth of female users having avoided or left social media platforms altogether due to the impact of online misogyny, it is vital that the UK government introduces Glamour’s comprehensive Image-Based Abuse law to better protect women and girls online and hold perpetrators to account.

Women should not have to accept or expect online misogyny in exchange for their digital citizenship”.

PHOTO CREDIT: Jess Davies

Think of the great feminists of our age. How they have lived through various decades of shift. Various waves of feminism and crisis that women face. The rise in sexism and misogyny. At all times, campaigning for equality and awareness. Highlighting the way women’s safety and dignity is almost an afterthought. Now, with the Internet and A.I., there are new issues and ways in which women are abused and exploited. There are so many amazing women who are writing books, publishing articles and posting on social media. Ensuring that they highlight the facts and make their voices heard. In the case of Jess Davies, her early life as a glamour model was at a time when lads’ magazines were rife. Where there was this lurid tabloid press and ickiness that ran through society – to be fair, it is still here, but it was especially rife in the '00s and before that in the '90s -, and she experienced such abuse and shame. Not that she should have felt shame but, as she explained to The Guardian, it took her years to shift that feeling of stigma and blame. Someone who is incredibly strong and inspiring in the face of what I would imagine to be daily abuse – she was sent unsolicited dic*k pics and sexually violent messages – and harassment. I want to source from this site, where Jess Davies shared evidence of the mass scale of abuse online. How there are various forums where deprived sexual fantasies are shared. Where women are degraded and threatened. She shared her own experiences:

“Misogyny has been normalised online and validated by influential figures who post harmful attitudes towards women. These creators have millions of views and while their posts are allowed to go viral on social media platforms, young men and boys will be led to believe these behaviours are okay and acceptable. Or worse, glorified and glamourised. Often we talk of content on mainstream social media platforms such as Meta, Tiktok and X but I would like to draw attention to the fringe forums. The sites such as 4Chan and forums including Nudostar and The Fappening are seen as more difficult or even impossible to regulate, so the millions of members on these sites are allowed to carry out their harmful abuse without any attempt to stop them.

On 4chan.com, a popular messaging board forum there is a thread titled ‘Adult requests’. In here, users post anonymously their explicit requests to other users which often include requests to create explicit deepfake images, ‘nudify’ pictures and ‘AI cum tributes’ of women. These women are often women that the men know personally, I have seen men requesting explicit deepfake’s of their mothers, sisters, ex-girlfriends and their teachers. Other users will fulfil their request, removing the clothes from the women in the image using AI technology and replacing them with computer generated naked bodies or porn scenes. These are often graphic and objectify women, consent is not required which I believe motivates these men. Recently, I have noticed an uptick in the requests for AI ‘face fucks’ of the women, which use AI technology to create a graphic and extreme oral sex scene.

Also prominent on manospehre forums are the mass trading and sharing of women’s intimate images without their consent. This is referred to by campaigners as ‘collectors culture’, where men are sorting women (often women they know) into folders under their home towns, relationship towards the men or their universities. Then, they all trade the women’s images without their consent as if they are baseball cards. One thread alone titled ‘Glasgow’ of Scottish women had over one million views, highlighting the popularity of this content. I have seen my own images traded in these forums under a request for women from my hometown, Aberystwyth. A small, coastal town in Wales. If this town is not safe from the depravities of collectors culture online, no town is.

We cannot continue to ignore the mass scale of absue that is happening in these forums, often forums that have millions of followers. This is not happening on the dark web, it is happening on fringe mainstream social media sites. While non-consensual intimate images of adults are still classified as ‘legal’ content, these forums will continue to thrive. There are millions of British men perpetrating this abuse because they can. They can get away with it, there is never any consequences for them while the women live with all the trauma inflicted on them for daring to exist in a woman’s body or engage in digital communications”.

A campaigner who I feel will write other books and make huge changes, I also think that she is a modern feminist icon. After a busy 2025, where she has been promoting her book and sharing her personal experiences, there must have been this mix of excitement and vulnerability. Revisiting times that were hugely upsetting and challenging. However, her social media posts are so informative and personal. Recently, she has discussed the misogyny the Lionesses have faced, and how women in football are still underheard and subjected to abuse and discrimination. This is someone I can see either running a charity or creating more documentaries. At a time when there is so much sexual violence and women’s privacy and body autonomy are being threatened, her voice is so important! Someone who, as I can attest, is compelling to listen to, Davies also has potential to be enter politics. However, after releasing No One Wants to See Your D*ck: A Handbook for Survival in the Digital World, I can see envisage Davies writing another book and continuing to campaign. The exceptional Jess Davies is…

AN amazing person and role model.

FEATURE: Kate Bush’s Hounds of Love at Forty: Thirteen: Jig of Life

FEATURE:

Kate Bush’s Hounds of Love at Forty

IN THIS PHOTO: Kate Bush in 1985/PHOTO CREDIT: Guido Harari

Thirteen: Jig of Life

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ONE of the most exciting…

and joyful tracks on Hounds of Love, I often think of this as the sister song to The Big Sky. If you want to pair songs from the first side and The Ninth Wave, I would say that Jig of Life does connect with The Big Sky. In the sense that there is a childlike wonder and link. The Big Sky sees Bush giddily excited looking at the clouds and imagining what could be. One that is shaped like Ireland. Jig of Life, to me, is the woman/Bush stranded at sea and her family and friends speaking to her. Urging her to wake up. I am going to come to Leah Kardos and her book, Hounds of Love. She shares some interesting analysis about the song’s themes and the composition. Before I get there, this article from the Kate Bush Encyclopedia shares an interview from 1992 where Bush spoke about Jig of Life:

“At this point in the story, it’s the future self of this person coming to visit them to give them a bit of help here. I mean, it’s about time they have a bit of help. So it’s their future self saying, “look, don’t give up, you’ve got to stay alive, ’cause if you don’t stay alive, that means I don’t.” You know, “and I’m alive, I’ve had kids [laughs]. I’ve been through years and years of life, so you have to survive, you mustn’t give up.”
This was written in Ireland. At one point I did quite a lot of writing, you know, I mean lyrically, particularly. And again it was a tremendous sort of elemental dose I was getting, you know, all this beautiful countryside. Spending a lot of time outside and walking, so it had this tremendous sort of stimulus from the outside. And this was one of the tracks that the Irish musicians that we worked with was featured on.
There was a tune that my brother Paddy found which… he said “you’ve got to hear this, you’ll love it.” And he was right [laughs], he played it to me and I just thought, you know, “this would be fantastic somehow to incorporate here.”
Was just sort of, pull this person up out of despair.

Richard Skinner, ‘Classic Albums interview: Hounds Of Love. Radio 1 (UK), aired 26 January 1992”.

There is a lot to explore regarding Jig of Life. It is a song that Bush recorded in Ireland, at Windmill Lane Studios in Dublin. There is a lot to love about the track. Bush’s brother John reciting a poem. Doing the narration and affecting an Irish accent. The rush you get from the composition. Uillean pipes, fiddles and bouzouki among the instruments that creates this frenzy. In terms of the narrative of The Ninth Wave, we are now past the point where there is much sign of hope. The heroine has expended so much energy and had to face such an ordeal. Struggling to stay awake and afloat, this is the moment when these voices come to her. Hallucinations and delirious auditory flashes. The connection to Ireland is important. Bush’s mother was Irish and there is that ancestry and connection. The antepenultimate song on the album, we then lead to Hello Earth and the finale, The Morning Fog. There is a lot I did not know about the song. As Leah Kardos begins: “The starting point for ‘Jig of Life’ took inspiration from the ceremonial music of Anastenaria, a centuries-old ecstatic dance and fire-walking ritual performed during religious feasts in Greece and Bulgaria. The music, inspired by a rare recording that Paddy Bush had found and shared with his sister, is characterized by repetitious, deep rolling rhythms and whirling figures performed on violin and tsabouna (Greek bagpipes)”. That is the origin and inspiration that only Kate Bush could be associated with! I do love to explore the origins for the songs on Hounds of Love. How The Ninth Wave’s title relates to the name of a poem from Alfred Lord Tennyson’s The Idylls of the King: the ninth wave. There is also a tie to The Coming of Arthur:

“Wave after wave, each mightier than the last,
Till last, a ninth one, gathering half the deep
And full of voices, slowly rose and plunged
Roaring, and all the wave was in a flame’

Kate Bush uses ‘the ninth wave’, inspired by ‘The Coming of Arthur’, as well Aivazovsky's iconic 1850 painting ‘The ninth wave’ which shows a group of people shipwrecked at sea, as a metaphor for the final wave before drowning, a moment which becomes the anchor of the album and provides its framing narrative”.

Bush was inspired by the music of Anastenaria, as “people worked themselves into a trance state through the hypnotic quality of the music”. Lifting those rhythmic musical qualities of the style, we notice that in the first section of Jig of Life. “Based on the Greek dhrómi mode (on a root of A), the tonality is mostly minor but with idiosyncratic instability on the second degree (B)”. I have quoted some of this text when I explored The Ninth Wave earlier this year, though I am returning now as Hounds of Love turns forty next month. Focusing on this extraordinary song, Bush is visited by a vision of her future self. One that urges her to stay awake and to live. It is this sort of vision that one might experience if they were dying or lost at sea There is so much poetry and folklore in the song. Leah Kardos observers how “the mention of ‘the place where the crossroads meet’ evokes once again the image of Hecate, the goddess in Greek mythology who is often depicted flanked by two dogs and sometimes shown with a triple-formed face that sees the past, present and future simultaneously”. I wonder if Hecate inspired the cover of Hounds of Love, where Bush is photographed with her two dogs, Bonnie and Clyde. There is a mix of Greek mythology and Ireland in Jig of Life. Taking from her mother’s homeland, John Shehan’s fiddle has this “deft melodic turn” that helps intensify the music “to a boisterous jig that’s thrillingly physical and full of blood”. Bush travelled to Dublin to work with these musicians who were arranged by Bill Whelan.

IN THIS PHOTO: Kate Bush in 1985/PHOTO CREDIT: John Carder Bush

As involved and captured by the jig as we are, it suddenly stops. Bush repeats the words “’I put this moment… here’”. Her brother John’s voice cuts in with “’Over here”’ and the opening ceremonial theme strikes up once again”. There was an idea to pitch John Carder Bush’s voice higher to make it sound like a woman. That would have given his poem different meaning and impact. Maybe good that this never happened! Kardos ends her section on Jig of Life by writing how it is “A magical and affirming moment of temporal self-care; the powers of mothers from the past and future rallying at the crisis point to help Bush choose to live”. One of the deepest and most intriguing lyrics from Hounds of Love comes during Jig of Life: “And to your little boy and to your little girl/And the one hand clapping/Where on your palm is my little line/When you’re written in mine/As an old memory?”. Jig of Life seems like the final part of the middle. Two tracks in the first act, three in the second, and then two to end. From here, we move to the epic and stirring Hello Earth before a brief burst of sunshine and redemption from The Morning Fog. Jig of Life could be the dying voices our heroine cannot react to as she has fought too long. It could be – and I like to think so – the spirit and kick that she needs to stay alive and not give up hope. A transformative and pivotal moment from The Ninth Wave,  it causes my pulse to race and heart skip in time…

EVERY time I hear it.

FEATURE: Kate Bush’s Hounds of Love at Forty: Twelve: The Influence of Ireland and East Wickham Farm

FEATURE:

 

 

Kate Bush’s Hounds of Love at Forty

IN THIS PHOTO: Kate Bush in 1985/PHOTO CREDIT: John Carder Bush

Twelve: The Influence of Ireland and East Wickham Farm

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I am continuing…

my twenty-feature run celebrating the fortieth anniversary of Hounds of Love. Kate Bush’s fifth studio album is forty on 16th September. I am making my way through the song on the album’s second side, The Ninth Wave. I am going to move to Jig of Life. That has Irish instrumentation and spirit. It features John Sheahan, Dónal Lunny and Liam O’Flynn. Bush recording at Windmill Lane Studios in Dublin for the Irish Sessions. It is clear that both Ireland and East Wickham Farm were instrumental when it came to influence for Hounds of Love. Her family home was a real draw. I wrote in a previous feature how 1983 was the year when she recharged and rebuilt. A bespoke home studio was built at East Wickham Farm and there was this new connection to her family. The space where she spent her childhood and wrote her earliest songs, it obviously had this personal and spiritual pull. I am going to start out by dropping in this article about the making of Hounds of Love. A passage that discusses Watching You Without Me and Jig of Life caught my eye:

“Double bass accompaniment by the legendary Danny Thompson. The gifted musician has nothing but compliments when talking about Kate Bush as a person and a musician: “She is a dream person to work with. People assume that these iconic people are beyond touch. You pull out to her house and she says ‘Hello Danny, want a cup of tea?’ Then you go in the studio and it is the other person that is serious about the music. It is a great profession to be in when you work with great artists who are also really fine people.”

The grim story takes a slight positive turn by offering hope in the form of the floater’s future self, asking them not to give up. After all, to paraphrase what Dizzie Gillespie said about Louis Armstrong: no you, no me. But it goes farther to explain that the future holds a family, kids, something to live for.

The song was written in Ireland, the clear influence of the country manifested in the arrangement: “It was a tremendous sort of elemental dose I was getting, you know, all this beautiful countryside. Spending a lot of time outside and walking, so it had this tremendous sort of stimulus from the outside.” A multitude of Irish folk instruments are played by John Sheahan (Fiddles, whistles), Donal Lunny (Bouzouki, Bodhran) and Liam O’Flynn (Uillean pipes). As in another Irish-influenced tune, Night of the Swallow from The Dreaming, Bill Whelan is responsible for the arrangement”.

We can see there what it was like for artists who recorded at East Wickham Farm. It is no surprise that Kate Bush wanted to return to East Wickham Farm. Not only is there the stability of home and family. There is that comfort of having that support at her feet. Whereas The Dreaming (1982) saw her work at various studios and it was intense and unhealthy, at home, she could spend time in her own studio and not worry about costs. Hounds of Love is an album defined by nature and the natural world. Water especially prevalent. East Wickham Farm offered this calm and bucolic beauty. There were the gorgeous flowers and the landscape. However, I think it was the working routine and the hospitality of East Wickham Farm that was most important. Paul Hardiman and Kate Bush continued sessions from April 1984 after she had spent a month in Ireland. The sessions, which were about six months, were idyllic. Hardiman remembers walking into the kitchen at East Wickham Farm and there being conversation flowing. Paddy Bush (Kate Bush’s brother) was always there. The dogs, Bonnie and Clyde – who appear on the album cover –, were there. Copious tea and food being prepared. Pigeons and doves were all over the place. Although it was very relaxing and happy, it was also hard work. Bush was producing on her own and wanted to prove to EMI that she was right to produce. They had doubts after The Dreaming was released. She would throw musicians curve balls or ask for something a little unorthodox. She wanted to add another percussive layer to Jig of Life, so she handed Charlie Morgan various Irish percussive instruments (including the lambeg) and asked him to fill twenty-four tracks with “clacking, beating and booming”, as Graeme Thomson writes in Under the Ivy: The Life and Music of Kate Bush. Bush did not have a glass wall between the live room and control room. It meant she relied on microphones and this two-way communication. It made her less self-conscious but also saved time.

It was family and that familiarity that helped infuse Hounds of Love with this sense of wonder and confidence. Sounding far more relaxed as a producer than previously, East Wickham Farm enforced the songwriting but it also allowed Bush to produce an album to her own specifications and to her own timeframe. Not being surrounded by smog and loads of people in a city allowed her the flexibility and quiet to concentrate. Even if the album was tough to record and there were some stressful times, she still recounted how it was the happiest time of her recording career. Connecting to childhood memories and times at the farm. Thinking back to her childhood years. Also, as I explained in my 1983 feature, Bush built her own dance studio and committed to a healthier diet. It was a magnificent time. Also influential was Ireland. Not only in terms of songs like Jig of Life. Quite a bit of Hounds of Love was written there. If the inspiration of Ireland can be heard in Jig of Life, the country and its people runs right through Hounds of Love. The landscape and its views. Bush very much moved by the sea and the land. Valleys and hills. The beautiful expanses that no doubt enforced the narrative of many of the songs. The Ninth Wave especially. Also, The Big Sky nicely references Ireland (“This cloud, looks like Ireland!”). I will talk about Ireland more when I discuss Jig of Life next. Bush’s mother Hannah was born in Ireland. She had family there. Having not spent a lot of time there since childhood, it was an overdue return. She would go back to record again for 1989’s The Sensual World. Nature, warmth, family and the views from both East Wickham Farm and Ireland were a big factor in terms of Hounds of Love’s writing and genius. These essential elements and lifeforces emboldening and defining…

HER greatest work.

FEATURE: Together for Palestine: Why a Benefit Concert for a Besieged People Needs to Motivate Prolonged Commitment from the Music Community

FEATURE:

 

 

Together for Palestine

Why a Benefit Concert for a Besieged People Needs to Motivate Prolonged Commitment from the Music Community

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LIKE it or not…

PHOTO CREDIT: TIMO/Pexels

but we live in a fascist country. The U.K. has become almost a dictatorship where free speech is banned. If you protest against a genocidal nation (Israel) then you are see as inciting violence and hatred. Anyone who shows support towards Palestine Action – essentially people against genocide and showing their disgust through peaceful measures – and being arrested and can spend time in prison. In fact, the maximum sentence you could face is fourteen year. Support for that group is seen as an act of terrorism. Think about all the actual crimes where you could get a more lenient sentence. We have come to a point where our own government is not only ignoring genocide but funding it! They have a political agenda that is to squash and imprison anyone who speaks out against a heinous and barbaric action. Yesterday (9th August) saw hundreds arrested in London after showing support for Palestine Action:

“Police have arrested 474 people at a demonstration in London in support of banned group Palestine Action.

The Metropolitan Police said 466 protesters were arrested for supporting the group, five for assaults on police officers, two for public order offences, and one for a racially aggravated offence.

Scores of people simultaneously unveiled handwritten signs with the message "I oppose genocide. I support Palestine Action" at the protest, organised by Defend Our Juries at Westminster's Parliament Square.

The government proscribed the group in July under the Terrorism Act of 2000, making membership of or support for it a criminal offence, punishable by up to 14 years in prison.

No officers were seriously injured, and the Met Police said the number of arrests was the largest made by the force on a single day in the last 10 years.

Home Secretary Yvette Cooper thanked police for their response, while charity Amnesty International described the mass arrests as "deeply concerning".

Footage from the square showed officers moving among the protesters, who were mainly seated on the ground, and speaking to them before leading them away.

Protesters whose details could be confirmed during processing were bailed with conditions not to attend any further protest in support of Palestine Action.

People who refused to give their details or whose identities could not be verified were taken into custody.

Many of the protesters didn't want to speak to media who came to cover the protest, but one - who didn't give her name - told the BBC: "If they ban Palestine Action, what other group is next? Until we're just no longer allowed to protest anything. That's the opposite of democracy."

Another, Claudia Penna-Rojas, 27, said: "I don't think anyone wants to get arrested, but I'm more concerned with what is happening to people in Palestine right now, and I refuse to be a bystander”.

I do think that it is appalling that we have a Prime Minister (Keir Starmer) who wants to remain silent and do nothing. Someone who is very much supporting Israel and does not care about those in Palestine who are being slaughtered. As our government does not care, who else in this country is going to show anger at what is happening?! Recently, Bob Vylan took to the Glastonbury stage to call out  the IDF (Israel Defence Forces). Glastonbury could have pulled power to the set, but they did not. The BBC condemned them. In fact, Glastonbury’s organisers, who you would think would support free speech - and said that this is something they do back – rowed back and said that they condemned Bob Vylan. It was a cowardly and pathetic show from an organiser and festival who want to supress free speech and anyone who stands against evil. Some artists have spoken our against Israel and there have been other acts who have taken to the stage to call out their genocide. Showing humanity for Palestine. That is what it is about. It is not about anyone inciting murder or calling for insurrection. Instead, it is rightly anger and disgust at what is happening. A genocide that is being shown on the news but governments are doing nothing. You get the feeling artists would like to put this into their music. To call out this barbarism. However, as people can spend years in prison for showing any form of support for Palestine Action – which, again, they are doing peacefully! -, then they have more than their careers on the line. It is a horrible time when the U.K. is being run as a fascist state. Perhaps nothing new, the evil of our current government is glaring!

It is not the case that the music industry is also doing nothing. In fact, a benefit concert is being organised and overseen by Brian Eno. The wonderful and much needed Together for Palestine. No doubt it will not be televised and there will be this media silence. Also, I guess artists are being warned not to follow Bob Dylan and Kneecap in voicing their anger at the IDF and outrage at what is happening. One feels it might be a slightly muted affair in that regard. However, it is a necessary show of solidarity from the music industry:

“The lineup has been announced for one of the largest-scale benefit concerts for Palestine since the intensification of conflict after 7 October 2023. It takes place at Wembley Arena in London on 17 September.

Brian Eno is overseeing Together for Palestine, which brings together British and Palestinian artists at the 12,500-capacity venue to raise funds for Choose Love, a British charity working with 23 partner organisations in Gaza to deliver food, medical supplies and other support.

The Palestinian musicians Adnan Joubran, Faraj Suleiman and Nai Barghouti are scheduled to perform alongside Eno and a host of top UK artists: Bastille, Cat Burns, Damon Albarn, Greentea Peng, Hot Chip, James Blake, Jamie xx, King Krule, Mabel, Obongjayar, Paloma Faith, Rachel Chinouriri and Sampha, with “one-off contributions” from Rina Sawayama, PinkPantheress and Riz Ahmed.

Eno said: “In the face of the horrors of Gaza, silence becomes complicity. Artists have always helped societies to point out injustice and imagine better futures. That’s why this concert matters. It’s time for us to come together – not just to raise our voices, but to reaffirm our shared humanity.”

Khaled Ziada, founder and director of the London Palestine film festival, is producing the event alongside Eno and Tracey Seaward, the film producer who also produced the 2012 London Olympic opening ceremony.

Ziada said: “In a world where governments and mainstream media have fallen silent in the face of genocide, this gathering becomes a chorus of resistance – where artists and communities come together to grieve, to rage and to stand shoulder to shoulder with the Palestinian people.”

Singer-songwriter Chinouriri, who supported Sabrina Carpenter on a recent tour, called on other musicians to “join me in building a bridge to victims in Gaza and beyond, we must break through the privilege of our bubble and speak with truth and justice”. Albarn said: “Pacifism is an action. Peace is an action. To live peacefully requires vision and commitment … I am grateful for this opportunity to act in solidarity with the Palestinian people.”

The production design of the event is being handled by Es Devlin, the Olivier and Tony award-winning stage designer who, as well as working in theatre, has designed huge pop shows for the likes of Beyoncé, the Weeknd, U2 and Lady Gaga.

Devlin is collaborating with Palestinian artist Malak Mattar on Together for Palestine, and said the Wembley Arena stage “will express the rich beauty of Palestinian culture”.

Eno has been a longstanding supporter of Palestine and the cultural boycott of Israel.

In 2017 he had a dispute with Nick Cave over the cultural boycott, with Cave characterising the boycott movement as “people that are trying to shut down musicians, to bully musicians, to censor musicians, and to silence musicians”. Eno replied: “This has nothing to do with ‘silencing’ artists – a charge I find rather grating when used in a context where a few million people are permanently and grotesquely silenced”.

IN THIS PHOTO: Nadine Shah played the Other Stage at Glastonbury 2025/PHOTO CREDIT: Getty Images

I do hope that this concert makes a difference and it raises a lot of money! That aid can be flown to Gaza and it means that starved and afflicted Palestinians can get the support they need. As our government seems hell bent on letting it happen and do not have any humanity, it is good that the music industry is doing something. Even Hollywood has been pretty inactive when it comes to any sort of similar fundraiser. After the dust has settled on the concert, what comes next? Obviously, the genocide will continue and there will be this pacifism from governments the world over. Although music alone cannot change the situation, it is incumbent on artists and those in the industry to keep speaking out. Obviously, there is that risk of censorship. Venues refusing to book artists and radio stations not playing their music. Even the possibility of artists facing criminal action. However, as we are in a fascist state and any form of protest against genocide is seen as criminal, then we need to do something. The question is, what? Songs do need to address Israeli genocide. I have not heard many examples of artists using their platform to speak out against it. Artists need to be more vocal in the media. Nadine Shah played Glastonbury in June, and she used her set as an opportunity show support for Palestine:

“The singer has been a vocal supporter of Kneecap throughout the recent Terrorism charges brought against their singer Mo Chara for allegedly voicing support for Hamas and Hezbollah during a gig last year. She also recently posted ‘Fuck the BBC’ on her Instagram page, and explaining it was because they had pulled the broadcast of a documentary called Gaza: Medics Under Fire.

While for the most part during her set of intense pop, she let the moving backdrop behind her do the talking for her - it was designed by digital artist Cold War Steve and ended on an image of Donald Trump and Benjamin Netanyahu sat on sunchairs in a bombed-out Gaza, with Keir Starmer serving them cocktails - at the end of the show she read out an open letter by Artists for Palestine UK in support of Palestine Action, the direct action organisation who the government are proposing to ban under anti-terrorism laws.

She read that Palestine Action was intervening in a genocide and that, “We deplore the government's decision to proscribe it. Labeling nonviolent direct action as terrorism is an abuse of language and an attack on democracy”.

In terms of massive artists in the mainstream speaking out, there has been this silence. What about the biggest Pop artists of today? Where are they in this?! It does seem like they are either fearful of huge career repercussions or they do not feel it is appropriate to use their voice to speak out against genocide. Music has always been about protest. Even before Bob Dylan was writing protest songs in the early-1960s, there has been this platform where artists could speak out. Even during the time of Civil Rights clashes, the repercussions for protesting were not as severe as they are today. It is very positive that Together for Palestine is happening and thousands will turn out. I hope that it raises millions. Also, as much as anything, I hope that is spurs more artists into action. That it also shames our government and shows that the music industry has more comparison and humanity than they do! That they also seemingly reflect a growing anger and disgust in this country. People risking jail to call out genocide. It is an appalling world we live in. It is hard to tell how long this will go on. Will it be the case that Gaza is completely wiped out and every single citizen is killed or left to starve?! After that, do we just stand still and remain silent?! Israel is committing war crimes and they are being funded by governments around the world. It is horrifying that we are in a situation where it is down to the music industry and other sectors away from government to do the right thing. To take some form of action. From Bob Vylan to Kneecap to Nadine Shah to CMAT, there are those that want to speak out and see Palestine free. However, governments are prepared to arrest and imprison people. Censor anyone who speaks up. What an appalling situation to see this happen…

IN the modern age.

FEATURE: End It On This: No Doubt’s Tragic Kingdom at Thirty

FEATURE:

 

End It On This

No Doubt’s Tragic Kingdom at Thirty

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I know that some fans and reviewers…

IN THIS PHOTO: No Doubt (from left: Adrian Young, Tom Dumont, Gwen Stefani and Tony Kanal)/PHOTO CREDIT: Joseph Cultice

were not fans of No Doubt’s Tragic Kingdom, as they felt it was too ‘poppy’ and maybe a departure from their Ska roots. Calling the album too commercial or Pop-leaning seems insane! It is not at all. In any case, No Doubt, like any band, are allowed to evolve and change. In terms of the songs on their album, there are more than a few classics. Just a Girl, Spiderwebs and Don’t Speak are all huge songs. Led by the super-cool and legendary Gwen Stefani, I think you can hear D.N.A. from Tragic Kingdom in work by modern groups. Those that definitely are compelled by No Doubt’s underrated third studio album. It would be another five years until they followed this album with 2000’s Return of Saturn. On 10th October, 1995, Tragic Kingdom came into the world. Just a Girl was released on 21st September, 1995, so fans had an inkling into what the new album would sound like. A number one album in the band’s native U.S. and a huge success around the world, there were a lot of positive reviews for Tragic Kingdom upon its release. At the 1997 Grammy Awards, No Doubt was nominated for Best New Artist and Best Rock Album. In 2003, Tragic Kingdom was ranked number 441 on Rolling Stone's list of the 500 greatest albums of all time. NME included Tragic Kingdom on its 2020 list of "The best new wave albums ever". Because this immense album is coming up for its thirtieth anniversary, I want to spend some time with some features that take us inside its recording, the amazing songs and also the aftermath and legacy. I remember when Tragic Kingdom came out. I was twelve and I had heard a few No Doubt songs. I think the release of Don’t Speak in 1996 was a huge moment. One of the defining songs from my high school years.

Let’s start off with this article from last year. They provide a thorough and forensic breakdown. Providing insight and technical details. A lot of great information about the recording of Tragic Kingdom. Produced by Matthew Wilder, this was a moment when No Doubt ascended to new heights. Iconic songs like Just a Girl regularly played on music T.V. and widely shared on the radio. Songs from the album still popular and heard to this day. Maybe the best album No Doubt released:

“The creation of Tragic Kingdom was set against a backdrop of musical experimentation and personal upheaval. By the early 1990s, No Doubt had already established themselves as a band with a distinctive sound, blending ska, punk, and pop influences. However, their self-titled debut album, released in 1992, failed to make a significant impact commercially, largely overshadowed by the grunge movement that dominated the airwaves.

Despite these challenges, the band persisted, releasing The Beacon Street Collection in 1995, a self-produced album that demonstrated their growing confidence and musical maturity. This period of creativity and experimentation laid the groundwork for Tragic Kingdom. With the departure of Eric Stefani, who left to pursue a career in animation, the band was forced to reconfigure their songwriting process, with Gwen Stefani and Tony Kanal stepping into more prominent creative roles.

The album’s main contributors included Gwen Stefani on vocals, Tony Kanal on bass, Tom Dumont on guitar, and Adrian Young on drums. Additional musicians and collaborators enriched the album’s sound, bringing a vibrant mix of influences to the fore. The album’s title, a playful twist on Disneyland’s “Magic Kingdom,” reflects the band’s Southern California roots and the bittersweet themes explored throughout the record. The album artwork, created by photographer Daniel Arsenault, captures this duality, featuring Gwen Stefani in a striking red dress amidst an orange grove, symbolizing both the beauty and decay inherent in the “Tragic Kingdom.”

Recording Process

The recording of Tragic Kingdom was a meticulous process, spanning over two years from March 1993 to October 1995. The sessions took place across 11 studios in the Greater Los Angeles area, each contributing to the album’s rich and diverse sound. Studios like Total Access and The Record Plant provided the band with state-of-the-art facilities and a blend of vintage and modern equipment, essential for capturing the album’s eclectic style.

Matthew Wilder, the album’s producer, played a crucial role in shaping the sound of Tragic Kingdom. Known for his work with artists like Christina Aguilera, Wilder brought a polished yet dynamic approach to the recording sessions. His collaboration with engineer Paul Palmer ensured that each track was meticulously crafted, balancing the band’s ska-punk roots with broader pop sensibilities.

One notable challenge during the recording was the tension arising from the band’s personal dynamics, particularly the breakup between Gwen Stefani and Tony Kanal. This emotional backdrop added a layer of intensity to the sessions, with tracks like “Don’t Speak” capturing the raw vulnerability of their relationship. Despite these hurdles, the band managed to channel their personal experiences into the music, creating an album that resonated deeply with listeners”.

I am going to jump to a review from Pitchfork. They provided some interesting and excellent backstory and history. The lead-up to the recording of Tragic Kingdom. I think one of the most notable and important aspects was the lyrics by Gwen Stefani. A feminist whose lyrics on songs like Just a Girl very much fitted with a scene of incredible women who were using their music to hit out against sexism and the patriarchy, this anger and defiance mixes with the more colourful and heartbroken:

“Following the surge of third-wave feminism in the early ’90s, the mid-’90s became the peak of the “angry white female” era in rock and pop. It was a time when feminized aggression—from Hole and riot grrrl to Liz Phair and Alanis Morissette—was suddenly perceived as being on-trend, as if women haven’t been furious forever. Stefani, girly tomboy ultra, arguably benefited from this kind of branding, even while she maintained the fun, energetic personality that led Courtney Love to dub her a “cheerleader” and others to call her the “anti-Courtney Love.”

Lead single “Just a Girl” was Gwen’s bridge to planet angry. Upon its release in September 1995, it became a theme song for any girl fed up with living in a boy’s world—with the emphasis once again being on girl. Spice Girls would soon turn “girl power” into a full-on marketing technique, but “Just a Girl” was some kind of magic middle-ground in the context of ’90s pop-feminism: sassy, addictively sweet and sour, yet still accessible. Dumont’s indelible looping riff adds a taunting feeling, while the lyrics leave interpretation conveniently ajar with lines like “I’m just a girl/So don’t let me have any rights.” Never has Stefani’s vocal style—with its forays into babydoll voice and its breathless, swooping belts—felt more intentional as a performance technique meant to amplify her message. “Just a Girl” is not a subtle song, but what it’s doing is quietly masterful: The sarcasm subverts the underlying victimhood in a sneering way, but victimhood is also something girls (particularly white or privileged girls) quickly understand as a tool for getting what they want.

Gwen’s Tragic Kingdom-era pain was incandescent because it felt off the cuff, uninhibited, and barely removed from its cause. You saw that up close in “Don’t Speak,” the breakup ballad that pushed No Doubt’s success over the edge, topping the Billboard airplay chart for 16 weeks. Starting in late 1996 and continuing for much of 1997, flutters of Spanish guitar and angelic whispers of “hush hush, darling” were inescapable; for those listening across radio formats or watching MTV at the time, the song’s ubiquity reached “if I hear this one more time…” levels. But people also could not look away from the saga of Gwen and Tony, SoCal ska’s Stevie and Lindsey. Every night they’d hit the stage and seemingly be forced to relive their split through “Don’t Speak,” a song musically at odds with nearly everything in their upbeat catalog.

Not every song on Tragic Kingdom is overtly about the breakup or the frustrations of girlhood—this is ’90s California ska, after all, a few mostly positive chillers are required. But the album tracks skew cheesy, especially now. Ska bands of the era would sometimes show off their funk chops with a disco cut on their LPs, but No Doubt’s take, “You Can Do It,” is plagued by fake disco strings and a guitar jangle that borders on musical clip art. “Different People,” a brass-and-keyboard-led ska track about how the world is big and diverse, has the tension of a child’s picture book, and the depth of one too. Eric’s musical-theater-strikes-back closer “Tragic Kingdom” is cringeworthy in highly specific ways: the sampling of theme-park announcements, the egregiously drawn-out tempo changes, the fact that it seems to be about how evil Walt Disney is. (Besides, on an album like this, the most tragic of kingdoms is actually Gwen and Tony’s love story, not the suburbia surrounding Mickey’s castle.)

The rush of energy you get from Tragic Kingdom’s opening run is enough to keep the album within spitting distance of the ’90s canon, emblematic of a specific time and place. Other highs include sixth single “Sunday Morning,” where the seasoned band easily finds the pocket with nimble, driving percussion, reggae rhythms, and overdubbed harmonies. “End It On This,” one of the only songs credited to Dumont, Kanal, and both Stefanis, is low-key pummeling: Gwen, in all her high-low vocal glory, recalls the last kiss with Tony while the band fires on all cylinders. Every player gets to show off a little with their “thing,” but Dumont is the secret all-star: His tough opening riff sets the song into intricate lockstep. Dumont, much like fellow unlikely-’90s-rock-star Rivers Cuomo, was a Kiss fan and longtime metalhead; you can hear that in his guitar hooks, which lent Tragic Kingdom a fizzy edge”.

It is another review that I want to get to now. Billboard write how No Doubt sort of pogoed into people’s lives in 1995. The Orange County band had endured enough tragedy and dislocation for a few albums. However, Tragic Kingdom does not get bogged down with too much baggage. It is a spectacular album that does show its tears and scars, and yet there is a lot of pleasure, joy and a range in terms of emotions and themes:

“It was the outcome of three years of struggle,” said bassist Tony in a 1997 interview with Rolling Stone. “And there were casualties.”

There sure were. During the making of Tragic Kingdom, Eric quit to become an animator on The Simpsons, and Kanal ended his eight-year romantic relationship with Gwen. These things transpired as the group — rounded out by guitarist Tom Dumont and drummer Adrian Young — tried to reverse their commercial fortunes while maintaining their artistic integrity. Fate was trying to break their stride and slow them down, but luckily, they had producer Matthew Wilder — he of “ain’t nothing gonna break my stride” fame — at the controls. While not exactly the hippest guy in the world, Wilder helped Gwen and the boys strike the right balance between the bouncy ska of their early years and the other sounds they were already drifting toward.

That last point is crucial. While some ska fans blasted the band for abandoning its roots, this was no overnight ka-ching thing. No Doubt’s sophomore effort, 1995’s self-released Beacon Street Collection, is all over the map, and even the group’s 1992 self-titled debut isn’t a front-to-back genre record.

And besides, by blowing out ska’s borders, No Doubt was following in the proud footsteps of fellow California acts like Fishbone and Oingo Boingo — not to mention all those 2 Tone groups from England that Gwen and Eric grew up worshipping. After nearly a decade in action, No Doubt circa ’95 was an ambitious foursome with a metal guitarist, a Prince-loving funk bassist, and a drummer comfortable in various styles. They’d have done themselves a disservice by sticking strictly with ska, and they’d have never made it out of Anaheim.

Of course, they did make it out. Tragic Kingdom sold 16 million copies and reached No. 1 on the Billboard 200. Only one of the singles, “Just a Girl,” cracked the Hot 100, but that’s because the rest weren’t released as proper singles. That technicality meant that tunes like “Spiderwebs” and the mega-smash “Don’t Speak” could only climb the Billboard Hot Airplay chart, and climb they did, reaching No. 23 and No. 1, respectively.

As dramatized in the “Don’t Speak” video, Gwen’s emergence as a superstar was a huge part of the group’s success. For teen girls in the late ‘90s, she was a different sort of idol, a glamorpuss in track pants who’d play girly-girl one minute and raging punk chick the next. In a pop landscape filled with power female figures, (Alanis Morissette, Shirley Manson, Courtney Love, etc.), Gwen’s bindi-dotted, bare-abbed, Barbie-warrior-princess aesthetic made her an alternative to all the alternatives.

Eric’s departure left her to handle the bulk of the lyrics, and the Tony situation left her with lots to write about. It was serendipitous, suddenly having this forum to express the greatest heartbreak she’d ever experienced, though it couldn’t have seemed like it at the time.

Thanks to Tragic Kingdom, No Doubt became one of the era’s biggest bands, and two decades later, it still tours and records when the mood strikes. Gwen, meanwhile, is a bona fide solo star and beloved TV figure, thanks to The Voice”.

I am rounding off with two retrospective features. The first is from VICE. Writing back in 2015 for Tragic Kingdom’s twentieth anniversary, we get to discover why the band and the album proved so popular. I think it is their relatability and accessibility. Especially Gwen Stefani. Not ego-charged or concerned with fame, this was (and still is) an artist who could connect with her fanbase and was writing songs that they could identify with:

“What Gwen wanted to sing about was, and still is, incredibly relatable to anyone still figuring their shit out. On “Different People” she grapples with her place in a world full of “different people and all their different minds” as impending pop stardom beckons. “You don’t have to be a famous person just to make your mark,” she sings on the first verse, sounding as though she’s trying to convince herself as much as anyone. She continues: “A mother can be an inspiration to her little son / Change his thoughts, his mind, his life, just with her gentle hum.” Twenty years on, this couplet feels like the motherhood versus career conundrum neatly summed up for the TMZ generation.

“Different People” is one of several Tragic Kingdom highlights that could only have been written by a smart, ambitious, somewhat conflicted woman. “Hey You!” has Gwen suspiciously eyeing up a newlywed couple who are “Just like my Ken and Barbie Doll,” while “Just a Girl” is a wickedly sarcastic feminist anthem inspired by a scolding she received from her father after she stayed out too late with Kanal and drove home alone. “Oh I’m just a girl / All pretty and petite / So don’t let me have any rights,” she sneers at the top before sighing, “Oh, I’ve had it up to here!” over the outro.

Elsewhere, “Spiderwebs” is essentially Destiny’s Child’s “Bug a Boo” for the pre-cellphone era, while on “Excuse Me Mr.” Gwen casts herself in the role of a girl simply desperate to catch a guy’s attention, complete with a sonically slapstick middle eight. Funnily enough, the summer before Tragic Kingdom dropped, Gwen caught the attention of a man who would at least in part inspire her art for the next two decades: Bush’s Gavin Rossdale. Their fateful meeting and instant attraction occurred when both bands toured with the Goo Goo Dolls. They began dating soon after and married seven years later, with Rossdale inspiring numerous future No Doubt and solo songs including “Don’t Let Me Down” and “U Started It”—can you guess what those two are about?—before Gwen filed for divorce this past August citing “irreconcilable differences.” Both personally and professionally, 1995 was a massive year for La Stefani.

But nevermind Rossdale, a selection of Tragic Kingdom’s best songs hinged around another key relationship for Gwen: her long-term boyfriend and No Doubt bassist Tony Kanal, and aching power ballad “Don’t Speak” became the summation of her heartbreak in the wake of their split. At the time it was utterly inescapable, but perhaps because it’s been dimmed by over-familiarity, the album’s lesser-known breakup songs hit harder today. “Happy Now?” is filled with bitterness and defiance, “Sunday Morning” documents an unexpected role reversal—suddenly he wants her back—and “End it on This” sees Gwen finally throw in the towel. But far from becoming subsumed by, “You Can Do It,” is Gwen’s stop-wallowing-and-get-yourself-together song.

No Doubt would go on to make a more sophisticated album with 2000’s Return of Saturn (the lion’s share of the lyrics for which are dominated by the rollercoaster early days of her relationship with Rossdale), followed by 2001’s Rock Steady, which was precision-tooled by The Neptunes and William Orbit for chart success, before Gwen made her inevitable solo move in the mid-aughts. But Tragic Kingdom remains the band’s defining moment, a career-altering record that’s earnest, passionate, and reassuringly flawed. An album about breaking up, growing up, and thinking about shit; about not always knowing the answer and getting on with it anyway. Dumont summarized its personal impact on his Tumblr recently: “The whirlwind of world-touring and extensive promoting of Tragic Kingdom went on for two and a half years, and at the end of it we emerged, not only rock stars, but as men and women.” It shouldn’t take an act of God for you to give it another listen, but the passage of 20 years seems a perfect excuse to dive back in”.

I am going to finish off with a feature from 2020. GRAMMY revisited Tragic Kingdom on its twenty-fifth anniversary. Even though they say Tragic Kingdom was No Doubt’s sophomore album – it was their third, but 1995’s The Beacon Street Collection was an independent release, though it is technically their second album -, they wrote how it is a masterpiece. An album that had an impact on the Rock and Pop world at large. It still resounds to this day. It has translated and endured through the decades well. It has lost little of its magic:

“Tragic Kingdom is widely considered a breakup album, and it is, but the heartbreak also extends to more than just Stefani and Kanal. The band faced so much tragedy in their formative years, starting with suicide of co-founder John Spence in 1987 when they were only a year old. Spence shared vocal duties with a then-bashful Stefani and was a charismatic frontman who did backflips on stage. Days before No Doubt were to perform at the Roxy Theatre, a gig they hoped would be their big break, he shot himself. The Roxy was announced as the devastated band’s final show. They reunited a month later because, Stefani told Interview, it’s what Spence would have wanted. The unreleased song, "Dear John," pays tribute to their friend.

And then there was Eric’s exit. While it set No Doubt on their course, it rattled their confidence emphatically. It was traumatic, Dumont said. "We were just a group of friends who were really tight, and we had our band for years. Our band just got rocked with this intense, personal stuff." And, Stefani admitted, it almost made them give up. "We were sitting there saying to ourselves, ‘O.K., we are 26. We’ve been doing this for eight years. Maybe we should finish up and get adult lives now.’ Then the record came out and people thought it was good, which was really weird, because we were always the dork band from Anaheim." "The Climb," a psychedelic slow burner that alludes to overcoming obstacles, is one of Eric’s two solo offerings to Tragic Kingdom—the other being the freaky title-track, which describes a dystopian Disneyland and Walt’s cryogenically frozen tears as dripping icicles—and has emerged as a fan-favorite over the years.

But while No Doubt’s early years may have been flooded with drama, plumbing the depths of it helped them find their voice. Collective agony cultivated the strength of their bond and dug into an honest narrative about navigating loss that is not only powerful, but universally relatable. We all experience pain. It’s an intrinsic part of the human experience. And we tend to relate to art that, even if ever so slightly, taps into our grief because it expresses it in a way that we perhaps exactly can’t. It hits a nerve. And that’s deeply comforting—which is arguably why Tragic Kingdom continues to endure in the powerful way that it does: yes, it’s poetic, gorgeously dynamic, and sounded fizzy and fresh against the band’s radio contemporaries. But it’s also a symbol of hope in the wake of tragedy”.

I think I will leave it there. On 10th October, we will listen to Tragic Kingdom thirty years after its release. It seems hard to think it is that old! I remember the album fondly, and it was an important part of a special time in life. Even though most people know Tragic Kingdom for the singles, there are deeper cuts like End It on This and Tragic Kingdom which deserve more discussion and exposure! Go and listen to this truly great album. You only need to listen to it the once before you are…

TOTALLY smitten.

FEATURE: Champagne Supernova: Oasis’ (What’s the Story) Morning Glory? at Thirty

FEATURE:

 

 

Champagne Supernova

Oasis’ (What’s the Story) Morning Glory? at Thirty

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THIS is a moment…

IN THIS PHOTO: Oasis photographed at Glastonbury 1995/PHOTO CREDIT: Jill Furmanovsky

when one of the biggest bands of the 1990s are touring and bringing their classic music to new and existing fans alike. Oasis are thrilling audiences around the world. About to head to London in a couple of weeks, and then on to Australia, the band would never have imagined, even a couple of years ago, that they would be bringing their music to people far and wide! However, as they are reunited and this is an important year, there is speculation that there could be a new album or more tour dates. It is significant that Oasis are touring in 2025, as it is thirty years after they released their second studio album, (What’s the Story) Morning Glory? Released on 2nd October, 1995, it followed a year after their hugely successful and acclaimed debut album, Definitely Maybe. I am going to write another feature about the album closer to its anniversary. However, now, I want to spend some time with one of the most important albums of the 1990s. One that included Oasis greats like Champagne Supernova and Wonderwall. If some feel (What’s the Story) Morning Glory? is not as strong as Definitely Maybe, there is denying its popularity. It sold a record-breaking 345,000 copies in its first week in the U.K. Going on to spend ten weeks at number one on the UK Albums Chart. (What’s the Story) Morning Glory?  was Oasis’ breakthrough in the United States, reaching number four on the US Billboard 200, where it went on to be certified 4× platinum by the Recording Industry Association of America (RIAA). Two of its singles, Some Might Say and Don’t Look Back in Anger, reached number one in the U.K. Wonderwall and Roll with It reached number two. Champagne Supernova was never a U.K. single, though you feel it should have been!

I am going to come to some features and reviews for (What’s the Story) Morning Glory? It is an album that Noel Gallagher says he has tried to live up to. Such was the success and quality. I don’t think there are many weak moments on it. However, the singles really do stand out. Wonderwall is especially strong, and it remains Oasis’ most-streamed song. The two reviews I am going to end with are both for the twentieth anniversary reissue that came out in 2014. It contained bonus tracks and was this expanded release. Hard, as critics noted, to improve on perfection! However, before getting there, there are a few things to include. I have included the video above. This is where Noel Gallagher provided this detailed interview in 2020. He headed back to Rockfield Studios in Wales (this is where the band recorded the album. It was produced by Owen Morris and Noel Gallagher). NME highlight some key takeaways from the interviews. I have included my favourites:

“Noel just listened to ‘(What’s the Story) Morning Glory?’ for the first time in 25 years…

The writer of ‘Wonderwall’ probably doesn’t need to give himself a refresher on what he’s created too often, but the interview kicks off with Noel revealing that he listened to ‘What’s The Story…’ in full for the first time since its release ahead of its anniversary.

“Often I’ve wondered,” he said, “what’s a fucking 14-year-old getting out of this after all these years, you know when I’d see them at the gigs? What are they fucking hearing? I fucking I understood it today. You know, the words, the melodies. Liam’s voice is fucking on another level on that record. Because there’s nothing, there’s nothing around today that even remotely comes near to it.”

He recorded ‘Wonderwall’ sitting on an actual wall, watched by “a lot of sheep”

Noel was joined by [man from Rockfield Studios] for the new interview, and took a tour around the studios and its grounds. Passing a wall on the outside of the studio, Noel revealed that the recording of ‘Wonderwall’ took on a rather more literal meaning when he put one of the most iconic songs of all time to tape.

“That’s the wall that I sat on that day,” he remembered. “Fucking idiot, playing ‘Wonderwall’.” Gallagher went on to recall that “a lot of sheep were watching me do ‘Wonderwall’. I don’t know who was more freaked out, me or them.

“I remember saying to Owen [Morris, co-producer], I’ve got this song called ‘Wonderwall’, I want to record it on a… wall.” Didn’t turn out bad in the end, we suppose.

Only the songs written pre-Rockfield on the album have a second verse…

It’s well known that ‘(What’s The Story) Morning Glory?’ was written in a lightning fast 12 days. Booking Rockfield for six weeks, the band only used three of them, one of which saw them scatter across the country after a fight put a stop to proceedings. “I remember it just being really really fucking fast,” Noel remembers, “and half the songs hadn’t even been written when I got here.” He explained: “If you listen to the record, it’s split into two halves. Half of the songs have got a second verse, they were all written before I got here, and the rest of the songs are just the first verse twice, and then maybe a third time. That was me getting in here and going, ‘You know what? Fuck it.’”

The band were expecting the album to be hated upon its release

“It didn’t get one good review, I don’t think,” Noel remembered of the critical response from journalists upon the release of the album. “I think we were waiting for that,” he added, saying that journalists at the time, as well as the band’s record label, were “expecting ‘Definitely Maybe’ part two”. “I was expecting it to be not well-received.”

“[Journalists] had to second-guess everything after ‘Morning Glory’, because they’d got it so wrong,” Noel said. “That’s why when ‘Be Here Now’ came out, which isn’t a great album, it got 10/10 everywhere. It didn’t get one bad review, because they didn’t want to be made to look like dicks again”.

I want to come to an interesting interview from 1995, where Noel Gallagher sat down ahead of Oasis’ Croke Park shows. It was from the Hot Press archive. However, before that, I wanted to get some information about the making of (What’s the Story) Morning Glory? This article from July provides a deep dive into Oasis’ second studio album. One that will get a lot of new inspection ahead of its thirtieth anniversary on 2nd October:

“Financing came from Creation Records, led by Alan McGee, who believed in Oasis’s vision. The recording budget was estimated at £60,000—a substantial sum, but modest compared to the album’s eventual impact. Financially, the band faced the usual pressures of second-album expectations, but McGee’s support and the band’s drive saw them through.

The album’s title, “(What’s The Story) Morning Glory?”, came from a phrase used by Noel’s friend Melissa Lim, which itself originated in the film Bye Bye Birdie. The cover, designed by Brian Cannon, features two men passing on Berwick Street, London—a nod to the area’s record shops. The sleeve cost £25,000 to produce, with Cannon and DJ Sean Rowley as the men on the cover. Producer Owen Morris can be spotted in the background holding the master tape. Noel later admitted he wasn’t entirely happy with the cover, but its image has become iconic.

Recording Process

The story of the recording sessions is as compelling as the music itself. The main sessions took place at Rockfield Studios in Wales during May and June 1995. This studio, founded in 1961, is renowned for its rural setting and classic equipment. Previous clients included Queen, Rush, and Coldplay, making it a legendary place for bands seeking inspiration and technical excellence (Sound On Sound).

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Producer Owen Morris, working alongside Noel Gallagher, drove the sessions with a fast-paced, no-nonsense approach. The band recorded the album in just 15 days—often finishing a song each day. The focus was on capturing energy and immediacy, not endless perfection. Engineer Nick Brine handled the technical side at Rockfield, while mixing was completed at Orinoco Studios in London. Owen Morris had previously worked with bands like The Verve and The Rolling Stones, bringing valuable experience to the table.

Recording was not without its challenges. The band’s hard-living reputation followed them into the studio, but producer Owen Morris kept them focused. Paul Weller’s contributions—especially on “Champagne Supernova”—brought a new dimension to the sound. The sessions were intense but creative, with the group feeding off each other’s energy. Noel Gallagher later described the sessions as “a mad blur,” but the results speak for themselves.

Touring and Promotion of (What’s The Story) Morning Glory?

The promotional campaign for (What’s The Story) Morning Glory? was bold and relentless. Singles were released ahead of the album, with “Some Might Say” coming out in April 1995, followed by “Roll With It” in August, which led to the much-publicised “Battle of Britpop” with Blur. The rivalry between the bands became a media sensation, drawing huge attention to both groups. Not only that, but Oasis made frequent television appearances, radio interviews, and magazine covers to keep the spotlight shining.

The album’s tour ran from 22 June 1995 to 4 December 1996, starting with a warm-up gig at Bath Pavilion. The tour featured major UK outdoor concerts, including two nights at Maine Road, two at Loch Lomond, and two at Knebworth House—each attended by 125,000 fans. The Knebworth shows were the largest ever held by a single band in the UK, with 2.5 million ticket applications. The tour visited Europe, North America, Australia, and Asia, with more than 100 shows in total”.

I will focus more on particular songs in the second feature. Maybe spotlight the singles or go inside the legacy of the album. There is not as much written about (What’s the Story) Morning Glory? as there is Definitely Maybe. Perhaps the latter is more impactful, as it was Oasis’ debut. However, in terms of hype, excitement and expectation, few albums of the 1990s were bigger than Oasis’ (What’s the Story) Morning Glory? I am going to move to that Hot Press interview from 1995. There are some interesting interviews with the band that year. However, this one caught my eye. Noel Gallagher, as you’d expect, unfiltered and candid! It does provide some useful context and helps give us an understanding of the album and what Oasis were feeling ahead of the release of (What’s the Story) Morning Glory? A seismic album:

While it took Manc neighbours the Stone Roses a Fleetwood Mac-esque five years to record theirs, Oasis’ second album was cranked out in a fortnight with a good few of the guitar and vocal tracks laid down in one take. Ranging from the nihilistic guitar thrash of ‘Hello’ to the psychedelic bubblegum of ‘She’s Electric’, Morning Glory ram-raids its way through 30 years of Britpop finery with nobody, not even Blur, standing an earthly of pulling them over.

“I look at the Roses and thing, ‘fuck me, how did a top band like that manage to disappear up their own arses?’ Second Coming would’ve been an alright album if it'd come out a year after the first one but the build-up from the press and sense of expectation from the fans was so over the top that it was automatically going to be a disappointment.

“Maybe it does exist,” Noel proffers, “but I’ve certainly never experienced ‘difficult second album syndrome’. I’m happy that Morning Glory’s the best record we could possibly have made and if people disagree with that, fair enough, they’re entitled to their opinion. Even if it’s wrong. The only time I feel pressured is when someone comes up, recites the lyrics from ‘Live Forever’ and says, ‘that song prevented me from committing suicide’. I mean, I’m delighted it gave you the strength to carry on but it’s a heavy responsibility, particularly when they’re total strangers.”

Hot Press can also exclusively reveal – unless he’s blurted it out since to someone else – that Noel's done a Bruce ‘n’ Tarby and brought in Paul Weller to supply a few extra riffs.

“Yeah, we were strolling along the 17th fair­way when I stopped, gave him a big hug and asked whether he’d be a luvvie and come in and play on our album. Nah, what happened is that me and Paul have become really good mates, he heard some of the rough mixes and went, ‘I wouldn’t mind a bit of that’. Naturally, I was happy to oblige.

“It was another case of meeting someone who I idolised and realising that he’s just a bloke from Woking who likes his beer and writes damn fine tunes. I’ll sit in the room and say, ‘why are you such a miserable cunt all the time?’, which I know he prefers to endless questions about The Jam and the fucking Style Council. Actually, I did have a word with him about all that crap instrumental stuff he did during his Cappuccino Kid-phase, but when you consider he’s been going 20 years and Stanley Road’s the best album he’s done yet, I think you can forgive him for the occasional dip”.

Actually, I am only going to feature one review for the 2014 anniversary reissue of (What’s the Story) Morning Glory? I am being Oasis-like ramshackle when it comes to order and cohesiveness! Instead, I want to finish with a bit about its legacy Earlier this year, xs noize said this about its legacy:

“(What’s the Story) Morning Glory?” is widely regarded as one of the defining albums of the Britpop era and among the greatest records of the 1990s. It frequently appears on lists ranking the best albums of all time, reflecting its lasting impact on music history. Beyond its commercial success, “Morning Glory” became a cultural landmark, capturing the spirit of mid-’90s optimism and excess. Its tracks were everywhere—blaring from pubs, filling stadiums, and resonating with a broad audience, from dedicated rock fans to casual listeners. Songs like “Wonderwall” and “Don’t Look Back in Anger” transformed into anthems of unity and resilience, often sung by crowds at public events and gatherings. The album also cemented Oasis’ legacy in rock history, earning them numerous accolades, including the 1996 BRIT Award for Best British Album. Its influence can be traced through countless bands that followed, while its tracks remain staples on radio playlists and in live performances. Propelled by the success of “Definitely Maybe”, “Morning Glory” catapulted Oasis from indie crossover success to global rock superstardom. It is often highlighted by critics as a pivotal moment in British indie music, illustrating just how deeply independent music had penetrated the mainstream”.

I’ll get to Pitchfork and their take on the reissue of (What’s the Story) Morning Glory? Even though the original is pretty great and know, the expansion and three-disc reissue gave listeners access to unheard tracks and provided this wider and deeper story of a massive album that turned Oasis into truly global superstars. It definitely did not hurt their egos when the album sold by the bucketload! Regardless, you can feel the effects and influence of (What’s the Story) Morning Glory? thirty years later. As we speak (pretty much), the band are playing songs from the album on the stage:

“It’s hard to remember now, but when (What’s the Story) Morning Glory? was released in the fall of 1995, Oasis were losers. Sure, their 1994 debut album Definitely Maybe had gone straight to No. 1 on the UK albums chart, and sold several million copies worldwide. But in their first true test of post-success fortitude, Oasis could no longer claim the title of biggest rock band in the land. “Roll With It,” the teaser from Morning Glory, was released August 14, 1995—not coincidentally, the very same day as “Country House”, the jaunty new single from their bitter rivals in Blur (aka the London art-school yin to Oasis’ Mancunian street-tough yang). A year’s worth of tabloid sniping between the two groups—which hit its peak/nadir when Oasis architect Noel Gallagher declared that Blur’s Damon Albarn and Alex James should “catch AIDS and die” —had effectively come down to the UK chart equivalent of an after-school fistfight. And in this case, it was Oasis who walked away licking their wounds—that week, “Country House” outsold “Roll With It” by more than 50,000 copies to take the No. 1 spot.

As it should’ve: “Roll With It” is nobody’s favorite Oasis song and would be hard-pressed to crack a Top 20 list of the band’s all-time best. It's a catchy enough tune, sure, but its shoulder-shrugged message of “you gotta roll with it” felt atypically blasé coming from a band that had previously endorsed self-deification, immortality, and shagging well-heeled medical professionals in helicopters. However, for a band never encumbered by humility, the decision to go with Morning Glory’s weakest song was, in retrospect, Oasis’ cockiest gesture yet: They were willing to take the first strike in the so-called Battle of Britpop because they knew it was only a matter time before they’d be delivering the knockout blow.

(What’s the Story) Morning Glory? would go on to sell more than twice as many copies in the UK as Blur’s contemporaneous The Great Escape, and, over the following two years, it served as the unofficial soundtrack to England's imminent changing of the guard. But, just as significantly, it achieved a metric of popularity that had proven so elusive to Oasis' Britpop peers: bonafide American success, with the album reaching number 4 on the Billboard charts and selling 3.5 million copies Stateside. (The Great Escape, meanwhile, languished in the lower reaches of the Top 200.) For all their unibrowed laddism and two-fingered paparazzi salutes, Oasis projected a glamorous image of Englishness that was potent enough to stoke the Cool Britannia fancies of those North American Anglophiles who make trips to specialty shoppes to load up on Dairy Milk bars, but (unlike Blur) not so colloquial as to alienate the heartland. It’s the stuff upon which Austin Powers franchises and Brit-themed pub-chains would later be built.

Fortuitously arriving at the mid-point of the '90s—and representing the peak of a Britpop narrative that took root with the retro-rock renaissance of the Stone Roses and the La’s five years previous—(What’s the Story) Morning Glory? is Oasis' absolute pinnacle. If Definitely Maybe presented Oasis' raw materials—’60s psychedelia, ’70s glam and punk, Madchester groove—Morning Glory melted down and remoulded them into a towering sound that was unmistakably their own, with those omnipresent (but never ostentatious) string-section sweeps classily dressing up the songs like ribbons on a trophy. And yet the real triumph of Morning Glory is measured not by the tracks that have since become karaoke classics, first-dance wedding standards, and go-to bathtub sing-alongs, but the exceptional album tracks that never got a shot at certain chart supremacy—like the jet-roar jangle of “Hey Now” (for my money, the best Oasis song never to be issued as a single) and the crestfallen “Cast No Shadow”, dedicated to a then-mostly-unknown Richard Ashcroft of the Verve, a band that would soon reap the benefits of Oasis’ American incursion.

Ironically, the Oasis-whetted appetite for all things English was arguably also crucial to the impending Stateside success of the Spice Girls, who would usher in a wave of preteen-targeted pop that would eventually push guitar-oriented rock acts down the charts by decade's end. And what’s most striking about listening to (What’s the Story) Morning Glory? today is how, at the height of their powers, Oasis seemed to be bracing for their own eventual downfall. The tone of the album is decidedly darker and more reflective than the working-class escapism of Definitely Maybe, be it the foreboding “it’s never gonna be the same” prophecy of opening salvo “Hello”, the title track’s white-lined dispatches from the after-party circuit, or the cigarette-lighter-illuminated comedown of “Champagne Supernova”, wherein Oasis already sound nostalgic for the idealism of their debut album. And while Noel still deals in absurdist metaphor here (how exactly does one slowly walk down the hall faster than a cannonball?), he also emerges as a more personable, sobering foil to brother Liam’s bratty swagger—not just on his showstopping star turn on “Don’t Look Back in Anger”, but also in the way his backing vocals imbue “Cast No Shadow” with a deeper sense of despair”.

There are a couple of different takes regarding the legacy of Oasis’ (What’s the Story) Morning Glory? One of the black marks is that the vile and convicted sex offender Gary Glitter has a co-writing credit on the opener, Hello. It is this stain and a huge shame that Oasis will play this song live, lest they be earning money for a repulsive human being! In any case, one cannot argue with the quality of the music and how the album slotted into British music in 1995. In 2015, The Observer wrote about the complex legacy of Oasis’ second studio album:

“Like many of its contemporaries, the 11-track Glory, which has sold more than 20 million copies worldwide, has aged spectacularly well, especially in light of bands formed in its wake—the Killers, Coldplay, Arctic Monkeys and so on—trying (and often failing) to recreate the record’s specific blend of ego, vanity, skill and attitude. That the album was also the band’s sophomore effort, following the 1994 breakthrough Definitely Maybe, only enhances Oasis’ already formidable reputation.

Granted, at the time of its release, critics almost uniformly dismissed Glory, writing it off as nothing more than a rehash of other, better British rock bands: “Throughout, it’s Gallagher’s way with a tune, any tune, that remains their trump card, as in the way ‘Some Might Say’ piles hook upon hook, shamelessly buttressing its assault on the memory: well, if that bit doesn’t get you humming, it suggests, how about this bit? Or this?” wrote the Independent’s Andy Gill upon Glory’s initial release.

Derivative, sure—glam pioneer Gary Glitter earned a co-writing credit on “Hello”, owing to the striking similarities between the Oasis song and his own 1974 tune “Hello, Hello, I’m Back Again“—but in that sense, Oasis prefigured pop music’s eventual infatuation with hip-hop, sampling and mash-ups. What was sacrilegious in the mid-1990s is now utterly commonplace among the 21st century’s reigning pop stars—just consider Sam Smith’s brief kerfuffle over just how much Tom Petty influenced the sound of his smash hit “Stay With Me”.

But strip-mining your record collection for inspiration doesn’t mean much if you don’t have the chops to back it up. And in that sense, Oasis stands alone.

Much like the albums crafted by the Gallagher brothers’ beloved Beatles, there’s a casual brilliance to so much of Glory that its stature as one of the landmark albums of the 1990s, despite the critical establishment’s initial revulsion and dismissal of Oasis, seems a given. The album spawned six hit singles, including “Wonderwall”, “Some Might Say”, “Champagne Supernova”, “Roll With It” and “Don’t Look Back in Anger”, yet Glory is remarkably cohesive. The record, produced by Noel Gallagher with Owen Morris, unfolds with unhurried ease, fading in with the youthful bravado of “Hello” and slipping away with the languorous, liquid fade-out of “Supernova”.

Strip-mining your record collection for inspiration doesn’t mean much if you don’t have the chops to back it up. In that sense, Oasis stands alone.

It’s easy to get lost in the almost taffy-like give and take of lengthier tracks like “Some Might Say” or “Champagne Supernova”—listening to these songs 20 years later is to be reminded that British rock bands still stand alone when it comes to cultivating an almost tangible atmosphere on their albums. Delving into the second and third discs of (What’s the Story) Morning Glory?’s special edition puts the accomplishment in greater context.

The second disc, full of period B-sides taken from the UK singles, finds Oasis toggling between acoustic sensitivity (“Talk Tonight”; “Rockin’ Chair”) and snarling bombast (“Acquiesce” and “The Masterplan”), but with less finesse than is found on Glory proper. (Still, “Round Are Way”, a B-side from the Wonderwall single, might be the greatest Oasis track to ever miss out landing on a record.)

That Oasis, at that moment in its career, was able to demonstrate restraint and ruthlessly cull its absolute best speaks to the savvy of the Gallagher brothers and their band mates. The axiom about having your whole life to make your first record, but hardly any time to make your second certainly applies: 14 months elapsed between Oasis’ first and second LPs. Perhaps it was the Beatles influence again—just dive in and do your best, and let the work dictate the direction of things”.

I am going to end with GRAMMY and their feature from 2020. Many note that, in spite of the odd less-than-epic song here and there, (What’s the Story) Morning Glory? has aged really well. Songs like Champagne Supernova and Don’t Look Back in Anger still stir emotions and, for me at least, ensure memories flood back! Me as a child hearing this music for the first time:

“Rightly considered one of the eminent forces of 1990s Britpop, Manchester troupe Oasis found sizable acclaim and attention with 1994's Definitely Maybe. Like Radiohead’s Pablo Honey the year before, though, it was a strong but noticeably raucous and rudimentary debut. That said, there was enough potential to assume that its follow-up would feature more refined arrangements, production and songwriting. Fortunately, 1995's (What’s the Story) Morning Glory? offered precisely that.
True, a few songs became too big for their own good (you know the ones); plus, it was a more traditionally retro second effort than, say, Radiohead's innovative and diverse The Bends or the characteristically strange first releases from Oasis’ ostensibly direct rivals, Blur; yet, (What’s the Story) Morning Glory? was a major step forward for the famously combative Gallagher brothers and crew. Twenty-five years on, it remains a top-notch slice of Britpop wistfulness.

Following the success of Definitely Maybe, Oasis were already showing signs of external triumph and internal turmoil. They’d spent much of 1994 touring and living the typical rock star lifestyle; as a result, the now-legendary tensions between Noel and Liam Gallagher truly began, with a September 1994 show in Los Angeles resulting in Liam throwing a tambourine at his brother, leading to Noel momentarily quitting the band. Thankfully, they reconciled, continued playing gigs, and focused on writing what would become (What’s the Story) Morning Glory?

Predictably, they stayed with Creation Records, and the main quintet from Definitely Maybe carried over here; however, the sequence served as a transitional work in terms of drummers, with founder Tony McCarroll only playing on one track—"Some Might Say"—while his replacement, Alan White, played on everything else. Rather than create in several locations, they stuck to just one place—Rockfield Studios in Wales—and simplified further by using just two returning producers: Noel Gallagher and Owen Morris. By most accounts, the recording sessions were smooth, swift, and fruitful.

In the run-up to release, the press helped Oasis stir up more controversy with Blur. Specifically, both bands issued singles on August 14, 1995, with Blur’s "Country House" quickly outselling Oasis’ "Roll With It" by about 50,000 copies. In response, Noel told The Observer the following month that he wished members of Blur would "catch AIDS and die." He issued an apology shortly thereafter, but the remark continued to serve as a chief example of Oasis’ well-known bitterness.

Despite all of that disorder, (What’s the Story) Morning Glory? outdid its predecessor commercially. In fact, it sold nearly 350,000 copies in its first week alone and entered the U.K. charts at No. 1. (It remained at the top of the charts for the rest of the year and eventually became one of the best-selling U.K. albums of ever.) Comparably, it reached #4 on the Billboard 200, with six singles being out out between April 1995 and May 1996. It also fared quite well in Canada, Sweden, New Zealand and elsewhere, so it’s fair to say that the LP was a global hit.

It’s a bit ironic, then, that initial critical reviewers weren’t entirely enthusiastic, with publications like Q, the Chicago Tribune, Melody Maker and The Independent voicing significant gripes. In contrast, Entertainment Weekly, the Los Angeles Times, NME, and Rolling Stone were more positive. Of course, the record is now considered a classic, with a high ranking in several articles and books about the greatest albums of all time. It even won "British Album of 30 Years" at the 2010 Brit Awards.

Although other releases from back then may have pushed more boundaries, (What’s the Story) Morning Glory? still shines in terms of recalling the splendor of the 1960s British Invasion within a modern edge. For instance, "Roll with It"—with its poppy melodies, backing chants and twangy guitar strums—sounds like a lost Lennon tune from Help! or Rubber Soul. The same can be said for the brighter and more playful "She’s Electric"; the dreamily epic "Cast No Shadows"; and the decidedly biting and symphonic "Hey Now!" That’s not to say that Oasis were being too derivative—rather, they incorporated such homages into an irresistibly invigorating and poignant new stew.

Similarly, the immensely popular "Wonderwall," "Don’t Look Back in Anger" and "Champagne Supernova" are still among the best tunes from the Britpop era. In particular, "Wonderwall" is a quintessential example of a 1990s acoustic rock ode complemented by strings, with a lovely juxtaposition of hip verses and compelling choruses. The piano-led "Don’t Look Back in Anger"—their first single with Noel on lead vocals—is just as gripping yet even more nuanced, touching and charming. As for "Champagne Supernova," its cryptically poet lyricism and fiery guitarwork (courtesy of Paul Weller) taps into 1970s classic rock while also harnessing the optimism and softness of the previous decade’s folky warmth.  

Even the unruliest tunes—"Hello," "Some Might Say" and “Morning Glory”—manage to conjure Definitely Maybe whilst showcasing advanced techniques. The hooks are bigger, the layers are denser and the scopes are larger. There are also the two "Untitled" entries (a.k.a "The Swamp Song—Excerpt 1" and "Excerpt 2"): the first is a quick and relatively abstract interlude full of vibrant post-punk carnage, while the second cleverly reprises its forebearer beneath the soothing sounds of water. Sure, they may not be significant when heard in isolation, but the ways in which they tie together—as well as how they segue in and out of the tracks around them—give the LP a stronger sense of continuity and ambition.

Two-and-a-half decades later, (What’s the Story) Morning Glory? is still a great record. At the time, it propelled Oasis further creatively, commercially, and—at least to an extent—critically, all the while dominating the high school hangouts and dorm room memories of countless Gen Y fans. Thus, it’s a significant time capsule as much as it is a superb piece of entertainment, and while real-life incidents may have marginally marred our nostalgia for it, when considered outside of that drama, it’s well worth looking back in appreciation”.

On 2nd October, we will celebrate thirty years of Oasis’ (What’s the Story) Morning Glory? The pressure to follow such a distinct and popular debut album could have ruined other bands. To be fair, it almost did that to Oasis, though Liam and Noel Gallagher constantly fought anyway - so it is a minor miracle they are on stage together now and seemingly, for now, reunited! It gives the album new weight and significance that Oasis are (briefly) reformed. They get to play these songs with fresh eyes. To fans who were there in 1995 or the children of the parents who were! Each person has their own perspectives and memories of the album. If you were around in 1995, you would have known how significant a release it was. Thirty years later and (What’s the Story) Morning Glory? has…

NOT lost its swagger and brilliance.

FEATURE: Kate Bush’s Hounds of Love at Forty: Eleven: Watching You Without Me

FEATURE:

Kate Bush’s Hounds of Love at Forty

IN THIS PHOTO: Kate Bush in 1985/PHOTO CREDIT: Guido Harari

Eleven: Watching You Without Me

__________

THE final five features…

I will run as part of this twenty-feature series marking the fortieth anniversary of Kate Bush’s Hounds of Love on 16th September are about the aftermath. The legacy of the album, its promotion and some discussion also around photography of Bush shot in 1985. After this feature, I only have three more songs to cover from the album. Those are Jig of Life, Hello Earth and The Morning Fog. However, the fourth track on Hounds of Love’s second side, The Ninth Wave, is on my mind today. I want to go deeper with Watching You Without Me. Following the intense Waking the Witch and its terror, this is a shift of pace and sound. That track features voices coming to Kate Bush’s heroine. Imploring her to stat awake. Others that seemed like hallucinations. Her being judged as a witch and put on trial on the water. It is a frantic and busy song that has a similar energy to Jig of Life, though the moods and lyrics are very different! Coming in the middle is this more serene and meditative song. One that is also haunting and upsetting. Family of the woman adrift at sea looking at the clock and wondering where she is. Not one of the most popular or talked-about songs on Hounds of Love, I do think that Watching You Without Me is a pearl. Beautifully composed and with typically remarkable production, I will once more come to Leah Kardos’s 33 1/3 Hounds of Love book, that goes into detail when it comes to this song. Go and buy the book, as it gives us context and background to Hounds of Love and talks about its legacy. Watching You Without Me was among the ten songs from Hounds of Love (Mother Stands for Comfort and The Big Sky were omitted) that were performed during Kate Bush’s twenty-two Before the Dawn dates in 2014. I am going to come to Leah Kardos’s words soon. Before that, here is some interview archive, where Bush discusses the beautiful and desperately sad Watching You Without Me:

“Now, this poor sod [laughs], has been in the water for hours and been witch-hunted and everything. Suddenly, they’re kind of at home, in spirit, seeing their loved one sitting there waiting for them to come home. And, you know, watching the clock, and obviously very worried about where they are, maybe making phone calls and things. But there’s no way that you can actually communicate, because they can’t see you, they can’t you. And I find this really horrific, [laughs] these are all like my own personal worst nightmares, I guess, put into song. And when we started putting the track together, I had the idea for these backing vocals, you know, [sings] “you can’t hear me”. And I thought that maybe to disguise them so that, you know, you couldn’t actually hear what the backing vocals were saying.

Richard Skinner, ‘Classic Albums interview: Hounds Of Love. Radio 1 (UK), aired 26 January 1992”.

Waking the Witch ends with a rescue helicopter overhead that implores the woman to get out of the water. Though, and I never understand why, they do not rescue her. Perhaps it is a hallucination again. Or they could not pick her up. It is one of those clichés when it comes to films and shows that involve someone at sea or an island. The helicopter overhead and them waving frantically and it flying past. After the exhilaration and energy of Waking the Witch, Watching You Without Me “blinks awake in a different realm”. This is one of the calmest tracks on Hounds of Love. Right up there with And Dream of Sheep. I love the musical dissection from Leah Kardos. She notes how there is “a minimal LinnDrum rhythm, augmented with side-stick backbeat and a syncopated floor tom by Stuart Elliott, Bush’s voice mumbles a quick oscillation across a 5th, sounding like a car engine that won’t start – a trapped utterance glitching between repelling magnetic fields”. I will talk more about the lyrics to end. However, the composition is fascinating. So different to anything else on Hounds of Love, it is an album so varied, yet it all hangs together! “The music rocks back and forth between B♭ and C (the same chord relationship, ♭VII to I, of ‘The Big Sky’) like a hypnotist’s swinging watch”.  Leah Kardos writes how Stuart Elliott’s percussion has this ticking motion. Simulating a watch. A family waiting for their daughter to return maybe. The percussive pulse is just slightly below sixty beats per minute. A wonderful consideration that adds this sense of urgency and anxiety. Of time ticking and there being this infinite wait and sense of the unknown. Seconds seem like hours to the family! For the woman on the water, she is longing to be safe and rescued. She would love the boredom or familiarity of being in that house – where people wait not knowing the fate of their loved one. Leah Kardos notes, before the main vocal starts, that we are “in a liminal space between life and death, wakefulness and sleep; Bush is trapped in limbo”.

The lyrics are heart-aching and painful. That sense of stress and uncertainty. Not knowing where this woman is. Little do they know the extent of the drama she has already faced! Bush does not deliver the lyrics in this strained and hyperactive way. The fact that she sings in this almost resigned or wistful way adds extra punch and gravity to Watching You Without Me. Consider these lines: “You watch the clock/Move the slow hand/I should have been home/Hours ago/But I’m not here/But I’m not here/You can’t hear me/You can’t hear me/You can’t feel me/Here in the room with you now/You can’t hear what I’m saying/You don’t hear what I’m saying, do you?”. Words that might seem personal to this situation, but I think we can all relate to in some form or the other. That sense of loss. When someone dies and you notice the space left vacant. Bush sings “There’s a ghost in our home/Just watching you without me/I’m not here”. This is the point when some theorise the heroine died at sea and that mention of a ghost relating to death rather than an absence. That Jig of Life is either dying thoughts or happened after she had passed. And it is a futile rally cry for strength and survival. One of the most mysterious, intriguing and compelling songs Kate Bush ever wrote, Leah Kardos explains how “With the soft whine of radio static and morse code ‘SOS’ message, the song bursts out of its trance at 2’19” to a bright Hindustani teental rhythm, complete with hand cymbals  (a rare exception to Hounds Of Love’s no-cymbals rule)”. The lead vocal where Kate Bush sings “Don’t leave me/Don’t Leave Me” is sung backwards and double-tracked at the octave. The tutti strings by Michael Karmen are especially striking and stirring. Kardos says how the backwards singing recalls The Dreaming’s backwards vocals on Leave It Open. “and the spoken South Indian taal rhythm (konnakol) across the coda of ‘Get Out of My House’ (performed by Esmail Sheikh)”. I think some of the backwards vocals was inspired by The Beatles and how they would often put in backwards vocals with messages in them that, when played forward, would provide this treat for listeners (or a shock in some cases!).

Around about the 2’48” mark, there is this backwards vocal that is hard to discern. Bush might be singing “We really see” or “releasing”. Leah Kardos has played it forward and opinions that it could be Bush singing over and over “be silly”. A lovely detail and a mysterious element so the song. Also, that backwards vocal seemingly from a ghost. A spirit from another world. An auditory hallucination and sign of a mind lost at sea that is exhausted and fevered. Maybe losing hope of salvation and life. Just as we feel the action will quiet even more to a close, there is that return to the chopped vocals of Waking the Witch. There is this harrowing plea for help: “Listen to me/Help me baby/Talk to me”. It is not the first time that Bush had explored communication between the spiritual realm and reality. However, unlike Wuthering Heights (from 1978’s The Kick Inside) and Houdini (from 1982’s The Dreaming), Kardos rightly points out how, on Watching You Without Me, Bush lets you feel “the frustration and loneliness of insurmountable distance”. Things would change after this song. We then get the boost of energy and hope on Jig of Life before the contrasting Hello Earth and The Morning Fog. The former is a longer and more operatic and grand song where we think the heroine is watching above the earth, down at this spec in the ocean. The finale is this shorter and jumpier song that seems cheerier. The heroine saved (or was she?) and thankful. The chance to kiss the ground and let her family know how much she loved them. The same family who might have lost hope during Watching You Without Me. Did that ever happen and were they truly reunited?! Those who saw Bush in 2014 for Before the Dawn would have sensed that mix of emotions. Seen the action unfold. I was not here. They were watching her without me! It makes me so sorry I did not witness Watching You Without Me performed live…

IN London in 2014.

FEATURE: I Got Everything I Need: Kate Bush: A Perfect Conversation Starter

FEATURE:

 

 

I Got Everything I Need

Kate Bush: A Perfect Conversation Starter

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FOR some people…

IN THIS PHOTO: Kate Bush signing copies of Never for Ever in 1980/PHOTO CREDIT: Chas Sime/Getty Images

it might be difficult to spark up a conversation when it comes to Kate Bush. It is always one of the greatest things! I have more than one Kate Bush tattoo, and I am reading a book about Hounds of Love at the moment - so there are those opportunities. However, people often ask what music I like or who some of my favourite artists are. I mention Kate Bush, and that is a good way in. As I have said before, people often associate her with one or two songs. Maybe that is one of the flaws of talking about Kate Bush. However, it is still nice when people talk about her. If they are sharing their thoughts on Running Up That Hill (A Deal with God) or Wuthering Heights, I enjoy sharing my memories and impressions. And getting to talk about Kate Bush more widely. I do think that you get certain people who only talk about new music and do not really chat about older artists. Those of a certain generation perhaps did not grow up around music from that far back. Or they are not really that keen on that type of music. Of that age. That is fair enough. However, I do love to discuss new and older artists. Kate Bush is my favourite subject. She is a great conversation starter. Not only because there has been recent attention around Running Up That Hill (A Deal with God) and Stranger Things (her song appeared in the series in 2022). She is influencing artists today. So many in the mainstream you can link to Kate Bush. Halsey, Chappell Roan and even Charli xcx. If someone does not know who Kate Bush is even, I often find they are open to knowing about her. They might often go away and check out her music. For me, Kate Bush has affected so many areas of my life. In terms of journalism and writing, her music and amazing career has compelled me so much. Not only regarding features about her. How hard she has worked and how passionate she is about music has driven me.

Kate Bush is also someone who gives a lot to charity and is a source of strength and inspiration to so many groups of people. Someone who resonates with millions around the world. That is something I sometimes speak to people about. How she goes beyond the music. People ask where best to start with Kate Bush. It can be daunting. As she has not released new music in nearly fourteen years and many might associate her with her albums in the 1980s, it can be difficult suggesting her more (exceptional) recent albums. I always say go back to the start and 1978’s The Kick Inside. It is my favourite album of hers and one of her most accessible. In terms of the compositions, they are not as layered or rich as later albums, through I think the lyrics and what Bush tackles on that album – as a teenager, remember! – is remarkable! Listen to a lot of young women in Pop now and few are as bold and open as Kate Bush. She was tackling subjects that few of her peers were. Especially when it came to love and sex. There is so much to discuss when we think of Kate Bush. However, at a time when we all need some joy and escape, her music and career very much provides that! You start to talk about Kate Bush and everyone has their own facts or favourite things. The Most Wuthering Heights Day takes place each year. In fact, more than one day. An event where people gather in red dresses and dance en masse when recreating the video for her 1978 debut single, Wuthering Heights. Others recalls when comics Steve Coogan and Noel Fielding both paid tribute to Kate Bush for T.V. charity events. Other people hear new films and shows where Kate Bush music has been used.

Other conversations about Kate Bush often begin when people talk about Pop music of today. Whether they appreciate it or not, they highlight artists they like or bemoan the fact it is not like it used to be. I think Kate Bush is someone who has both influenced the sound of modern Pop music but has also avoided being associated with that label and genre. An artist who has very much steered her own course and would not see herself as a traditional Pop artist. However, when anyone chats about mainstream music today, it is another chance to mention Kate Bush. Either to demonstrates how extraordinary her music is and how she shook things up. If they are bored or feel today’s Pop lacks a certain warmth, riskiness or sense of depth, then Kate Bush is a perfect artist to recommend. Also, if you love modern Pop and think of these incredible women as original in many ways, I think a lot owe a debt to Kate Bush. Or they share similarities with her. Not to discredit these artists, though it is important to bring Kate Bush’s name into the conversation. I don’t think she gets talked about enough. In terms of how her music is influential today and how she broke down barriers for so many women who have followed. I often bring Kate Bush up when people are looking for music recommendations. It is important to support new music though, as many of Kate Bush’s tracks are not played on the radio and they might not be discovered otherwise, it feels great to be able to recommend a deep cut or an album many might not seek out otherwise (Never for Ever and Aerial come to mind in that respect). So many different possibilities and avenues to explore whenever there is a chance to speak about Kate Bush. She is a perfect conversation starter, as you can make so many connections with other artists and areas. Charity or production. How Bush was so young when she started. How she has fought hard through her career and guided her own path. Why she is so important today. One of the greatest joys is talking to someone new or you know…

ABOUT Kate Bush.

FEATURE: Spotlight: Turnstile

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Quinn Batley

Turnstile

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THIS is a busy time…

PHOTO CREDIT: Gold Theory Artists

for the mighty Turnstile. The band released their fourth studio album, NEVER ENOUGH, in June. Even though the band formed in 2010, I think they are releasing their best music now. This series is not only about new or rising artists. I also like to shine a light on acts that might not be known to everyone. This new album is a bit of a change of direction for the U.S. Hardcore band. Not softer necessarily, though NEVER ENOUGH does bring in other genres and sounds. I would advise people to get the album. The band have a string of dates ahead, and they will be coming to the U.K. in November. I am going to end with a review for the superb NEVER ENOUGH. Before then, I want to include a few interviews with the Baltimore band. With the district and powerful lead vocals of Brendan Yates, this is a band that everybody needs to listen to. Four years on from the acclaimed GLOW ON, NEVER ENOUGH is not a radical departure in terms of its sound, though the album does have a different meaning. Turnstile approached it differently. I want to illustrate that by sourcing some interviews from this year. I will start with Pitchfork and their cover story. Brendan Yates picks up most of the promotional interviews. The band’s lead letting us in to the world of Turnstile and their awesome new album:

“Baltimore, and the band’s decision to remain there, adds to the Turnstile allure. But as much as Turnstile love to remain rooted in Charm City, it would be disingenuous to say they’re unchanged by Glow On’s success. The difficulties of making an album with limited studio time are no longer an obstacle that needs to be cleared, and, obviously, there’s an ease that comes with not having to worry about your collective survival outside of music. “I think it definitely changed all of our lives, but, simultaneously, it didn’t,” Yates says. “We’ve been touring in bands for so long and this band has existed for so long, we’ve just been doing the same thing, and constantly growing, and growing [in the] understanding of what we wanna do. But what did change are just the opportunities and visibility and the ability to play the main stage. Like, we played a festival before on the tent stage in the back parking lot, but now we’re actually playing to thousands of people.”

Never Enough is Turnstile’s first album without founding member and guitarist Brady Ebert. In an Instagram story from the Turnstile page in 2022, the band announced Ebert’s departure and wished him well. Yates declined to comment further, but instead sang Mills’s praises. “Building chemistry in a band, you need to prioritize communication and friendship over everything. I think the rest works itself out,” he says. “It’s a full-time job in itself. It’s infinitely imperfect, like any relationship. So you can either choose to ignore that or choose to always be watering it and accept that. Meg coming in has been such a great addition.”

The new album isn’t the kind of sonic leap that Glow On was following Time & Space. But there’s more space on every song, fuller orchestrations and lusher arrangements, synth leads, horn lines. Members of BadBadNotGood, the electronic-jazz band with whom Turnstile collaborated on an EP in 2023, contribute horn parts. There are a few digital filigrees and subtones added by the experimental pop wizard A. G. Cook. A whole posse of guests expands the sonic world of the band. “I Care” feels like an anthem for sunny days in California; “Seein’ Stars” sounds uncannily like a Police song. Yates’s delivery is even more melodic this time around, reverb and backing vocals allowing him to ping around your headphones. “Birds” is an energetic onslaught; Fang’s drums send you into shock while Yates, as he tends to do at least a few times every album, leans into his Zack de la Rocha bag, half rapping.

But, for me, the most rewarding stretch of the album is squarely in the middle. “Sunshower” starts off with maniacal guitar riffs, and Yates’s energy matches perfectly as he shares, “Just when I thought that I could never get it right / Now I’m taking flight / And my head is overjoyed / And this is where I wanna be.” The first half beats you over the head, but the second half washes over you with a serene flute riff played by the former Sons of Kemet and the Comet Is Coming bandleader Shabaka. That dissolves into the pounding “Look Out for Me,” which hits even harder after you’ve been mellowed out. On the hook, Yates yelps, “Now my heart is hanging by a thread!” Then, the outro of the song removes all percussion and cues heart-monitor-sounding synths that build up to a dreamy, Baltimore club–inspired drum pattern. Like the go-go nod that closed “Blackout” on Glow On, this pays respects to Turnstile’s home turf. It’s also the band’s longest song ever, nearing seven minutes.

It all comes back to extending moments to their absolute zenith, so that some sort of clarity is at the end of the tunnel. In reality, Never Enough doesn’t depart very far from where Glow On left off—at least in its general sound palette. But you do get the sense that they, at some point, in the process of becoming the biggest thing in hardcore over the past four years, had gotten to a place where shit was becoming too loud, too demanding, too routine, and a feasible way to disrupt that energy was to begin manipulating time.

“Maybe there’s a psychological reason why there might be some of this kind of desire for certain stillness around these chaotic bits,” Yates ponders. “Something about it feels important to breathe for a second amongst that.” It’s not that the chaotic moments are absent in Never Enough, but there’s a sense that they’re all collectively learning that one must also revel in those moments of calm to keep a sound mind”.

There are two more interviews I will highlight before getting to a review for NEVER ENOUGH. In June, The Independent spoke with Brendan Yates about Turnstile redefining Hardcore. GLOW UP made Turnstile a more visible band. Taking them from the underground. On NEVER ENOUGH, there is this new wave of praise and affection. One that will continue as they look ahead. A band that you need to follow:

“Their imminent fourth album, Never Enough, is one of the year’s most anticipated releases – but Yates remains immersed in the creative process, largely able to ignore the surrounding buzz. On our video call, he smiles in a blue sweatshirt and wire-rimmed glasses, en route to the edit suite where he’s working on the album’s accompanying film, Turnstile: Never Enough, co-directed with the band’s guitarist Pat McCrory. They’re cutting it fine, the deadline only a few days away.

Yates is serious and considered with everything he says, letting responses meander and peter out if he doesn’t have a good enough answer. Nothing, apparently, is released if it’s not well-conceived, including his own thoughts. “The film is very intentional and abstract in a sense. It’s not a narrative with dialogue; the music is the main character and the visuals are the result of that.” He trails off. “When the album comes out there’s the context. If anyone has the patience or desire to see it in context…”

Making a visual album, he explains, is something he’s always wanted to do, since making music is a visual experience for him. It made sense that this would be the album to attempt it with: though it has 14 songs, it’s made to listen to as one continuous song. Excitingly for Yates, the film is premiering at Tribeca Festival the day before album release, having been accepted off the back of a few clips, rather than the completed film.

Yates has no training in film, but then he’s not a trained singer either – he started out as a drummer. That’s reflective of the DIY spirit in which Turnstile was formed and still operates: passion and instinct first, experimentation later. Turnstile – whose members now include founding members drummer Daniel Fang and bass and percussionist Franz Lyons, guitarist McCrory and a new addition to the ranks, Meg Mills (Chubby and the Gang, Big Cheese) – began as a conversation within a friend group of: “Alright, let’s do a band where Brendan’s singing”. Lyons, Yates’s best friend, figured out how to play bass from scratch to join them. Yates even taught himself guitar wrong, which means he has to take creative mistakes or measures when writing and playing music. All of them came from a hardcore punk background but that’s an asset rather than a limitation: “With this band, you just learn what you like and what you’re drawn to, and you follow that, and always change.”

To record NEVER ENOUGH, the band decamped to The Mansion in Los Angeles, a Laurel Canyon studio compound that birthed some of rock’s biggest hitters, including Red Hot Chili Peppers’ Blood Sugar Sex Magic and Slipknot’s Vol. 3: (The Subliminal Verses) as well as Jay-Z’s hip-hop hit “99 Problems”. When asked what they did in the city around working, Yates almost laughs. “No, we wouldn’t leave the property. We would just stay in the house,” he says, kindly, explaining they had free time in the morning to journal or work out and then they’d record all day until bedtime. Two friends who did break through the band’s seclusive forcefield casually ended up on sparkly mid-tempo single “Seein’ Stars”: Blood Orange musician Dev Hynes, who Turnstile has worked with before, and Paramore’s Hayley Williams. Of Williams, Yates says, “We were just throwing paint at the wall with her decorating our song with her angelic voice; it was really special.”

He prefers not to go into detail on the themes of Never Enough but says lyrics are, as ever, highly specific to him personally. “Vastness and this idea of being a small piece in a larger universe and the fear or peace that can come from that is a theme that makes its way around the album a bit,” he says, as well as learning how to accept love. There’s a third overarching idea: “How maybe intuition is always there, but there are these constant efforts to just fight against your own intuition. I’m trying to bring attention to that.”

No intuitive nudge goes ignored across the 14 tracks of Never Enough, an irrepressible album that picks up exactly where they left off four years ago – only now, they’re pushing further in every direction. It’s heavier, more melodic, more solid yet fluid, and even more carefree in its experimentation. On the frenetic, itchy track “Dull” – built for night-time drives under the influence of revenge or lust – Yates sings, “Deep in the night / I’m waiting for the call.”

It slides seamlessly into the aggressive, power-metal-meets-thrashing-punk of “Sunshower”, which halfway through melts into Eastern flutes and blissful synths for reasons that don’t matter, because it totally works. Then, a drum roll and acidic noise coyly summon the burst of aggression that is “Look Out for Me,” all breakdown riffs and Yates screaming, “Now my heart is hanging by a thread”.

Yates admits that it’s not easy to build such a solid collaborative base from which to freewheel for 15 years. “A dynamic within a band is much different than anything else I’ve experienced in life, in a way that’s just very intense and the most beautiful and complicated and in every way,” he says thoughtfully before signing off at the studio, minutes ticking down toward his deadline. “The fact that the band can exist for this long and everyone still deeply loves each other – it feels like a miracle sometimes”.

Prior to rounding off with an NME review of NEVER ENOUGH, they spoke with Turnstile about their new album. If GLOW ON took them stratospheric, for this album, the band shut all the noise off. Not that there was pressure to top that they did in 2021. However, it is clear there was a lot of expectation around Turnstile prior to releasing their fourth studio album:

“The big-tent adventurousness of Turnstile’s music – their willingness to say, finish a furious hardcore track with a minute-long synth sequence – comes naturally to the band, McCrory says. “Elements like that come from a place that is familiar to everybody and are part of what we love about making music. We don’t just love simply writing really heavy guitar riffs.” He reveals his and Fang’s shared enthusiasm for Eurobeat from the ’90s and 2000s, recalling a time when, cooped up in a hotel room, they spent six hours making a beat (and dancing on the beds). “Being able to infuse [into the music] things like super long synths and dreamy parts… that’s very natural.”

At the same time, going through the “adaptive” “give and take” of the recording process with no external producer by their side meant Turnstile were fully responsible for all their creative decisions on ‘Never Enough’. “This whole album is definitely the most of an odyssey that we’ve ever had,” proclaims Fang, “in terms of us finding our own self-confidence in what things should feel like – and adjusting, doubting ourselves… We had to make all those decisions at the end of the day.”

“That’s the most fun part, when you have to dig [for a song] – that’s when everyone’s strength comes to the surface”

Not that Turnstile would have been in need of much outside input when they had three whirlwind years to reflect on and process. “The process of secluding ourselves in a studio and creating something is 100 per cent just diving within ourselves and unpacking thoughts and feelings that are pretty infinite in there, especially when we’re on the road,” Fang says. It’s a cycle that will probably restart again now, he points out: it’ll probably be months down the road that they process the release of ‘Never Enough’ and the premiere of its accompanying visual album, co-directed by Yates and McCrory, at Tribeca Film Festival this week. “That’s the life of touring and doing creative things non-stop, and then publishing them months after their creation. It’s just this weird timeline and weird way to interact with the world and go through life.”

There’ll be more to process yet as Turnstile hit the road this year, playing hardcore and underground festivals – they closed out Tied Down Detroit on Sunday and will headline Outbreak Festival in London next week – but also igniting the mosh at bigger multi-genre fests like Primavera Sound and Glastonbury, and striking out even farther afield. “It’s great to get presented with opportunities to play all types of different shows,” Fang says. “It’s really nice to play a festival in say, Trondheim, Norway, to a bunch of people that have never heard us before, and be able to use the band to have brand-new experiences for all of us.”

As their star continues to rise, Turnstile continue to be fuelled by their hunger for something different. What they’ve done before will never be enough. “Ideally, we never play the same venue twice,” Fang says. “The priority is to keep exploring and having an adventure”.

The final thing I want to source is a review of NEVER ENOUGH from NME. A group championed here by stations such as BBC Radio 6 Music, I am slightly new to them. However, I think their latest album is their best. It seems like they have this solid and dedicated fanbase. You can why people love them so much. That is why I wanted to include them in this Spotlight feature:

“Formed in Baltimore’s hardcore scene in 2010, Turnstile’s interest in colouring outside the genre’s lines paid off when 2021’s ‘Glow On’ – featuring a go-go breakdown and a R&B track with Blood Orange – made them Grammy-nominated international rock stars. Their bright, eccentric new album ‘Never Enough’ doubles down on those experiments while furthering their unique, pop-facing take on hardcore.

Hardcore remains its lynchpin: the album rarely strays too far from a chunky, overdriven guitar, or one of vocalist Brendan Yates’ throat-splitting yells. Some moments are faithful nods back to their early work, like ‘Sole’ and ‘Birds’, conjuring images of a sweaty small-venue show like the one pictured on the cover of 2011’s ‘Pressure To Succeed’.

For the most part, though, ‘Never Enough’ is distinguished by aesthetic left-turns and genre-hopping. ‘I Care’ is a kitschy dream-pop song, featuring hand-claps and flanged guitars, while ‘Seein’ Stars’ is a funk-rock track in the vein of The Police. There are some innovative structural shifts, as in the nearly-7-minute-long ‘Look Out For Me’: progressing through punchy hardcore, a woozy ambient section sampling TV drama The Wire, then an electronic outro nodding to Baltimore club, each section presents a tribute to their city.

This spirit of experimentation is aided by a varied cast of collaborators: the horn flourishes on ‘Dreaming’ are performed by members of BADBADNOTGOOD, while the backing vocals on ‘Seein’ Stars’ are contributed by Blood Orange’s Dev Hynes and Paramore’s Hayley Williams. Elsewhere, these guests help songs shape-shift completely. Shabaka Hutchings’ flute solo in ‘Sunshower’ turns this hardcore track into something resembling Andre 3000’s ‘New Blue Sun’. A.G. Cook warps alt-rock song ‘Dull’ into a morass of glitching vocals and squirrelly electronics.

Despite this, ‘Never Enough’ is remarkably coherent. That’s helped by the bridging power of Yates’ vocal, gritty enough to fit the hardcore end but tonally appealing enough to sell the poppier moments. While the lyrics suggest complex feelings amid Turnstile’s post-‘Glow On’ success – “this is where I wanna be, but I can’t feel a fucking thing,” he howls on ‘Sunshower’ – the constant assuredness of Yates’ delivery helps anchor everything else.

But what really glues ‘Never Enough’ together is its poptimist mindset. Combining a sentimental regard for various shades of rock with a focus on big, bright melodies (think of those sparkly synths backing the second pre-chorus vocal in the title track), and a free-wheeling approach to musical referents, the album constantly reaches out to the pop world: exploring how hardcore might form the basis for something technicolour, playful and accessible. That attitude towards the genre, as capable of mass appeal and ripe for experimentation, is what powers this excellent album”.

Go and follow the epic Turnstile. A Baltimore band who I hope do spend more time in the U.K. – aside from the dates they have later in the year -, I would love to catch them one day. NEVER ENOUGH is one of the best albums of the year. You feel they will grow even better and better. For that reason alone, you do not want to miss out…

ON the extraordinary Turnstile.

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Follow Turnstille

PHOTO CREDIT: Kyle Myles for The New York Times

Official:

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FEATURE: Spotlight: Ninajirachi

FEATURE:

Spotlight

Ninajirachi

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I will end with…

a review of I Love My Computer. It is the remarkable debut album from Ninajirachi. The Australian producer has released an album that instantly sits alongside the best of this year. It is a loving and authentic tribute to EDM of the 2010s. I want to start out with this biography and background of Ninajirachi. An artist that you really need to follow:

“Contained in Ninajirachi’s music is all the beauty, mystery, and danger of the natural world. The 22-year-old Australian producer, songwriter and DJ makes bristling electronic club and pop music that’s glassy, uncanny, and totally enthralling; like stalactites or spiderwebs, each of her songs is spectacular to behold. A restless innovator, she’s spent her teenage summers making adored, festival-ready pop from the avant-garde fringes, becoming an in-demand producer and a trailblazer within Australian electronic music. With each release, including 2021’s project with Kota Banks, True North (The Atlantic’s 8th best album of 2021), Ninajirachi’s vision stays true, with each release a new microcosm of organic fantasy to step into. Between remixing Princess Nokia, Deadmau5 & The Neptunes, releasing on Nina Las Vegas’ NLV Records and RL Grime’s Sable Valley, Ninajirachi has performed at VIVID, Dark Mofo, Listen Out, Splendour, Groovin’ The Moo and Falls Festival, and toured with Mallrat, Charli XCX, What So Not and Cashmere Cat. Throughout the pandemic, Ninajirachi streamed with Club Quarantine, Nocturne, Insomniac, Brownies & Lemonade and Sable Valley. Known for her work on electronic music’s cutting edge, Ninajirachi works with iconic brands like Ableton and the Sydney Opera House, the former of whom commissioned her to create the official demo project for Ableton Live 11 and the latter of whom had her perform at the Joan Sutherland Theatre as part of their Liminal series”.

I will come to some more recent features. However, before I move forward, I actually want to go back to 2023 an interview with METAL. That is when Ninajirachi released the 4x4 E.P. It is a remarkable work. Even if she has been releasing music for a while now, 2025 is really the breakthrough year for Ninajirachi:

“Comparing your 2022 mixtape, Second Nature, to your upcoming EP 4x4, there is a definitive shift from a deconstructed and breathier sound to something a lot punchier. Though both speak to me as club music, would you listen to them in different contexts?

For sure. Club music totally constitutes both releases, but most of the Second Nature songs are not very functional for DJing. I think this is because Australia was in lockdown for a lot longer than other places on Earth and when I wasn't touring, making functional dance music wasn't a priority. But, dance floor functionality aside, I don't think they sound crazy different. For example when I made Undo U (before I had made the rest of the EP), my first thought was omg this would have been an amazing Second Nature song, because it's a little more syncopated than the rest of 4x4 (which is also why I made the 4x4 version of it (laughs)).

In this new EP, 4x4, I felt the beats to be very much that – 4 by 4. Does the name have anything to do with this thumpier time signature?

I am so glad you asked this because it was very intentional! Second Nature is 100% an electronic dance release, but there are literally no four to the floor songs on it. This wasn't a conscious decision and I didn't realise it until months after it came out. Most of my bigger releases have been four to the floor, like Blumiere EP, Water Gun / Stingray, Secretive! with Kota Banks, even Dracodraco kind of. So it's weird that I unconsciously moved away from it completely. After I had that realisation and made 1x1 with Ravenna, I thought it would be funny if 1x1 was track 1 on an EP called 4x4, made up of 4x 4x4 songs.

There’s a sound reminiscent of early 2010s, glitchy, online-era of music to this EP that really strikes a nostalgic chord with me. How did the concept for 4x4 emerge and what kind of sound were you trying to emulate with it?

Omg it's so cool that you think that because that's totally where my head has been. Some of my favourite albums as a child were Born This Way by Gaga and Animal by Kesha, I also loved Black Eyed Peas, and the pipeline from there was discovering EDM as a 12 year old. So I've been pulling more and more inspiration from that era of music because I'm much closer to becoming the producer I wanted to be when I first heard it. Even though my taste changed throughout high school and I grew more into left-field electronic music, I was an EDM kid in those formative years and that will never change I fear. Like nothing else makes me feel like a supersaw from 2012.

Tell me a little bit about the electronic music scene in Australia, and where you see yourself in it?

Australia has an amazing and diverse local underground scene but the mainstream is always a bit behind in my opinion. To be fair, there aren't that many people in Australia, so there's not much room for huge niche scenes like I've seen in the US and EU. I think I'm pretty lucky to make relatively left-field music and still pretty consistently be played on triple j and get mainstream festival bookings and stuff like that, I am really grateful for it”.

Let’s move to an interview from Rolling Stone Australia from earlier this year. This year has been a very busy one for Ninajirachi. Her music has reached new people and is getting more exposure. Although there are no upcoming U.K. shows, there are some Australian and American dates coming up for Ninajirachi. If you do get the chance to see her perform then you really need to:

“25-year-old Nina Wilson, aka DJ and producer Ninajirachi, creates the kind of epic, intricate, and universal EDM that takes you from creating music in your bedroom on the Central Coast of NSW to playing festivals the world over, including Lollapalooza, EDC Las Vegas and Laneway, where she was the 2025 interstitial DJ.

A triple j Unearthed High finalist in 2016 and 2017, she’s been releasing music officially since the age of 18, leading to her being signed to Nina Las Vegas’s label, NLV records.

Ninajirachi cites her primary influences as “nature, fantasy, science fiction, ideas of occult and magic,” which makes a whole lot of sense when you hear her music: each song is a fantastical world unto itself, like a hyperpop soundtrack to the world’s most deranged video game.

New single “All I Am” keeps the producer’s winning streak unbroken, a banger sure to keep crowds jumping in 2025 and beyond. —James Jennings

Read an exclusive interview with Ninajirachi below. Check out the full Future of Music 2025 list here.

Rolling Stone AU/NZ: How was 2024 for you? What were your biggest achievements and favourite moments?

Ninajirachi: Selling out my first show in America, touring there with MGNA Crrrta, having “Wayside” in Fortnite, supporting ISOxo on tour, playing on the main stage at EDC and spending the weekend with my friends in Vegas, releasing girl EDM, Caroline Polachek liking “Ninacamina”, playing in China and Japan for the first time, meeting wonderful people who listen to my music in so many cities, being with friends and family in every other moment… I am so grateful.

What’s coming up for you in 2025 and beyond? Any big shows, notable releases?

In February I opened for Porter Robinson on his tour and then did the Laneway Festival tour, now I’m in America touring with umru. I look up to these people so much and it’s a trip to be around them. My new song is out and I’m so happy. I’m going to release a lot this year – some of my best music ever methinks”.

Before getting to a review for I Love My Computer, this recent interview from NME shone a light on Ninajirachi. An artist I am new to but am really drawn to. Her music does remind me of the past, though it also very personal and future-looking. A remarkable record from one of the most talented young artists around. If you have not heard her music then do make sure that you go and follow her:

“It’s funny – our relationship with technology has changed so much that I don’t know if “I love my computer” is a statement that you’d find many people making now. When I first saw the title, I felt like there was a purity to that declaration that I don’t know is super common nowadays in 2025.

“Definitely. And it’s not all good – the song ‘Infohazard’ is about being scarred for life after seeing yucky stuff on social media out of nowhere. Sometimes you’re just scrolling and you’re like, ‘Oh god, I didn’t ask to see that, and now I can’t forget about it.’ But yeah, I was just thinking: what is my music about? Well, it’s all computer music. In every interview people ask ‘what gear do you use?’ And I’m like, nothing. I just use my laptop.

“I was like, wow, I really rely on it so much. I spend more time looking at it than I spend looking at any other person in my life. I wouldn’t have this career if it wasn’t for computer music, and no one taught me how to do it. I used my computer to learn how to use my computer. I realised I really love it and I’m so grateful to be alive in 2025 when that can be my life.”

“I’m really happy where I am now, so it’s not so much nostalgia in the sense of ‘I want to go back to that time when that was so much better’”

You mentioned ‘All I Am’, the first single. It felt to me like a throwback to this particular era of 2010s ‘throw your hands in the air’ kind of EDM. Were there any specific references or energy that you were trying to capture with that song?

“I didn’t go into that session thinking ‘I’m going to make the first single for my album’. It was just a jam at Ben Lee’s house in LA. I had just started touring America, and he was generously welcoming me into his circle and introducing me to other musicians. So he’d invited a bunch of his friends to his house, and we all had a jam. I was recording everything and producing it.

“I had been diving back into a lot of old Australian dance music, like Miami Horror, Pnau and Empire of the Sun, and other dance music from that time like Adrian Lux and Ladyhawke. That was just before I was a teenager, still in primary school and didn’t have access to blogs and stuff to learn about it at the time. I was getting really into that. In the session with Ben, maybe we had a break and a little microdose, and everyone was relaxed. I started looping and adding synths, and maybe subconsciously the Pnau influence from the weeks leading up leaked through.”

The sense I got from the record was there’s a fair bit of nostalgia on it. There’s a lot of reminiscing on ‘iPod Touch’ and ‘Sing Good’. You’re telling your life story and looking back. Does this feel like a nostalgic record to you?

“I feel like it’s more about looking back at what has led me to where I am now. I’m really happy where I am now, so it’s not so much nostalgia in the sense of ‘I want to go back to that time when that was so much better.’ It’s more a look at my life and my circumstances. I’m not from a white collar family or a family that has any artists or musicians in it. I’m from a small town and I’m a girl producer – there were just all of these little things that I was like, ‘This maybe shouldn’t have worked, but I’m really happy to be here and have people care about what I do’.”

Do you worry about ‘girl EDM’ being misread in a similar way? [‘girl EDM’ is the title of a 2024 Ninajirachi EP, and the URL of her website.]

“Yes, actually, I have worried about that. Some people have thrown that in, because it was all around the same time as that cultural movement or whatever you’d call it, but it’s so not that to me. It did start as a joke, but the joke was that me and four other girls were all playing an EDM show together, and there was one male in the green room, and that was my manager. We were like, ‘this is so funny and silly. We’re at the girl EDM show. Why aren’t there any boys here?’ We weren’t trying to make ourselves sound or look dumb. We were celebrating it. So yeah, I’m not trying to lump it with that kind of humour, but to anyone who’s interpreted it that way, no shade. That’s so fine. I’m not pressed. But yeah, different origins”.

I am going to end with a review of I Love My Computer from The Guardian. They laud this surprisingly moving album. One that is a salute to EDM music of the 2010s. As I said before, there is that air of nostalgia though this is very much the sound and work of Ninajirachi. Someone who we are going to hear a lot more from. A truly remarkable artist. Her latest album is tremendous and should be heard by everyone:

“In case the title of Ninajirachi’s debut album didn’t make it clear, the Australian producer spells out her love for all things electronica on its turbo third track: “I wanna fuck my computer / Cuz no one in the world knows me better.”

A glitched-out cacophony of bleeps, mechanical spirals and sirens, the track – titled, descriptively, Fuck My Computer – is a firework display of raw energy and excitement. That freneticism rarely lets up across I Love My Computer, an immensely fun and inventive dance album that doubles as a surprisingly touching coming-of-age story from one of Australia’s minted electronic exports.

After first gaining prominence as a Triple J Unearthed High finalist in 2016 and 2017, Ninajirachi – real name Nina Wilson – established herself at the forefront of Australia’s then burgeoning hyperpop community. But as the genre’s saccharine synths, irreverent samples and pitched-up vocals went increasingly mainstream post-2020, Wilson expanded her sound further. She released a cerebral 2022 mixtape, Second Nature, and played a series of slots at major US festivals including Lollapalooza and Las Vegas’s Electric Daisy Carnival.

The now 25-year-old producer has started identifying her genre as “girl EDM” – a tongue-in-cheek nod to the 2010s electronica she first fell in love with as a teenager online.

Across the album’s dozen tracks, Ninajirachi pays tribute to that nascent period. Repeatedly, music reaches out in a language only she can hear: on Fuck My Computer, “it says my name”. And CSIRAC, a throbbing track named after the first computer to play music (an Australian invention, incidentally), feels like a deranged, borderline inscrutable trip into Wilson’s laptop.

Across three minutes, the track jumps from chipmunk vocals to squelching acid-house breaks, metallic drones and pixelated breakbeats, as well as an eerie spoken-word bridge about following a sound. Which is exactly what the track is doing, racing through Wilson’s computer at breakneck speed and transcribing its bleeps and bloops.

But you don’t need to overthink I Love My Computer to grasp the sincere depth of feeling Wilson has for her tech. In iPod Touch, another album highlight, Wilson links her music player to a flood of teenage memories. “It sounds like high school, front gate, smoke in my face / It sounds like iPod Touch / yellow Pikachu case,” she sings, her sugar-rush delivery thrashed against a frantic beat.

Not to will another reboot into existence, but it’d make a great theme for a gen Z take on Puberty Blues. Here, images of archetypal Australian teenage rebellion (including wearing tiny Supré shorts) are just as nostalgic as memories of “me and my computer hanging out till late”, blasting a bass-boosted Porter Robinson song and trying out free music production software.

Even with its 2015-specific imagery, iPod Touch encapsulates something universal. It sounds like the giddiness of adolescent discovery, where a song or artwork can cut through the confusion and awaken something so personal that you have no choice but to make it your entire personality.

You might scoff at Wilson’s awakening through EDM – arguably the defining sound of the previous decade thanks to the likes of Calvin Harris, David Guetta and Diplo. But I Love My Computer proves how much juice the genre has, especially stripped of its noxious frat bro connotations. Wilson readily embraces steady builds, squelchy drops and a relentless BPM rarely below 120.

I Love My Computer isn’t all euphoria, either. Delete is a twinkling ode to embarrassing Instagram stories, while Battery Death is a burnout lament built over dystopic error-synths. And on eurotrance track Infohazard, Wilson recalls stumbling upon a photo of a decapitated man on her computer as a teen. Led by a piano, it’s one of the few times a non-digital instrument is easily identifiable on the album – offering a strange sense of warmth to the confused, confronting memory.

Indebted to electronic pioneer Sophie, Wilson has never been focused on real-life restrictions, more interested in what she can create than replicate. With her debut album, Ninajirachi charts a long-term (and fruitful) relationship with her computer. It’s very fun and surprisingly moving”.

I will finish there. There is a lot of excited talk around Ninajirachi. Even if I Love My Computer is seen as her debut album, Ninajirachi has released other projects and been involved in other albums (maybe we class previous work as ‘mixtapes’). If we class I Love My Computer as a debut, it is definitely one of the best of this year. So important and confident, we are going to see Ninajirachi enjoy this long career. It is going to be really interesting to see where Ninajirachi…

GOES next.

___________

Follow Ninajirachi

Official:

https://www.ninajirachi.com/

Instagram:

https://www.instagram.com/ninajirachi/

Twitter:

https://x.com/ninajirachi

TikTok:

https://www.tiktok.com/@ninajirachi

YouTube:

https://www.youtube.com/c/ninajirachi

Spotify:

https://open.spotify.com/artist/3MekbRujJg5VZThubOlrkR?si=9_c4nOu_SWyu3XVcPAgmgA

Facebook:

https://www.facebook.com/ninajirachi/

FEATURE: Timeless Melody: The La’s' The La’s at Thirty-Five

FEATURE:

 

Timeless Melody

 The La’s’ The La’s at Thirty-Five

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AN album that helped…

shape British guitar music in the 1990s and had a big influence on the likes of Noel Gallagher of Oasis, The La’s’ debut album, The La’s, turns thirty-five on 1st October. The Liverpool band were fronted by Lee Mavers. He wrote the songs on The La’s. It is the only album from the band too. One of those rare occasions where an artist release only one album. And it turns out to be a classic. One of music’s big what-ifs! If The La’s had recorded a second studio album, what would that have sounded like? The album’s singles included Way Out and Timeless Melody. The biggest track from The La’s is There She Goes. That was released in 1988. Because  to its 1960s-influenced sound, which nodded of the British Invasion era (whereas so many acts of that time favoured a more alternative sound), The La’s gained huge critical attention. The La's is widely considered to be a precursor to the Britpop phenomenon of the mid-1990s. I want to get to a few features about one of the most defining albums of the 1990s. I am starting out with Classic Pop feature of 2021. I am not including the entire thing:

“It’s a wonder the album came out at all. It was re-recorded at Mavers’ perfectionist behest numerous times, with successive producers trying and failing to realise his vision over three torturous years. By the end, the project had cost a reported £1 million and still wasn’t finished. It never could be. It was no trifling figure for independent label Go! Discs. Mavers said he hated what he heard, but the label had run out of patience and released it anyway. In turn, the band used the album’s promo interviews to tell fans not to buy it.

The La’s at least kept it together long enough to tour their tarnished magnum opus in 1991, but since then Mavers has been a largely reclusive figure, rumours of drug addiction persisting as he’s privately slaved over plans to re-record his precious album.

Sporadic reappearances with varying lineups have coincided with whispers of a vast cache of unreleased songs and breathless talk among fans of a second album. Mavers, though, remains transfixed with the notion of bringing this 1990 debut up to the standards that exist in his head.

Who could he be referring to when he sings on the album’s opening track Son Of A Gun of “a man who’s at loggerheads with his past all the time/ He’s alive and living in purgatory”?

In many ways, The La’s were an anomaly. To paraphrase another flawed genius, Brian Wilson, they just weren’t made for the times they existed in. Aloof from the bug-eyed baggy indie-dance of Happy Mondays, The Stone Roses, Primal Scream et al, and predicting the Merseybeat-pilfering Britpop wave that followed, they were also at odds with the hi-fi production style that characterised many 80s recordings.

Mavers and John Power preferred the naked honesty of largely acoustic guitars, drums and bass; simple pop classicism with its influences clear – the transportive West Coast jangle of The Byrds, hints of the lysergic mysticism of Arthur Lee’s Love, Pink Floyd and The Doors, and an overt appreciation of British Invasion heavyweights The Beatles, The Rolling Stones, The Kinks and The Who.

The band were formed in 1983 by Liverpool songwriter Mike Badger, with Mavers joining a year later, the pair uniting over a love of Captain Beefheart. A full family tree would take up the remainder of this article, but the highlights are as follows: Bassist John Power and drummer John Timson arrived in 1986, the latter soon replaced by future Oasis member Chris Sharrock.

The band signed to Go! Discs in 1987, by which time Badger, too, had departed, leaving Mavers in charge.

Badger was replaced by guitarist Paul Hemmings, with Mavers’ brother Neil taking over from Sharrock on drums. Keeping up? With the core lineup settled, the band continued writing their debut album in a stable owned by the new guitarist’s mother.

“It was a wonderful time to be in the band,” remembers Hemmings, who went on to join The Lightning Seeds after lasting less than a year on the good ship Mavers, “because Lee had to write material and we had to finish it. There was no deliberating. Every single day there was me, John and Lee in the stables, working.”

Two singles on Go! Discs followed – the Stonesy waltz-time Way Out, produced by Gavin MacKillop, in November 1987, and the initial version of There She Goes, produced by Bob Andrews in October 1988, the latter reaching No.59 on the UK singles chart.

The La’s was an album that almost didn’t get made. Lee Mavers especially precise when it came to its sound. You can probably see why the band did not release a second album. There was debate and argument over the production. Steve Lilywhite’s production was used. If it were down to Lee Mavers, the recording would have taken longer and things might have been very different:

Go! Discs had had enough and weren’t going to pay for any further sessions. They released Lillywhite’s version of The La’s in October 1990, leaving Mavers disgusted with what he felt was a set of unfinished recordings, using his guide vocals. He told Q: “We walked out on it while we were doing it. We hated it because we weren’t getting our sound across, so we turned our back on it. [Go! Discs] got it together from a load of backing tapes and mixed it up themselves and put it out.”

Mavers immediately distanced himself from the release, describing the album in NME as “like a snake with a broken back” and “the worst, a pile of shit”. The La’s may not be the faultless masterwork Mavers had envisaged and it didn’t trouble the charts, peaking at No.30 in the UK and No.196 in the US, but it was a gross overreaction from its creator.

In The Rough Guide To Rock, Chris Tighe summed up the public mood: “If this was the quality of the demos, the intended final tracks would have been wonderful.”

The La’s is an astonishing album, classic songcraft from arguably the fourth greatest Liverpudlian writer ever to pick up a guitar. In Colin Larkin’s All-Time Top 1000 Albums, he writes,

“It is hard to see why they were dissatisfied. The La’s is a graceful, sweeping and rather grand pop record, utterly charming and filled with a meek beauty.”

The album’s greatest legacy may prove to be the timeless love song it provided in the shape of There She Goes, re-released three weeks after the LP. This time, it reached No.13 in the UK, and remains one of the most evocative, universal guitar-pop songs ever crafted.

Rolling Stone dubbed it the “founding piece of Britpop” and NME placed it 45th in a rundown of the 50 greatest indie anthems of all time. On Spotify, it’s closing in fast on 100 million listens. Robbie Williams and Sixpence None The Richer are among the countless musicians to have a fruitless stab at improving on Mavers’ two versions”.

More modern bands like Arctic Monkeys and Fontaines D.C. have cited The La’s as an influence. On 1st October, 2020, Stereogum published a thirtieth anniversary feature for The La’s. They argue that, despite Lee Mavers’s insistence that the band’s sole album is flawed, this 1990 masterpiece is flawless. An album that will continue to inspire artists throughout the music world:

“To say that the band failed to capitalize on the adoration that followed the release of The La’s is an understatement, but it ignores the specialness of a great one-and-done career and the weird circumstances that fueled it. How could a follow-up live up to the high expectations of fans or low expectations of its creator? Mavers obsessed for years afterward, supposedly threatening — and trying — to re-record this same batch of songs until they met his mystical aspirations. He wrote more songs, too, but finished versions never saw the light of day. Rather than deal with the record company that he felt had abused his trust, Mavers ran out the clock on his deal, releasing nothing and only occasionally peeking his head out over the past three decades to play a show or two.

Noel Gallagher, in an interview about his favorite albums of all time with The Quietus, said, “When I see him I say, ‘Hey Lee, when are you going to release your second album?’ And he goes, ‘Yeah, yeah, yeah. I’ll do it when I’ve finished the first one …’ He’s still trying to nail his first set of songs right after 27 years. So I’ve come to the conclusion he’s either shit-scared of ruining his legacy or he’s just a lazy cunt.”

It leaves only The La’s to be picked over, and fans have examined it with a Beatles-like microscope, though obviously on a much smaller scale. Various multi-disc collections have appeared over the years that include takes from the aborted album sessions and a few non-album tracks that are as essential as those that made the cut. Mavers himself supposedly favors the version of the album produced by Mike Hedges, which is widely available but was supposedly scrapped — and this may be apocryphal — because Mavers was mad that his bandmates went on vacation without him shortly after the recording. It’s worth a listen, but time has rendered it a curiosity more than anything. The La’s, as released in October of 1990, has earned its place in the canon; everything else feels like bonus material, out of context and less important”.

I am ending with a feature from last year from Udiscovermusic.com. The La’s is an album that mixes the jangle of The Byrds, Punk attitude and gritty Merseyside. It is an intoxicating and skilful blend that set The La’s apart from other albums released in 1990. Small wonder that is resonated with artists coming through at the time. I think that we are discovering new layers and gems when listening to The La’s’ only album:

“The songs were absolute diamonds”

This ongoing uncertainty also affected the band’s personnel, with a string of lead guitarists and drummers (the latter including future Oasis sticksman Chris Sharrock) joining and then departing. The La’s’ line-up finally steadied in 1989, with Mavers and Power joined by guitarist Peter “Cammy” Camell and Mavers’ brother Neil on drums when they convened with Steve Lillywhite for the final attempt to record their album.

Lillywhite – whose production credits also include U2, The Pogues, and Siouxsie And The Banshees – teamed up with The La’s at London’s Eden Studios in late 1989. Looking back at these lengthy sessions which finally resulted in The La’s’ album, he now has mixed feelings.

“I knew the songs were absolute diamonds, but getting them on tape wasn’t so easy,” he told MusicRadar in 2011. “We’d record six songs that were fantastic, but if there was one thing wrong on the seventh song, [Lee] would be convinced that everything else was terrible and we’d have to start everything all over again.

“But that said,” he continued, “I would put Lee right up there with any of the singer-songwriters I’ve ever worked with. He’s an amazing talent, and the album we made is sort of timeless.”

Totally unique

Listening to The La’s now, one can only agree. Finally cracking the UK Top 20 on reissue, the band’s shimmering signature hit, “There She Goes,” is largely singled out as the album’s high point, but really it’s just one of the record’s many glistening pop gems. The La’s kicks off with an almighty hat trick courtesy of the wistful “Son Of A Gun,” the pile-driving rocker “I Can’t Sleep” and the aptly-titled “Timeless Melody,” and simply never looks back. Indeed, those with any lingering doubts in relation to Lee Mavers’ talent need just one listen to the audacious, Bertolt Brecht-esque “Freedom Song” or the record’s epic, psychedelic torch song, “Looking Glass,” to hear what really might have been.

Perplexingly, though, The La’s’ frontman was his own most hostile critic when the album was finally released, even famously describing it as “like a snake with a broken back” in a 1990 NME interview. Mavers’ negative reaction seems all the more mystifying as most critics heard nothing but genius when weighing up the album’s contents.

In a contemporary review, The Village Voice’s Robert Christgau wrote, “Once in a blue moon, somebody with the gift comes along, and [La’s] frontman Lee Mavers is that somebody,” while confirmed fan Noel Gallagher told The Quietus in 2011, “Even though [The La’s] is a standard form of guitar rhythm’n’blues, it’s totally unique – nobody has done it as good as him since.”

How do you measure perfection?

Yet, while the critics raved and the band embarked on an extensive tour that took The La’s into the UK Top 30, the group’s time in the spotlight was tragically brief. Seemingly obsessed with re-recording the album rather than prepare a follow-up, Mavers split the band in 1992. While there have since been sporadic reunion gigs, and Mavers’ notoriously loyal fans still live in hope, the chances of The La’s’ reclusive frontman ever returning from his self-imposed exile now seem slim.

“His standards were so high that you’re never going to reach them,” producer Mike Hedges said when The La’s received its deluxe CD reissue in 2008. “At some point you have to say, ‘That’s it, I’m finished!’ and move on to something else. I’ve never been 100 percent on anything I’ve ever done. I don’t think you ever can be, because how do you measure perfection?”.

On 1st October, it will be thirty-five years since the release of The La’s. A seismic album that changed the face of British music in the 1990s, it is also the start and end of this very brief story. A group who put everything into this one album, they burned too bright to go any further. However, the legacy of their sole album is clear. Lee Mavers’s incredible songwriting will live forever. The La’s, thirty-five years later, remains…

ABSOLUTELY perfect.

FEATURE: Spotlight: Revisited: Coach Party

FEATURE:

 

 

Spotlight: Revisited

Coach Party

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THERE will be more…

interviews with the brilliant Isle of Wight band ahead of the release of their new album, Caramel, on 26th September. I last featured them in 2020. Five years later, Coach Party achieved so much! Their debut album, KILLJOY, arrived in 2023. I knew in 2020 that they would be a big deal! Having played some huge venues and with massive success ahead, it is a good time to revisit the band. I want to head back to 2023 and a DORK interview with a band looking forward to their debut album coming out following years of graft and hard work:

“Since 2019, Isle of Wight four-piece Coach Party have been knuckling down. Across three EPs in three years – starting with 2020’s ‘Party Food’ – they’ve been establishing their raucous reality ruckus, and 2023 is finally the year of their hotly anticipated debut album. It’s a moment the band have been building up in their heads since day one. “The allure of putting a debut album out – we’ve spoken about that so much, but not wanting to rush it, not wanting to do it for the sake of it,” explains guitarist Joe Perry.

‘Killjoy’ is a project that either marks the end or the beginning of chapter one – they haven’t decided yet. Either way, it’s a big bloody deal. “I feel like it holds more of an era of us,” vocalist and bassist Jess Eastwood adds. “That part of us from the start of the journey to now feels like, even though we had done EPs, I feel like it’s all of us up until now, and I feel that it’s more sacred than anything to me.”

The toil and trouble they’ve been mastering over the last four years is compounded into its runtime. It has their trademark snark – courtesy of Jess – ripping riffs, singalong choruses, and most of all, it’s got the future in its sights. Something they’re now realising has crept up on them.

“Recently, I’m realising how much has changed,” Jess says. “And that goes from how quickly you want to make it your life to do this, and then how quickly it is your life; and like, actually, this is not your full-time job. This is a lifestyle.”

This idea is a world away from when the four of them – completed by guitarist Steph Norris and drummer Guy Page – first banded together in 2016. The Chess Club signees barely had a handful of gigs under their belt when the tastemaker label came calling in 2019.

Between the cycle of touring and recording, Coach Party have been earning their stripes. Their most recent expeditions have given them the scope of what band life can bring you, and all of these experiences play into ‘Killjoy’. Explaining that before it was christened, “We were looking at calling it ‘Interactions With People’,” says Jess. “Because that is the concept of the album.”

Coach Party have certainly grown into their newfound lifestyle. They’re a bonafide rock band ready to pay service to those listening and to firmly establish their place. Their 2021 single ‘FLAG (Feel Like A Girl)’ is one monument to this. It’s Jess’s moment of demonstrating her vocal distaste for a certain type of person. “If you’ve got young girls or guys that have heard ‘FLAG’ and [say] it’s completely changed their life or helped [them] through something, I want to make sure that they know that that is the meaning, and I don’t want to let them down by being this person that’s not true to who they were when they wrote that track or whatever,” she says. A similar sentiment drives recent single ‘Micro Aggression’; it’s not always easy going.

A connection is where Coach Party’s lofty ambitions come to a head. They’ve seen first-hand what longevity and a studious fanbase can offer on their support runs, and for a solid group of mates from the Isle of Wight, they’ve not done half bad – and the rest is most certainly yet to come. Jess enthuses she is, “Hoping there’s some sort of tangible connection that people get through it.” They’ve not had the chance to give ‘Killjoy’ a proper airing yet. Their autumn headline tour is where it can all come to fruition, particularly Jess’ hungrily envisioned “chaos” for ‘All I Wanna Do Is Hate’. But for now, it’s time to bask in the glow of ‘Killjoy’.

“If we had the opportunity to tell ourselves what we’ve done year on year a year ago, how crazy we’d find it but also just so unexpected,” Joe marvels. “We didn’t ever expect these sorts of things to happen. That’s just the mindset we have. There’s obviously ambition, but maybe it’s pessimism of ‘that’d be nice, but who knows?’”

But with all this soaring success – what with the stadium shows and the like – what’s next? “Maybe we’ll be accused of being an industry plant!” The pair burst out laughing”.

I will end with some details about the forthcoming Caramel. New singles Girls! and Do Yourself a Favour are an exciting glimpse into the new album. I am very excited to hear what arrives from a band I have been a dedicated fan of for half a decade! They are going to go from strength so strength. Jess Eastwood, Joe Perry, Steph Norris, and Guy Page have this amazing chemistry. This really comes to the fore during their live sets. They have a string of dates coming that sees them starting out in the U.K. before heading off across Europe. I will bring things more up to date in terms of interviews. Buzz caught Coach Party live last year in a typically memorable and intense show:

“After supporting Queens Of The Stone Age in Cardiff Castle last summer, returning to nearby Clwb Ifor Bach for their final UK tour date may not feel like the progress indie-grunge band Coach Party had hoped for – as acknowledged by drummer Guy Page. Conversely, he emphasises that this, their headline tour, is special, and that he appreciates the fans being there solely for them.

Known for their raw energy and distinctive sound, the Isle Of Wight’s finest don’t disappoint, with a performance as electrifying as it’s intimate. Wholesome moments and witty comments (mainly about how many stairs the venue had) are weaved seamlessly through a well-curated setlist that mixes Coach Party’s most beloved tracks and newer material. Songs like Be That Girl and FLAG (Feel Like A Girl) are met with enthusiastic cheers and heartfelt singalongs, highlighting the honest connection this band has with their audience.

Of Coach Party’s two guitarists, Joe Perry’s gritty riffs lend stylish, moody cool whilst Steph Norris’ solid skills and immense energy brings the hype and excitement. Norris is working on getting the immensely talented vocalist Jess Eastwood to dance with the band onstage – and it’s working! Any doubt that the vocalist can’t dance is quashed by Norris’ claim, “I’ve seen you twerk in the dressing room, so don’t give me that!” Page’s tight drumming completes the quartet beautifully, and the band’s talent for songwriting and performance comes together to give space for moments of catharsis that only live music can provide.

A special mention for last-minute support, Merthyr Tydfil’s very own Brass Bambees – they bring everything to the stage and despite the heat, give flat-out energy. Without a doubt, audiences should be keen to see more of this incredible force of a band. As for Coach Party, they’ve already posted on socials how much they enjoyed their UK tour, signing off with “brb, writing an album”… so watch this space”.

A brief look at this article from last year when Coach Party appeared at SXSW. I think that all of this praise and background is really important. We get this larger impression of the band and how they have grown and progressed since KILLJOY and a very busy past couple of years. I think their careers will get even busier as we look to next year and beyond:

“The Live Experience: Authenticity and Connection

Coach Party’s live performances are a visceral reminder of the power of live music; its universal ability to convene, to communicate, and to celebrate the collective experience across all ages. The band’s ethos, grounded in authenticity and connection, was palpable in their interactions onstage and their “telling it as it is” recap of their Austin experience.

“Being the furthest from home we’ve ever been, yet meeting people who are familiar, or even LIKE us has been a hell of a concept to process, and we’ve been so humbled by that social side of the festival. We played a total of nine times in Austin, but every gig felt like a totally new experience. It was really exciting,” reflected Page, on their week in Austin.

Influences and Evolution

Coach Party’s sound, a melange of indie rock, brit-pop, stoner-rock and grunge, reflects their eclectic musical tastes. The new album underscores their ability to navigate these genres with ease, creating a sound that is distinctively their own. The band credits their unique sound to a collaborative process that allows individual influences to filter through their collective vision, resulting in music that is rich, layered, and wholly Coach Party.

Beyond SXSW: Looking Ahead

With SXSW behind them, Coach Party sets their sights on a European tour, including stops in Germany, Czech Republic, Austria, Switzerland, Italy, Belgium, the Netherlands and Ireland before hitting the UK in June and July. Their summer itinerary is packed with festival dates, cities they have yet to play, and as Page lamented, “getting our coffee orders completely wrong in every new town; the variation in coffee lingo from place to place never ceases to completely destabilize our mornings”.

Before moving to where the band are now and how far they come, I want to briefly go back to 2023. It is amazing to read this Headliner interview. Many labelling the band as this upcoming or promising name. Coach Party still seen as coming through. They have come a long way in such a short time. Amazing progress from a quartet whose natural sound has connected with so many people around the world. A band that definitely need to be on your radar:

“While Coach Party have sarcastically labelled themselves the ‘Other Isle of Wight band’ following the breathtaking Grammy-winning success of Wet Leg, the band are steadily building a solid claim to also putting music from the south coast island on the map. Having formed in 2016, they were signed within three years to label Chess Club, and they’ve followed the well-trodden path of relentlessly touring and performing to get their music out there. Their three EPs also had them noticed by the likes of NME and The Guardian, so the stage is set very nicely for their just-released debut album Killjoy.

Eastwood and Page form one half of Coach Party, joined by guitarists Steph Norris and Joe Perry. On growing up on the island, Eastwood says, “It was really nice, it’s very chilled and it’s known for being really safe. There’s not a lot to do here beyond going to the park or the beach. But when I was growing up, there wasn’t much of a music scene or any music venues, so I’d go over to The Joiners in Southampton a lot and watch bands there.”

“It’s a great place to start a band or a business,” Page adds. “Because there’s less pressure and expectations here. And also, once we’d played the handful of bars and venues here, it then had us questioning why not just do a full tour? Because once we’d paid the money to go over to Portsmouth, we may as well also go to London, Brighton etc.”

“It’s so important to the four of us that our music is something you can connect to, believe in and sympathise with,” Page says. “We don’t want to insult our listeners by saying ‘it’s all fine really, you’ll get through it!’ Because we don’t know what they’re going through. They might be going through an even worse time than what we’re singing about. We’re basically saying to people who are having a shit time, ‘We love you!’”

It’s a safe bet that Killjoy will shake off the shackles of the ‘up and coming’ label that has been plastered onto Coach Party, and see them deservedly being regarded as one of the UK’s best and most established acts in the indie-rock genre and beyond. Make sure to go to one of their 2023 tour dates, as the Coach Party live experience is scintillating. Meanwhile, Killjoy is out now and conversely could give you a much-needed shot of joy”.

Let’s finish off by moving things to the present. On 26th September, via Chess Records, Caramel will come into the world. The second album from Coach Party, this is one of the most anticipated albums of the year in my view. I cannot wait to see what the band serve up. Make sure that you are following them. The Line of Best Fit were among those who reported the news of Coach Party’s new album:

“We wrote a song to try and encapsulate the escapism and togetherness you'd feel at your favourite band's show, and then we were taken on a visual masterclass as our friends Dan Broadley & Josh Halling fleshed out their interpretation of that song in film," the band explains.

"The concept of swapping out a Coach Party show for a (Club Caramel) retreat, where people can go to discover the parts of their personality they didn't even realise existed and coax them to flourish, is an interesting and beautiful way to interpret the song which we never would have thought of. But, at the same time, it totally aligns with our original meaning and intention for 'Girls!'; we've learnt a lot about ourselves at gigs over the years, and we're sure the same is true for anyone who's been to see their favourite band live."

“No matter who you are, no matter who you think you are, you’re our girls,” smiles Guy. “When you walk out the door you can go back to whatever you want, but being at a gig is an escape for every one of us, we’re all doing this thing because we love to be here. You’re at this gig so you’re one of us. Our girls are everyone in this room,” they add.

Tracklist:

1. Do It For Love

2. Girls!

3. Georgina

4. Control

5. I Really Like You

6. Disco Dream

7. Fake It

8. Medicate Yourself

9. Do Yourself A Favour

10. Still Hurts”.

It is going to be wonderful seeing Coach Party going forward. A band who are stunning live and are brilliantly engaging, dynamic, memorable and exceptional in the studio, go and follow them on social media and get Caramel when it comes out. One of the best albums of 2025. I predict that. I wanted to return to a phenomenal group that I have been a fan of…

FOR over five years.

____________

Follow Coach Party

PHOTO CREDIT: Patrick Gunning

Official:

https://coach-party.com/

Instagram:

https://www.instagram.com/wearecoachparty

TikTok:

https://www.tiktok.com/discover/coach-party

Twitter:

https://x.com/wearecoachparty

Facebook:

https://www.facebook.com/wearecoachparty/

Spotify:

https://open.spotify.com/artist/4trP4C2bZ0TqMUxw0tLRAZ?si=U3q_Pf-cQEWTUXi7I-sjjA

YouTube:

https://www.youtube.com/channel/UCJYfxrhjIfITBZouYO65RMg

FEATURE: Groovelines: Imogen Heap – Hide and Seek

FEATURE:

 

 

Groovelines

Imogen Heap – Hide and Seek

__________

AS the magnificent…

IN THIS PHOTO: Imogen Heap photographed in 2019/PHOTO CREDIT: Alexandra Arnold

Imogen Heap has been back in the music limelight because her phenomenal album, Speak for Yourself, has been reissued twenty years after release, I wanted to focus on its standout track. On the album, there is a remastered version of Hide and Seek. It is Imogen Heap’s best-known song. One that has taken on a life of its own. Because of that, this Groovelines explores a true great. Even so, there may be people who have not heard the track of Heap. Released on 19th May, 2005, Hide and Seek was not a commercial hit in the U.K. Not a big success for the London-born Imogen Heap, this is a song that might have been a bit too unusual for the charts. However, the fact that Hide and Seek has appeared in multiple T.V. shows and is being talked about twenty years later proves how enduring and original it is. Hide and Seek was the first single from Heap’s second album, Speak for Yourself. Written and produced by Heap, the song is an acapella ballad that heavily uses the harmonizer. A track that describes painfully losing someone due to a breakup. Before coming to some reviews and features, I want to bring in some Wikipedia information. The collected some critical reaction for the incredible Hide and Seek. It still sounds like nothing else:

“Hide and Seek" received critical acclaim upon its release. Writing for The New York Times, Laura Sinagra wrote that "Hide and Seek" was "the ghostly pièce de résistance" of Speak for Yourself, adding that the song "suggest[s] a kind of lovesick cyborg alienation, an almost disembodied, distinctly modern malaise". Sophie Heawood of The Guardian referred to the song as "extraordinary", describing its use of vocal layering as "startling" albeit with a "Marmite-style love-or-hate effect on listeners". For Pitchfork, David Raposa identified "Hide and Seek" as the "black sheep" of Speak for Yourself, writing, "It's gorgeous, it's impressive, it's grandiose, and it's barely there at all — just Heap's voice darting and divebombing, making itself scarce, disappearing into itself." The Skinny's Dave Reid suggested that "Hide and Seek" "threatens to put the rest of the album in the shade". Jeff Vrabel of PopMatters wrote that the song was "uniformly gorgeous" with "no beat required", adding, "Its sonic trickery makes the song lap itself; there's so much synthetic beauty in there that it comes off sounding organic anyway”.

In 2020, fifteen years after Hide and Seek was released, Inside Hook explored its enduring popularity. A song that has been used in The O.C. and Normal People, it has translated through the years. Something about it that has affected audiences of different generations. One that appeals to an American and British audience. And it has gone beyond that! More than twenty years after its came out, Imogen Heap’s Hide and Seek remains beautifully unsettling. Maybe not the right words. However, there is something both beautiful and unusual about the song:

“The first was the beginning of the Revolutionary War, the second was the one that felled the Archduke Franz Ferdinand in the preface to WWI, and the third arrived in the Season Two finale of The O.C., when Marissa shot Ryan’s brother Trey to the tune of Imogen Heap’s “Hide and Seek.” 

Since that night 15 years ago — the episode premiered on May 19, 2005 — Heap’s self-harmonized, vocoder-infused masterwork has been given the meme treatment by Saturday Night Live, the Billboard Hot 100 treatment by Jason Derulo and even the Broadway treatment in Harry Potter and the Cursed Child. But it’s the song’s placement in Normal People, a new 12-part TV adaptation of the Sally Rooney novel, that has ripped open old wounds, sparked debates about musical baggage and posed the question: Can “Hide and Seek” escape its iconic origins to become something more? 

To connect the dots across time, we got in touch with Maggie Phillips, music supervisor on Normal People, as well as Norman Buckley, who worked as a director and editor on The O.C., a job that included editing the Season Two finale, “The Dearly Beloved.”

“When I was editing The O.C., I was given Imogen Heap’s album Speak for Yourself by music supervisor Alex Patsavas at the beginning of Season Two — it may have even been before the album’s release,” Buckley told InsideHook via email. “I loved the entire album and thought her voice was unique. I suggested to The O.C. creator Josh Schwartz that he listen to the album, as I wanted to use a song called ‘Goodnight and Go’ in Episode Five of the second season (which we did). ‘Hide and Seek’ was on the same album.” 

It’s the song’s association with the beloved teen soap that has ostensibly irked both fans of The O.C. and of Normal People’s source material. Less than a week after the latter show premiered, The Cut did what The Cut does, asking, “What Is *That* Song Doing in Normal People?” Another blog said “Hide and Seek” “belongs” to The O.C. As for Maggie Phillips, when asked if there were factions on the creative team fighting for or against the song’s use in the new Hulu and BBC series, she skips the pretense.

Of course, “Hide and Seek” does seem to have more than a bit of magic itself, which goes all the way back to the song’s composition, a musical origin story to rival other timeless classics like “(I Can’t Get No) Satisfaction,” but one that seems to have gotten lost amid the memes.

“It was about three in the morning … I had an idea of this hide-and-seek thing, I liked the childhood reference and I wanted to write a song about that. So when I was kind of stream-of-consciousness singing along to myself playing the piano-keyboard-thing, this whole song, all four and a half minutes of it, just arrived from start to finish in that four and a half minutes. All the lyrics weren’t there because lyrics are like pulling teeth with me. And right at the end you can actually hear the local train going by the window, because my studio’s right next to a busy train line,” she told WXPN in 2006. 

“I went home and I played it to my boyfriend — he’s kind of tattoos and bleach blond hair and six-foot-four — and he started crying when he heard it. So I was like, hm, there may be something in this song.” 

It wouldn’t be surprising to learn that Schwartz, Derulo, Hoggett or Abrahamson also shed tears when they first heard the song. But as Heap notes, the memorable lyrics —  from the opening “Where are we?” to “crop circles in the carpet” to the gunshot-triggering chorus — weren’t all there when she made her boyfriend weep. So the power, the timelessness of the song, then, lies beyond the “mmm whatcha say.” It lies in the music.

When asked how the process of choosing songs for Normal People differed from other projects, Phillips said, “In this instance, I spent most of my time trying to remember what my first love and first heartbreak felt like. The feelings are so strong, nothing is diluted from experience or time. I didn’t want the music to feel detached. I wanted the songs to feel imitate and sincere … as real and as intense as the emotions they were experiencing”.

I am going to wrap up in a second. Before that, this feature from earlier in the year marked twenty years of Hide and Seek. I am surprised that more has not been written about it. However, this is a song that will continue to be talked about for many years. If it perhaps no longer resonates with the same demographic it did ten or fifteen years ago, there is no denying how influential and important Hide and Seek is. Beyond the media and its screen appearances:

“It’s been two decades since Imogen Heap gifted the world “Hide and Seek,” a song that beautifully defied musical norms and etched itself permanently into pop culture. Released in 2005, this unique acapella track broke barriers, selling over half a million copies, and resonating deeply within mainstream media, from topping charts to becoming a memorable soundtrack moment on the beloved TV show, The OC. Our lecturer, Alex Wood, breaks down her vocal production, noting how Heap’s voice serves as both melody and instrumentation, with layered harmonies creating the song’s entire sonic landscape.

The creation story behind “Hide and Seek” is as intriguing as the song itself. When Heap’s studio computer unexpectedly “blew up,” she didn’t despair. Instead, she turned to a Digitech Vocalist Workstation EX, hardware typically used for pitch correction and real-time harmonisation, and began experimenting. Using this technology alongside a MIDI keyboard and recording onto a Minidisk 4-track recorder, Heap crafted her groundbreaking masterpiece. What made “Hide and Seek” stand apart was Heap’s innovative use of the device’s vocoder setting. Unlike traditional vocoders that blend vocals with synth signals, the Digitech altered Heap’s harmonics in real-time, creating an ethereal and synthesised vocal quality. With the device limited to four-part harmonies, Heap creatively played additional notes, allowing the harmoniser to randomly select pitches. This resulted in beautifully unpredictable harmonies, surprising inversions, and the hauntingly high notes of the second chorus.

Though Laurie Anderson’s “O Superman” pioneered acapella synth-vocals back in 1982, “Hide and Seek” uniquely captured the internet generation’s imagination. It has notably lived on through countless “hmmm, whatcha say?” memes, demonstrating the song’s persistent influence and its remarkable ability to transcend generations.

In 2018, Heap further highlighted the song’s incredible journey with her Mycelia project, “Life of a Song,” visually tracing the $1 million in royalties “Hide and Seek” has generated. This innovative transparency illuminated the complex financial dynamics of the music industry, underscoring Heap’s ongoing commitment to artist empowerment”.

Beyond its appearances in the media, there have been covers, remixes and samples of Hide and Seek. I want to return briefly to Wikipedia, as this information about those who have tackled Hide and Seek and used the track is really interesting. I hope that this the features and words I have collated goes deeper into Hide and Seek. Gives you more of an impression about why it is so special:

“On the fifth season of Australian reality competition series Australian Idol, finalist Ben McKenzie performed the song on the season's fourth episode. British alternative rock band Fightstar covered the song as a B-side to their single, "The English Way", in 2008. American metal band And Then There Were None covered the song in 2009. In 2010, Canadian guitarist Antoine Dufour recorded a solo guitar version of the song. British a cappella ensemble The King's Singers included a cover of the song on their 2010 album Swimming Over London. In 2010 and 2011, respectively, Dutch DJ Afrojack and Swedish DJ Otto Knows released remixes of the song. In 2012, British pop rock band The Dunwells released a cover of the song on their EP Leaving the Rose. In 2017, English musician Jacob Collier recorded his solo harmonizer rendition of the song. A trance remix of the song by Dutch DJ Ferry Corsten was released in 2013. American DJ Slushii released a future bass remix of the song in 2018”.

As Speak for Yourself recently turned twenty and there has been a reissue, a lot of people have been talking about Hide and Seek. It was ubiquitous at a certain point and received a lot of attention. Whether it was T.V. or film exposure or cover versions, maybe the focus has died a little. However, there has been new spotlight on this classic recently. This is a fantastic and hugely impactful track that we are going to be dissecting and discussing…

TWO decades from now.

FEATURE: Kate Bush’s Hounds of Love at Forty: Ten: Waking the Witch

FEATURE:

 

 

Kate Bush’s Hounds of Love at Forty

IN THIS PHOTO: Kate Bush in 1985/PHOTO CREDIT: Guido Harari

Ten: Waking the Witch

__________

THIS song is a bit…

of a turning point in The Ninth Wave. Kate Bush’s Hounds of Love turns forty on 16th September. I am running a series of features that looks inside all of the songs and aspects around the album. The third song on The Ninth Wave, the conceptual second side of the album, is perhaps the scariest and most urgent. It is Walking the Witch. Following Under Ice, we sense the heroine trapped under ice and beneath the water. Waking the Witch is the song where voices urge her to wake up and keep going. The next song, Watching You Without Me, is more haunted. Family and friends waiting for the arrival of the heroine/Bush but she is not there. I am going to explore Waking the Witch in more detail. For that, I will bring in Leah Kardos’s 33 1/3 book, Hounds of Love. Kardos unpicks the song and goes inside the composition. Before I get there, this article from the Kate Bush Encyclopedia is interview archive where Bush discussed one of the most thrilling and memorable songs on Hounds of Love:

“These sort of visitors come to wake them up, to bring them out of this dream so that they don’t drown. My mother’s in there, my father, my brothers Paddy and John, Brian Tench – the guy that mixed the album with us – is in there, Del is in there, Robbie Coltrane does one of the voices. It was just trying to get lots of different characters and all the ways that people wake you up, like you know, you sorta fall asleep at your desk at school and the teacher says “Wake up child, pay attention!”. (…) I couldn’t get a helicopter anywhere and in the end I asked permission to use the helicopter from The Wall from The Floyd, it was the best helicopter I’d heard for years for years [laughs].
I think it’s very interesting the whole concept of witch-hunting and the fear of women’s power. In a way it’s very sexist behavior, and I feel that female intuition and instincts are very strong, and are still put down, really. And in this song, this women is being persecuted by the witch-hunter and the whole jury, although she’s committed no crime, and they’re trying to push her under the water to see if she’ll sink or float.

Richard Skinner, ‘Classic Albums interview: Hounds Of Love. Radio 1 (UK), aired 26 January 1992”.

PHOTO CREDIT: John Carder Bush

Kate Bush performed this track, and the entirety of The Ninth Wave, during the 2014 residency in Hammersmith. As part of the majestic Before the Dawn, I can imagine Waking the Witch was one of the standout moments. I would love to have been at one of the twenty-two dates! There is a lot of detail from Leah Kardos about Waking the Witch. I can’t include all of it. However, I want to select some highlights. Voices urging the heroine to wake up: “Voices speak from various locations in the stereo space, urging the woman to wake up, some of them sound like family (‘Wake up, sleepy head!”), another like a scolding schoolmistress (‘Wake up, child – pay attention!’)”. Bush is masterful when it comes to layering vocals perfectly. The answer machine messages that play during The Dreaming’s All the Love. She can weave these different accents and people together to create something head-spinning. Waking the Witch is such a busy track. Leah Kardos writes how we hear various voices – including Robbie Coltrane, whale song, and John Carder Bush’s voice, “from the back of the right speaker peeks out to stage-whisper ‘Over here!’”. The explosion happens after some brief build-up. “Most shocking is Bush’s frantic voice, cutting in and out as she pleads , ‘Listen to me, help me, help me baby’”. It is, as Kardos suggests, the panic-stricken sounds of someone drowning. I often wonder whether Bush/the heroine made it out of the song. Whether this is the moment she succumbs. That garbled cry was achieved by “quickly moving the record switch on the tape machine”. That was the source of a heated argument between Kate Bush and her engineer and then-boyfriend, Del Palmer. In a later interview, Palmer admitted he had to eat humble pie and was wrong!

The heroine goes from this drowning and scared person to someone accused of witchcraft She is put on trial and condemned. “Witch ‘swimming’ or ‘ducking’ was the practice of tying up and dunking an accused woman into the body of water to see if they sank or floated”. It is a terrifying and tense moment that brings so much story and twist to the song. “With its monstrous voice effect (Eventime Harmonizer set to minus-two octaves), Bush’s Witchfinder subjects the accused to such tests (‘You won’t burn, you won’t bleed, confess to me girl’)”. These tests including subjecting the accused to burning and pricking. The feeling that witches were impervious to pain and would have a bloodless mark. It was based around belief, though it was sexism and misogyny. A fascinating thing to bring into the middle of a 1985 album! Bush herself must have felt like a witch being judged and on trial. Subject to so much blatant misogyny through her career! I do not know that background voices “sing lines adapted from the halyard sea shanty Blood Red Shoes. The tune was popularized by folk revivalist A.L. (Bert) Lloyd”. Bush does some riffing on Lloyd’s lines. “Pinks and posies, red, red roses go down”. Bush was no stranger to a sea shanty. Leah Kardos remarks how the B-side of Hounds of Love’s title single was a cover of The Handsome Cabin Boy.  It was originally by Lloyd and Ewan MacColl. “The music breaks away from the C# minor for a counter phrase that swirls with the sound of church bells and woozy spiralling guitar figures around E minor. Bush murmurs snatches of Catholic Vulgate scripture that she may be forgetting or getting wrong: ‘Spiritus sanctus in nomine no-no-no-no’ (the name of the Holy Spirit, no) and later ‘Deus et dei domino no-no-no-no’ (God and God’s lord, no)”. The Witchfinder questions the innocence of the woman and delivers the verdict. Kardos writes about the line, “Help this blackbird, there’s a stone around my leg”. With the sound of a helicopter coming in and yelling at the woman to get out of the water – the same helicopter sample used on Pink Floyd’s The Wall -, there is mystery around the blackbird and what that references.

Leah Kardos theorises it could be a reference to Elizabeth George Speare’s 1958 novel, The Witch of Blackbird Pond. The lead is seen as a witch and viewed with suspicion after diving into the water to retrieve a child’s toy and she has this ability to swim. That was seen as unusual. Bush remarked how female instinct and intuition was put down and people fear a woman’s power. She channelled all of this in Waking the Witch. I know I have published a lot of this information before. Quoted from Leah Kardos. However, as not much is written about the track and it is almost forty years since Hounds of Love was released, it warrants another inclusion. I want to include some information from this feature from earlier in the year that provides some fascinating perspectives and insight into Waking the Witch:

“The accuser is distorting her words and ignoring her cries so she imagines herself turning into a blackbird (the blackbird being Bush’s favourite singer, as she once told a bemused interviewer):

I question your innocence
She's a witch (help this blackbird, there's a stone around my leg)
Ha, damn you, woman
(Help this blackbird, there's a stone around my leg)
What say you, good people (guilty, guilty, guilty)
Well, are you responsible for your actions? (This blackbird)
Not guilty (help this blackbird)
Wake up the witch

The song ends with the sound of a rescue helicopter and a cry to ‘get out of the water.’ A witch trial is not an obvious place for the drowning protagonist’s thoughts to have taken them, perhaps the woman half-remembers a story of witch ducking and has imagined herself in the victim’s place as the water seems to bear down on her with the fury of persecution. Identifying with an accused witch also brings a particularly female sensibility to this musical story.

I think of the women of Afghanistan singing in defiance of the Taliban’s femicidal death cult, punished for doing what blackbirds can do freely. This feels like a song for anyone who is drowning, but I also think it’s worth noting that the violent imagery here brings with it the will to stay awake. Unlike the gentle suicide suggested by ‘And Dream of Sheep,’ a sinister song masquerading as a lullaby, this song pricks our drowning woman awake and lights a fire of determination underneath her. It’s at the climax of her persecution that rescue suddenly arrives. This also subverts the title of the song: ‘Waking the Witch’ was the name for the practice of sleep deprivation used as torture for securing a confession. Here, staying awake will save the woman’s life.

If you’re interested in the real history of witch trials and stories of defiance, make sure to read Marion Gibson’s Witchcraft, A History in 13 trials which I reviewed here. I wrote about whether or not we still find witches scary back in my Macbeth entry in ‘Horror Moments: Shakespeare Edition’ which you can read here”.

A very important song on The Ninth Wave, Waking the Witch is a moment of history, sexism, struggle, defiance and terror. Did the heroine survive and respond to the voices? Are these dying words she hears? In terms of the production and the vocal layers, this is Kate Bush at her very best as producer! Busy and dripping in darkness and violence, there is also sweetness and this chance of hope. Watching You Without Me is a much calmer affair. Where we maybe sense the heroine is a ghost. Or that is how she appears to her family. A remarkable switch in terms of mood and the story. That is a song I will investigate next time. Now, for this feature, I was keen to dive inside the terrifying Waking the Witch. It is the eighth track from Kate Bush’s landmark…

FIFTH studio album.

FEATURE: Respect: Otis Blue/Otis Redding Sings Soul at Sixty

FEATURE:

 

 

Respect

Otis Blue/Otis Redding Sings Soul at Sixty

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AN album that I hope…

IN THIS PHOTO: Otis Redding in 1966/PHOTO CREDIT: Cyrus Andrews/Michael Ochs Archives/Getty Images

gets some new interest and discussion around its anniversary. On 15th September, 1965, Otis Blue/Otis Redding Sings Soul was released. It was the third studio album from the legend. Perhaps Otis Redding’s finest album. Even though the album is mainly cover versions, Redding puts his own stamp on the songs. Infusing them with such power, soulfulness and nuance. You come back to these tracks time and time again and get new things! New emotions and feelings. Such a stunning collection of performances from someone that we lost far too soon. Otis Redding did write three of the album’s tracks – including Ole Man Trouble and Respect. Though many feel the latter was claimed by Aretha Franklin, in terms of the definitive version, it was Otis Redding who wrote it. A main reason why Otis Blue/Otis Redding Sings Soul is so immediate is the fact most of the songs were recorded so quickly. It is staggering to think that the album was recorded in the space of twenty-four hours. Between 9th and 10th July, 1965, this timeless and perfect album was laid down (bar one song). Like capturing a concert. If it was overthought or there was this long recording process, then I don’t feel the songs would affect and resonate. Capturing the purity and rawness of the songs, Redding was backed by the Stax house band, Booker T. & the M.G.'s A huge  crossover success, Otis Blue/Otis Redding Sings Soul sold more than 250,000 copies. I am going to feature some articles about this masterpiece. One that, sixty years later, has lost none of its impact! I have been listening to many of these songs since I was a child and I cannot fathom where that voice came from! There are other brilliant and mind-blowing singers – Aretha Franklin and Sam Cooke (who wrote three of the songs that appear on Otis Blue/Otis Redding Sings Soul) – who elicit emotions. However, there are none that leave the impression that Otis Redding does!

I want to start things off with Pitchfork’s review of 2008. It provides some context in terms of how Otis Redding was not this especially well-known artist before he recorded Otis Blue/Otis Redding Sings Soul. It is also unfortunate how the album cover features the face of a white woman and not Redding. There are these undertones that are unsettling and angering. As much as anything, this masterpiece album did not feature the face of its creator on the cover! Making him anonymous or reducing him to his voice:

“On July 8, 1965, Otis Redding was a young soul singer of modest renown, less than three months removed from releasing his first Top 10 r&b hit single. By July 10, he had become something else entirely: It took only 24 hours to lay down 10 of the 11 songs that would make up Otis Blue: Otis Redding Sings Soul, arguably the 1960s' greatest studio-recorded soul LP. (The only track not recorded at that time was the #2 hit, "I've Been Loving You Too Long".) Friends and associates had noticed Redding's growing confidence as a singer, and once Otis Blue hit shelves it was clear he was poised enough to pick up the mantle of the recently slain legend Sam Cooke, up to that point the greatest soul singer in America. He was also prepared to take on the Temptations and the Rolling Stones and B.B.King on their own turf; the only way to top him would be to give one of his original compositions to Aretha Franklin ("Respect"). In the simplest terms: It's a hell of a record, the crowning achievement of a man who could sound pained and celebratory and tender and gritty and proud all at once, with a voice that everyone from John Fogerty to Swamp Dogg to Cee-lo owes a debt to.

Rhino's 2xCD Collector's Edition of Otis Blue makes a good case for this 24-hour labor of love as a wide-reaching document that just gets better with context. A set this packed-- including rarities, alternate mixes, live versions of the album tracks, and the original LP in both mono and stereo-- could easily feel sprawling and overstuffed, but it does a great job illuminating every tweaked nuance and permutation that Redding and his top-notch band could come up with during the course of a song's lifetime. Considering the personnel involved in the original LP-- Booker T. & the M.G.'s guitarist Steve Cropper, bassist Donald "Duck" Dunn, and drummer Al Jackson Jr.; keyboardist Isaac Hayes; a horn section (saxophonists Floyd Newman and Andrew Love, trumpet players Wayne Jackson and Gene Miller) filled with members of the Mar-Keys and the Memphis Horns-- it's a blessing to hear them both unified in mono and isolated in stereo. (Any concerns of redundancy can be allayed thusly: the mono version's for your speakers; stereo's for your headphones.

You need them both.) And the singer holding it together is at the top of his game. There's the possibility that the death of Cooke not only inspired Redding to record three of his idol's most well-known songs, but spurred him to step up and fill an aching void in popular music, and it's not blasphemous to suggest that Otis measures up. His version of "Wonderful World" matches the original's tone of winsome modesty and gives it a rougher edge, and his juke-joint version of "Shake" is a hard-swinging, full-throated 2:40 of precision ferocity with a force that would flat-out explode during his live sets. But "Change Gonna Come", his take on Cooke's civil rights anthem "A Change Is Gonna Come", is the real gem of the three: the moment he sings "I was born by the river," you can tell he knows what he's been entrusted with, and he handles it superbly with a mix of raspy frustration and wounded gentleness that's part trained virtuosity and part raw emotion.

Like most other albums of the time, there's no shortage of covers, most of which fall under the milieu of Southern rhythm & blues: a sweltering take on B.B. King's "Rock Me Baby", with some of the best-timed "heh" asides this side of James Brown; a stomping version of Solomon Burke's "Down in the Valley" that ratchets up both the gospel beatitude and the secular lust; the staggering reworking of William Bell's "You Don't Miss Your Water" that has one of the most devastating pleading-man lead vocals in the entire Stax catalog. But there's also two other covers that really show what Redding could do in a different sort of pop context. Of all the versions of "My Girl" that sprang up in the wake of the Tempations' career-making December 1964 release, Otis' is especially inspired, twisting its familiar melodies against it and interjecting a few unexpected pauses and shifted inflections; the way he delivers its once-familiar chorus just a little off-balance can deke you right out of your socks. (Much of Redding's popularity in the UK hinged on this track, which was released in England by Atlantic to capitalize on the fact that it was one of the few places the Temptations' version hadn't caught on.)

 And his transformative take on "(I Can't Get No) Satisfaction", growling and sneering and wailing against a 90-mph backbeat sounds like even more of an impressive accomplishment whenyou take into account the fact that he hadn't even heard the Rolling Stones' original version at the time he recorded the song. He simply went off the lyrics and embellished them where he saw fit-- underscoring the "fashion" in "satisfaction" or throwing in new verses that turned Mick and Keith's restlessness into sheer uncontrollability ("I keep on runnin' round in my sleep/ I keep on messin' up any beat").

The covers are supplemented on this collection by four originals, two of which-- the mournfully harried "Ole Man Trouble" and the Jerry Butler-co-written "I've Been Loving You Too Long" with its priceless ending crescendo of desperation-- are evidence enough that he wasn't just a flashy interpreter. Another is "I'm Depending on You", the B-side to "I've Been Loving You Too Long", and it's a simple, perfectly fine vehicle for him to turn unremarkable lyrics into remarkable vocalizations. The other one, of course, is "Respect"-- the song that Redding liked to joke was "stolen" from him by Aretha Franklin. It's true, in a sense-- Franklin claimed ownership of the song the moment she recorded it-- but it would be doing Redding a great disservice to consider his original an afterthought. Even without the brassy attitude and feminist overtones in Franklin's iconic rendition, Redding's performance is singular enough to avoid being canceled out. His band's performance isn't as much of a first-round-knockout as the one by the team Jerry Wexler and Arif Mardin assembled for the Queen of Soul (no slight-- what performance is?), but had it never been covered, Redding's version would be more vividly remembered as one of his greatest moments as a singer and a songwriter: it's no small feat to take the situation of a man asking for respect from a woman and deliver it while sounding more like a romantic diplomat than a chauvinist asshole!”.

Otis Redding’s greatest gift as a singer is how he could convey gritty, romantic, tender and pained. Such expressive wonder! Anyone who has not heard of Otis Redding, I would suggest listening to this album. They look at the complexities of the album. In terms of how some songs seem stuck in time. Some do not fit and others do. Other transcend their time. Dig! make that argument in their retrospective of 2023. A closer look at Otis Blue/Otis Redding Sings Soul:

“Choosing to open his new album with this slow wail, rather than the hit singles Respect or My Girl, was an audacious move. Indisputably one of the best soul singers of all time, Redding sometimes referred to himself as a blues singer, which explains the album’s two-part title: Otis Blue, because he felt bluesy; Otis Redding Sings Soul, so fans knew what they were getting.

The mournful I’ve Been Loving You Too Long, co-written in a hotel room in Buffalo, New York, with the mighty Chicago soul man Jerry Butler when they crossed paths on the road, was one of Redding’s greatest performances: listen to those amazing bent notes. Butler made his own version in 1968; The Rolling Stones played it live; Chris Farlowe, Sandy Posey and Dionne Warwick were among those who recorded it. But Redding posted the definitive cut on Otis Blue, and it still stands as one of the best Otis Redding songs of all time.

Speaking of the Stones… It wasn’t unusual for soul stars to adapt current hits, but to cover a song so strongly associated with one contemporary act was a little unlikely. Perhaps cutting (I Can’t Get No) Satisfaction was payback for the number of songs the Britrock legends had copped from Redding and his labelmates. It had been Steve Cropper’s idea, and the backing track was ready when Redding came in to voice it. Unusually for a guitar player, Cropper had suggested shifting the tune’s fuzzbox riff to horns. Curiously, Keith Richards had initially envisaged that riff for horns. Even more curiously, Redding played Satisfaction at a show with the Stones in the wings. Offstage, Richards commented on the performance, and Redding told him it was a tune he’d just written. Perhaps he was winding the guitarist up. In a further connection, Otis Blue also featured a blues tune the Stones played live, BB King’s Rock Me Baby, which Redding emotes with lustful urgency.

My Girl, the delicate if passionate reworking of Smokey Robinson and Ronald White’s hit for The Temptations, formed part of Stax’s ongoing battle with its rivals up north in Detroit: Motown. So you think you’re soulful up there, huh? Well, out-soul this. Redding also tackles Down In The Valley, an ersatz, almost cheesy folk tune in Solomon Burke’s version, but played straight by Redding, like he really was marching down that valley: he was a country boy while Burke was a Philly city slicker.

The heart of Otis Blue/Otis Redding Sings Soul is three Sam Cooke songs. This soul pioneer had been shot dead in December 1964, and Redding considered cutting a tribute album to him. Here he serves up the dance tune Shake, the slightest track on the record, but still full of Memphis goodness. Perhaps Redding’s experience as someone who left school at 15 to help feed his family by grafting as a fuel-pump attendant and well-digger made his version of Wonderful World convincing. And Cooke’s conscious anthem A Change Is Gonna Come, astonishingly poignant coming from a Georgia singer, brings Redding’s acute awareness of Black America’s situation into sharp focus. You can feel the struggle.

Otis Blue closes with a touching cut of Stax labelmate William Bell’s You Don’t Miss Your Water, a learned-the-hard-way ballad that finishes with the singer’s dilemma unresolved, leaving listeners thirsty for more. Redding was at a peak, but we will never know just how much higher he could have climbed; he never lived to see one of his records at No.1, though the posthumous (Sittin’ On) The Dock Of The Bay, did make it. Losing someone you love is an appalling loss, but at least Redding left behind the best of him in Otis Blue. For all time”.

I am going to end with Albumism. Writing in 2020 around the fifty-fifth anniversary of Otis Blue/Otis Redding Sings Soul, there are going to be sections that are repeated from earlier. However, it is important to see these features and learn this information. It adds layers and clarity to this remarkable album. One that I think grows in stature each year. I do not think the songs are of their time or cannot connect today. Even if we do not have singers like Otis Redding today, you can hear and feel the influence on the artists who were moved by albums like Otis Blue/Otis Redding Sings Soul:

“Isaac Hayes (who would eventually take Redding’s place as the tent-pole artist for the label) said (again, in Gordon’s excellent book) that Stax was “raw, very honest music that represented the common man—the common black man.” It was the countrified, down-home cousin to Motown’s slick, urbane, more pop-oriented machine, and Redding’s voice, along with the house bands, helped forge this identity as a funkier, down-to-earth entity. Both Redding’s and Stax’s identities and fortunes became intertwined—they were symbiotically linked.

The album’s timing was everything too. Just six months previously, Sam Cooke had been killed in Los Angeles, leaving a gap in the hearts and minds of soul music fans. Otis was wise enough to record three Cooke songs for Otis Blue in his own inimitable (and vastly different) style. By doing so he presented himself both as an acolyte of the late, great singer but also as the torchbearer who could carry soul music forward.

As well as the covers of songs by other artists, the album also contains original material penned by him—including the most famous song penned by him, one of the most recognized and loved songs of the 20th Century. His original version of “Respect” moves at a much brisker pace courtesy of Al Jackson’s surging, G-Force drums—it would be somewhat ridiculous to suggest that Redding’s version is better than Aretha Franklin’s epoch-defining version, but it stands as testament to Redding’s increasingly brilliant pen.

The choice of songs and artists to cover is a very interesting point—he manages to tip his hat to both the architects of soul music but also to those other strands of Black music that contributed to its development. It is almost as if he is providing a summation of the ingredients of soul music. By taking these ingredients and adding his own unique voice to them he further melds them together and reinforces what constitutes soul music.

Solomon Burke’s “Down In The Valley” is a case in point. By choosing another of those rock & roll originators, Redding places himself firmly in the tradition of black music. But whereas it takes Burke a minute or two to showcase the more soulful, gritty edge to his voice, Redding lets it go from note one. His voice is already at the point of emotional breakdown and it doesn’t let up. It is, as Booker T Jones said, as if he wrings emotion from every single syllable. He treats each of them as precious and none are wasted on anything less than his best.

Anyone who can take a B.B. King song and make it their own has to be special and nowhere is it truer than with Redding’s cover of “Rock Me Baby.” The combination of Cropper’s sharp yet restrained guitar and Redding’s scandalously indecent sexual roar is perfection—Redding is both the voice of dominant masculinity and a soulful plea to a partner. Once again, by choosing a blues man’s tune, he casts himself as the past, present and future all in one moment.

Of the Sam Cooke covers, one in particular stands out as one of my favorite covers of all time. “A Change Is Gonna Come” is an awe-inspiring song at the best of times, capable of sending shivers down the spine, but here Redding ekes every single shred of pain, joy and hope from the lyric. When he sings the opening lines (having been ushered in majestically by the horns) “I was born by the river / In this little old tent / Oh and just like the river, I’ve been running ever since,” it is almost too much to bear. The ripped emotion in his voice makes it both utterly believable and soul crushingly sad—it is one of my favorite moments in recorded music and guarantees that the hairs on the back of my neck stand to attention”.

On 15th September, it will be sixty years since Otis Blue/Otis Redding Sings Soul was released. I wanted to spend some time with the album, as it is one that I really love! However, it is more important than that. This is what BBC said in 2007 in their review: “It's tempting to look for some faults here just for the sake of balance. But try as one might, they fail to present themselves, as the rawness of the playing, the sprightly rhythms of the upbeat tracks, and the grainy grief of Redding's voice reach in to your very core. A gutsy, visceral affair that leaves you thinking that, with the power of music, anything is possible; Otis Blue was, and remains, his definitive statement”. It is hard to argue with that. Since his sad passing in 1967, the music world has witnessed…

NOBODY like him.

FEATURE: Modern-Day Queens: Hayley Williams

FEATURE:

 

 

Modern-Day Queens

IN THIS PHOTO: Hayley Williams in a promotional photo for Love Me Different, which is part of a new seventeen-song/singles projects/PHOTO CREDIT: Zachary Gray

Hayley Williams

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THIS is a supreme artist…

PHOTO CREDIT: Lindsey Byrnes

who I am a big fan of and someone who is an incredible role model. I have said that about a few artists recently, and I stand by it. When it comes to Hayley Williams, as a solo artist and lead of Paramore, she has been responsible for releasing some of the best music of her generation. Apart from the fact she is a music queen and I did not need an excuse to feature her, she recently released seventeen solo singles. Her first independent release, I am going to end with a review of it from NME. However, before that, I want to spend some time with some interviews. Nothing brand-new, though they are fairly recent. I want to start off with this interesting interview from l'Odet. There are some sections of the interview that caught my eye and I wanted to share. Aside from asking about Paramore, there was also a question around the website Midnight Woman, which is a fantastic anonymous submissions platform:

“Cariann Bradley: It’s this weekend! I can’t believe it, either. The owner, Sandra, is retiring. She’s in her seventies and this store is her baby. I hope she’s going to travel!

Hayley: Wow. That is crazy to think about, just in terms of where you and I are at now and what life might look like. At seventy it’s like, if there are things you haven’t done yet that you want to do, I guess you just...do them. Wow. Being in her position would be like me leaving the band behind. I can’t even imagine that.

Cariann: So you think you’ll stay in Paramore for a long time?

Hayley: Yeah. I mean, I don’t think it will look like it did. I don’t think it could look like it has looked, you know? There were just so many yeses to everything — especially when we were kids. When we were kids it was like, we’d never even seen or heard of some of the opportunities before. Half of it was curiosity and half of it was just wide-eyed ‘let’s see what this experience feels like.’ Obviously we wanted the band to succeed. But I don’t even know if we really grasped the concept of succeeding. It was more like we just went through the motions every day, and if the shows are really magical, then that’s why you do it, you know? Now — especially after this album cycle, too — I would never do things the way we did before "After Laughter". With "After Laughter", we kind of said no to everything.

Cariann: You seem like a totally different band.

Hayley: Oh, thank you. We wanted it to! Zac coming back was a big part of the aesthetic shift, but I think in terms of our business minds — you know, that’s the other thing — growing up in a band and it actually working out, it becomes less of a band and more of a brand. I was telling Zac this the other day. We were working on a collab with somebody and he was like, “Are we sure we should be doing this? Because we don’t have an album coming out.” The truth is there are two parts to the band. One part is what you wear on a t-shirt, which is basically the name. And the other part is the band, which is us! And the band is what it’s about. I told Zac that if all three of us feel good about it, we do it. In moving forward, if the three of us are happy, then we will just do whatever we want to do. If that means collaborating with each other, bringing other friends in to collaborate — there are seven band members when we tour. We’re all friends and we all make music in different parts, together. So I feel like, yes, I want to be in Paramore. I never want to have to put out a press release that says we’re over or that I quit or that we’re taking a hiatus, which is essentially a marketing ploy these days. I would rather it just be. It just is a part of each of our DNA. If we choose to move into it as a brand and put a name on these songs and make a new t-shirt, then awesome. But I’ve been in a band with them since I was 12; I don’t think the band is going anywhere. As long as we’re friends, the band just is. It’s just in us.

PHOTO CREDIT: Lindsey Byrnes

Cariann: I feel like [as women] we’re so used to people discrediting us. A lot of men, which is interesting, that I’ve talked to about this brand they sincerely ask if I will be doing fact-checking on the anonymous submissions I get. They say it out of curiosity; I know they don’t mean it in a harmful way, but that just goes against everything Midnight Woman stands for. That’s the entire reason this platform exists. The thought of fact-checking someone’s anonymous submission had never even crossed my mind, especially being a woman myself. We aren’t acting as any sort of authority on anyone’s story, you know? It’s why I’m careful not to rewrite anything that anyone trusts me with. Even with Sharon’s interview that I did last spring — I just transcribed it. And that will be it. I don’t feel comfortable contorting her words in any sort of story arc or hook lead. That’s always what I’ve loved so much about magazines is when you just get the cut and dry, question and answer. It keeps your voice in it. Not the writer’s.

Hayley: Sure — I think I would be nervous to do it, too. I think there are certain moments where it can be authentic and respectful, but I totally get that. It’s why I don’t really sing other people’s songs. The “Stay The Night” song I did was half-written by, I’m almost certain, Nate from Fun. [Laughs] He put it under a fake name, but that’s who I recorded it with. He still won’t confirm it, but I know he wrote it. Thankfully, the writer left a lot of blank verses and I got to do that. I really don’t like the experience of singing other people’s words or the idea of giving my words to another person...maybe if I really loved them a lot. I like to sing my stories. I think if you thought you could write something with respect to that person or artist, then I think you’ll know. Just like “Stay The Night,” I was like wow, I’m going through something just like this. I get to put my piece in it too. That felt right in the end.

This tea is really good, by the way. [Laughs]

Cariann: That was actually one of the questions I was going to ask you today — kind of in that realm, anyway. What would you say to someone who is nervous to share their story? What would you say to the apprehensive Midnight Woman contributor?

Hayley: I mean…the only way that we move from one point in life to another is by action. I think action can be physical movement or can be recurring thoughts, patterns, dreams. My weapon of choice is always words. It’s what has simultaneously shielded me and also whacked down weeds for me as I’ve tried to get through life. If you can share your story just enough to find that spark of action where you’re telling someone what you’ve gone through, or you’re looking at your words in front of you — when you can look at them and know that they’re going to meet someone on the other side — if you want to get anywhere past it, the only thing to do is move. Words might look small and black and white on a page but, to me, that’s one of the biggest things you can do. Some of the most powerful movements in my life have just been sentences, sometimes not even to melody. Even though I’m in a band and all this stuff with Paramore, sometimes it’s not the stuff I write in songs, it’s what I’m telling a friend late at night or writing in a journal that no one will ever see. Even though sometimes I’m like, “I’m going to die one day and someone might find this shit; it better be good.” [Laughs]”.

PHOTO CREDIT: Peyton Fulford

Even though the interview was a couple of years ago, I want to come to The New Yorker and their words. It was an interview that was partly in promotion of the most recent Paramore album, This Is Why (2023). I am bringing in these interviews, as we get to see different sides of the amazing Hayley Williams. She is this artist that I am compelled to write about following the release of these amazing singles. I am not sure if I can do her justice but, when thinking about the most influential and incredible women in music, Williams’ name is near the top of the list:

“You were just fourteen when you signed a production deal with Atlantic Records, which means you’re coming up on nearly twenty years in the music business—in fact, this new record is the culmination of that deal. Are there things you wish that you could tell your younger self about how to navigate the strange and treacherous waters of the record industry?

Yeah. And about so much more than just the business! That deal was the very first three-sixty deal in . . . history. We didn’t know anything! My family didn’t know anything. The guys’ families didn’t know anything. My mom and I didn’t really have much. She would babysit, and then I would be, like, “Well, I’ll go sing a country demo.” I was taking writing gigs and demoing gigs just to make extra money. The very first song [Paramore] wrote was called “Conspiracy.” I wrote it about finally feeling like my dreams had come true, because all I wanted as a kid was to meet music people. Then, the next thing I know, everyone wanted to draw me out of the band setting. I chalk that up to what was working in pop music at the time: the Avrils, the fact that Kelly Clarkson was making a pop-rock album. We didn’t only meet with Atlantic Records. I mean, God, I met Clive Davis, L.A. Reid. It was such a whirlwind. “Conspiracy” was about my parents telling me that these great opportunities are coming to me, and I might have to make sacrifices. And I was thinking, I just don’t care if we never play a show as long as I can play music with my friends.

Being fourteen and feeling like an adult decision was looming was really scary. I wish I could just go back and just tell Little Me that a lot of my gut instincts were right. Even though I was really young and didn’t have a lot of experience, I knew what I was O.K. with. I constantly felt at odds with my own leanings or proclivities toward certain things, because I wasn’t an adult. That being said, if we hadn’t done all of that, who knows where we would be? They wanted to sign me, but I still got to bring my friends along for the ride, and we ended up making it what we wanted in the first place. It just took a lot of trial and error. I think I would just want to hug that person, because she was so confused. She was, like, fuckin’ little girl in a big city. I was just trying to figure out the world while also getting my homework done by Monday.

There’s a particular tension on the record that I think of as Home vs. Not Home, for lack of a better way to put it. I’m curious how you think about the idea of home, both in a literal sense—buying and furnishing and living in a house—and then the broader, more spiritual idea of finding your place in the world.

I think that’s my favorite thing I’ve ever been asked in an interview, because it’s my favorite thing to talk about. Anyone who grew up in a chaotic home environment and has trauma around that would understand why. Brian [O’Connor], who I run a hair-dye company with, he’s my best friend—we talk about this constantly. All that he and I have wanted, our idea of success consistently throughout our life, has just been having a home. A home that is the same place every time. Whenever I’ve had to move, I really go through a lot internally, because it’s tough. I did a lot of moving as a kid, and I don’t like that kind of change. Even just going back and forth from your mom’s and dad’s when they’re divorced . . . it feels easy when you’re in it, but as an adult I’m realizing, Oh, there was never one place where all my things were. And so that’s the way I think about it. It’s all the things that bring me peace and comfort. And I can decorate, too. I love story; I love textures; I don’t need things to be really nice. When I got a divorce, I moved into this shitty little house that was infested with bats. I had to do quite a lot of work to it to make it feel really mine, and cozy—but, oh, my God, if I could have stayed there for the rest of my life, I would have been fine. Loved my neighbors, my tiny little yard, and my dog Alf just barking at everyone who walked by. I don’t need a lot—I just need consistency. I love shopping for vintage shit, because it has a story. I love scuff marks; I don’t need things to be pristine. That’s why I love that you have a pencil sharpener on the trim of your door. That looks like my idea of home. You’re, like, The smell of freshly shaven pencils brings me something that a super expensive vase—which might be beautiful, and you might really appreciate—can’t. It doesn’t give you the same sense of peace, of being known like that. I feel very known when I’m at home. I’ve got to get used to the discomfort of pushing myself to be more social, because I’m realizing that I’ve isolated myself for a really long time. Now I’ve got to live—I’ve got to see my peers again, I have to be willing to be uncomfortable, at least for a little bit of time. Because I love home that much”.

Paramore has had an unusual trajectory, in some ways. You saw a resurgence of interest in your work when the band was technically on a hiatus; Paramore suddenly got swept up in what’s been called a pop-punk renaissance. What do you think led people back to your music? “Nostalgia” seems like too simple of an answer.

I don’t want it to be that, but I was just reading an article about why people in my age group, in our thirties, want the comfort, or the dopamine hit, of good memories. I agree with you—I don’t want it to be that simple. I want there to be other threads to pull. But, you know, for better or for worse, there’s just a lot of really unique angst in the music of that time period. We had the Internet and we had social media coming up. There were a lot of different ways to express and connect, but there were still a lot of frustrations. This was obviously not too long after 9/11, and pop bands were making political records again. Then again, more recently, people finally had time for the conversation around racial injustice, after George Floyd’s murder—I think it was just a perfect storm, right? We were all stuck, and the nostalgia probably felt great, too. People were uncomfortable and anxious and angry. I don’t know. But it is interesting to kind of feel like this is the first time in our career that people have said, “Oh, they’re this kind of band—they’re an emo band.” Back when it was all happening, nobody knew where to put us. I think it kind of feels better not knowing where to be placed than to be called emo because, as much as I can get really nerdy about that whole subculture, I don’t really want Paramore’s artistic legacy to be pinned to that word. I don’t think it’s accurate. Even the people who were around when it was coined didn’t like it”.

I am going to end up with a review from NME. They sat down to assess Hayley Williams’ latest project. With no tracklisting and this sort of independent and free approach that harks back to the earliest days of the Internet or something bygone, I wonder if other artists will follow her lead:

“Hayley Williams’ hair company Good Dye Young launched a new product last week, a vivid marigold shade created “in the heat of the moment” that “channels the fleeting energy of warm summer nights, golden hour and missed second chances”. The limited-edition dye was named EGO – which is also the title fans have been giving the Paramore vocalist’s new surprise collection of 17 solo singles.

The rollout began when ‘Mirtazapine’, a scuzzy love-letter to antidepressants, was shared last month via a homemade CD single given to Nashville radio station WNXP. Last Monday (July 28), Good Dye Young customers were given early access to the entire project via a noughties-inspired website, and encouraged to share the link with friends before all the songs were unleashed on streaming services at the end of the week.

Adding to this community-first approach, there’s no official tracklist for this project. Williams has encouraged fans to chart their own journey through the hurt, fury and uneasy peace, depending on what they need from these powerfully vulnerable songs.

This release reunites Williams with Daniel James, the co-producer of her first solo album ‘Petals For Armor’. That 2020 record was an experimental electronic album with hushed poetry about feminine rage, depression and longing. This collection is just as sprawling but far more noisy. The snarling ‘Ice In My OJ’ makes a barbed dig at life on a major label as she calls out “a lot of dumb motherfuckers that I made rich”. Over the twinkling emo of ‘True Believer’, Williams wrestles with her own faith and the hypocrisy of Christian America. “They say that Jesus is the way but then they gave him a white face / So they don’t have to pray to someone they deem lesser than them” is one hell of a lyrical mic-drop.

The hurt doesn’t stop there either. Williams is at the end of her tether on the haunted ‘Negative Self Talk’ and the visceral ‘Kill Me’, while the sneering ‘Hard’ is a deliciously direct guitar anthem about always expecting the worst after a lifetime of let-downs. The wonky, poppy ‘Glum’ is about as devastating as breakup songs get.

Despite all the heartache though, Williams is never hopeless. Both the frustrated, angsty ‘Brotherly Hate’ and the dreamy ballad ‘Blood Bros’ keep the door open for eventual make-ups while the chirpy ‘Love Me Different’ cradles a spark of self-love and the tiniest hope for the future. It’s the closest this project gets to sounding like Paramore.

Self-released and distributed via Secretly Distribution, this project is Williams’ first independent output. Paramore signed the music industry’s first ever 360-deal 20 years ago, and have since become one of the biggest, most influential and beloved rock groups around. But they’ve had to fight for every win”.

Following the expiration of that record deal with Atlantic Records in December 2023, Hayley Williams is taking great pleasure playing with her newfound freedom. ‘Discovery Channel’ features a surprisingly moving interpolation of Bloodhound Gang classic ‘The Bad Touch’; ‘Brotherly Hate’ has Lenny Kravitz-inspired guitar licks from Paramore touring member Brian Robert Jones. Each song sees Williams fearlessly stepping between familiar and fresh influences. It seems less about playing with expectations and more about what feels the most visceral. The smirking name of her own label? Post Atlantic.

As with almost every era of Hayley Williams’ career, this new release has come with questions about the future of Paramore. The determined lyrics on the tender ‘I Won’t Quit On You’ should be all the reassurance worried fans need, but if that’s not enough, there’s plenty in this brilliant, swaggering new chapter to be excited about. These songs might be about missed second chances, but Williams is certainly making the most of hers”.

I will leave it here. An opportunity to feature a couple of interviews with Hayley Williams and some praise around her new project. More than that, I hope it opens Williams’ music to people who may not know about her. Or they might know Paramore but not her solo work. An artist that I have huge admiration for, her newest work shows she is one of the world’s…

MOST compelling songwriters.

___________

Follow Hayley Williams

PHOTO CREDIT: Zachary Gray

Instagram:

https://www.instagram.com/yelyahwilliams/

TikTok:

https://www.tiktok.com/discover/hayley-williams-official

YouTube:

https://www.youtube.com/channel/UCoGbSChtzhQ4r1toYPmeiSA

Spotify

https://open.spotify.com/artist/6Rx1JKzBrSzoKQtmbVmBnM?si=k_6sQintR4KoX1BwJ8z8hg

FEATURE: The Digital Mixtape: Songs from the Best Audiophile Albums

FEATURE:

 

The Digital Mixtape

PHOTO CREDIT: Alina Vilchenko/Pexels

Songs from the Best Audiophile Albums

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I am not going…

PHOTO CREDIT: Andrea Piacquadio/Pexels

to say too many words, as I want to get to this mixtape. One that collects songs from the perfect albums for audiophiles. Maybe there is something wrong about uniting the digital versions when the beauty of these albums is hearing them on stereos or record players. However, you can get a sense of the mix and perfect sound. Hopefully compel you to seek out a few of these albums and add them to your collection. Albums where the sound and aesthetic is absolutely key, I know that stereo makers will use many of these albums to test their equipment. Glorious and sublime, enjoy songs from L.P.s that are an audiophile’s dream. You will know most of these albums, though there might be some you do not. This Digital Mixtape might lead to…

PHOTO CREDIT: Diana ✨/Pexels

SOME new discoveries.

FEATURE: Ballad of a Thin Man: Bob Dylan's Highway 61 Revisited at Sixty

FEATURE:

 

 

Ballad of a Thin Man

Bob Dylan's Highway 61 Revisited at Sixty

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IT is hard to believe that…

IN THIS PHOTO: Bob Dylan in 1965/PHOTO CREDIT: Fiona Adams/Redferns 

this album turns sixty on 30th August. Bob Dylan’s sixth studio album was released on 30th August, 1965. Not only is it one of the best albums of the 1960s and Bob Dylan’s career. It is one of the greatest albums ever released. Ahead of the anniversary of Highway 61 Revisited, I am looking inside an album that pulled further away form his Folk routes – consider the epic closing track, Desolation Row – and included more Blues-Rock influences. A type of poetry perhaps less political. Fantastical in places but sharp and biting in others. More ambitious and bigger than his albums that came before, Highway 61 Revisited’s lead track, Like a Rolling Stone, is a song that could be considered the best ever. Definitely up there! So, because of all of this, there is a lot to say about the album. I will bring together a few features and reviews, so that we can get a clearer picture of why it is so important in terms of Dylan’s career and the music landscape of 1965. As I write this (3rd August) it is only a day until the sixtieth anniversary of the recording of Desolation Row. The swansong and this incredible piece of music, it followed two days after four other albums tracks were recorded – including the title cut. I want to get to some articles. Because Rolling Stone paywalls everything – and they do not offer people one free view a day, which is bad business -, I could only get a fraction of their 2015 celebration of Highway 61 Revisited on its fiftieth anniversary:

“Highway 61 is the middle album in the trilogy of Bringing It All Back Home and Blonde on Blonde—from that moment when Dylan flipped for the Beatles, went electric and banged out these three rock & roll albums in the space of 14 manic months, three albums everybody (including Dylan) has been trying to live up to (or just plain imitate) ever since. All three have different flavors — if Bringing It All Back Home takes off from the Beatles, Highway 61 is the Stones and Blonde on Blonde is Smokey Robinson — but unlike the other two, Highway 61 never lets up. This album has no “On the Road Again” or “Obviously Five Believers” — a moment of pleasant filler where you can catch your breath. Each of the nine songs tells its own immaculately frightful story.

And more than Bringing It All Back Home, Highway 61 is a band album, rather than a solo album. The songs are juiced with perfect moments of musical interaction — Charlie McCoy’s guitar on “Desolation Row,” Paul Griffin’s piano on “Just Like Tom Thumb’s Blues,” Bobby Gregg’s drums on “It Takes a Lot to Laugh, It Takes a Train to Cry,” Michael Bloomfield’s twang in “Tombstone Blues,” everybody and everything on “Ballad of a Thin Man.” Even the infamously out-of-tune guitar on “Queen Jane Approximately” adds to the spirit”.

It is interesting to start with that, though I need to access articles where I can see the whole thing and get more context and content. That takes me to The Bob Dylan Commentaries. They give us some background and lead-up to 1965’s Highway 61 Revisited. Why the album has the name it does, and how it was recorded pretty quickly. At least by today’s standards:

“Highway 61 was recorded over a two-month period, not including a failed attempt to record with John Mayall’s Blues Breakers (which featured a young Eric Clapton on guitar). The first sessions were done on June 15th and 16th, 1965, which yielded only one song, Like a Rolling Stone. The album was finished at the second set of recording sessions done that August. Between the two sets of sessions, Dylan switched producers, from Tom Wilson to Bob Johnston. Guitarist Mike Bloomfield claimed Dylan was not satisfied with Wilson’s work with a band, although others, including Dylan, claim to have no knowledge of why the change was made.

Great art is often a product of interesting historical periods, and 1965 was definitely a time of turmoil in America. The Vietnam War was quickly escalating, and the country’s unease with the strategy and the morality of the war was growing. The civil rights movement was in full swing, and violence in the streets was a regular event, with large riots occurring in Selma, Alabama, and in Los Angeles. Malcolm X, a black civil rights leader who promised to take the civil rights fight into white America, was shot and killed. In general, a new morality was taking hold of the younger generation. They questioned the authority and wisdom of the nation’s leaders and thinkers. There was a feeling of freedom, and also anger at an older generation that not only failed to see the possibilities of this new way of thinking, but actively tried to repress it. The revolutionary ideas, the angry tone in the lyrics, and the harshness of the music of Highway 61 undoubtedly were fed by the turmoil of the times.

Dylan was also experiencing a good bit of turmoil in his own life. Personally, he had just recently parted with long-time friend and lover Joan Baez. He had met Sara Lownds, who would eventually become his first wife. Professionally, Dylan was experiencing a strong, and what must have been completely baffling to him, backlash from critics and friends concerning his move to rock ‘n’ roll. Irwin Silber, editor of the influential Sing Out! Magazine wrote an article with the title “Open Letter to Bob Dylan” in which he bitterly criticized Dylan for abandoning protest songs and folk music. Although Like a Rolling Stone was making its way up the singles charts quickly, his electric performance at the Newport Folk Festival received mixed reviews from his fans, and the same was true of his subsequent US tour.

The title of the album refers to a highway that runs from Thunder Bay, Ontario through Dylan’s birthplace, Duluth, Minnesota (which is close to his childhood home of Hibbing) all way through the middle of the country, ending in New Orleans. This highway is well-known for being a route that hundreds of southern blues and jazz musicians traveled in search of northern factory jobs during the early parts of the 20th century. Many of the most influential blues musicians traveled this route, including Muddy Waters, and Howlin’ Wolf. Along the way, they spread the southern blues into other parts of the country.

Certainly, Dylan was using the album’s title as an allusion to the influence the blues had on his music. Why he tacked on “Revisited” is less clear. Perhaps he is referring to his return to the blues-based rock music that had influenced him as a teenager when he listened to blues stations on AM radio and played Little Richard and Elvis Presley covers in his early bands.

The cover photo was taken by Daniel Kramer, also the photographer for the Bringing It All Back Home cover. The photo shows Dylan with a semi-scowl on his face, wearing some kind of weird blue shirt with an orange butterfly-like pattern, and a t-shirt underneath with an advertisement for Triumph motorcycles. Sidekick Bob Neuwirth stands behind him, his camera dangling from his hand. I imagine this photo was selected to emphasize the rebellious lyrics and music of the album.

Dylan’s liner notes consist of several rambling paragraphs of unintelligible drivel. The notes were written in a style similar to that used in his book, Tarantula, which was written in 1965/66 but not released until 1971. As the liner notes, it is mostly unreadable.

Dylan and producer Tom Wilson recruited a formidable group of musicians to play on the record. Dylan asked Mike Bloomfield, the guitarist for the Paul Butterfield Blues Band, to play guitar. Bloomfield had never recorded in a studio before and said he didn’t even own a case for his guitar when he showed up at the studio. It turned out to be a wise choice, as Bloomfield’s fierce sound with a heavy blues-influenced style gave the album much of its musical identity. Al Kooper was invited by Wilson to play guitar on the record but ended up playing the famous organ part on Like a Rolling Stone. Other key players included Paul Griffin on piano and Bobby Gregg on drums.

Highway 61 is really a monumental achievement, arguably the high-water mark for the art form. It influenced an entire generation of artists, and continues to influence rock musicians today”.

I am going to end soon with a review of perhaps Bob Dylan’s most important album. In terms of the sound of it and how it took his career to a new level. Beginning a classic trilogy of Dylan albums – 1965’s Bringing It All Back Home preceded Highway 61 Revisited, and Blonde on Blonde arrived in 1966 -, it is no wonder that we continue to praise the songwriting and the impact of Highway 61 Revisited six decades after it release. Five years ago, Albumism providing a detailed and really interesting retrospective. One that makes me look at Highway 61 Revisited in a new light. An album that I absolutely love and feel is the pinnacle of Dylan’s lyrical genius:

“Given Highway 61’s hallowed status over a half a century later, it gets lost what a legitimate artistic risk it was for Dylan at the time. Dylan made the conscious choice to take actions to potentially piss off his core audience by going full electric. And he didn’t even wait for Highway 61 Revisited to be released to drop this bomb; in the midst of recording the album, he gave his infamous performance at the Newport Folk Festival. He took to the stage, Fender Stratocaster in hand, dressed like a rock star, only to meet a cascade of boos.

Now, it’s never been clear whether the audience booed him during this performance because they thought he was a “sell-out” or because of the overall quality of the sound (either too loud or too soft, depending who you ask). But the legend endures the crowd rejected Dylan’s rock star aspirations. But Dylan was undeterred, soon returning to the studio to record the rest of the in-progress album. Still, it added an urgency to the sessions. If you’re going to give your fans the proverbial middle finger, the gamble had better pay off.

And, well, here we are, over a half century later, and Highway 61 remains one of Dylan’s most beloved releases. And it’s remembered for both its musical and lyrical innovation.

Besides being nearly fully electric, none of the songs on Highway 61 Revisited featured just Dylan and his guitar. Eight of the album’s nine tracks feature full electric band, some of whom were session musicians that he worked with before, while others were new faces like Al Kooper and Mike Bloomfield, who would go on to join the Paul Butterfield Blues Band.

Together, Dylan and the session musicians created a vibrant sound that built on honoring Dylan’s blues influences. The 1,400 mile stretch of road known as Highway 61 begins in Minnesota, following the Mississippi River throughout its length. It winds past Duluth, the place of Dylan’s birth, and runs south through St. Louis, Memphis, before ending in New Orleans, all cities intrinsic to Dylan’s personal and musical identity.

In terms of lyrical subject matter and approach, Highway 61 Revisited strikes a pair of distinctive notes. On one hand, it’s a bitter and at times outright mean album. Dylan is an artist, so he’s sensitive about his shit, and held his critics in complete contempt. Through swaths of the album, he questions their intelligence, sincerity, and overall value to society.

“Ballad of a Thin Man” may sound mourning and sorrowful, but it’s the angriest on Highway 61. The song radiates bile as Dylan chronicles the misbegotten adventures of Mr. Jones, a dullard who fancies himself as an educated and sophisticated individual of great influence, oblivious to the fact he’s in way over his head. On some level, the song seems to be about Dylan’s increasingly difficult relationship with the music press. Or the song could reflect Dylan’s disdain towards outsiders who attempted to glom onto ’60s counterculture without an understanding of the circumstances that spawned it. Numerous journalists with the surname of Jones have claimed to be the source of inspiration for the “Mr. Jones” character. Aside from a glib answer he gave Nora Ephron and Susan Adminson in an interview back in 1965, Dylan has remained mum about Mr. Jones’ true identity (if there even is one).

One of my favorite stories about “Ballad of a Thin Man” (and Highway 61 Revisited in general) is that it became a source of inspiration for the Black Panther Party. According to Black Panthers co-founder Bobby Seale in his book Seize the Time, both he and Huey Newton were obsessed with the song, believing that Dylan was speaking to the plight of Blacks in the United States through the lyrics, as he speaks of “tourists” being attracted to the “freak shows” of the ghettos across the country.

Highway 61 Revisited is still considered Dylan’s most towering achievement, and a complete and unabashed success. It set the tone for rock album moving forward in the 1960s, influencing countless musicians, writers, and poets. Of course, Dylan continued to evolve over the 50-plus years since its arrival, so much so that his legacy as both a folk hero and rocker can co-exist.

The success of Highway 61 goes to the core of whether it’s better to stick with providing your loyal fans with what they want, or to take the high risk/high reward plunge. Highway 61 doesn’t definitively answer that question. Instead, the lesson seems to be that quality music trumps everything else. But it’s still a bit astonishing that a sense of restlessness is what helped secure Dylan’s immortality”.

Let’s wrap up things with a review from Audioxide. Actually, it is two-third of the review. However, there are two interesting interpretations and opinions proffered. Both reviewers including Ballad of a Thin Man, Tombstone Blues and Like a Rolling Stone in their top three from Highway 61 Revisited:

“Fred

Bob Dylan has a gift for making you feel like you’re sharing in a dark, beautiful secret in the same breath that he’s telling you to go take a hike. He has no shortage of seminal works, but Highway 61 Revisited is probably the finest meeting of his anger and his clarity. The record is almost everything it’s cracked up to be, and that amounts to something pretty special — especially where side one is concerned.

The no bullshit drum intro to “Like a Rolling Stone” is classic Dylan, smashing the door in with a straight-to-business thud, and the record continues in kind. The opener’s a masterpiece. Not much I can add there. The guitar motif on “Tombstone Blues” is perfect. Thank god he went electric. The instrumentals are given some space to breathe between there and “Ballad of a Thin Man”, which is absolutely ghastly. I love it. Side one of Highway 61 Revisited is as good as it gets, frankly. Epiphanic and livid in equal measure, it’s like being bludgeoned with The Complete Works of William Shakespeare by the man himself. Marvellous.

Side two doesn’t quite sustain that level, at times bordering even on pedestrian, but in the context of the album that works rather well. After the onslaught of the first 20 minutes, it’s nice to have some time to nurse one’s wounds. You get to “Desolation Row” which strips things back and plays the record off and it all winds up being a bit of a Journey. Bob Johnston’s production enables the sense of intimacy the music deserves; the sound is raucous, but always sat just behind Dylan. He speaks and the band shakes. It really is quite an exquisite balance.

You can hear the record's age, but the record isn’t old. Like Dylan himself, there’s something mythical about it, its plane high above any one time or place. He sings and we listen, the instrumentation hanging on his every word along with the rest of us. It’s one of those things that reassures you with how expressive and beautiful people are capable of being. (Or at least that Bob’s capable of being, and we of understanding.) One for the ages, and an endless pleasure.

Favourite tracks //

1. Ballad of a Thin Man

2. ­­Like a Rolling Stone

3. ­­Tombstone Blues

9 /10

Andrew

Highway 61 Revisited manages to do a lot with seemingly little. At first glance, Bob Dylan uses simple chord structures, down to earth vocals and story-driven lyrics which puts him alongside an overwhelming sea of other artists. But what sets this album apart from a majority of other albums is the sheer character and hidden intricacy of the whole tracklist.

Front-loaded with a stonking opening combination, “Like a Rolling Stone” hollers and quivers out during its chorus, and instantly grabs the listeners attention with its memorable hook and some wonderful instrumentation across the board. “Tombstone Blues” is quite the opposite, cantering along for six minutes. Folksy without being twee, and poignant without being preachy, this is a track with substance that you can still have a lot of fun with. Songs like “Ballad of a Thin Man” and the title track of the album have similarly little for me to complain about, with more to enjoy each time I return. The former drapes a moody, smoky atmosphere across the mid-section of the album, while the latter spins and whirrs along the titular highway.

The few tracks that are less memorable are more than made up for by the rest, and where I initially felt as though all the best material was up front on side one, further listens have warmed me to the second side. I feel as though this is an album I want to start each Sunday with, with its laid-back tone lasting throughout its near hour play time. It’s been a pleasure to listen to Dylan’s characterful vocals and memorable hooks, and Highway 61 Revisited will certainly be going into my favourites list.

Favourite tracks //

1. Like a Rolling Stone

2. ­­Tombstone Blues

3. ­­Ballad of a Thin Man

9 /10”.

On 30th August, Bob Dylan’s extraordinary masterpiece, Highway 61 Revisited, turns sixty. Its legacy is enormous. How pioneering the album was. I want to crib a bit from Wikipedia and what they have collated regarding the legacy of a 1965 work of genius: “Highway 61 Revisited has remained among the most highly acclaimed of Dylan's works. Biographer Anthony Scaduto praises its rich imagery, and describes it as "one of the most brilliant pop records ever made. As rock, it cuts through to the core of the music—a hard driving beat without frills, without self-consciousness." Michael Gray calls Highway 61 "revolutionary and stunning, not just for its energy and panache but in its vision: fusing radical, electrical music ... with lyrics that were light years ahead of anyone else's; Dylan here unites the force of blues-based rock'n'roll with the power of poetry. The whole rock culture, the whole post-Beatle pop-rock world, and so in an important sense the 1960s started here”. Few people in 1965 who heard Highway 61 Revisited would know where Dylan would head and how long he would continue! As it is, he went on to release thirty-four studio albums (and he is not done yet let’s hope!) and inspire musicians the world over…

SIXTY years later.

FEATURE: If Your Name’s (Not Yet) on the Guestlist… The Brilliant The Trouble Club, and Some Wonderful Women I’d Love to See

FEATURE:

 

 

If Your Name’s (Not Yet) on the Guestlist…

IN THIS PHOTO: The EURO-winning Lionesses captain and Arsenal player, Leah Williamson/PHOTO CREDIT: Jack Chipper for Wonderland

The Brilliant The Trouble Club, and Some Wonderful Women I’d Love to See

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THIS is a fairly self-indulgent feature…

IN THIS PHOTO: The Trouble Club’s owner and CEO, Ellie Newton

as it is me, as a member of The Trouble Club, dreaming of guests I’d have on my wish-list. I will get to the usual housekeeping before moving on. I know I wrote about The Trouble Club last month. I imagine the next time I will cover them is close to December. Maybe a look back on a brilliant and memorable year. The club, owned by CEO (and queen) Ellie Newton, has a growing army of (mainly) women who turn up in force for events. Hosting events at a range of different-sized venues – from the larger Union Chapel to the small and cosy The Hearth -, the range of events and speakers hosted is incredible! From politicians and authors to entertainment figures and musicians, this is a club people need to seek out if they are not a member. Past events of recent weeks includes the brilliant Cally Beaton: Namaste Motherf*ckers, and A History of the World in Six Plagues with Edna Bonhomme. Future speakers include Tulisa Contostavlos, Marina Hyde, and Emily Maitlis. Such a pedigree of wonderful women! You can and should follow The Trouble Club on Twitter and Instagram. I know members are asked, when they join The Trouble Club, who they would like to see speak. I think I chose Margot Robbie. Maybe she is out of the budgetary reach and would need to be hosted at a massive venue given the potential demand! However, one of the ‘dream guests’ I am about to feature connects to Margot Robbie – and she is also a massive name. Even though a lot of Trouble Club members (unfortunately) suggest speakers who are dead – always a drawback! -, mine are very much alive!

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I did previously suggest a few names I am not sure about. Gillian Anderson is great, though the recent controversy around the novel, The Salt Path (she starred in the film adaptation), might complicate things. Gisèle Pelicot and Greta Thunberg are women I would love to see speak. Also D.J. and broadcaster Lauren Laverne and actor Florence Pugh. However, I am sure that Ellie Newton and the brilliant people she works with at The Trouble Club – including Zea, Ella and Jen – have guests locked in and there are not many spaces free. This is just me imagining and thinking about who I would love to see – and why that is. The first name came to me made sports headlines over a week ago. She is the captain of the Lionesses’ UEFA Women's EURO-winning team. Actually, they not only retained the honour but are the first England football team ever to win a major tournament on foreign soil. Making me wonder why we give so much importance, attention and money to the men’s game when, no offence (or some…), they are comparatively underachieving, boring and overhyped! And I think the Lionesses are even finer role models. Leah Williamson would be a hugely popular Trouble guest. Someone inspiring so many girls and young women to get into football, she is an amazing player and advocate of the women’s game! I am going to bring in a recent interview with her. Such a positive idol for women and girls, she and her teammates made history and stole the nation’s hearts just over a week ago. Wonderland spoke with Leah Williamson back in May. I wanted to source some of that interview, just showing what an amazing and interesting person she is. D.J. and broadcaster Annie Macmanus (who would be another great Trouble Club guest) – also known as Annie Mac - spoke with a “Lifelong Gooner. Author. Activist. Jazz piano enthusiast. Certified girl crush”. The headline of the article continues: “At 28, The Lionesses’ Leah Williamson has captured the nation’s heart both on and off the pitch”:

“At Arsenal, the club she joined at nine through the Centre of Excellence, she’s become the heartbeat of their defence—and, at the time of writing, is preparing to face Barcelona in the Champions League Final. For England, the Lionesses’ Euros 2025 squad hasn’t been announced yet but we unofficially assume she’s not only in it, but will captain the team once again.

Off the pitch, her reach is just as commanding. An OBE for services to football. Five co-written children’s books. The first female England player to speak at the UN, where she addressed the Sustainable Development Goals Summit and called for gender equality in sport. A steady stream of charitable work.Leah Williamson hasn’t just captained the Pride of England—she’s become it. Did we mention she’s 28?And, to add to the list, she single-handedly got DJ, Author, Broadcaster and host of podcasts Changes and BBC podcast Sidetracked, Annie Mac, back into football. Leah’s influence, so far, has defied scientific explanation. But if there’s anyone to try and explain its effect, it’s Annie…

Annie Macmanus: I listened back to our Changes episode from summer 2023 and loved that conversation. You were recovering from your ACL injury and about to head to Australia with your mum and brother to watch the World Cup—your first time watching an international tournament instead of playing in one. You were reflective but also positive and focused on making the most of that time beyond football. Looking back, howwas that period for you?

Leah Williamson: Firstly, it genuinely saved my football career—in terms of reigniting something. When you’re young, you always think the big day will come, because you’ve got time. But the timing of my injury forced me to refocus and be more deliberate about everything, especially football. It put me in a much better place. Off the pitch, though—the things I didand the time I spent with people—I would never have had thatotherwise.

AM: How hard was the physical side of coming back? And afternine months out, is there fear that you won’t have your place on the team?

LW: One hundred percent. It’s not even a question—it’s a fact.Will I be able to play again? Am I still as valuable to the team?All of that. During my ACL injury, I had this phrase in my head:‘Enjoy the moments.’ So when I was close to returning—a sell-out at the Emirates against Man United—I threw myself a party with all my family and friends. I thought, why shouldn’t I celebrate this? It’s a big moment. And then I got injured again and didn’t make my return. Still had the party. It was difficult because everything kept breaking along the way. I tore my hamstring, irritated my other knee, tore a muscle in my hip that’s almost impossible to tear. Little things kept happening. So I’d say it wasn’t until September—and this all started in February—that I finally felt like there was nothing wrong with me anymore.

AM: And what about confidence? Beyond the physical side, how hard was it to regain the belief that you could still do it?

LW: That’s been the main struggle, and it’s still ongoing—there are still firsts to tick off. I love the phrase, ‘Faith and fear both have little evidence.’ It’s your choice which one to follow, but sometimes you lean too far one way. I’m trying to live in the present and trust my ability now, but without anything to go on, it’s hard. My brain works like, ‘Give me the info and I’ll act on it,’ and I had no data, no evidence, no memory—that’s what I struggled with.

AM: I know you said it’s ongoing, but is there a sense that the more you play there’s a sense of your body, your brain coming together and aligning with each other? Is it just practice? Is it just boots on the field?

LW: For a long time, it was that. It was, ‘I feel uncomfortable, but unless I do this next step, I’m not going to know.’ Just chasing that hope that with more game time and more minutes, it’ll figure itself out. But then you hit moments where you expect something of yourself and don’t quite deliver. Or the opposite—you go in thinking, ‘We’ll see what happens,’ and have a great game, and suddenly it’s, ‘I’m back!’ Then you hit a bit of a downer again. I think it is about playing and time, but also, like I said, you have to be more intentful. Instead of thinking, ‘I know what to do,’ you have to actually tell yourself, and then hope you can deliver when the time comes”.

IN THIS PHOTO: Munroe Bergdorf/PHOTO CREDIT: Jordan Rossi for HUNGER

An activist and role model (and fashion model) for the trans community, Munroe Bergdorf is someone who I would love to hear speak for The Trouble Club. The English model and activist has walked several catwalks for brands including Gypsy Sport at both London and NYC Fashion Weeks. Munroe Bergdorf was also the first transgender model in the U.K. for L'Oréal, though she was dropped within weeks after a racial row. You can buy her amazing new book, Talk to Me, and also watch the documentary, Love & Rage: Munroe Bergdorf. I am going to drop in a recent interview with. I also suggest people check out her brilliant interview with former Trouble Club guest, Emma-Louise Boynton. Bergdorf recently spoke with Big Issue as to why we need to have the transgender conversation on a human level. She has been the recipient of abuse, violence and hatred for years. The transgender conversation is especially pressing given the heinous ruling by the Supreme Court that a woman is defined by sex and not gender. A ruling that not only thrilled transphobes like JK Rowling, but also will create less access and integration for transgender women. It will also lead to much more abuse, ostracisation and stigmatism:

“I mean, that was just the beginning, really,” she tells Big Issue. “Things have definitely got worse.”

Until 2015, Brussels-based advocacy group ILGA-Europe consistently ranked Britain as the most LGBTQ+ friendly country in Europe. Since then, we’ve plunged to 22nd place, named alongside Hungary and Georgia as countries with the biggest falls in rankings.

Public support is slipping too – only 64% of Britons described themselves as “not prejudiced” against transgender people in 2022, down from 82% just a year earlier.

As one of Britain’s most recognisable trans women, Munroe Bergdorf has had a front seat to this downward spiral.

“If you look back at when we were gaining visibility in 2015, public approval was good,” she reflects.

“People didn’t feel threatened by trans people, and they genuinely felt that trans people deserved equality and respect, and self-ID wasn’t a contentious issue because there was no reason for it to be.”

What changed? Bergdorf pauses.

“I think that homophobia never really went away,” she says. “The will to demonise queerness never really went away, and suddenly we have a very visible community that is visible enough to exploit, but small enough to not have to pander to for votes. I think all that hatred really got directed towards us at a time of convenience.”

At the same time, “anti-woke” has hardened into ideology. The political Overton window has shifted right.

“We do not believe in DEI [diversity, equity and inclusion] and that madness in any way at all,” Reform UK leader Nigel Farage said last month. His party leads Labour in an increasing number of voting intention polls.

Section 28 all over again

But the past was no utopia either. When Bergdorf was growing up in 1990s Essex, she was “consistently bullied” for her effeminate mannerisms and mixed-race heritage.

“I was raised during Section 28 so I legally couldn’t talk to my teachers about my sexuality,” she recalls. “I felt embarrassed that I was being bullied, I hadn’t come out yet as queer. I had no one to talk to.”

Introduced by Margaret Thatcher’s government in 1988, Section 28 barred schools and local authorities from “promoting homosexuality”, effectively cutting off support for queer youth. The law wasn’t repealed in England and Wales until 2003.

It’s so recent, I say. Surely, we should celebrate that progress?

“Well, I don’t know,” Bergdorf replies, “because Keir Starmer introducing the inability to speak about gender identity in schools is basically Section 28 all over again. So we definitely haven’t come that far.”

She’s referring to a 2024 Conservative proposal to ban educators from teaching the “contested view that gender identity is a spectrum”. Then-opposition leader Keir Starmer agreed he was “not in favour of ideology being taught in schools on gender”.

Legal protections are shifting too. In April, the UK’s Supreme Court ruled that the legal definition of “woman” is based on biological sex, allowing authorities to exclude trans people from single-sex spaces – even those with a legal gender recognition certificate. Gender-critical campaigners called it a “win for common sense”. Trans activists condemned it.

“The judgment does not remove the legal protections trans people currently enjoy under the Equality Act,” a panel of United Nations experts said. “But it may be used to justify exclusionary policies that further stigmatise and marginalise an already vulnerable population.”

The guidance is a devastating blow for trans rights, Bergdorf says. “The EHRC guidance [the Equality and Human Rights Commission interpretation of the Supreme Court ruling] could function as segregation.

“Trans rights are very much a litmus test in what we will accept. And if we accept the segregation of trans people, we accept that they can be harassed, demonised and dehumanised, then we really condemn ourselves to that narrative.”

In this view, trans rights are a bellwether for other civil liberties. If discrimination against this tiny community is allowed to continue, Bergdorf argues, other rights, “say, gay marriage, or the right to not be discriminated against if you have an abortion, or the freedom of religious expression” could be next.

It’s a bleak picture; a parochial society governed by fear and hostility. We’re already seeing such a society take shape across the Atlantic. Despite everything, Munroe Bergdorf refuses to give up hope.

“A large swathe of the population can be forgiven,” she says: they are “misguided, not malicious”.

IN THIS PHOTO: Claudia Winkleman/PHOTO CREDIT: Channel 4/Nic Serpell-Rand

Three more guests that I would love to see at The Trouble Club some time down the line. If you have read down this far – and apologies to Ellie Newton if she is contacted by any of these people asking to be a guest (I am not sure if that would seem like pressuring her!) -, then I hope that you check out these amazing women. One reason I love The Trouble Club is that I get to hear stories and experiences from these varied, multitalented and engrossing women I would not normally have direct access to. If they are promoting a book or discussing their career, you go away emotional, affected, laughing or inspired – or sometimes all four! We have seen figures from T.V. and radio speak before. One that would be terrific is Claudia Winkleman. Host of The Traitors, co-host of Strictly Come Dancing (with Tess Daly), and this amazing broadcaster and intoxicating human being (and author of 2020’s Quite), this would be a popular and well-attended event. This interview from GRAZIA from the start of the year shows Winkleman in modest mood. Claiming that she is merely a “tiny orange woman” – she is, in fact, a national treasure! -, she is self-deprecating, funny and always compelling to listen to! She recently stood in for Graham Norton on his chat show for an episode, and I feel she is a natural talk show host. Someone who I could (and would love to) see acting in a show or film:

“She’s bowled over by The Traitors’ success. ‘We didn’t foresee this. We went to Scotland with the amazing people who make it and a pair of red fingerless gloves and gave it our best shot. I think people like it because the psychology is extraordinary – just watching people work out whether they’re being lied to. The dynamics feel addictive. I’m completely obsessed.’

Which doesn’t mean she’s figured out how to win, despite her privileged view. ‘I don’t think there’s a formula. I wish there were. Although, actually, I’m really pleased there isn’t, because then people would know how to win. I do think the power of persuasion is everything. I also think you have to have a lot of empathy.’

So you don’t have to be a bit of a sociopath? ‘I don’t like the narrative that Faithfuls are good and Traitors are bad,’ she insists. ‘I wouldn’t make anyone a Traitor who didn’t ask to be one. That would be unfair. The Traitors are just as lovely, and that’s what for me makes it so compelling. I really want the Faithfuls to find one, and I also really want the Traitors to get away with it.’ Is she still in touch with any of the former contestants? ‘All of them. Aubrey sent me a video only today of some windows that he helped dress. I can’t let them go. I feel very protective over them.’

She’s tight lipped about the celebrity version of The Traitors, slated to start filming this summer. ‘I feel so bad because we’ve bonded over the Hula Hoop,’ she wails. ‘I would really like to tell you everything, but I really mustn’t.’

People like The Traitors because the psychology is extraordinary. The dynamics are addictive.

Of all the things that might have come to pass from The Traitors, becoming a fashion influencer wasn’t on her bingo card. ‘I don’t understand what happened. I’m a 52-year-old woman who happens to like a fingerless glove. I’m a tiny orange lady, and my fringe is too long.’ If self-deprecation suits her, so too does her Traitors wardrobe, a chic melange of cosy coats and knits offset with tartan. ‘I’ve always loved big sweaters and winter clothes. I’m allergic to summer clothes. I never want to see a shoestring-strap top or an open-toe sandal. I don’t do barbecues. I never leave the house between April and September. Give me big tights, a heavy sweater and a Wellington.’

It sounds as though she and her stylist, Sinead McKeefry, have fun constructing her on-screen persona. ‘For Strictly, one year I was Anita Dobson. This year I was Demis Roussos, which is why I wore a lot of kaftans. For the first [series of ] Traitors, it was Princess Anne meets Ronnie Corbett meets someone who is going to a golf sale. For series two, we went a bit Sarah Brightman. It was a large mood board.’

Off-camera, she has a uniform. ‘I wear the same black Topshop jeans – they’re falling apart, but I refuse to give them up – with sweaters that I’ve had for 30 years, DMs and either an ancient long black coat or one of my son’s puffers.’ But not a lace-up DM. ‘No – a bulky Chelsea boot. Who’s got time for laces?’

Not Winkleman, who last year stepped back from her Radio 2 show to spend more time with her children – Jake, 21, Matilda, 18, and 13-year-old Arthur – whom she shares with her husband of 24 years, producer Kris Thykier. The hardest part of being a parent? ‘Them leaving,’ she says. Her eldest two are at university. ‘It’s horrendous. I don’t understand why they don’t have that in the baby books, along with all the advice about breastfeeding and how to steam a butternut squash. Why can’t there be a chapter saying, “You’re going to have these little puffins that you’ll love more than life – and then one day, they’re off.”’

Strictly recently celebrated its 20th anniversary, a fact she still finds hard to fathom. ‘I started presenting It Takes Two when my [eldest] son was one. I can’t believe I’ve been part of this amazing show for almost his entire life. How lucky am I to do Strictly, Traitors and The Piano?’ Suggest it’s talent as much as luck and she quickly refutes it. ‘That’s not faux self-deprecation. It’s the truth. I cannot believe how lucky I am and when it ends – and it’s got to be around the corner – I know that I’ve already had too long a run, so I’ll say, “Thank you so much and bye-bye.”’

Both she and her Strictly co-host Tess Daly are in their fifties, a fact that not so long ago would have precluded them from anchoring a primetime TV show. ‘I think it’s much better,’ she says of older women’s visibility on screen. ‘My bosses are all women, number one. And number two, I feel like there’s a home on telly for people who are older. But I would love to hear from people who disagree with me, because we need to hear those voices as well’”.

IN THIS PHOTO: Greta Gerwig/PHOTO CREDIT: Zoey Grossman for TIME

Two more guests I have on my dream Trouble Club guestlist, this name is perhaps ambitious. The one I said connected with Margot Robbie. A record-setting director and someone who has been Oscar-nominated as a director – never having won that honour, it is a ceremony that struggles in its sexism towards female directors -, Greta Gerwig would be one of the most popular speakers. She lives in New York but, even if she came to the U.K., could she be lured?! I do think she could speak at a venue like the Barbican Centre or Southbank Centre. I want to go back to an interview with Gerwig from last year. Barbie was released in 2023 and made over a billion dollars at the box office. Gerwig became the first female director to achieve that feat. A lot of eyes were on what she would do next. I believe she is directing a new Narnia film, so a continuation of huge-budget films rather than a return to the more independent-spirited films before (I mean, Little Women, Lady Bird and Frances Ha (my favourite film ever) had smaller budgets and cannot be considered big studio films or mainstream hits). One of TIME’s Women of the Year 2024, they spoke with Gerwig last February about the success of Barbie and what her next big swing will be:

“The success of Barbie means that Gerwig, 40, now has the rare latitude to write her own ticket in an increasingly risk-averse industry—a freedom that could have been immobilizing. But Narnia, Gerwig says, had been gestating for a long time; she’d written a draft before ever setting foot on the set of Barbie. “Knowing that I’d laid the groundwork for Narnia and wanted to return to it—that’s probably something I set up for myself psychologically,” she says. “Because I know the right thing, for me anyway, is to keep making movies. Whatever happens, good or bad, you’ve got to keep going.” Hollywood is still reeling from pandemic shutdowns, strikes, and layoffs, facing omnipresent pressure from Wall Street to turn ever higher profits; in a moment like this one, she feels fortunate to get to do what she loves. “It’s never not astonishing to me that somebody gives you money to make a movie,” she says.

Gerwig’s story is as much about commerce as it is about art: her films are humane, emotional, and playful; she is the only director in history to have their first three solo feature films nominated for Best Picture at the Oscars. Yet her movies also clean up at the box office: her semi-autobiographical solo directorial debut, Lady Bird, grossed $79 million against a $10 million budget; her next, an adaptation of Louisa May Alcott’s beloved Little Women, was budgeted at $40 million and took in $231 million—both extraordinary returns on investment.

These commercial triumphs reflect how her work resonates in the culture, particularly among women and girls, whose emotional lives and ambitions Gerwig explores in her films. But to make her success about gender would be to diminish how her work also transcends its boundaries. “I always think about the intuitive way you love a song or a movie,” she says. “You love something, and you just love it. You don’t think to yourself, ‘I have to love this because it’s by a woman, for a woman.’ That’s part of it. But it’s not why you love it.” She pauses. “You love it because it’s great.”

I ask her whether the need to prove her command over this space is something women feel more deeply, for the exact reasons articulated in Ferrera’s now famous monologue: there’s an uneasy relationship between women and their ambition in a patriarchal society. “I don’t know if it’s gendered,” she says. “But I know I want to be able to make a body of work that feels like it’s undeniable in terms of the work itself. I don’t want there to be an asterisk next to my name. Do I have more of that than male filmmakers? I don’t know! I know plenty of deeply insecure male filmmakers who are plagued in their own ways.” (I resist the impulse to ask for their names.)

The question of sexism also haunted this year’s Oscar race. While Gerwig was nominated for Best Adapted Screenplay, she was shut out of the Best Director category, while Barbie’s lead and producer, Margot Robbie, was also excluded from Best Actress, despite being acclaimed for her nuanced, layered performance. Fans wondered: Might the movie, or its star, not look like the Academy’s picture of serious filmmaking?

“Of course I wanted it for Margot,” Gerwig says. “But I’m just happy we all get to be there together.” There’s also, she points out, ample accolades for the film at the Oscars. “A friend’s mom said to me, ‘I can’t believe you didn’t get nominated,’” she says, laughing. “I said, ‘But I did. I got an Oscar nomination.’ She was like, ‘Oh, that’s wonderful for you!’ I was like, ‘I know!’”.

IN THIS PHOTO: Michaela Coel/PHOTO CREDIT: Spencer Hewitt

To be fair, there are myriad other women I would also love to be a Trouble Club guest. Kate Nash, Samira Ahmed, CMAT, Naomi Campbell, Jenny Saville, Gloria Steinem (a previous Trouble guest) and so many more accomplished and phenomenal queens. However, the final of my five ‘dream guests’ inclusions is Michaela Coel. A hugely important actor writer and television director, 2020’s I May Destroy You is one of the most important, affecting and brilliant pieces of television that has been produced in the past couple of decades! Before getting to a 2023 interview with Coel, earlier this year, Interview Magazine paired Michaela Coel with Little Simz. Coel asking Simz about her new album, Lotus:

“COEL: We’ve got the same PR, but they didn’t know that we knew each other. [Laughs]

SIMZ: Really?

COEL: They said, “Would you like to interview Little Simz about her album? I think you met her at the GQ Awards last year in New York.” I said, “Excuse me madam, I’ve known this bitch 10 years. Yes, I’ll do it.” You seem stronger and more resolved, and firmly standing in who you are.

SIMZ: I’m really grateful to hear you say that, because when you’re in it sometimes, you don’t know. I feel it as well. Even though you’re always growing and whatnot, I just feel way more comfortable in my skin, you know?

COEL: Yeah. How does what you learned, and the unfortunate experiences that you’ve had regarding abuse within this industry—financial, emotional—how does it shape how you choose your collaborators going forward?

SIMZ: Damn, big question. I think if anything, it’s made me more open to working with different types of people. When you close yourself off and you’re in a cocoon, that’s when the fucked shit happens. It made me more excited to be able to share my gift. There’s so many talented people on the earth.

COEL: Yeah.

SIMZ: Not that I forgot that, but I maybe didn’t want to see it. If anything, it’s given me a newfound excitement, because what I found is by trying new things, it unlocked something in me that I didn’t know existed. It’s given me a newfound freedom to be a bit more experimental in my work. I felt like a child again. Again, going into situations, not one man up”.

IN THIS PHOTO: Little Simz/PHOTO CREDIT: Jackson Bowley

Soon to star in a BBC drama, First Day on Earth, I think we are going to see a lot more from Michaela Coel. Someone who would be an epic and hugely powerful Trouble Club guest. However, this again is just me promoting the club and its work rather than trying to manifest anything! I will end with a 2023 interview with Michaela Coel from Harper’s Bazaar. As we see written near the top of the interview, Michaela Coel’s “openness, authenticity and a spirit of experimentation have been key to unlocking her creativity”:

“Visibility, therefore, is important to her. Coel is a pioneer in many ways, having worked up to a position where she can be seen and heard; she was the first Black person for five years to attend the Guildhall School of Music & Drama, and the first Black woman – and only the fourth woman in its 42-year history – to give the Mac-Taggart lecture (previous speakers include Rupert Murdoch and Jeremy Paxman).

"It’s 'seeing to believe'," she says firmly. "When I was growing up, I never saw a picture of a Black woman sitting in a director’s chair. I didn’t know that was something that we could do, so it almost wasn’t something that I wished for. I just kind of stumbled here."

PHOTO CREDIT: Josh Sinner

Coel’s creative journey has been defined by a strong sense of self rather than premeditation. Given her stratospheric success, it’s reassuring to hear that at each moment in her career, she never imagined an audience bigger than the one that was before her. "I’ve been writing for 16 years," she explains. "At no point did I ever think ahead, when I was writing poetry in my car or turning up at theatres doing open-mic nights for 50 quid – and that was only if you won. The most important thing is your relationship with your creativity. That can be difficult to nurture in a world that is very into things like social comparison, but I see it as crucial to encourage people to focus on what’s in front of them."

This spring, Coel is helping to launch the BMW Filmmaking Challenge in partnership with the British Film Institute. She will mentor five shortlisted filmmakers, who will each receive a £10,000 production budget and access to cutting-edge technology to make their project. The winner will have a red-carpet premiere at the London Film Festival in October, and the shortlisted entries will be screened.

Coel sees this an opportunity to reach as many communities as possible, and to give writers creative space to take risks. "I want to impart that it’s OK to get it wrong, it’s OK to mess it up," she says. "And we should be allowed that space”.

I know that Trouble Club members all have their ideas of who they would love to see speak. However, the guests that are confirmed and have passed are all simply incredible! It is credit to Ellie Newton and her passion for The Trouble Club that means it continues to grow and recruit members. Always a pleasure and experience being in the room with so many brilliant women (and a few men). I will revisit The Trouble Club for the final time this year in a few months but, for now, I am thinking and looking ahead to who might appear for The Trouble Club as we head…

TOWARDS 2026.

FEATURE: The Gaps Between the Tracks: Why the Incredible Series, Mix Tape, Resonated Strongly with Me

FEATURE:

 

 

The Gaps Between the Tracks

Why the Incredible Series, Mix Tape, Resonated Strongly with Me

__________

THERE is a lot to unpack…

IN THIS PHOTO: Florence Hunt and Rory Walton-Smith as teenage Alison and Dan in the miniseries, Mix Tape/PHOTO CREDIT: Cáit Fahy

when it comes to Mix Tape. A new series that is available on the BBC iPlayer. It is an adaptation of the book by Jane Sanderson. I will drop in a positive review for the four-part series. I sort of stumbled upon it. I had heard of the series and there was talk of it. As its title instantly connects with music and something oldskool and maybe something the digital generation cannot understand or appreciation, I dived in. I was born in 1983, so mixtapes and cassettes were a natural part of my childhood and teenage years. I will come to that. There are so many things to recommend about the series. The writing and direction is wonderful. The narrative spans from the late-1970s and early-1980s in Sheffield to the early-2010s in Australia (and Sheffield). The story follows the characters of Daniel and Alison as they reconnect through social media after initially connecting over music during their youth in Sheffield. I think maybe the modern-day scenes are more up-to-date and set around now, though I may be wrong. In any case, we flash between the young Daniel and Alison as they are in school and embarking on this teenage romance. Bonding through their love of music, they exchange cassettes, vinyl and talk about their favourite music. Discussion about which is the best The Velvet Underground song. An early moment where Alison is stopped in her tracks listening to Nick Drake’s Northern Sky. It is very emotional and evocative. The power of music and experiencing it in physical form. Even though the adult Daniel shares albums via Spotify with Alison as they reconnect and he travels to Sydney to see her after all these years, most of the music is played through headphones, stereos or in a rather traditional and physical way. The actual feel of physical music is why the series and music  pops and sticks long in the heart. Here is every song that is included throughout the series. I will end with a digital mixtape of all but one of the Mix Tape tracks (as it was not available on Spotify).

IN THIS PHOTO: Teresa Palmer as Alison/PHOTO CREDIT: Joel Pratley

The entire cast is terrific! The adult Daniel is played by Jim Sturgess. The adult Alison by Teresa Palmer. Even though she has an Australian accent now – rather than her childhood Sheffield accent; her hair is now blonde and not brunette -, the two pick up where they left off. After having conversations around why she left Sheffield and what happened. The two are incredible and have this amazing chemistry. The end, though it has some rom-com cliches, is moving and tear-jerking. You will these two to get together again following the dissolution and strain of their troubled marriages. The teenage Daniel is portrayed by Rory Walton-Smith. An actor I had not heard of, I feel he has the look and talent to portray musicians like Alex Turner (Artic Monkeys are played in the series). If there is a Beatles biopic of the young Paul McCartney, Walton-Smith would seem like a natural fit! Kudos also to Sara Soulié as Katja. Daniel’s wife, the Finnish-Danish actor is superb as someone living with the jealousy and suspicion of her husband getting too close to an old love - and balancing that with her ambitions and happiness. The standout to me is Florence Hunt, who is going to ne a massive success! Not to compare her to her namesake Florence Pugh, but I do see Hunt taking on simar roles and having that success. Some of her scenes are particularly harrowing (including a rape scene), yet she handles the role and conveys the multiple emotions and nuance superbly. You can tell her and Rory Walton-Smith instantly clicked as their bond and romance seems convincing and right. They gel really well. Florence Hunt has appeared on Bridgeton and will appear in the forthcoming Queen of the Sea. Only eighteen, she is a remarkable talent who I can see in blockbuster films, Indie classics and maybe, and I am not sure how her singing voice is, recording music. Someone who inhabits the warmth, compassion and strains of Alison without any flaws. Teresa Palmer is also perfect in that sense as the adult Alison despite the fact that (obviously) the two actors playing Alison never share any screentime.

If some reviewers felt Mix Tape had some plot holes or there was too many rom-com cliches and overused beats, one cannot fault the performances, the phenomenal soundtrack and the fact that the perfect flashbacks are blended seamlessly with the ‘foreground’. Switching between decades-past Sheffield and the contemporary landscape, it is never jarring. Stories and characters giving equal weight and attention. This is what The Guardian wrote in their review from June. Even though I am nearly a couple of months late to the Mix Tape party, I only completed watching it on Saturday (2nd August) and I was compelled to write something – moved as I was by the very end:

“The question “will they or won’t they?” permeates many romantic stories, and it is almost always answered with “they do eventually”. In the four-part Irish-Australian drama Mix Tape, that evergreen question is still there, more or less, but it has been deepened and expanded in interesting ways. It’s not really about whether Alison and Dan will get together because we know they already did – one of the show’s two distinctly different timelines follows them as lovestruck teenagers in the 1980s.

But the other timeline, set in the present day, reveals Alison and Dan went their separate ways and haven’t seen each other for many years. There’s the possibility they might get back together, despite each being married with children to other people. But for me, it was more interesting to contemplate whether either of them could finally find healing and closure for their deeply unresolved feelings. The past is a lonely place, as they say, and it has left big sandbags weighing down their minds.

Which all sounds rather heavy. But this series – directed by Lucy Gaffy and written by Jo Spain, adapting Jane Sanderson’s novel of the same name – is staged with lightness of touch and is a real pleasure to watch. At its core are four beautifully judged performances: from Teresa Palmer and Jim Sturgess as adult Alison and Dan in the present day, and Florence Hunt and Rory Walton-Smith as their younger selves. The latter convey giddy, intoxicating young love while the former are more plaintive and yearning.

IN THIS PHOTO: Jim Sturgess plays the older Daniel in Mix Tape/PHOTO CREDIT: Leanne Sullivan

As adults, Dan is a Sheffield-based music journalist while Alison is a bestselling novelist living in Australia. When a radio interviewer inquires about her upbringing in Sheffield, she gently infers she’d rather talk about something else. The script is full of small but salient moments like these, fleshing out the characters’ lives and emotions without dumbing things down or applying highlighter pen.

We’re introduced to the leads at a house party in Sheffield in 1989, when young Dan spots Alison from across the room. They get to know each other partly by swapping mix tapes, which of course enables plenty of needle drops (think Joy Division, the Cure, New Order). I initially feared a cheesy “soundtrack of love” element, but Gaffy strikes a good balance: sweet but never cloying. The characters’ intense connection is tempered by the knowledge they’ll ultimately split, the circumstances gradually revealed.

When Dan sends Alison a friend request years later, we can tell by the look on her face that it’s welcomed. Visually conveying this kind of emotional information isn’t easy, though it helps to have complex and enigmatic eyes like Teresa Palmer, who is very good at saying a lot with a little. She often plays roles that require her to balance relatability with concealed depths, such as the recent miniseries The Last Anniversary, Disney+’s cult-themed drama The Clearing and Cate Shortland’s kidnap movie Berlin Syndrome. Sturgess is excellent too as Dan, a man who seems to be constantly running things over in his mind, haunted by gaps in his life that might never be filled.

The terms “flashback” and “flashforward” feel too sharp and simple for Mix Tape. The jumps back and forward in time are more like joins, feeling fluid and instinctual; props to editors Katrina Barker and Christine Cheung. The trick – also demonstrated recently in Justin Kurzel’s psychologically complex series The Narrow Road to the Deep North – is to make each timeline feel both independent and interconnected: satisfying on their own terms, but also inseparable.

I was moved by both story strands in Mix Tape, which really do feel like two sides of the same coin. At four episodes of roughly one hour apiece, the runtime felt just right: more than enough to truly get to know these people. I left wishing the best for them”.

Although the story of Alison and Daniel coming together and then being pulled apart by family tragedy and unfortunate circumstances and then coming back together later in life is not something I can relate to, some of it did resonate. I remember bonding with someone very special when I was a child and it would be a case of us and friends very much sharing music and discussing artists. Our lives have gone different ways, and I often think about meeting up and connect with her. It would not be the same as it is was, though Mix Tape did take me back to my childhood of the 1980s and 1990s. I recently wrote a feature bemoaning the lack of needle drop moments in film. Maybe it is the cost of licensing songs and getting clearance that means songs are often briefly used or in the background. Mix Tape could not have worked on the small screen if artists whose songs were used charged a huge amount for their use (I guess T.V. shows do not really make money, so it would be unreasonable to ask for a lot of money!). Even though there are not some Quentin Tarantino-type needle drops through Mix Tapes, the songs are used to great effect. Stirring emotions, scoring incredible scenes and, in the case of Nick Drake and The Velvet Underground, integral to the bond and connection between Alison and Daniel. Songs that drive the story forward. The heavy use of diegetic music is very effecting and powerful. I was brought back to my childhood and how music, especially physical music, was so vital. Swapping albums and sharing headphones. Despite growing up further south than Sheffield, a lot of what was including ion Mix Tape I could identify with. I would encourage everyone to catch the series and binge it in one go!

It got me thinking beyond that. I know there was a 2021 film called Mixtape, so this idea of using mixtapes and music integrally in films and having the soundtrack being front and centre is not new. I don’t think it is retro or unrelatable. There is also a 2011 short called Mixtape. So the title and landscape is well covered. However, the stories and songs are different in each. I have always wanted to put together a film like Mix Tape. Obviously, the title would be different, though it would look at two people who knew one another that are in different places. Two sides of the world. Both sides of the cassette. Some genuinely great needle drop moments, including one where the lead in headphones is captured in a one shot walking through the streets or Camden or New York – I could not decide between the two –, and there is this ‘street symphony’. Songs played in cars and shops that builds in the streets blend and creates this rise. They go into the main character’s headphones, and the action in that opening sequence match the lyrics. I sort of see the film poster of someone on a train as a light is reflecting and projects an album cover (maybe Abbey Road or London Calling) opposite to give the illusion they are actually in the album cover! Maybe more practical and affordable as a T.V. series. However, today, when I was in Camden and thinking about Mix Tape, I encountered that moment walking down the street and different stalls and shops blasting music out (including Bob Marley). For me, in terms of setting, maybe the '90s is appropriate. A decade that has been covered a lot in terms of the music of that time used on screen, the soundtrack and the story would be different and original.

I was listening to Oasis a lot whilst in Camden and great memories came flooding back of my hearing Champagne Supernova and Live Forever for the first time – from their debut album, 1994’s Definitely Maybe and the 1995 follow-up, (What’s the Story) Morning Glory?, respectively. Roll with It, the second single from (What’s the Story) Morning Glory?, turns thirty on 14th August. That song went up (and lost to) Blur’s Country House in the Bitpop battle of 1995. As much as anything, I don’t think there are a huge amount of T.V. shows and films where music is integral. Maybe it is the cost of clearing songs, though Mix Tape has a packed soundtrack where huge artists like The Cure and The Stone Roses feature. I guess bands like Oasis or Blur might charge more. However, these songs capture the times more than anything else. I think people can access forgotten memories through music in a very powerful and emotional way. It makes me want to put together my own series like Mix Tape. Inspired by the fantastic cast – especially the exceptional future icon Florence Hunt (who I would love to work with but will be getting a lot of massive offers very soon!) -, I have not been as affected by a recent series as much as that in recent years. Please do go and check it out if you have not watched it already. Even though Mix Tape is a literary adaptation and not an original idea for T.V., it does justice to Jane Sanderson’s words. I do feel that we will see more ideas like this coming to the screen. Compelled and hugely motivated writers and directors will soon be…

FOLLOWING Mix Tape’s lead.