FEATURE: The Digital Mixtape: Songs from Albums Turning Thirty-Five in 2025

FEATURE:

 

 

The Digital Mixtape

Songs from Albums Turning Thirty-Five in 2025

_________

EVEN though I would say…

1990 is one of the weaker years of the decade for music, that is less a reflection on the artists and more the incredibly high standard that came from 1991 onward. To mark albums that came out in 1990 and are turning thirty-five next year, I have compiled a playlist featuring songs from the very best albums of the year. I remember 1990 and the music that was out that year. It was an interesting transition from the very end of the 1980s. Still some of those sounds around, but a distinct new wave of genres and sounds emerging. I will capture as many as I can in this Digital Mixtape as we look ahead to golden 1990 albums that…

TURN thirty-five next year.

FEATURE: Feel It: The Texture of Kate Bush’s Albums

FEATURE:

 

Feel It

The Texture of Kate Bush’s Albums

_________

I am racing through Kate Bush features…

IN THIS PHOTO: Kate Bush in 1981/PHOTO CREDIT: Clive Arrowsmith

as there is a lot to cover off before the end of the year! I have some Christmas-related features to explore. I wanted to discuss something different for this outing. I want to look at her albums in a different way. Influenced by something I read in Graeme Thomson’s Under the Ivy: The Life and Music of Kate Bush, it has made me think about the textures of and in her albums. The feel of them. Think about all of her ten studio albums and the dynamics and compositional qualities. We can examine the songs individually and the sound and lyrics. Think more generally about the albums. Maybe I do not mean textures. I previously wrote how Bush’s albums tend to have their own colour schemes and palettes. Whether there is the pink and reds of love and femininity or the blacks, greys and darker colours through to the clear purple and silvers. This made me think about the sort of weather and dynamics you get from each albums. Let’s work from two particular ones and source our way back. Think about 2005’s Aerial. I have written about domesticity and motherhood is at the heart of this album (much like Laura Marling with this year’s Patterns in Repeat). Psychologically, Bush very much in a happier space after 1993’s The Red Shoes. Embracing nature, her garden and home more and sourcing inspiration from this environment, it is small wonder that you listen to Aerial and feel a lot of air and space. There is this physical sense of atmosphere. Natural sunlight and warmth that one gets from the music through the album’s second disc, A Sky of Honey. On the first disc, A Sea of Honey, there is space and embrace. It is a very personal record, and not one that excludes the listener. It is this undeniable sense of intimacy and tenderness, together with this real need to let songs breathe. I will come to The Red Shoes. That was a more eclectic and loaded album in terms of its layers and production. Aerial is an ambitious and majestic work, though it is one that consciously feels accessible and expansive.

Graeme Thomson notes how there was less need for percussive guidance and technological fuss. More traditional instruments on Aerial. A range of guitars, pianos and percussion. With Bush’s voice deeper, that also gives the songs more gravitas and this wonderful gravity. Aerial is abound with birdsong, leaves, wind, sunshine, the natural world and the fine details of home. A brown jug, a washing machine, the kitchen and dirty floor. The comfort of new life and the joys of new responsibility. Not that Aerial is a purely English album. In terms of its sonic palette, it travels far and wide. Spanish and Italian influences. The domestic is very much a touchstone, yet there is so much imagination and fancy. In terms of the texture and feel, you get this warm glow and distinct scents and emotions. One feels calmed and soothed, yet Bush as a producer and songwriter allows the listener to escape into her world. A Sky of Honey’s summer’s day. We can feel and hear the sunrise and the coming dawn. There are elements of this in Bush’s first two albums, 1978’s The Kick Inside and Lionheart. Rather than think of those albums in terms of colours and shades, how about the emotions and textures. In terms of compositional elements, there are threads of Aerial. The use of piano, percussion and guitar. Quite sparse in some respects with plenty of space. However, I think that The Kick Inside especially is less international and wide-ranging than Aerial. Apart from a jaunt to Berlin in The Saxophone Song, we have this real sense of home. Domesticity playing a different role. If Aerial is more about home and new life and purpose, The Kick Inside is about exploration and embracing sexuality. As such, there is this feeling of eccentricity and sensuality. Bush’s vocals quite high on a number of songs. If Aerial has a slow pulse, The Kick Inside’s changes rapidly. We have calmer and more contemplative moments alongside shocks and sharp rises. Vocals that are gymnastic and flexible. Background vocals and this feeling of a cast. If Bush used the outside world and nature to create textures on Aerial, The Kick Inside and Lionheart is all about voices and personas.

At the centre if this teenage Kate Bush. This real sense of touch and feel. I think that it is the physicality of expression on these albums. When Bush sings of passion and sex. Thar real sense of urge and the tactile. I think the objectives on these first two albums was more about relationships and desires. The compositions less expansive and full of air and light. Graeme Thomson felt Aerial was about “pastoral sensuality” and the elemental. The younger Kate Bush much more concerned with the intricacies and complexities of love. Exploring the physical. There are characters and fantasies. There is horror and darker elements together with a sense of anxiety. I was compelled to think about the textural feel of each Kate Bush album as nobody has really expanded on it or written about it in that sense. You can definitely feel some of that air and space of Aerial on Never for Ever. A real sense of ethereal and dream-like. There is this mix of space and the compact. Think about how we get this on songs such as Blow Away (For Bill), Delius (Song of Summer) and even Night Scented Stock. Coupled with the sounds of Army Dreamers and Breathing. How the former is quite light and has a jaunty spirit yet is dark and about loss. Breathing is smoky and suffocating. The sense of impending destruction. Bush looking out to the world in a political way for the first time. Perhaps less personal than later works, Never for Ever is the sound of a woman still exploring her body and mind but developing as a producer. With one foot in her teenage past and one stepping ahead, it is fascinating to feel all the different textures on this album.

The Dreaming is one of the most fascinating in terms of textural feel. It is a widely far-flung album. There is domesticity and the personal in a few of the numbers such as All the Love. Even though percussion and the Fairlight CMI are at the heart of the album, there is also more vocal layering than previously. Gravel and growl. Bush’s voice huskier and more dominating and hard-hitting then ever before. With very little space or air through the album, you do get this sense of tension and fear. The propulsion and nightmare of Get Out of My House gives The Dreaming this quite rough and gloomy feel. Maybe sparks of electricity. Some might think it quite a cold album, though I think that it is one that is full of different emotions and nuances. If the colour scheme is blacks and browns, you have all manner of complexity and layers. So many details and sounds mix with Bush’s most varied vocal palette. Such a stark contrast to her first two and most recent few albums. It is hard to put into words what sort of textures are on The Dreaming. Night and shadows. Fog and cigarette smoke. I think The Dreaming is one of Bush’s most itinerant albums. We follow a Vietnamese solider in the undergrowth and trees. The smell of war and the sticky heat. The overload of sound effects and sounds. Fretless bass, subtle time signature switches and this metallic haze. The Dreaming takes us to Australia; Night of the Swallow to Ireland. There is air and light on some numbers, yet the weather through Bush’s fourth studio album is stormier and wetter. A sticky heat and humidity. We race through history and time-zones. Houdini takes us back to early-twentieth century. There Goes a Tenner a London crime caper.

What to say about Hounds of Love and The Sensual World? The former sort of nods to what Aerial would sound like. There is nature and the natural world. Bush, influenced by the countryside around the family home at East Wickham Farm. She also wrote a lot of the album in Ireland. The landscape and emerald isle. A sense of the open. It is an album that is not quite as airy and warm and Aerial, though there are comparisons. This domestic sensuality. Bush very much rooted and inspired by home but taking us far and wide. The sea, salt and darkness of The Ninth Wave. There are fewer traditional instruments. Greater emphasis on the Fairlight CMI and its percussive elements. Irish instruments and more esoteric touches. It creates its own texture and dynamic. Inspirations from Ireland and further afield. However, I think Hounds of Love is Bush safe and happy at home. If her first few albums found Bush exploring her body, mind and sensuality, her fifth studio album is more about human relationships and something wider and deeper perhaps. The epic fight for survival and strength against the scariness of the deep sea on The Ninth Wave. What we think about and fight for when in that situation. Men and women exchanging places to understand one another. The way love can chase you like hounds. Bush, in her mid-twenties, more attuned to the capriciousness and complexity of love. There is plenty of sky and sunshine on The Big Sky. Plenty of weather too on Cloudbusting. Icier and skeletal notes on Mother Stands for Comfort. This DJ Mag feature from 2021 explores how the Fairlight CMI opened Bush up to electronic textures:

“The use of the word ‘tool’ is critical: The Fairlight was important for what it did, not what it was. And what it did was to open up Bush’s world to a new range of sonic possibility, as she explained to Option like a proto-Matthew Herbert: “With a Fairlight, you’ve got everything: a tremendous range of things,” she said. “It completely opened me up to sounds and textures and I could experiment with these in a way I could never have done without it.”

What is perhaps most striking about ‘Hounds Of Love’ is that, rather than settling down into a new electronic habit, Bush used her new digital equipment in a number of different ways, depending on the song’s demands. ‘Running Up That Hill,’ the album’s gorgeous opening song, uses a subtly propulsive, rolling tom pattern on the LinnDrum (the work of Bush’s collaborator and then romantic partner Del Palmer) that lays alongside cello samples from the Fairlight, which Bush manipulated to create both the main riff and backing strings”.

There is a more masculine energy to Hounds of Love. The Sensual World would change things. A move towards the feminine. Bush proclaiming it to be her most female album at that time. Also, there was more in the way of traditional instruments. Perhaps a slight return to and update of her first few albums. The production on The Sensual World is over-compressed. Something Bush would address when reworking songs from that album for 2011’s Director’s Cut. Even though there is less jumping around through time and space compared to The Dreaming or Hounds of Love, we do get more Irish influence. Especially on the title track. The Trio Bulgarka bringing Bulgarian music and vocals to several numbers. Graeme Thomson also notes in his Kate Bush biography how the sensuality is more imagined and less tangible. A less tactile record. The heat and flame simmering at a lower temperature. There is this warm and sensual hue that never ignites but is a constant. Perhaps a less mechanical percussion sound than on albums like The Kick Inside or 50 Words for Snow, there is this different tone and texture. A simmer and smoulder rather than a red-hot fire. Maybe Bush wanting The Sensual World to be more female meant there was this lack of punch and percussive power. Not reigned-in or conventional, there was this feeling of a deliberate shift. The Red Shoes is perhaps less tactile than The Sensual World. Perhaps the production sound contributed to that. However, there is a sense of the variegated on The Red Shoes. The flavour and scents that dance from songs like Eat the Music. A host of less traditional and more international instruments. Bush once more taking us around the world when it comes to the sounds. Moments of Pleasure could have been a song from The Sensual World. This is still this sense of discovery and need to pleasure; touch and togetherness. However, The Red Shoes has this sense of division and loss. Things ebbing away. Cracks starting to form.

Let’s finish with Kate Bush’s most recent album, 50 Words for Snow. An album once more open with plenty of space. In a different way to Hounds of Love and Aerial. If Hounds of Love took us to the sea and clouds, Aerial had this domestic joy and the slow reveal of a summer’s day. 50 Words for Snow is a chillier album by themes and lyrics, though there are complexities working in the songs. Bush stripping things down to mostly piano, guitar and percussion. The drumming of Steve Gadd key to so many songs. That perfect heartbeat that gives 50 Words for Snow its distinct tone and timbre. I do want to take slightly from Graeme Thomson’s observations in Under the Ivy: The Life and Music of Kate Bush about 50 Words for Snow. He notes how Bush was no longer concerned with Pop’s repetition, hooks and and conventions. Working more on the outskirts, her tenth studio album is more Chamber Jazz. The relationship between piano and drums essential and crucial. Bush exploring the wilds and wilderness. Drawing comparisons to artists like Scott Walker or John Martyn. In terms of spirit rather than sound. The softness and purity of Snowflake. How there is a contrast between the two vinyl sides. The second half more upbeat and energised. The first half unfolds more. Longer songs that take time to unfurl. Among Angels taking us back to Bush and her piano. Comparisons to Hounds of Love’s The Ninth Wave in some spots.

Although, as Thomson notes, the water is deeper and icier. There is mythology throughout the album. The unknown or the undefined. The transient nature of snow. If previous albums had a tactility linked to sensuality, nature and passion, there is more of the ephemeral on 50 Words for Snow. However, there is a tactility to the album. A distinct warmth that might not be instantly obvious. There is this seasonal quality to the album. Whereas the energy, passion and excitement of her previous albums are not tied to time or place, 50 Words fort Snow feels more appropriate this time of year. Winter and Christmas. It has sadness, softness and sensuousness. It is not a downbeat album, though the records throughout feel the cold. You can immerse yourself in the snowy landscapes and the colder environments. The pulse is slower but there are genuine moments of expansiveness and the epic. Sweeping and tender at the same time. It makes me think about the future and the possible texture and dynamics of a new Kate Bush album. Will the stories be far-flung and widespread? Will we have air and space or will there be a denser feel in terms of the instrumentation and production? Is the album going to be a warmer and more domestic affair or steeped in imagination and the otherworldly? A return to more of the Pop and Art Rock of her previous albums or move more to the fringes, albeit with some new twists and scents? I was intrigued to explore the textural feel of Kate Bush’s albums and the differences between them. How you do get distinctly different feels and experiences with each album. How some of her later albums like to her earliest work. The connective chemistry of an older songwriter bonding with her younger self. This being Kate Bush, there is this sense of mystery and enigmatic. If she does grace us with a new album in the next year or two…

WHO knows what will come!

FEATURE: Spotlight: Man/Woman/Chainsaw

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Sophie Barloc for The Line of Best Fit

Man/Woman/Chainsaw

_________

A group that everyone should know…

and are making big waves right now are Man/Woman/Chainsaw. Even though I am not a big fan of that name, I do love the music! Comprising of bassist and vocalist Vera Leppänen,  guitarist/vocalist Billy Ward, drummer Lola Cherry, violinist Clio Starwood, vocalist and keys/synths player Emmie-Mae Avery, and guitarist Billy Doyle, this is a crew that have delivered one of the best E.P.s of the year with Eazy Peazy. I am going to end with a  review of that E.P. Before getting there, it is worth introducing some features and interviews. First, I want to come to a recent interview from The Line of Best Fit. They spoke with the teenage London band. One that are Art Punk but sort of hard to define. A band ripping up the rulebook:

“Songwriting for this collective is fluid – a collaborative process dedicated to merging individual visions into something unique to the Man/Woman/Chainsaw outfit. That’s not to say there isn’t still some vulnerability in bringing a song to the table only to watch it turn into something else. “I think we all probably start a song thinking it should sound a certain way,” Avery muses. “If you listened to the inside of our brains, we’re all probably thinking: ‘this person’s suggestion is shit’,” she laughs, as bandmates shared pointed looks at one another lightheartedly. “But I think the best part is when a song does go in a completely different direction than what you expected, you know?” Leppänen poses. “Because there’s a reason you needed somebody else's brain to think of it.”

“Yeah, the song is so much better once you’ve surrendered it to six people’s mishmash of influences,” concludes Ward. It’s a particular patchwork of creativity that not only makes their music so rich but also embeds within it a sense of that very collaboration. In the sounds they produce, their instruments never compete, instead interweaving a musical push-and-pull. Lighter orchestral notes balance against boisterous fuzzy guitars and sometimes they shape shift, the twinkling now pouring from the guitars while the violin and keys take on the grit.

But, before Man/Woman/Chainsaw were even thinking about writing in this way, before even Eazy Peazy was in the works, this DIY outfit was founding their dynamic approach to making music in the raw energy of live performances. “There was something chaotic about the early gigs,” Ward recalls. “We try to tap into that now, but with more filtering out of the crap.” Cherry carries on the thought: “It started as writing for live performance. Since recording though, we've kind of played the songs a bit differently live. The backbones are the same, but they feel tighter,” she concludes, looking around at the nods of agreement. With over 100 gigs under their belts since debuting at just 16, it's impressive – and a bit surreal – that these young musicians can already tap into their early days for inspiration from their unfiltered expression. “The earliest songs were like, ‘this has a verse where the lyrics are one line repeated four times, a noise section, then the chorus’,” Leppänen recalls with a laugh.

Man/Woman/Chainsaw seem to be a band full of contradictions, their youthful energy contrasting sharply with the depth of their musical maturity. They maintain a DIY ethos while collaborating with seasoned professionals like Gilla Band’s Daniel Fox, who's production helped bring a more polished edge to their output. Despite being firmly anchored in their local scene, they also hold ambitions of touring further afield — Europe and beyond (“O2 arena, 2026”) – already in motion with their recently announced SXSW debut next year.

Yet, there aren't many bands with the same conviction in their own musical language as this indie outfit. As they prepare to unleash Eazy Peazy on the world, the group look forward to what’s next. When Starwood sheepishly asks if she can “dare say we’re on the short little road to finding our sound,” she is met with an answer from Ward that encompasses Man/Woman/Chainsaw: “We found our sound and now we’re taking it apart”.

One thing I am trying to piece together is how many members of Man/Woman/Chainsaw there are. In some interviews they are referred to as a six-piece. However, the review I am ending this feature  with labels them as a five-piece. They may need to confirm that, though I will just refer to them as a band and we can quibble over exact numbers. In any case, it is worth coming to Stereogum and their spotlight of the amazing Man/Woman/Chainsaw. Here is a band who are definitely going to be a festival mainstay. I think they will have the same sort of rise and success as bands like English Teacher:

“The youthful London combo, makers of “noisy, unadulterated art punk” by their own description, are dropping their Eazy Peazy EP Friday. Produced by Gilla Band’s Daniel Fox, who’s also helmed great LPs by Sprints and Silverbacks, it’s Man/Woman/Chainsaw’s first release for the longstanding American indie label Fat Possum. With multiple lead vocalists and structures that never seem to repeat from track to track, it’s one of those records where every song has its own unpredictable flavor but they all seem to flow from the same collective consciousness.

Opener “The Boss” surges forward with an intensity that only seems to ratchet up as it goes, bassist Vera Leppänen railing against a composite of awful authority figures as Clio Harwood’s violin morphs into gnarly squalls of noise. One track later on “Sports Day,” guitarist Billy Ward is reliving traumatic adolescent athletic experiences over an off-kilter discordant groove. Next comes “Maegan,” on which Pixies-esque banter quickly gives way to a delightful sonic blitzkrieg. The second half of the tracklist ventures into territory both soft and surreal while bringing back the explosiveness in strategic increments. One of the lessons they learned from Fox in the studio: “If everything’s loud, nothing’s loud.”

The band has come a long way since Ward and Leppänen were 16-year-olds covering Nirvana and Lana Del Rey in a bedroom. (They also cooked up a noise-rock version of Shaggy’s “It Wasn’t Me,” sadly not for public consumption.) The duo spent lockdown learning how to play music, then recruited a rotating cast of bandmates and gigged like crazy around London DIY venues once they hit college. “We would do three, four shows a week sometimes,” Ward says during a boisterous video call with four of his bandmates. “We were just doing lots of shows around London. There’s so much music here that you can just do that when you’re young.”

All those shows helped Man/Woman/Chainsaw figure out where they thrive — “on the thin line between pretty and noisy, often trying to jump between the two,” as Ward has explained in press materials — and to build up a reputation as one of London’s most exciting young acts. The collective approach and orchestral flourishes lend themselves to comparisons with London contemporaries Black Country, New Road, while the interplay between Ward and Leppänen reminds me of indie-pop bands like the late, great Goon Sax.

Last year, the lineup settled into consistency with the addition of Harwood’s violin plus vocalist/keyboardist Emmie-Mae Avery and drummer Lola Cherry. A sequence of early singles on Bandcamp — best of all “What Lucy Found There,” on which Ward and Leppänen trade vocals over hyperactive bass line straight out of a jazz or drum ‘n’ bass track — now play like snapshots of the growth leading up to the roundly accomplished Eazy Peazy. The band members are only 19 or 20 now, but they’re sounding like a seasoned unit.

The EP is full of sharp songwriting and engaging arrangements. Tracks feel epic without extending much beyond the three-minute mark. Each one is full of savvy details, like the dance between Harwood’s strings and Avery’s keys on “Sports Day” or the way Cherry elevates “EZPZ” with drumming that shifts from cavernous half-time to eruptions Ward compares to black metal blast beats. At the center of the tracklist is “Ode To Clio,” so named because Harwood’s violin melody transformed it from its Coldplay-esque beginnings. The band has highlighted it as an ideal introduction to their sound so far.

“I feel like it was the song that best summed up the different kinds of things that we’ve got on the EP. Like obviously we got like ‘Grow A Tongue In Time,’ which is more singer-songwriter-y, kind of pretty, and ‘The Boss’ is a bit heavier and more punky,” Leppänen says. “We wrote that somewhere in the middle, and I feel like it’s kind of brought the kind of two sides [of the band together].”

Although much of the Eazy Peazy material is new to the outside world, to Man/Woman/Chainsaw these songs are old hat compared to the new material they’ve been working on. “For the EP we wrote the songs to play them at gigs because we needed material,” Avery says. “And when we are writing now, we’re obviously writing them to play for gigs and stuff, but it’s nice, ’cause it feels like they’re tied to a project, that we’re writing them towards an album.”

Ward says the band is looking to get more music out soon rather than “taking 10 years to do the album.” In the meantime, there’s lots of touring on deck for early 2025, including a winter UK jaunt and Man/Woman/Chainsaw’s first trip to the States for next year’s South By Southwest. It’s a milestone the band is looking forward to, even if the results of this week’s presidential election have them feeling more wary about the future of America. “I’m scared,” Leppänen says. “But other than that, I’m really looking forward to next year”.

PHOTO CREDIT: Sophie Barloc for The Line of Best Fit

Eazy Peazy is one of the great E.P.s. One that distils and highlights all the band’s strengths but also leaves you wanting more. A sign of where they are now and where they might head. NME were among those who sat down to offer their thoughts on Man/Woman/Chainsaw’s remarkable new work. One that has them tipped as one of the breakaway acts to look out for next year:

“There were multiple points throughout the last decade where it looked like UK indie rock might end up forever stuck in a post-punk loop. Fortunately amidst the familiarity of this latest revival, a crop of young bands went in the opposite direction; jettisoning post-punk’s wiry, pared-down approach in favour of something more ornate, progressive and grandiose.

This thrilling new branch of UK ‘indie’ (if there’s any meaning left in that ageing term) took on myriad shapes, from the resplendent melodrama of Black Country, New Road to the bad trip mania of Black Midi. These ambitious, forward-thinking bands served as welcome evidence that alternative rock music had yet to wholly capitulate to retro revivalism – and Man/Woman/Chainsaw are a quintessential product of this genre-busting era.

Few debuts are as simultaneously bold and accessible as ‘Eazy Peazy’. The likes of ‘Ode to Clio’, which swells from gentle embers to a finale inferno, throws rock music’s familiar structuring out the window, whilst retaining a firm sense of internal logic. Closer ‘EZPZ’ offers a more brute force example, maintaining a gripping intensity across three minutes of intricate and constantly shifting orchestral heaviness.

The band’s fusion of grand strings and pianos with more traditional, riff-based rock chaos is a broad success. ‘Sports Day’ contains one or two ideas too many, with the orchestral melodies erring close to unnecessary cacophony. Elsewhere, however, this OTT approach works with impressive elegance; see the simple but potent violin motif that recurs throughout ‘Ode to Clio’ and the interlocking strings and keys that arrive with immaculate precision midway through ‘The Boss’.

This instrumental melange reflects Man/Woman/Chainsaw’s ultra-contemporary, post-ironic lyrical voice. Like the internet-dominated culture in which they were raised, the band smash through the traditional boundaries that separate irony and sincerity, tilting from arch but soulful school memories of ‘Sports Day’ to the abstract literary musings of ‘Ode to Clio’ (“sprawled across my kitchen floor / she’s only arms and legs / her limbs like hairs / spread out starfish”).

Crucially, these metamodern tonal jumps possess real emotional power, matching the musical bravura. ‘Eazy Peazy’ practically fizzes with youthful energy and the possibilities of musical creation. It’s raw and throws everything in its sizeable arsenal at the wall, however, basically everything sticks. The resulting effort’s audacious energy is a sight to behold and whips with enough force to spin your head clean off your shoulders”.

Go and follow the remarkable Man/Woman/Chainsaw. You are going to hear a lot more from them. Check out Eazy Peazy though their Bandcamp or Spotify page and go and see them live if you can too. They have some great dates in the diary for next year, and they will play London’s Scala in April. An exceptional young band with many years ahead, make sure they are on your radar. I am quite new to them but I am compelled to follow them closely. They are a very…

EXCITING force to be reckoned with.

_____________

Follow Man/Woman/Chainsaw

PHOTO CREDIT: Sophie Barloc for The Line of Best Fit

Instagram:

https://www.instagram.com/manwomanchainsaw

Twitter:

https://x.com/mwctalks

Bandcamp:

https://manwomanchainsaw.bandcamp.com/

Spotify:

https://open.spotify.com/artist/0KheksMhWogVV4frHAihPJ

YouTube:

https://www.youtube.com/channel/UCEvEI1tJO_a1010nPdrim6Q

FEATURE: Deemed to Be Worthy: Who Might Headline Glastonbury 2025?

FEATURE:

 

 

Deemed to Be Worthy

IN THIS PHOTO: Eminem

Who Might Headline Glastonbury 2025?

_________

I know that I…

IN THIS PHOTO: Charli XCX/PHOTO CREDIT: Getty Images

always do a pun around Worthy Farm (where it is held) for Glastonbury features, as I am not really sure what to title them! In this feature, I am thinking about the acts that may headline in 2025. It is not long until we find out who will be performing at Glastonbury next June (25th-29th). Last year was a big one in terms of the headliners. We had Dua Lipa, SZA and Coldplay. It as rare to get any female headliners, let alone two. This is the thing about Glastonbury. In over fifty years, it has ignored women as headliners. No year has had more than one, until we got to 2024. If you count the total headliners, women are vastly overlooked. Organiser Emily Eavis said she wanted to tackle and address this, though it is a case of instantly reversing the male bias. Last year proved there are women who can headline. That was also the case in 2023, though potential headliners like Lana Del Rey were lower down the bill. It is a sorry state. However, let’s hope that last year’s female headliners suggested we no longer had to endure all-male acts. It is very boring and depressing having men dominate the headline slots. However, I am hopeful that 2025 will see more women headline. I believe next year is the last one before a fallow year. Glastonbury will not happen in 2026, to allow their fields and site to recover and rest. Others are already speculating who might headline next year. I think last year’s headliners were good. Coldplay seemed quite an obvious and rather uninspired choice. It is a shame that Glastonbury could not do an all-female line-up and put someone fresher in that spot. Dua Lipa and SZA performed incredible sets, though there were some who were critical.

It does seem that there is a shoo-in for headliner. In June, she is playing at Primavera Sound. Charli XCX might also be available to headline Glastonbury. I think it is hugely likely that she will headline the festival. Having released BRAT earlier in the year, it seems there is a huge demand to bring that to Glastonbury. One of the highest-rated albums of the year, she is dominating Pop right now. I know there would be a massive demand and cheer. She would be an awesome and captivating headliner. I would be very shocked if Charli XCX has not been booked in one of the slots. Maybe as the Saturday night headliner. It leaves two other slots. There are sites like this that predict some of the artists who might be in the running to headline. I think that there will be one band who will headline. It would be unusual to have three solo acts. In terms of possibilities, one hopes that it will be someone other than Coldplay or Foo Fighters or anything that predictable. As they have just released one of the best albums of their career, Songs of a Lost World, who would bet against The Cure headlining?! There is nothing in their diary that would preclude them from appearing at Glastonbury in June. That would be a massively popular booking. Although I personally would not want them to headline – as I think Nick Cave’s attitudes towards the genocide in Palestine is worrying -, Maybe Nick Cave and The Bad Seeds seems like another possibility. Offering a contrast to Charli XCX., perhaps a Sunday night headline slot would suit them. I don’t think Glastonbury will be bold and brave enough to have an all-female line-up, so there will be two female acts at most. Many have speculated how Olivia Rodrigo could headline. Having released one of the best albums of 2023 with GUTS, that is not out of the question. Perhaps another modern Pop titan, Sabrina Carpenter?! She is definitely on the rise and is also booked to headline Primavera Sound 2025. Chappell Roan is also headlining Primavera Sound. They are a festival who are progressive and have no issue finding women to headline. Glastonbury should definitely consider Chappell Roan.

IN THIS PHOTO: Sabrina Carpenter

In terms of a legend who might fill the other headline slot, Oasis have shot that down. They are not available. I don’t think it is evasiveness. They are busy preparing for your dates next year. Also, as great as it would be to have Madonna headlining, I am think it is a long shot. Maybe we will have a legend like Bruce Springsteen headline. However, I get the feeling that there will be a younger line-up for Glastonbury 2025. In terms of bands, what about Fontaines D.C.? As we have the Legends slot, opening up the headline slots to newer acts would be a pretty good move. I would love to see Charli XCX and Olivia Rodrigo headline. It seems like there is a name that is a strong frontrunner. Eminem has apparently been in talks to headline already. I guess that would make a degree of sense. He has not headlined before and would provide a thrilling set. Maybe not popular with everyone, it would provide something alternative and edgy. Charli XCX could bring her own brand of edge and, alongside Eminem, it would definitely be an interesting and varied festival! I know Taylor Swift was supposedly booked or in the frame to headline Glastonbury last year but she had scheduling conflicts. I think she is very unlikely to headline next year. In terms of cost, she would be very expensive. I am not sure whether a festival is what she wants to do. I am not sure what her diary looks like for next year. She has been busy with the Eras Tour. However, if Glastonbury could secure a good deal, maybe it is not out of the question. I said in another feature how it would be wonderful for Spice Girls to reform. They are unlikely to owing to disagreements and disputes between Mel B and Geri Halliwell-Horner. It seems that they might not be able to heal the rift, though it would be perfect having Spice Girls in the Legends slot! I know Billy Joel is a name that has been thrown around. I think a Spice Girls reunion for Glastonbury 2025 would be a huge booking. That would get a massive reaction! The Legends slot is one that could go any way. I have seen names like Cher thrown around. She would be great. Last year, Shania Twain booked in that slot.

IN THIS PHOTO: Spice Girls backstage at the BRIT Awards in February 1997. PHOTO CREDIT: Ray Burmiston/Avalon/Getty

Others in the running for a headline slot or Legends space are Harry Styles and Sam Fender. I have also seen Stevie Wonder talked about. Even though she was not a headliner last year, it would be awesome seeing Little Simz booked as one of the headliners. Perhaps a Legends slot for a Hip-Hop group such as Public Enemy or someone completely unexpected. You can never truly predict who might be booked for the slots. I think the only sure bet is Charli XCX. It would be a massive oversight if she was not confirmed as a headliner. My ideal line-up would be The Cure on the Friday night. Charli XCX then does the Saturday headliner, and she could then be followed by Olivia Rodrigo for the Sunday night closing headline slot. Have either Spice Girls or Billy Joel in the Legends slot. That would call into question a lack of racial diversity in the headline spaces. I do think Glastonbury will book a Black artist to headline, as they are aware of ensuring that there is that representation and diversity. As they have made small steps regarding female representation, let’s hope at least one woman is booked to headline. In terms of the L.G.B.T.Q.I.A.+ community, that is an area that has been represented but could do more – Elton John headlined Glastonbury in 2022. I think that Eminem is probably another safe bet, so perhaps he would take the place of Olivia Rodrigo. That would give us two male headliner. That would definitely be a step backwards in that sense. I think the Legend slot should go to a woman. Though you can’t bet against a band like Pet Shop Boys getting that call. Who knows. Tickets go on sale in a matter of days, so it will not be long until we see who is headlining. Maybe that first headliner announced. Will it be Charli XCX? Eminem? The Cure? Perhaps a long shot like Spice Girls, Taylor Swift or even Sam Fender. It is a great guessing game. After last year’s incredible headline sets, there is pressure to keep that quality high. The rumours and speculation have already started, so it will be fantastic to know exactly who will headline Glastonbury…

NEXT year.

FEATURE: The KT Fellowship Presents… Kate Bush’s Before the Dawn Live Album at Eight

FEATURE:

 

 

The KT Fellowship Presents…

 

Kate Bush’s Before the Dawn Live Album at Eight

_________

FOR most Kate Bush fans…

 IN THIS PHOTO: Kate Bush during the shooting of the video for And Dream of Sheep, a song that is part of her suite, The Ninth Wave/PHOTO CREDIT: Trevor Leighton

listening to the Before the Dawn album was the closest we got to that 2014 residency. It is interesting listening to an interview Kate Bush did with Matt Everitt in 2016 where she discussed the shows in Hammersmith. She also said that, as of then, there were no plans to record any new music. Of course, eight years later, and she has invited that possibility. I mark this anniversary because it is important. The second live album from Kate Bush, it would have been a different creative process and working routine bringing it together and getting it mixed. In terms of what she experienced. For a studio album, there is this complete take and something that is deemed to be worthy of inclusion on an album. You may notice the odd blemish here and there, though the job of producing a studio album is different to that of producing a live album. On 25th November, 2016, we got the release of Before the Dawn. I remember when it came out. Disappointed not to have been able to go to one of the concerts two years previous – due to the fact I was very slow off the mark thinking about getting tickets -, it was a treat having the live album. Though one can never truly get a sense of what it was like being at the Eventim Apollo in 2014 during that twenty-two-date run of shows, you get a feel of the atmosphere and electricity that was in the air. From the stirring and epic opener of Lily, through to the encore that included Among Angels (from 2011’s 50 Words for Snow), it is a dazzling and extraordinary experience! There are questions and possibilities that come to mind. I will end with them.

Things were different producing Before the Dawn. Bush’s first live album was in 1994. That was when it was released. It was a release of an abridged video recording of the 1979 The Tour of Life. That was first introduced on home video in 1981, together with a C.D. version of the video soundtrack. The video and C.D. comprise twelve songs recorded live at the Hammersmith Odeon on 13th May, 1979. It was a different process approaching the 2014 recording. Somehow more epic in scale. With twenty-nine songs spanning three acts, it was a lot of work ensuring that the sound and quality was almost as good as seeing the show. I will end with a couple of reviews for Before the Dawn. Apologies if there is any repetition from previous features about it. The collaborations on the album are great. In terms of the writing. Astronomer's Call, Waking the Witch, and Watching Them Without Her Bush co-wrote with author David Mitchell. Jig of Life was written with Bill Whelan and John Carder Bush (her brother). The main thread of Before the Dawn was tying together the suites from 1985’s Hounds of Love and 2005’s Aerial. The magnificent The Ninth Wave and A Sky of Honey were brought to life for the first time. Almost like two short films working together. From albums separated by two decades, there is this sense of unity and cohesiveness. Even if the drama and struggle of The Ninth Wave is different from the calm and scope of A Sky of Honey, I guess there is a nice contrast that meant the audiences got to engage with different emotions. The reactions both must have received. Alongside these suites were other tracks from Hounds of Love. Lily, Top of the City and Never Be Mine (the latter of which was not recorded in front of an audience) were in the first act. Some cuts from The Red Shoes and The Sensual World performed live. I do like how there were songs from The Red Shoes. An album that was perhaps not a favourite of Kate Bush. She did re-record Top of the City and Never Be Mine for 2011’s Director’s Cut – Lily too for that matter.

In a way, Act 1 was setting the scene and providing a mix of songs. Hounds of Love and Aerial getting some recognition in that act. Act II was The Ninth Wave and Act III was A Sky of Honey. After the atmospheric and moving realisation of The Ninth Wave, there was this sense of light and new dawn for A Sky of Honey. I always wonder if Before the Dawn was a reference to the space between The Ninth Wave and A Sky of Honey. With an encore featuring the only outing from 50 Words for Snow and another Hounds of Love classic, Cloudbusting, ending things, it is a set that highlights two masterpieces. Her most popular album, Hounds of Love, and Bush’s favourite and perhaps most personal, Aerial. I could talk about all the personnel. How Bush’s brothers (Paddy and John) both feature. An incredible band with her, the album was actually credited to The KT Fellowship. Maybe nodding back to her band, the KT Bush Band, from 1977, I love how this was seen as a collaborative live album. To be part of a fellowship like that must have been an honour for the musicians. You can hear the connection. The hard work that goes into every song. I do think that Before the Dawn should be available on Spotify. The vinyl can be expensive and it is not as easy to buy around the world as her studio albums. When I wrote anniversary features for the 2014 residency to mark a decade, I did discuss all the celebrities that were there. The leadup to the show and the reaction from critics. It was this almost spiritual event. Something that many consider to be the best moment of their life. The live album does a great job of giving a glimpse into that magic concert. Being among the thousands who travelled from all around to witness Kate Bush and her Fellowship on stage. Returning to a venue where she ended The Tour of Life in 1979. Reaching number four in the U.K.,

“It was an extraordinary experience putting the show together. It was a huge amount of work, a lot of fun and an enormous privilege to work with such an incredibly talented team. This is the audio document. I hope that this can stand alone as a piece of music in its own right and that it can be enjoyed by people who knew nothing about the shows as well as those who were there.
I never expected the overwhelming response of the audiences, every night filling the show with life and excitement. They are there in every beat of the recorded music. Even when you can’t hear them, you can feel them. Nothing at all has been re-recorded or overdubbed on this live album, just two or three sound FX added to help with the atmosphere.

On the first disc the track, Never Be Mine, is the only take that exists, and was recorded when the show was being filmed without an audience. It was cut because the show was too long but is now back in its original position. Everything else runs as was, with only a few edits to help the flow of the music.
On stage, the main feature of The Ninth Wave was a woman lost at sea, floating in the water, projected onto a large oval screen – the idea being that this pre-recorded film was reality. The lead vocals for these sequences were sung live at the time of filming in a deep water tank at Pinewood. A lot of research went into how to mic this vocal. As far as we know it had never been done before. I hoped that the vocals would sound more realistic and emotive by being sung in this difficult environment. (You can see the boom mic in the photo on the back of the booklet. This had to be painted out of every shot in post-production although very little of the boom mic recording was used. The main mic was on the life jacket disguised as an inflator tube!) The rest of the lead vocals on this disc were sung live on stage as part of the dream sequences. The only way to make this story work as an audio piece was to present it more like a radio play and subdue the applause until the last track when the story is over and we are all back in the theatre again with the audience response.
Unlike The Ninth Wave which was about the struggle to stay alive in a dark, terrifying ocean, A Sky Of Honey is about the passing of a summer’s day. The original idea behind this piece was to explore the connection between birdsong and light, and why the light triggers the birds to sing. It begins with a lovely afternoon in golden sunlight, surrounded by birdsong. As night falls, the music slowly builds until the break of dawn.

This show was one of the most exciting things I’ve ever been involved in. Thank you to everyone who made it happen and who embraced the process of allowing it to continually evolve.

Album Liner Notes”.

Before rounding up, I want to introduce two critical reviews for the live album. There were some interviews around the release of Before the Dawn. Although this FADER interview is not exclusively about the album, Bush was asked about it and the 2014 concerts. It was a nerve-wracking and exciting process dusting off some older songs and, in many cases, performing them live for the first time:

“You really dug into the archives for your 2014 live shows. How has your relationship with your older material evolved?

Well, part of the decision to do the live shows was because it was such an interesting challenge to work with the two narrative pieces [“The Ninth Wave” and “A Sky of Honey”], rather than just doing a bunch of single tracks.

It was within such a specific context, because [the setlist] was very much put together for a live event. Through that process, the songs naturally evolved because I was working with a band, a lot of whom I never worked with before. I just chose tracks that I wanted to do, that really worked with the band, and to keep it really focused in a rhythmic way.

Although the music was always kept as the lead, I didn't want the visuals to feel separate. What I had hoped was that what had been created was an integrated piece of theater that worked with the music — that it wasn't just music that had theatrics added to it — that there was a real sense of it being something that worked as a whole.

As a performer, do you you get lost in the moment or do you focus on the technical intricacies?

I had to stay really focused as a performer because I'm quite nervous, and I wanted to make sure I was really present when I was performing so that I could try and deliver the character of the song. And actually, the first set was the most difficult part to perform for me, because almost each song is from a completely different place.

Before the 2014 shows you hadn’t toured since 1979. When your return to the stage was so well-received, did you wish you’d done it sooner?

I don't know really. The original show was of the first two albums that I’d made, and I had hoped that to do another show after I had another of two albums’ worth of material. And as I started getting much more involved in the recording process, it took me off into a different path where it was all about trying to make a good album. It became very time-consuming, so I moved into being more of a recording artist. And every time you finish an album, there's the opportunity to make visuals to go with some of the tracks. So I became very involved in that, as well”.

I will end with a couple of reviews. Even though there were four and five-star reviews for the residency, that is not to say that would automatically be reflected with the release of the live album. If the mix was poor or it was seen as too bloated or flawed, then it could have got some worse reviews. In The Guardian’s review, Alexis Petridis noted how the live album was surprisingly raw. He commended Bush being on dazzling form:

“Meanwhile, it’s hard to work out whether the original show’s solitary misstep – the clunky, ostensibly comedic playlet by novelist David Mitchell inserted in the middle of The Ninth Wave – is amplified or minimised by appearing on an album. Divested of the accompanying action, its dialogue sounds even more laboured, even more like a particularly spirit-sapping scene from perennially unfunny BBC1 sitcom My Family. On the other, well, there’s always the fast-forward button, although long-term fans might suggest that it wouldn’t really be a Kate Bush project unless an array of dazzling brilliance and original thinking was offset by at least one moment where she felt impelled to follow her muse somewhere you rather wish she hadn’t. You can file the playlet alongside The Dreaming’s Australian accent, dressing up as a bat on the back cover of Never for Ever, and The Line, The Cross and the Curve, the short film that accompanied The Red Shoes, later appraised by its author as “a load of bollocks”.

Clearly a degree of tinkering has gone on with the music. A beautiful take on Never Be Mine, from 1989’s The Sensual World, seems to have mysteriously appeared in the middle of the initial act, which never happened during the actual concerts, raising the tantalising prospect that far more material was prepared than made it to the final show. Perhaps they were off in a rehearsal studio somewhere, trying out versions of Suspended in Gaffa and Them Heavy People after all. But the really arresting thing about Before the Dawn – given that Bush is an artist whose perfectionism has led her to make a grand total of three albums in the last 22 years, one of them consisting of pernickety rerecordings of old songs – is how raw it sounds.

Of course, raw is an adjective one uses relatively, when considering an album that features a band of blue-chip sessioneers, celebrated jazz-fusion musicians and former Miles Davis sidemen: you’re not going to mistake the contents of Before the Dawn for those of, say, Conflict’s Live Woolwich Poly ’86. But, unlike most latterday live albums, it actually sounds like a band playing live. There’s a sibilance about the vocals, a sort of echoey, booming quality to the sound, the occasional hint of unevenness: it doesn’t feel like a recording that’s been overdubbed and Auto-Tuned into sterility. Given their pedigree, you’d expect the musicians involved to be incredibly nimble and adept, but more startling is how propulsive and exciting they sound, even when dealing with Bush’s more hazy and dreamlike material. It’s a state of affairs amplified by Bush’s voice, which is in fantastic shape. On King of the Mountain or Hounds of Love, she has a way of suddenly shifting into a primal, throaty roar – not the vocal style you’d most closely associate with Kate Bush – that sounds all the more effective for clearly being recorded live. Furthermore, there’s a vividness about the emotional twists and turns of A Sea of Honey, A Sky of Honey – from the beatific, sun-dappled contentment associated with Balearic music to brooding sadness and back again – that just isn’t there on the studio version, great though that is.

That answers the question about what the point of Before the Dawn is: like 2011’s Director’s Cut, it’s an album that shows Bush’s back catalogue off in a different light. And perhaps it’s better, or at least more fitting, that her 2014 shows are commemorated with an album rather than a film or a Blu-ray or whatever it is that you play inside those virtual reality headsets people are getting so excited about. They were a huge pop cultural event, as the first gigs in four decades by one of rock’s tiny handful of real elusive geniuses were always bound to be, but they were shrouded in a sense of enigma: almost uniquely, hardly anyone who attended the first night had any real idea what was going to happen. Even more unusually, that air of mystery clung to the shows after the 22-date run ended: virtually everyone present complied with Bush’s request not to film anything on their phones, and the handful that didn’t saw their footage quickly removed from YouTube. Before the Dawn provides a memento for those who were there and a vague indication of what went on for those who weren’t, without compromising the shows’ appealingly mysterious air: a quality you suspect the woman behind it realises is in very short supply in rock music these days”.

Prior to rounding things off, I want to source from Pitchfork’s review. To them, the setlist was obscure. As it features a mix of singles and deeper cuts, perhaps it was not as obvious and hits-filled as some would like. However, what was staged in 2014 was much deeper, more intriguing and interesting. Rather than repeat what went before, Bush was more interested in concept and story. Mounting what was almost like a play for an adoring audience. Perhaps a film with three distinct acts. To be there must have been awe-inspiring:

“Rather than deliver a copper-bottomed greatest hits set, Bush reckons with her legacy through what might initially seem like an obscure choice of material. Both Acts Two and Three take place in transcendent thresholds: “The Ninth Wave”’s drowning woman is beset by anxiety and untold pressures, with no idea of where to turn, mirroring the limbo that Bush experienced after 1982’s The Dreaming. That suite’s last song, the cheery “The Morning Fog,” transitions into Aerial’s “Prelude,” all beatific bird call and dawn-light piano. The euphoric, tender “A Sky of Honey” is meant to represent a perfect day from start to finish, filled with family and beautiful imperfections. “Somewhere in Between” finds them atop “the highest hill,” looking out onto a stilling view, and Bush’s eerie jazz ensemble anticipates the liminal peace of Bowie’s Blackstar. “Not one of us would dare to break the silence,” she sings. “Oh how we have longed for something that would make us feel so… somewhere in between.”

Purgatory has become heaven, and in the narrative Bush constructs through her setlist, “A Sky of Honey” represents the grown-up, domestic happiness that staves off the youthful fears explored on Hounds of Love. For her final song, she closes with a rendition of “Cloudbusting,” a song about living with the memory of a forbidden love, which is even more glorious for all the hope that it’s accumulated in the past 30-odd years. Bush’s recent life as a “reclusive” mother is often used to undermine her, to “prove” she was the kook that sexist critics had pegged her as all along. These performances and this record are a generous reveal of why she’s chosen to retreat, where Bush shows she won’t disturb her hard-won peace to sustain the myth of the troubled artistic genius. Between the dangerous waters of “The Ninth Wave” and the celestial heavens of “A Sky of Honey,” Before the Dawn demystifies what we’ve fetishized in her absence. Without draining her magic, it lets Bush exist back down on Earth”.

On 25th November, Kate Bush – or The KT Fellowship – released Before the Dawn. A stunning live album that Bush spent so much time and passion on. It makes me think about the future. Recently, David Gilmour was interviewed and asked if Kate Bush will ever return to the stage. He said the only person who could convince her to do that was herself. In the recent Today interview, Bush was asked about that response from David Gilmour. She said she was not quite there yet in terms of live plans! Now that Bush has suggested new music is on her radar, how about live work?! Maybe, at sixty-six, repeating what she did in 2014 might not be possible. The commitment and effort needing to do something like that again. Although it would be wonderful seeing her perform live, maybe it would be something more stripped-back or singular. I have suggested this before. Bush performing in a space like Abbey Road Studios or somewhere smaller. Tackling different songs. If a new album does arrive, Bush might want to take the songs to the stage. We are very fortunate that she came back to the stage in 2014. The reviews were ecstatic. In 2016, the live album was released. I wanted to mark the approaching eighth anniversary. It is a wonderful album. You can buy the C.D. version here. It is a wonderful audio experience that everyone needs to experience! Even if Kate Bush has said performing live again is not on her mind, it not completely…

OUT of the question.

FEATURE: The Digital Mixtape: Songs from Albums Turning Forty Next Year

FEATURE:

 

 

The Digital Mixtape

Songs from Albums Turning Forty Next Year

_________

CONTINUING this series…

of features that collates songs from albums celebrating big anniversaries next year, it takes us to 1985. Arguably one of the biggest years for music, there are some real classics in this playlist. Huge albums that have their fortieth anniversaries in 2025. I was born in 1983, so some of my very earliest musical memories are of songs from albums released in 1985. Vague but important. If you are not sure of the artists and albums that were gaining incredible reviews and riding high in the charts in 1985, then you will definitely get a feel and flavour from this mixtape. One of the most eclectic year of the 1980s, there are some masterpieces alongside albums that were acclaimed but not as discussed as they should be. For those who were around at the time or might not be familiar with these albums, below is a snapshot of 1985. Great tracks from albums that turn…

FORTY next year.

FEATURE: The Digital Mixtape: Picks from the GRAMMY Nominations

FEATURE:

 

 

The Digital Mixtape

IN THIS PHOTO: Charli XCX 

Picks from the GRAMMY Nominations

_________

ONE of the biggest dates in the music calendar…

we will discover who walks away from prestigious GRAMMY awards in February. The nominees were revealed this week. There are some heavy-hitting artists lining up against some newcomers. It is a year when female artists are dominating. It reflects the way the scene is shifting. Women are very much at the top. I wanted to take a selection of nominees and combine them in a playlist. Covering some of the main categories. Variety reacted to the news of a terrific year for nominees. Some incredible work being included:

“Beyoncé just earned herself another sash. As numbers go, she is easily the queen of the rodeo that is the 2025 Grammy nominations, racking up 11 nominations for her “Cowboy Carter” album and its attendant singles. That’s a personal high for her, besting the 10 nods she got back in 2009.

But Beyoncé has to share the headlines coming out of Friday morning’s announcement. Because she is just one of five powerhouse women who are nominated in all three of the Grammys‘ top general categories this year — record, song and album of the year. Joining her in being nominated for all three of those major prizes are Taylor Swift, Billie Eilish, Chappell Roan and Sabrina Carpenter.

Three other artists picked up nominations in two of the three top categories and accrued major nomination tallies: Charli XCX, Post Malone and Kendrick Lamar.

Following Beyoncé’s leading 11 nods, it’s Eilish, Lamar, Malone and Charli XCX who have a four-way tie for the second-largest number of nominations this year, with seven noms each. Close behind with six nominations apiece are Swift, Roan and Carpenter.

(Scroll down to see the full list of nominations in 94 categories.)

Is this the Grammys’ year of the woman”? You’d have to say yes, with female artists claiming six out of the eight nominations for both album of the year and record of the year. But then, last year was really the year of the woman, with seven out of eight spots taken in those categories. In other words, this “stepping up” has been the norm and not the exception for several successive years now.

The dominance of all these women on the charts as well as in the larger pop culture made predicting the Grammys a little easier this year, for many. (Variety’s predictions a month ago were largely on the nose, getting six out of eight nominees right in each of the four general-field categories.)

It was only when the Recording Academy’s voters deigned to recognize men in top categories that inclusions occurred that were less expected… if not head-scratchers. Andre 3000’s album of the year nomination, for his instrumental free-range-flute album “New Blue Sun,” is sure to set off a rash of WTF comments; although the collection certainly had its defenders, there was not a prognosticator in the world who considered that even a dark horse. The sewn-together Beatles track “Now and Then,” which is nominated for record of the year, had at least popped up in the conversations, as a possibility to fill the surprise-veteran slot taken by ABBA two years ago”.

To celebrate and highlight the brilliant work that has been shortlisted this year, below is a small selection of the artists included. From The Beatles through to Charli XCX and Billie Eilish, below are some terrific tracks. The GRAMMY Awards are so sought-after, so it will be interesting to see who walks away with prizes. These are some of the terrific artists who could walk away with a GRAMMY…

IN February.

FEATURE: The Right Profile: The Clash’s London Calling at Forty-Five

FEATURE:

 

 

The Right Profile

The Clash’s London Calling at Forty-Five

_________

EVEN though its forty-fifth anniversary…

IN THIS PHOTO: (L-R) Mick Jones, Paul Simonon and Joe Strummer of The Clash on the road with a baseball bat, in the California desert in February 1979/PHOTO CREDIT: Bob Gruen

is not until 14th December, I wanted to feature The Clash’s London Calling now. It is one of the all-time great albums. I am going to come to some features soon. In December 1979, when Punk was rising and Disco was declared dead, The Clash put out their third album out at an interesting and changing time. More sophisticated than most Punk around them, there is plenty of urgency and rawness, though various genres are mixed together beautifully. Recorded at Wessex Sound Studios in London over a six-week period, London Calling arrived after a spell of writers’ block from Joe Strummer and Mick Jones. At a time when bands such as Blondie were mixing Punk Rock and New Wave, The Clash added their own take. They went far beyond that. Incorporating Lounge Jazz, Reggae and R&B, the band tackled and spotlighted racial conflict, unemployment and social displacement. I have taken quite a bit from Wikipedia for this. To give an overview of the album. I will go deep with London Calling. I wonder whether there is anything special planned for the forty-fifth anniversary. A new vinyl reissue or some form of celebration. There are some really interesting features about London Calling. This feature explores the gear the band used for the recording. I would also suggest people read features such as this which help contextualise London Calling. In December 2019, the BBC wrote as to why the album is still relevant. I think, sadly, it is an album relevant today. Simply because a lot of the issues it highlights in 1979 are still present today. This new wave of fascism in the U.S. is something that would definitely have compelled a band like The Clash in ’79.

I want to start off by bringing in a feature from The Ringer from 2019. Marking forty years of a seminal album, they looked at the lead-up to the release of The Clash’s third studio album. How their sound and vision truly evolved. I think London Calling is one of those albums that anyone can pick up and be affected by. You do not need to know about The Clash and their history or the context of the album. Even if you were not alive in 1979, you can relate to what The Clash are singing about:

“The Clash’s first two LPs, 1977’s self-titled debut and 1978’s Give ’Em Enough Rope, thrilled critics and galvanized a large and loyal following. Now it was up to them to consecrate their standing as the biggest band in the world, or at least “The Only Band That Matters,” a nickname they had self-applied. Brimming with talent, energy, and esprit de corps, the Clash sensed they were close to something monumental—a commercial breakthrough and a masterpiece. They had material to spare and an unbreakable date with destiny. They just needed someone to bring it all together, to bring it out of them. They sorted through their options. And then they hired Guy Stevens.

“To the Opium Dens / To the Barroom Gin”

But why Guy Stevens? Thirty-five years old at the time of the album’s recording, Stevens had a well-earned reputation as a surly and dangerous figure, a historic consumer of speed and alcohol who had done hard time for possession in London’s Wormwood Scrubs penitentiary. The notion of retaining Stevens as producer understandably sent a chill through the Clash’s label, CBS. It was like hiring Sam Peckinpah to helm a Hollywood blockbuster. What could possibly be the rationale? Even the Sex Pistols, for god’s sake, had ultimately elected to work with the decorated industry pro Chris Thomas for their big commercial swing.

But for the Clash, it had to be Guy. Trouble was, no one could find Guy. No one had a number for him, and anyway he never stayed in any place very long. Joe Strummer combed the pubs of Oxford Street, where Guy was known to dwell. It took a while but he finally discovered Stevens slumped over a bar, the specter of a much older man. “Have a drink!” Guy insisted, and Strummer obliged. London Calling was off and running.

“So What Will All the Poor Do With Their Lives / On Judgment Day?”

I’m suspicious of anyone whose heart doesn’t swell during “Spanish Bombs,” the deeply moving, remarkably catchy account of a doomed group of antifascist insurgents pinned against the rocks and ultimately slaughtered by General Francisco Franco’s forces during the Spanish Civil War. Maybe that doesn’t sound like a hit, but wait until you hear it. The Clash are a bit like The Wire. The atmospherics and storytelling tend to be so spectacular that it is only in the gripped and exhausted aftermath of experiencing a song that it might briefly flash before your mind: Wait, am I learning?

And you are. When was the last time you thought about Montgomery Clift, the brilliant and troubled Method actor from The Misfits and From Here to Eternity, dead at age 45 under lightly lurid circumstances? “The Right Profile,” Strummer’s wry and sad eulogy to Clift, is a rollicking anthem for a doomed figure who not coincidentally resembled Guy Stevens.

London Calling’s loneliest song is “Lost in the Supermarket,” a meditation on consumerism and the alienation of the suburbs, whose images of consumption and ennui—“I came in here for the special offer”—evoke an escalating sense of dread in an already claustrophobic milieu. In Jones and Strummer, the Clash were gifted with two great vocalists who sounded nothing alike and yet fit together perfectly. Jones’s vocal on “Lost in the Supermarket” conveys all the tender anguish of the song’s shy-but-desperate-for-action protagonist. Joe wrote it for Mick knowing he could never have pulled it off himself.

Toward the back end of the Stones’ Exile on Main Street, the closest double-album analog to London Calling, Mick Jagger practically browbeats the listener: “Let it loose / Let it all come down.” It’s tragic and beautiful. It’s giving in without giving up. “Clampdown” is the Clash’s response. Four minutes of pure rage and melody that indicts everyone from the exploitative bosses to the picket line holdouts, it’s the centerpiece of London Calling, taking John Lennon’s caustic critiques on “Working Class Hero” and turning them into actionable steps: “Let fury have the hour / Anger can be power / Did you know that you can use it?”

“When We Were Talking / I Saw You Nodding Out”

Before the Clash, before Mott the Hoople, before Wormwood Scrubs, Guy Stevens had an obsession with American music: Chuck Berry, Buddy Holly, Link Wray, Jerry Lee Lewis. He prided himself on having every Motown single and every Stax release.

Joe Strummer was playing the piano on a London Calling track and Guy Stevens decided he didn’t like the way the piano sounded, so he rushed out of the control room and poured red wine all over Strummer’s hands and into the piano. This is bullshit. The band didn’t hire Guy Stevens; they enabled him. The problem with people like Stevens is that while they are off on their paths of destruction, someone has to mop up the wine. Someone has to mop up the blood. And someone has to actually record the music. That job fell mainly to London Calling’s engineer and unsung hero, Bill Price, who meticulously and brilliantly oversaw the tedious process of overdubbing and mixing while Stevens went about the business of being a “vibe merchant,” which mainly meant breaking furniture and falling down stairs. But even still, no one disputes Stevens’s contributions to the finished product. He was not facilitator, he was obstacle. He was a duende.

“Trenches Full of Poets / The Ragged Army / Fixing Bayonets to Fight the Other Line”

The Spanish poet, playwright, and revolutionary Federico García Lorca believed that the muse was all fine and well, but for an artist to achieve something greater they needed to engage with their duende. A duende is a demon that exists within us, that sleeps in our bones and feeds on our marrow. When the artist awakens their duende, it is at their own peril and is seriously risky business, because the duende will battle them at every turn and challenge them to be transcendent. And this is often a fight to the end, because by its very nature the duende embraces and seeks out death.

The poet Edward Hirsch says this: “Duende means something like artistic inspiration in the presence of death. It has an element of mortal panic and fear. It has the power of wild abandonment. It speaks to an art that touches and transfigures death, that both woos and evades it.” The duende wounds the artist in order to show them true pain and ecstasy, and the artist who is being driven by a duende (and simultaneously dueling with it) is truly fearless, which lends to limitless creativity and intuition. The duende makes them scream and howl and scratch and claw because their very existence depends on it, and from that comes heroic bravery, surpassing beauty, and an unreplicable artistic innovation and imagination brought to life.

So anyway, that’s why Guy Stevens.

“Don’t You Know It Is Wrong / To Cheat a Trying Man?”

So goes the refrain from the Clash’s ebullient reimagining of the 1923 murder ballad “Stagger Lee,” which concerns the barroom death of a St. Louis gangster named Lee Shelton. Three sides in and we’re a long way from the Thames. But we’re never far from a rising river.

The slow-burning “Death or Glory” is a repudiation in real time of the band’s knee-jerk rebellions of years previous. It’s easy to call for a riot without acknowledging the real-world consequences for those who participate and lack the resources to extract themselves from arrest and the bail process. Besides: “He who fucks nuns / Will later join the church.” The blink-and-you’ll-miss-it gem “Koka Kola” is an act of comic revenge against the encroaching advertising world, in the style of early Who, and its future colonization of both our whims and habits.

Finally, at the end of Side 3, there is the piano-driven set piece “The Card Cheat,” a horn-abetted ballad that is probably the most ornate thing the band ever recorded. Stevens is quoted as saying, “There are only two Phil Spectors in the world, and I am one.” This is Stevens’s attempt at “River Deep, Mountain High”; it’s a tale of a hard-traveling gambler meeting a long-time-coming demise.

Side 4 is a tonic. The easygoing Strummer-penned “Lover’s Rock” is an oasis of pure romance amid an endlessly complicated battlefield of global and interpersonal dynamics. “Four Horsemen” is a straightforward reaffirmation of Joe, Topper Headon, Paul Simonon, and Mick: the men making the music happen. “I’m Not Down” is the brilliant Jones-sung final word on all the misery and magic and possibility of the new great depression: “I’ve been beaten up / I’ve been thrown around / But I’m not down.”

The group play to their strengths on a transporting cover of the Danny Ray and Jackie Edwards reggae anthem “Revolution Rock,” apparently ending London Calling on a thematically appropriate act of joyous defiance. But then they turn tricky. “Train in Vain,” the unlisted 19th track, is a Mick Jones tour de force of bouncing hooks and romantic alienation, an instant classic headlined by the desperate Marvin Gaye–worthy exhortation to a lover he can’t stop from leaving him: “You must explain why this must be!”

“I Know That My Life Makes You Nervous / But I Tell You I Can’t Live in Service”

Upon its release, London Calling received rapturous reviews and sold in the neighborhood of 2 million copies—not enough to qualify as a genuine blockbuster but certainly confirmation of the band’s steadily rising stature. The following year’s Sandinista! was more ambitious still—three discs of dub, synth-pop, and straight rock that ran to nearly two and a half hours. That record has no shortage of brilliant and memorable moments, but the overarching lack of focus stands in stark contrast to the ambitious but surgical London Calling. The Clash elected to produce Sandinista! themselves.

Guy Stevens died in 1981, less than two years after his last great triumph. He, too, had fought pugnaciously, but circumstances and substances overwhelmed him. He was 38. That year, the Clash recorded the memorial track “Midnight to Stevens,” a languid, ambling tune freighted with the sort of melodramatic hyperbole that the producer would have loved. “It’s that company trick / We’re all jumping through.”

London Calling is a landmark four decades later, improved by time and the album’s vision of a world growing both smaller in technological terms and more imperiled by permanent class inequity. More so, it is one of the most generous, gratifying, and galvanizing works of art the 20th century has to offer. It begins with apocalypse and then lights a way out. The path is an arduous one and filled with peril. But win or lose, the principled fight is always worthwhile. “Yo t’quierro y finito, yo te querda, oh ma côrazon”.

I am going to end with a couple of reviews. In 2004, Pitchfork provided their take on the 25th Anniversary Legacy Edition of London Calling. Offering an expanded view of The Clash’s creative mind at that time, it does add extra weight and significance to London Calling. It is a treasure that every music fan should endeavour to own. I do hope that something is released or written about to mark the approaching forty-fifth anniversary of London Calling. It is a seismic album that will always be influential and meaningful. The fact that London Calling still packs a punch all these years later is testament to its genius:

“For those who came of age in the late 80s and early 90s, calling The Clash a punk band was (and remains) more a matter of affect than honesty-- in 2004, wholly and completely divorced from a context that never fully resonated with a global audience, The Clash are a rock band, and 1979's London Calling is their creative apex, a booming, infallible tribute to throbbing guitars and spacious ideology. By the late 70s, "punk" was more specifically linked with rusted safety pins, shit-covered Doc Martens, and tight pink sneers than any steadfast, organized philosophy; The Clash insisted on forefronting their politics. This album tackles topical issues with impressive gusto-- the band cocks their cowboy hats, assumes full outlaw position, and pillages the world market for sonic fodder and lyric-ready injustice. A quarter-century after its first release, London Calling is still the concentrate essence of The Clash's unparalleled fervor.

As always, London Calling's title track holds steady as the record's cosmic lynchpin: Horrifyingly apocalyptic, "London Calling" is riddled with weird werewolf howls and big, prophetic hollers, Mick Jones' punchy guitar bursts tapping little nails into our skulls, pushing hard for total lunacy. Empowered and unafraid, Strummer reveals self-skewering prophecies, panting hard about nuclear errors and impending ice ages. He also spitefully lodges some of the most unpleasantly convincing calls to arms ever committed to tape, commanding his followers-- now, then, future-- to storm the streets at full, leg-flailing sprints. Even if The Clash were more blatantly inspired by the musical tenets of dub and reggae, "London Calling" unapologetically cops the fury of punk's blind-and-obliterate full-body windmilling, bypassing the cerebral cortex to sink deep into our muscles. From "London Calling" on, The Clash do not let go; each track builds on the last, pummeling and laughing and slapping us into dumb submission.

And now, we get to watch how it fell together: Using only a Teac four-track tape recorder linked up to a portastudio, The Clash inadvertently immortalized their London Calling rehearsal sessions at Vanilla Studios (a former rubber factory-gone-rehearsal-space in Pimlico, London) in the summer of 1979, several weeks before the album sessions officially opened at Wessex Studios. One set of tapes got left on the Tube. Another got crammed into a box.

The intricate (and generally convoluted) mythology of the "long lost recording" is embarrassingly familiar to rock fans-- even non-completists are awkwardly prone to chasing down bits of buried tape with insane, eye-bulging intensity. With precious few exceptions, the anticipation of a hidden, indefinitely concealed secret generally supercedes the impact of the actual artifact. Still, the possibility of stumbling into transcendence keeps the search heated, and sometimes stupidly dramatic. Earlier this month, Mick Jones bravely explained to Mojo's Pat Gilbert exactly how he uncovered the tapes: "I sensed where they were and that took me to the right box. I opened it up and found them... It was pretty amazing."

Snicker all you want at the supernatural, sixth-sense implications, or at the idea of Jones' third eye blazing hot for misplaced Clash recordings-- the 21 tracks that the constitute The Vanilla Tapes are just revealing enough to justify all the smoky mysticism. The tapes feature five previously unheard cuts-- "Heart and Mind", "Where You Gonna Go (Soweto)", "Lonesome Me", the instrumental "Walking the Slidewalk", and a cover of Matumbi's version of Bob Dylan's "The Man in Me", plucked from Dylan's 1970 album New Morning and reproduced in full reggae glory-- and together they reveal producer Guy Stevens' influence on the final sound of London Calling: muddy, raw, and insistently vague, The Vanilla Tapes see The Clash working hard, but also grasping for a muse.

Professionally, Guy Stevens was best known for "discovering" The Who and producing a handful of Mott the Hoople records, but it was his recreational exploits that carved the deepest cut into Britain's collective pop memory. With a frenzied halo of tightly curled brown hair and a penchant for destroying property, Stevens came to rule Wessex Studios, hurling chairs and ladders, wrestling with engineers, and famously dumping a bottle of red wine into Strummer's Steinway piano. Fortunately, Guy was far more concerned with encouraging "real, honest emotion" than with achieving technical perfection (true to form, London Calling has its fair share of slipped fingers), and consequently, the band's determination at Vanilla, coupled with Stevens' shitstorming, led to London Calling's odd and glorious balance of studied dedication and absurd inspiration.

And if The Vanilla Tapes aren't enough to satisfy your voyeuristic tendencies, there's more. For The Last Testament, documentarian/DJ Don Letts (also responsible for Clash on Broadway and Westway to the World) weaves together bits of live footage, interviews with punk pundits and band members (they spout tiny clarifications between snickers and cigarette huffs), promotional videos, and a few small, grainy glimpses of the band recording at Wessex. The studio shots were culled from footage that, like The Vanilla Tapes, had been unknowingly cardboard boxed for years-- in early 2004, former manager Kosmo Vinyl up a crate containing 84 minutes of hand-held footage of the London Calling sessions. Most of the film turned out to be unusable, but Letts salvaged some revealing shots of Stevens in fine form, wrestling with ladders and banging around chairs, in a curious reversal of classic producer/band hijinx.

As an instruction manual, the 25th anniversary edition of London Calling offers up bits of helpful, ordinary wisdom (he who fucks nuns will later join the church, no one gets their shit for free-- and "Balls to you, big daddy!" is an infallible exit line), but the album's biggest lesson is still spiritual. Like a bit of good gossip or a dog-eared copy of On the Road, Clash tapes tend to get passed around, and wind up forming countless intimate, enduring, and cathartic bonds. That Joe Strummer's handwritten lyrics and modest scribblings have finally been tucked into the liner notes is only appropriate: London Calling is just as precious”.

I am going to wrap up with some words from Rolling Stone from 2021. In their list of the 500 best albums ever, they ranked London Calling at sixteen. I would say that is a fair placing. It is right up there with the best and most significant albums ever released. If you have never heard it or not heard it for a while then do spend some time with it today:

“London in 1979 was plagued by surging unemployment and rampant drug use. The Iron Lady, Margaret Thatcher had just come to power and there was growing discontentment with the youth. London’s premiere punk band, The Clash were in disarray themselves. Following their second release, they had parted ways with their manager, left their rehearsal studio and hit a major period of writer’s block. One thing was for certain, though, their musical interests had extended beyond punk music and they were keen to explore other genres; Rock ‘n Roll, Ska, Reggae, Rockabilly, Jazz and even an influence from the sounds coming out of New Orleans. They were set up at a new rehaearsal studio and found themselves in a very disciplined and regimented schedule; afternoon rehearsals, followed by late afternoon football, drinks at the pub, and finally more rehearsals. The band created a strong bond with each other during this time which led them to start writing during these rehearsal sessions. And writing and writing. The drought was over and music started flowing out of Mick Jones and Joe Strummer, with contributions from Topper Headon and Paul Simonon.

The result is a two-LP Post Punk record spanning multiple genres and killer songs. The title track discusses the rising unemployment, racism and drug use in England. ‘Rudie Can’t Fail’ is about a fun-loving man with a refusal to grow up; “How you get a rude and a reckless?/Don't you be so crude and feckless/You been drinking brew for breakfast/Rudie can't fail (no, no).” It’s a fun Reggae-Pop song featuring a horn section. ‘The Guns Of Brixton’ is bassist, Simonon’s first recorded composition with The Clash, inspired by the film, ‘The Harder They Come’ (soundtrack featured at #174). Recorded in no more than two takes, Simonon sang his lead vocal while staring directly at a CBS executive that had visited the band in studio. ‘Lost In The Supermarket,’ one of the pop songs on the record, deals with an increasingly commercialised world and rampant consumerism. Inspired by a Taj Mahal concert he’d seen the night before recording, drummer, Topper Headon replaced his snared with a tom-tom drum, giving the drums a non-conventional sound. Brilliant drum performance on this track! While this album spans so many different styles and genres, it remains cohesive throughout. A tight collection of 19 well-crafted songs. It ends with the uncredited ‘Train In Vain,’ a song added after the sleeves were printed, it became The Clash’s first song to enter the Top 30 in the US. Trainspotters might find the drums in the intro sound familiar. Garbage sampled the beat for their 1995 hit single, ‘Stupid Girl.’ Another record with an iconic cover, it features Paul Simonon smashing bis bass on stage in New York because security wouldn’t let audience members stand out of their seats. The cover is a parody of Elvis Presley’s debut record, or a homage, if you will. In the 24 years since the release of that record, Rock ‘n Roll had changed and grown bigger than anyone could have ever expected. Similar to The Clash, they weren’t just another punk group, they had established themselves as a diverse band that had created a refreshing album for the time. To be honest, it still sounds as fresh as ever”.

On 14th December, it is forty-five years since The Clash released London Calling. Such an important album in the history of music, I am looking forward to reading how journalists approach it on its anniversary. Often cited as one of the greatest albums ever released, it is one that…

FEW artists have surpassed.

FEATURE: The Digital Mixtape: Songs from Albums Turning Forty-Five Next Year

FEATURE:

 

 

The Digital Mixtape

Songs from Albums Turning Forty-Five Next Year

_________

I started this run of features…

going back to 1975 and collated a playlist with songs from great albums of that year. A big anniversary, some treasures from nearly fifty years ago. Next year, some other legendary albums will celebrate a big anniversary. Forty-five years. I am traveling to 1980 and a really interesting time for music. At the start of a new decade, this was a really innovative and strong year for music. With some truly exceptional albums out, I have collected together songs from the very best of that year. In the next feature I am heading to 1985 and tracks from albums that turn forty next year. For now, below is a playlist of eclectic music. Some brilliant gems and great tracks from some astonishing albums that turns forty-five next year. It is evident that 1980 was…

A wonderful year. 

FEATURE: Spotlight: Luvcat

FEATURE:

 

 

Spotlight

Luvcat

_________

I have had my mind…

on The Cure recently, because BBC Radio 6 Music had them in for a live session and, this being BBC Radio 6 Music, they went on about it for some time! Fair enough I guess. One of their songs, The Lovecats, is a tenuous link to Luvcat. A mysterious and hugely intriguing artist, I wonder if her fans are called Luvcats?! In any case, I will focus my thoughts entirely on her. I am going to get to a couple of recent interviews. There are few recent interviews out there with her, though that is likely to change very soon. This fascinating young artist has a backstory and sense of allure which is hard to ignore:

“Born in Liverpool with a longing for mischief, Luvcat ran away with a Parisian circus on the eve of her sixteenth birthday. There she became a magician’s assistant for many years; in feathers, silks and sequins. After a tragic trick gone wrong, Luvcat performed a final disappearing act, fleeing on a train through the ocean to the heart of London and slinking back into society. Inspired by the dark, playful romance of Leonard Cohen, Nick Cave & The Cure, Luvcat began penning songs of her travels and all the lovers and libertines she met along the way”.

With a few singles under her belt so far, there is this early anticipation and expectation. A distinct sound and something special that has emanated from songs like He’s My Man. I am very new to her music, but I am already really invested in Luvcat. An artist who is standing out from her contemporaries. I think so much is given away in the current scene. Artists revealing so much about themselves online. Although we can gleam a little about Luvcat, there is a lot kept back. I guess it makes you focus on the music. Taking everything from that rather than being distracted by the artist and their personal life.

Rather than label Luvcat as a solo artist, they are actually a band, though their lead is the one who handles interviews by and large. I want to come to the first interview. Take a few snippets from it. Next year is going to be a massive one for Luvcat. She and the band are playing The Great Escape festival in May. There are other dates in the diary, though this showcase will be a big one. I would not be surprised if there was a slot at Glastonbury beckoning soon. At the end of last month, Rolling Stone spent some time with Luvcat. She discussed the mystery behind the name. How she does not give too much of the personal away. Also, as she is called Luvcat, that is indeed connected to The Cure:

“Congratulations on writing a song called ‘Dinner @ Brasserie Zedel’. It’s about time that place got the recognition it deserves. I’ve got to say it’s very affordable.

I really love it. It’s my favourite spot in Soho and I was just going there over the years and every so often I’d think I’m going to marry the first man who takes me here on a date, so that’s why I wrote that song.

And has that happened?

Yeah, there’s been a few. I think the place should endorse me and give me free prawn cocktail for life now.

For someone who hasn’t heard your music before, how do you describe Luvcat?

I think, sound-wise, it comes from what I’ve grown up listening to. It’s my dad’s record collection combined with my grandad’s. My granddad raised me on Sinatra, the Rat Pack and musical theatre, while my dad raised me on The Cure, Velvet Underground, Leonard Cohen and Tom Waits. It’s all about mixing those two into this strange cocktail of Gothic romantic drama.

There’s a lot of mystery in the theatrics of your backstory too. Your bio manages to speak of being born on a riverboat in the River Seine and running away to join the circus…

Well, I guess I got a little bored of knowing the ins and outs of artists that I love. I miss those old days when there was an element of mystique and a bit of playfulness where you don’t quite know where the line is drawn between truth and fiction. Isn’t that just a bit more fun?

And I grew up with bands where they had fun names you know, like Rat Scabies from The Damned. I love all that stuff, rock and roll has lost a bit of mischief and playfulness I think. It also came from when I was just sitting at home and I had to send a bio for the first show we played in Paris last year and the promoter wanted a biography about Luvcat. I sat there and thought I could state the facts, or I could have a bit of fun. I wanted to dance that line because the stories I sing about are real, but some of them are even toned down because I choose that life of chaos.

The name Luvcat…does that stem from your love of The Cure?

Absolutely, they influenced me since the age of maybe six or seven when my dad first showed me the ‘Lullaby’ video of Robert Smith in the candy striped pyjamas and the dead marching band.

All of that was just me all over because I was obsessed with vampires and dark stuff growing up. He showed me that and it went hand in hand. The tunes are so cool and when I was naming this project I had a few options for names. One name was Elisa Day from Nick Cave and Kylie’s ‘Where the Wild Roses Grow’, but Luvcat just felt fun and summed it up. The minute it came out of my mouth it felt like everything else made sense.

There’s been a pretty receptive reaction among your fans too…

It’s been really overwhelming. I’ve been making music since I was a young teenager, but this feels very much a whirlwind all of a sudden. Suddenly, quite a few people care about the tunes I’m writing and I don’t know if I’ll ever be able to comprehend that. You know, people are flying in from Berlin to come to a show at the Kazimier Garden in Liverpool and last year I was begging my family and my mum’s mates to come down. I was just talking to the boys in our band and we did a rehearsal yesterday because we’re going to Paris at the weekend for our first headline show. We had this nice rehearsal room and we had it for six hours.

I’ve never done a rehearsal more than two hours with the boys because I couldn’t afford it and we used to rehearse in an ex-public toilet the size of a postage stamp in Kentish Town under the ground. And now suddenly we’re in a nice room. That’s all I wanna do, you know, be in the room with the lads making music and then being able to go on the road. That’s the difference of 12 months”.

@luvcat.mp3 me & my man 🌡️ #fyp #foryou #myman ♬ me and my man - luvcat

I am going to come to an interview from NME to end. In fact, when I said Luvcat had some good gigs planned for next year, it is worth noting that there are some incredible live dates in the diary for this year. They are currently playing gigs in the U.K. and have already visited Brighton and London. Getting around the country and playing to some incredible crowds. If you can grab a ticket to go and see Luvcat, then make sure you do. This is an act that is going to go a very long way. One of those names that you know if going to be in the mainstream before too long. Even though Luvcat is a band on the road, there is focus on the lead, Sophie Morgan. In terms of the talking and the music itself, the spotlight is very much on her. I know that magazines and websites will be proclaiming her as one to watch for 2025. Recently, DORK hyped the brilliant Luvcat:

“The theatrical nature of Luvcat’s work stems from influences that read like the record collection of a particularly dramatic teenager who’s just out to start a rebellion. “My Chemical Romance were my childhood band, so I think a lot of their gothic theatrics seeped into me,” she explains. It’s a foundation that makes perfect sense – take MCR’s flair for the dramatic, add a dash of decadence, and you’re getting close to Luvcat’s particular flavour of musical absinthe.

These influences run deeper than mere aesthetic choice. “I’m the only person in my family who actually plays an instrument, but everyone is completely mad about music. My dad’s taste has completely informed mine, which I feel very lucky about.” It’s a musical education that has allowed her to build something both timeless and distinctly modern – as if The Cure’s Robert Smith had a torrid affair with Liza Minnelli, and their love child grew up watching old Hollywood films in Liverpool basement bars. Which, frankly, might be yet another potential Luvcat origin story.

The path to releasing music wasn’t exactly straightforward – but then again, nothing in Luvcat’s world ever is. “I definitely wasn’t planning on releasing any music for a while, but a video from one of our first gigs in my local pub in London blew up online, so we released the single independently as quickly as we could.” From there, things escalated with the kind of dramatic pacing usually reserved for more fantastical novellas. “We put out another single and have been playing as many shows as possible, including our first headlines in London and Liverpool at the Kazimier Garden.”

These shows have become notorious for their intensity – and occasional drama when ex-lovers attempt to gain entry [Proper Heathcliff-at-the-window stuff, this – Ed]. The story goes that, at that Liverpool show, Luvcat was greeted by three former beaus gawping back from the crowd, and another trying to break in up

Away from our less romantic haunts, Paris remains central to the Luvcat mythology, a city that seems to have been waiting for her arrival since the days of Edith Piaf. “Our first headline show in Paris will stay with me forever, definitely,” she reflects. “Seeing beautiful people in another country singing every word to unreleased songs was kinda overwhelming. Especially because our first show ever was actually on a riverboat on the Seine last May. I only had about four songs to my name, so we played lots of Leonard Cohen – it felt like a proper full-circle moment to be back.”

The dark romanticism that permeates every aspect of Luvcat’s work isn’t just for show – it’s the engine that drives her creative process. “The twisted romance thing has always been my muse,” she acknowledges. Her songs feel like love letters written in lipstick on mirror shards, beautiful and dangerous in equal measure. When asked about her recreational pursuits, her answer is characteristically direct: “I really like kissing. That’s fun.”

Even the Halloween release date of ‘Dinner @ Brasserie Zedel’ feels less like a marketing strategy and more like cosmic alignment. “I love it, yeah. Something about the air always smells different on All Hallows’ Eve,” she reflects, before revealing a delightful crack in her gothic facade. “But for someone who writes dark songs, I am actually such a scaredy-cat. When I was a teenager, I once worked as a ghost actor for a Halloween event at an old stately home in Liverpool. They sent me home because I was more scared than the guests.” Her Halloween costume of choice? “Morticia Addams, always.”

View this post on Instagram

A post shared by ♱ ˚ ⋆ 𝐋𝐔𝐕𝐂𝐀𝐓 ⋆ ˚ ♱ (@luvcatband)

The autumn holds both glamour and shifting fates. “We’re going to be on the road for most of November,” Luvcat recounts, “which I couldn’t be more excited for, opening for The Last Dinner Party in Europe in some of the dreamiest venues I’ve ever seen.” While the full European run has since been condensed due to The Last Dinner Party’s need to prioritise their wellbeing, Luvcat is still gracing stages from Paris to Prague, including stops in Brussels, Amsterdam, and Berlin. It’s a perfect pairing – both acts understand the power of presentation, though Luvcat’s take feels more like cabaret noir to TLDP’s baroque pop fantasia.

And for those seeking a piece of that thickly layered mythology to take home? “We’re just about to have merch silk panties available on our website shop,” she reveals. “They are so cute and cheeky and always get snapped up after our shows.”

Wherever the truth and fiction actually do meet, Luvcat’s particular brand of dramatised truth-telling feels like rarified air – albeit air perfumed with incense and expensive French cigarettes. She’s writing her own deep lore in real-time, one that exists in the spaces between story and substance, between the grandiose and the intimate. While other artists recount their real lives in lurid detail, Luvcat is weaving an augmented reality that understands that escapism is a balm to the grey skies and daily churn. Her songs hang in the air behind her – intoxicating, mysterious, impossible to replicate.

That twisted romance that defines her music shows no signs of fading. If anything, it’s growing stronger with each release, each performance, each dramatic tale of love gone wrong. As ‘Dinner @ Brasserie Zedel’ arrives, it marks another chapter in a story that began on a Parisian riverboat – or maybe on a Liverpool street corner, or perhaps in a circus tent. The truth is complex and layered, revealing different notes to different noses. But with songs like these, who really needs to know what’s real? Sometimes, the story is sweeter than reality could ever be”.

I am going to wrap up with NME. With three songs out, it shows how potent and original Luvcat is that she has already got such attention and love from the press. NME featured her on their Radar feature. Reserved for breakout artists that we need to keep an eye out for, it is going to be exciting to see what next year offers for Luvcat. Maybe there will be an album coming at some point. As she says in the interview, her and the band will hopefully be making space for an album next year. At the moment, Luvcat is taking things at her own pace and does not want to give too much away just yet and rush in:

“It’s been a big year for you. Have there been any smaller, more inconsequential moments that felt significant to you?

“Something funny happened a couple of days ago, which might seem silly to some people, but we were rehearsing for this tour coming up, and I’ve only ever been able to afford a two hour rehearsal with the boys. And it was the first time we’ve had six hours in a rehearsal room, and I didn’t have to settle at the door, because obviously they’ve got people looking after that now.

“We used to rehearse in – it’s actually brilliant – but it was an ex-public toilet in Kentish town. I’m not dissing it, but it suddenly felt like, ‘Oh my god, we’re actually progressing, because now we get to rehearse.’ I get the privilege of playing with the boys for longer, which is all I really want to do.”

Do you think walking that line and maintaining some level of mystery is the reason fans are so desperate for a full album?

“There’s always space to uncover more things. I think it’s all in me, I’m just slowly uncovering and bringing out certain things and when the time is right. I get a lot of questions about ‘when are you putting an album out?’, and that obviously is something that I’m dying to do. It’s lovely that people are hungry for it, just got to make sure the art is right, and then we’re working as fast as we can to get it all out and keep feeding it.

“Hopefully by next year, there’ll be a bigger body of work. I’m not in it for anything other than to be able to get on the road and make an album. I want to do something outrageous for the cover – I can’t tell it here, because I’ve not fully decided it in my head, but I want to do something naughty.”

Outside of an album, is there anything else in the distance?

“We’re going to Tokyo in January for a show, and I think we should film while we’re there. We’ve got my best mate, Barnaby, who’s an amazing photographer and videographer with us, and I just want him to film everything. All the fights, all of the highs, lows. Because I think this year, it’s never going to happen again and everything’s new.

“I’d love to be able to look back and have it documented and how it all feels. Even the past month, that much has happened, I can’t remember half of it, there’s been so many cool things. I love those docs about life on the road – Dig! is one of my favourites, so we’ll see what we get”.

If you are new to Luvcat, then make sure you follow her (them). Catch her and the band on the road if they are playing near you. Festivals are sure to be lining up to book her for next year. It is an exciting time for a young artist with many years ahead of her. What we have seen and heard so far is testament to the fact that Luvcat has the talent…

TO endure for a very long time.

_____________

Follow Luvcat

 Official:

https://www.luvcat.co.uk/

TikTok:

https://www.tiktok.com/@luvcat.mp3

Instagram:

https://www.instagram.com/luvcatband

Spotify:

https://open.spotify.com/artist/2IprcYDAYTYzCl4AJH3AuT?si=1kRq8IE9SwO8B1T4TZPgyw

YouTube:

https://www.youtube.com/@luvcat27

FEATURE: Wings Fill the Window: Kate Bush’s Night of the Swallow at Forty-One

FEATURE:

 

 

Wings Fill the Window

PHOTO CREDIT: Steve Rapport

Kate Bush’s Night of the Swallow at Forty-One

_________

THE final single released…

from Kate Bush 1982’s album, The Dreaming, is one of her most underrated and under-discussed tracks. Night of the Swallow was released on 21st November, 1983. Though most people who are unaware of Kate Bush might never have heard of this song. For those who know Kate Bush and her albums, Night of the Swallow will be on their radar. Many consider it to be one of her best tracks. It is hard to argue against that! Released only in Ireland, I think it should have got a wider release. Perhaps one of the reasons why it was only released in Ireland was because of the Irish sounds. It is heightened by its sonic palette. I love the mix of players on Night of the Swallow. We have Bill Whelan on bagpipes, string arrangement; Liam O'Flynn on uilleann pipes, penny whistle; Seán Keane on fiddle and Dónal Lunny on the bouzouki. I am going to get some words from Kate Bush about working with Irish musicians and that experience of connecting with them. In terms of the story of Night of the Swallow, it is about a smuggler planning his next clandestine journey. Kate Bush adopts the role of his lover, pleading for him not to leave. The smuggler speaks in defiance. Even if that is what the song literally references, Bush has said in an interview that she was thinking of men trapped in relationships who want to leave and might not be able to because of the woman’s insecurities. Also the same with the mother-son dynamic and the mum not wanting the son to leave the nest. That feeling that the male is compelled to pull away when they meet with this resistance. Bush turning that everyday and common dynamic that she has witnessed and turning it into one of her most transfixing songs. The author John Boyne was on Desert Island Discs earlier this year and he chose Night of the Swallow as one of his eight discs. He actually selected it as the one he would save from the waves. He has heard the song countless times and it is very special to him. He is not the only one. It is a track that goes deep and provokes such strong emotions.

Prior to moving on, this is what its writer said in the Kate Bush Club newsletter of October 1982. She would release the single just over a year later. It is a shame that it was not a worldwide release, though I guess it might have struggled in terms of chart positions.

“Ever since I heard my first Irish pipe music it has been under my skin, and every time I hear the pipes, it’s like someone tossing a stone in my emotional well, sending ripples down my spine. I’ve wanted to work with Irish music for years, but my writing has never really given me the opportunity of doing so until now. As soon as the song was written, I felt that aceilidhband would be perfect for the choruses. The verses are about a lady who’s trying to keep her man from accepting what seems to be an illegal job. He is a pilot and has been hired to fly some people into another country. No questions are to be asked, and she gets a bad feeling from the situation. But for him, the challenge is almost more exciting than the job itself, and he wants to fly away. As the fiddles, pipes and whistles start up in the choruses, he is explaining how it will be all right. He’ll hide the plane high up in the clouds on a night with no moon, and he’ll swoop over the water like a swallow.

Bill Whelan is the keyboard player with Planxty, and ever since Jay played me an album of theirs I have been a fan. I rang Bill and he tuned into the idea of the arrangement straight away. We sent him a cassette, and a few days later he phoned the studio and said, “Would you like to hear the arrangement I’ve written?”

I said I’d love to, but how?

“Well, Liam is with me now, and we could play it over the phone.”

I thought how wonderful he was, and I heard him put down the phone and walk away. The cassette player started up. As the chorus began, so did this beautiful music – through the wonder of telephones it was coming live from Ireland, and it was very moving. We arranged that I would travel to Ireland with Jay and the multi-track tape, and that we would record in Windmill Lane Studios, Dublin. As the choruses began to grow, the evening drew on and the glasses of Guiness, slowly dropping in level, became like sand glasses to tell the passing of time. We missed our plane and worked through the night. By eight o’clock the next morning we were driving to the airport to return to London. I had a very precious tape tucked under my arm, and just as we were stepping onto the plane, I looked up into the sky and there were three swallows diving and chasing the flies.

Kate Bush Club newsletter, October 1982”.

I do feel this is one of Kate Bush’s ‘lost’ singles. One that should have done better or be released more widely. Perhaps Night of the Swallow was seen as more suited to Ireland due to the nature of the composition. That it would resonate harder. Given extra gravitas as it featured members of the Irish bands Planxty and The Chieftains. It is one of my favourite Kate Bush A and B-side releases. An incredibly strong single with Houdini as the B-side. It could have been a single itself. When Night of the Swallow was released, only about a thousand copies were made with a picture sleeve. In addition, a vinyl 7″ was pressed in England and the sleeve produced in Ireland. Unfortunately, as a greater number of vinyl was produced than the sleeves, it did cause issues. The single did not sell well and, once the next shipment of 7” singles was in transit, Night of the Swallow had already stalled. It meant that there was this stock of discs that could not go anywhere. It is said from about 1990, there were copies with a lighter-weight sleeve. Original copies with the hard card sleeves and later ones with a paper sleeve. Thanks to the Kate Bush Encyclopedia for that information. I think The Dreaming is one of Kate Bush’s most varied albums in terms of the themes and sounds. Her role as producer crucial in that respect. Her lyrics are always strong, though she hit a career peak in 1982 with The Dreaming. Night of the Swallow boasts some of the album’s finest and most striking words. I think my favourite section is this: “Give me a break!/Ooh, let me try!/Give me something to show/For my miserable life!/Give me something to take!/Would you break even my wings,/Just like a swallow?”.

Night of the Swallow gets brief mention. Whether it is a review for Bush’s 2019 lyrics book, How to Be Invisible, where the song is described as one of obligation in a relationship. There is the odd review where Night of the Swallow is giving some kudos. Whether it is from Medium (“Night of the Swallow” — Another haunting track (and my personal favorite) with a strong Celtic flavor, especially in the instrumental passage played by Irish musicians recorded in Ireland, during an all-night recording session with Kate. The somewhat mysterious narrative involves a secret, night-time escape by plane, possibly by a smuggler on his way to his next rendezvous, with Kate pleading, “I won’t let you do it/If you go, I’ll let the law know…” The dramatic final chorus is as gorgeous as it is spine-tingling”) or Prog (“This is a surprising single when the nature of the songs is considered. But very pleasantly surprising, and extremely satisfying for those listeners who prefer artistic values and uncoventional details over catchiness and hit potential! Both tracks are taken from Kate Bush's fourth album The Dreaming (1982), which was her most adventurous and innovative work to date at that point. In fact all singles from that album are far from typical in the single market, whereas Never For Ever clearly had songs such as 'Babooshka' that are quite obvious choices for 7" releases. 'Night of the Swallow' is actually very representative of the album's deep and mysterious spirit. Kate's magnificent vocal performance carries the song that has almost cinematic power in its scenery. Apart from the strong chorus ("with a hired plane, with no names mentioned...") which is spiced up with folk instruments - there are Uillean pipes if I remember right, and isn't that instrument in her lap on the rather unclear cover picture? - the playing remains very delicate, making the vocals and lyrics the centre of all attention. The spellbinding atmosphere of this song is very English and "old" in a way. The arrangement is highly original and full of interesting details, such as the fast tap-tap-tap percussion pattern on the chorus”).

I do hope that more is written about this gorgeous song in years to come. I do worry that there are tracks from Kate Bush’s albums that get passed over. The Dreaming is equally vulnerable to people maybe listening to obvious standouts - such as Sat in Your Lap (the first single) - and maybe one or two other cuts. Such a rich album, Night of the Swallow is one of the gems. It is a shame it didn’t do anything in Ireland. Even if Bush is moving away from retrospection and clearing the way for new music, there are songs that warrant a new video. Maybe an animation that is stunning and stylish, it would bring Night of the Swallow to new people. Perhaps not a song one would instantly think to cover, there is scope to do something new with the track. As there are rising artists covering Kate Bush and making new audiences aware of her work, I would urge a band or artist to take on Night of the Swallow again. It is a fantastic track that you don’t hear played or talked about much. If you have not heard Night of the Swallow then make sure that you do. The seventh track on The Dreaming, it then leads to All the Love and the wonderful closing two tracks of Houdini and Get Out of My House. Such range over the course of four songs! Maybe Kate Bush knew that Night of the Swallow would not be a big single. I have said before how it was common but a bit unusual releasing different singles in different countries. Often it did not provide a successful gambit. I do feel Night of the Swallow would have done well as a U.K. single. We will never know. A wonderfully oriignal and distinct song that should get more discussion and airplay, Night of the Swallow turns forty-one on 21st November. Rather than it being this album track that was a failed single, I think we need to be a lot more positive about this stunning song. Discuss it as much as we can and, in the process, ensure that we provide it…

A whole new lease of life.

FEATURE: Directors Cut: Have We Passed the Age of Music Video Innovators?

FEATURE:

 

 

Directors Cut

IN THIS PHOTO: Acclaimed French director Michel Gondry has directed multiple classic videos during his career

Have We Passed the Age of Music Video Innovators?

_________

I have been thinking about this…

PHOTO CREDIT: Donald Tong/Pexels

for a while now. I have been immersing myself in some great and hugely innovative music videos from the 1990s and 2000s. Maybe as a way to get featured on MTV or the early days of YouTube, there was this defined wave of directors putting out amazing video after the next. My favourite is Michel Gondry. The French director started out in the 1980s but his classic period I think was from the early-1990s to the early-2000s. Directing videos for artists like The White Stripes, Kylie Minogue and Radiohead, perhaps he is best known for the videos he directed for BjörK. Such mind-blowing and eye-opening videos. This very distinct style. A huge imagination. Gondry also directed one of the best music videos ever: Daft Punk’s Around the World. He is still directing, though I think his finest years were back in the 1990s and the early part of the past decade. He is not the only one. Hugely creative and exceptional directors like Sophie Muller, Hannah Lux Davis, Spike Jonze, Chris Cunningham and Melina Matsoukas. Between them, they have this portfolio of videos that stay in the mind and will endure for years. I have highlighted Michel Gondry as I always love his videos. How they need to be watched over and over again so that you can work them out. Alongside the more arty and intellectual directors, there are those who have made huge productions. I guess music videos were essential for people to notice the song. A way of marketing this track so it would reach a larger audience. More than being part of the promotional process. The best directors made videos that were more enduring and powerful than the songs themselves. I have discussed this before. How these directors created timeless videos that inspired other filmmakers.

Many would point out how social media means artists are promoting their music in different ways. Music T.V. is not really a thing anymore. It also can be expensive making videos and most artists have a very limited budget. So many videos from major artists are liked and shared because of the artist and not necessarily the quality of it. I am thinking about the best videos of the past decade and how many could stack up against classics from a few decades back. Do we have modern-day directors who have their own style and have built up a reputation. We have film and T.V. directors who have a varied and long C.V. Less common when it comes to music videos. It is a pity that there is far less stock in music videos now. I guess it is fair to say that the culture is different. However, as physical formats like C.D.s and cassettes are back and could well see a boom, what is to say music T.V. cannot stage a revival? There are some great music videos released each year, though we tend to see fewer standouts. A director with their own mark and personality. Running together a string of brilliant videos that engages the senses and stays in the memory. Every time I write about this, I do wonder whether music videos are valued. I don’t think it is as simple to say tastes have changed or the digitisation of music has impacted that side of things. With so many rising and major artists putting out music, there should be this opportunity for directors with the vision and brilliance of Michel Gondry or Sophie Muller to break through.

Even if it won’t have the same impact and legacy of those directors’ videos, often music video directors go into film. It is this gateway where a director can flex their creative muscles. In so many cases, I remember an artist and an album because of a music video. Money remains an issue. To mount something quite ambitious and technical, it can take a lot of time and money. There is not really a big return. I feel it is a shame that the visual side of music is perhaps not as celebrated or important as it once was. The more I revisit these wonderful music videos from the past, it is more than the visuals. It is the memories. The way videos opened my music world. I think videos were more important than the actual music in a way. I long for the day when we get these ambitious and new directors emerging that take music videos in a new direction. Maybe people can name some who are doing that already. I am always keen to discover amazing directors. I also fear for younger music fans who might lack curiosity when it comes to music videos. This unique artform that has produced works of genius through the years. Perhaps I am old and stuck in the past. It is not as though music videos have disappeared. I feel there is a real absence of directors pushing things. Music videos not as regarded as they once were. A golden time when videos ruled. I seriously hope that this time has…

NOT gone forever.

FEATURE: With a Beautiful Snowflake… Kate Bush’s 50 Words for Snow at Thirteen

FEATURE:

 

 

With a Beautiful Snowflake…

IN THIS PHOTO: Kate Bush in a promotional photo for 2011’s 50 Words for Snow

Kate Bush’s 50 Words for Snow at Thirteen

_________

MY final visit…

PHOTO CREDIT: Kate Bush/Fish People

to Kate Bush: The Deep Cuts takes in Among Angels. The final song on her latest studio album, 2011’s 50 Words for Snow, it is the only song on the album not related to snow and the cold. I will explore a song that has got a lot of attention recently. That is Snowflake. Now scoring an animated video featuring a little shew, the Little Shrew (Snowflake) radio edit is many people’s first introduction to the song. The opening track on 50 Words for Snow, I will come to the track in a bit. This is the second and final feature for 50 Words for Snow ahead of its thirteenth anniversary on 21st November. An album of seven songs set against the backdrop of snow, it is appropriate that we start out with Snowflake. Maybe Among Angels is after the snow has cleared. The penultimate track is the title cut. Where we get actually fifty words for snow. I like the narrative of 50 Words for Snow. For this anniversary feature, I am going to focus in on three of the key songs. I also want to take a look at the new Polar Edition and how the recent exposure of Snowflake in this new form should draw people to the 2011 album. How it would be great to have 50 Words for Snow as a single film with animation and this arc. There were animations for a few of the songs already. I like Kate Bush’s new direction on Snowflake (Little Shrew). That is a black-and-white video (well, maybe grey and white some would say). Maybe that then leads to a colour animation for the second track, Lake Tahoe. My first anniversary feature spent some time with an interview from 2011. There was some critical feedback too. In terms of the reviews, they were among the most ecstatic of Bush’s career. Up there with Aerial (2005) and Hounds of Love (1985) in some cases. I also will end this feature by writing how Bush has announced she wants to work on new material. Whether it will be anything like 50 Words for Snow.

I think that Snowflake is one of Kate Bush’s best album-opening tracks. I love how intimate Snowflake is. Even though we get this sense of the expanse of a street and snow falling from the sky to a person’s hand, there is this tenderness and ethereal quality. In terms of the personnel, we have Kate Bush’s young son Albert (Bertie) on lead vocals. Bush on backing vocals. She is also playing piano. The legendary Steve Gadd is on percussion. He was present through 50 Words for Snow and her previous studio album, Director’s Cut (also released in 2011). The late Del Palmer – who engineered the album and was part of Bush’s music and life since the 1970s – on bass. Bush’s partner Dan McIntosh on guitars. That connection between the players. Even though their parts are subtle, they create this powerful mood and set the scene. The spotlight is very much on Bertie. The fact that her tenth studio album starts with a voice other than her own is an inspired decision. Expectations are subverted. This beautiful and pure voice representing a snowflake. This is what Kate Bush said about the majestic opening track:

“When I wrote the song it was something that I wrote specifically for him and for his voice, and I guess there was a very strong parallel in my mind between the idea of this transient little snowflake and the fact that Bertie at this point… still has a really beautiful high, pure voice which soon he will lose… there seems to be this sort of link between the brief time that his voice will be like this and the brevity of the snowflake.
I think his performance on this is really powerful, and obviously I’m quite biased because I’m his mother. But it’s interesting how many people have reacted so powerfully to his performance, it’s, you know, I think it’s really something.

Joe Tiller, ”50 Words For Snow’: How Kate Bush Made A Wintry Wonder Of An Album. Dig! website, 11 December 2022”

Depending on your preference, one of the best things about 50 Words for Snow is its collaborative nature. I am going to feature one track that features a legendary figure. Some people were not keen on the fact that we have Andy Fairweather Low, Elton John and Stephen Fry heavy in the mix. Maybe preferring Bush alone, her albums have always had some backing vocals. Perhaps many feeling one collaboration would have been enough. Snowed in at Wheeler Street is a duet with Elton John. It is good that we get this two-hander from two artists who admire one another. Stephen Fry lending his distinguished voice to 50 Words for Snow’s title track as he lists increasingly-ridiculous words for snow. Andy Fairweather Low appearing on Wild Man. Even if some critics felt the title track and Snowed in at Wheeler Street were weaker tracks – because of the collaborations or maybe they were not as engaging -, I do think it offers variation and new textures on the album. Rather than Bush taking solo vocals, you do have this mix of more explorative songs where Bush’s voice guides us. A few songs where others appear. I am going to come to Snowed in at Wheeler Street soon. However, prior to that, I want to concentrate on a song that fascinates. That is Misty. One of the least-streamed songs on 50 Words for Snow is also the longest. It is the third track. I always think of it as being the closest connection to Christmas. Even though many interpret it as a song where Kate Bush has sex with a snowman, I think it is more sensual than that. I always think of it as a dream. A woman dreaming of this encounter. However, the snowman eventually melts and the bed is wet. Misty is this truly wonderfully, strange song. I guess, when I say it reminds me of Christmas, I am thinking of The Snowman. Granted, this would be the adult version! We associate snowmen with Christmas. It does seem to be this retelling of that story. When speaking with John Wilson in 2011, Bush felt the song was a bit ridiculous. She wanted people to think of it as a dark and tender song. Wilson felt that the snowman was symbolic, but Bush came back jokingly saying it was real. I think it is meant to be symbolic. Such a fascinating track, it is strange people have not written about it more. You immerse yourself in the music. As I will come to, it would be great to have a full-length animation with this song.

Track five on 50 Words for Snow features the brilliant Elton John. Snowed in at Wheeler Street is a song you almost have to defend. Perhaps the one highlighted most as being the weakest of the seven, I think it remarkable and fitting to have these two friends playing lovers who get separated through time. This is what Kate Bush said in a 2011 interview:

“The idea is that there are two lovers, two souls who keep on meeting up in different periods of time. So they meet in Ancient Rome and then they meet again walking through time. But each time something happens to tear them apart. (…) It’s like two old souls that keep on meeting up. (John Doran, ‘A Demon In The Drift: Kate Bush Interviewed’. The Quietus, 2011)”.

Not much is written about the song. From The Quietus (“Those synths imbue ‘Snowed in at Wheeler Street’ with a sense of frazzled foreboding that negates the potential cheesiness of Elton John’s throaty turn on a duet that casts him and Bush as a pair of lovers spread across time, doomed to separate at key points in history, wishing that could return to one mundane, snow bound day spent together”) to The Guardian’s three-star (where they listening to the same album?!) assessment (“It all begins beguilingly enough with the birth of a snowflake, sung by Bush's son Albert, who flutters down to a stately piano accompaniment. Their search for each other is echoed later in "Snowed in at Wheeler Street", an inferior duet between Bush and Elton John. Two lovers are torn apart by various historical forces – the sack of Rome, the second world war, 9/11; the best that can be said for them is that Bush's voice reaches some of its lushest temperatures”), it is all a bit lukewarm and perfunctory. Granted, not up there with Lake Tahoe, Misty, Wild Man or Among Angels, I think Snowed in at Wheeler Street is very special. Back in 2013, Kate Bush News reported on an article where Elton John discussed working with Kate Bush:

“In his “Soundtrack of my Life” features in The Observer Sunday 1st September, Sir Elton John noted Snowed in at Wheeler Street as “The song that was difficult to Record”:

“I did a duet with Kate Bush on this track for her last album. That session with her was hard, because she doesn’t write easy songs. She’s a complex songwriter and this is a weird song, but I love it so much. I’m so proud to be on a Kate Bush record; she’s always marched to the beat of her own drum. She was groundbreaking – a bit like a female equivalent of Freddie Mercury. She does come out socially sometimes and she came to my civil partnership occasion with her husband. There were so many stars in the room, but all the musicians there were only interested in saying, “You’ve got to introduce me to Kate Bush.” I remember Boy George saying, “Oh my God, is that Kate Bush?” I said, “Yeah!”.

On 21st November, it will be thirteen years since Kate Bush released her latest album. In a way, Snowflake ties us to the album and also to the now and future. As it was used in a new context, I think it will draw eyes to 50 Words for Snow. Opening this amazing album, I was fascinating by the animation that Bush paired with the song. How effective it was. However, as it has not been done yet, it would be great to have a single film of 50 Words for Snow. At sixty-five minutes, maybe it would need a slight trim. Cutting some of the longer songs down or blending them together. Think about the imagery we could get. Bush showed how effective a four-minute radio edit of Snowflake could be powerful and emotional with the right images. I envisage an album version/start of a film featuring a young child animated. Watching the snow fall. Maybe setting it at midnight at Christmas (so the very start of 25th December) and following it through to the evening. Even though Bush said 50 Words for Snow is not a Christmas album – she said that to John Wilson in 2011 -, there are mentions of the day: “We're over a forest/It's midnight at Christmas/The world is so loud. Keep falling. I'll find you/I think I can see you/There's your long, white neck/The world is so loud. Keep falling. I'll find you/Now I am falling/Look up and you'll see me”. From that opening in a street in the U.S., we now move to Lake Tahoe. Straddling Nevada and California, we would pan across the country. If the opening of the film is more romantic, tender and Christmas-tinged, the second song is more gothic and darker. That blend of light and dark. There would be some old-style fairy-tale imagery. Consider some of the lines: “No-one's home/Her old dog is sleeping/His legs are frail now/But when he dreams/He runs../Along long beaches and sticky fields/Through the Spooky Wood looking for her/The beds are made. The table is laid”. All the songs on the album beg for longer-form animations. As I say, if we have songs that are eleven or thirteen minutes, perhaps cutting three to four minutes off to accommodate a fifty-five-minute film.

Prior to getting to the next two songs – which could be blended and joined – we then move into a garden/house for Misty. Perhaps in Minneapolis (Minnesota). I was thinking of that place because Prince was born there. Kate Bush was a fan of Prince, so that would be a nice nod. There would be subtitles saying the place name or we would see it on a map of America. There was a short (two minutes and twenty-four seconds) animation to accompany a segment from the song entitled Mistraldespair. It was premiered on 25th November, 2011. I do like that clip, but it would be great to redo it and make it longer. Perhaps a seven or eight-minute version where we can go deeper into the song and have a longer-form animation. This film that sweeps across America on Christmas as the snow falls on various states. We would end up in California. I see us then flying over to the mountains and woodland of Montana for Wild Man. We find Bush playing this woman in the woods looking for this beast. Something seen as mystical or mythical. Rather than hurt it, she wants to protect it. It would be the first of a two-part story in the middle of the film. I envisage us panning out and that song being set in a snow globe. It would be the start of Snowed in at Wheeler Street. There is a Wheeler Street in Philadelphia. The largest city ion Pennsylvania has a Wheeler Street. I imagine representations of Kate Bush and Elton John in separates houses in Wheeler Street as there is a huge snow drift. We travel around the song and the various flashbacks. Maybe later in the evening, they both fall asleep and this is a dream. The start of the song sets the scene: “Excuse me, I'm sorry to bother you but don't I know you?/There's just something about you. Haven't we met before?/We've been in love forever./When we got to the top of the hill we saw Rome burning”.

IN THIS PHOTO: Kate Bush overlooking a scene from Misty

Various cities and places are named in the song. From ancient Rome through to Paris 1942 to the London smog , these lovers keep getting separated. These burning hills of Rome. Evocative images throughout. It is a dream sequence that could also be a twist at the end of the film. Is everything a dream or is the story as straightforward as we think? I kind of compare it to The Ninth Wave and how there has not been a short film for that. Also running at seven songs, it would be fascinating pairing them together. Having animated films of both. From the dream of Snowed in at Wheeler Street, we then flash to something a bit trippy and fantastical. Perhaps going to be a university in New York, Stephen Fry plays Prof. Joseph Yupik. Kate Bush was interviewed by The Quietus in 2011 and spoke about the song and these made up words for snow (“So the idea was that the words would get progressively more silly really but even when they were silly there was this idea that they would have been important, to still carry weight. And I really, really wanted him to do it and it was fantastic that he could do it. (…)”). I like the idea of Kate Bush playing someone dancing with the professor as the snow falls across New York. Being this Disney-esque fantasy where all the words come to life and we get this psychedelic nod to The Beatles too. It would then fade out as we get to the final song. Rather than there being snow, we would then go to California.

IN THIS PHOTO: Kate Bush visualising Lake Tahoe

As Los Angeles is three hours behind New York, we would be staying within Christmas Day. Maybe a scene at a family home. We then go to the street and a situation like It’s a Wonderful Life. A man on the edge or sad. Thinking of running. He then gets these visions and voices. Similar to the ones from Snowflake. That song starts from above as snowflakes fall into someone’s hands. Here, we get a similar vision. It could be part of a twist or narrative switch that takes us full circle. The opening verse compels so many visions: “Only you can do something about it/There's no one there, my friend, any better/I might know what you mean when you say you fall apart/Aren't we all the same? In and out of doubt”. I am thinking about heavenly voice from his late wife. The child from Snowflake could be his child that was separated and is living somewhere else. We get visions of that as he closes his eyes. I am going more into this song in a separate feature. I love the lyrics on this track and how affecting they are. How it is just Kate Bush and the piano. One of her most stripped-back and intimate moments on 50 Words for Snow. Kate Bush performed this song during the encore for her 2014 residency, Before the Dawn. It must have been an amazing experience! Also, Among Angels. Los Angeles is the city of angels. All tying in! I love the lines “I can see angels standing around you/They shimmer like mirrors in summer/But you don't know it/And they will carry you over the walls/If you need us, just call/Rest your weary world in their hands/Lay your broken laugh at their feet”. The mixture of the celestial and otherworldly within this doubt, turmoil and strain in Los Angeles as a man is on the edge. We would get a nice resolution and a twist as the film fades away…

It is well worth Kate Bush thinking about something larger for 50 Words for Snow. As she has invited the thought of a new album, it would be her last clearing of the snow before new work. However, as it took her a long time and so much effort to put together animation for Little Shrew (Snowflake), maybe it is too big an undertaking! The same with anything for The Ninth Wave from Hounds of Love. I guess it is a possibility for the future. Many people have wondered what it would be like if all songs from the album were animated and there was a larger arc and this thread. A single story that goes around America on Christmas Day. From the early hours through to the evening, there would be no dialogue. Instead, you get introduced to various characters and vignettes. We would have some unexpected twists and cliff-hangers. I think it would also compel people to listen to 50 Words for Snow. As I said in the first anniversary feature for 50 Words for Snow, I noted how people rate the album low when ranking her work. It comes eighth or ninth (Bush has released ten studio albums). It is much stronger than that! People perhaps not having the patience to sit through a long album. Songs that unfold and evolve. Rather than there being these shorter and more conventional tracks. I think 50 Words for Snow warrants greater respect ahead of its thirteenth anniversary on 21st November. It is a simply wonderful album. I do think a new album, whenever that comes, will be different. I will speculate in another feature. However, I do also feel we will get a mix of piano-led numbers and this Jazz-Rock/Art Pop blend and something more orchestral and sweeping. It will be interesting. However, take some time and listen to 50 Words for Snow. Put this album on, close your eyes, and lose yourself…

IN this snow-filled and fantastical world.

FEATURE: Let’s Do It Again: TLC’s CraZySeXyCOol at Thirty

FEATURE:

 

 

Let’s Do It Again

TLC’s CraZySeXyCOol at Thirty

_________

DEPENDING how you stylise the title…

one cannot deny that TLC’s second studio album is a masterpiece. Following on from 1992’s Ooooooohhh... On the TLC Tip, it was a massive leap forward in terms of confidence and quality. Their debut is fantastic, though CraZySeXyCOol has so many gems. On 15th November, 1994, the trio - of Tionne ‘T-Boz’ Watkins, Lisa ‘Left Eye’ Lopes, and Rozonda ‘Chilli’ Thomas – put out into the world one of the best albums of the 1990s. The group began working on a follow-up to their debut in 1993, but there was not much productivity and development due to personal issues. Lisa ‘Left Eye’ Lopes was battling alcohol issues. She was in a volatile relationship. Even though her role was diminished on the album, she still contributes a lot and is responsible for some of the best moments. Boasting some of the trio’s best cuts – Creep, Red Light Special and the epic Waterfalls -, they would follow up CraZySeXyCOol with 1999’s FanMail. Reaching number three in the U.S. and four in the U.K., I think CraZySeXyCOol still sound amazing and nuanced thirty years later. We live in a time when there is not really an equivalent to TLC. Operating now as a duo – Lisa ‘Left Eye’ Lopes died in 2002 -, you can tell how they have inspired a legion of new Pop and R&B artists. We can hear elements of CraZySeXyCOol in contemporary albums. I want to mark the upcoming thirtieth anniversary of a truly great album. One that I would urge everyone to listen to. One where the deep cuts are really strong and compelling. I especially love Kick Your Game and Let’s Do It Again. The interludes are also really good. There is this flow to CraZySeXyCOol that makes it seem like a single piece of work almost.

Before I finish this feature, I am going to bring in a few features about CraZySeXyCOol. Marking its twentieth anniversary in 2014, Billboard did a track-by-track examination of the album. I hope that we get some new features and insight into CraZySeXyCOol as we head towards its big 3-0:

“The success of CrazySexyCool was due to the disc’s singles. All four landed in the top five of the Hot 100, and two reached No. 1. One of those chart-toppers, “Waterfalls,” stands as one of the decade’s greatest songs, and in so far as it used hip-hop, soul, and a big-budget CGI video to sell social messages concerning inner-city drug abuse and the spread of HIV/AIDS, it’s ‘94 to the core. It’s also timeless.

“Waterfalls” is one of the few CrazySexyCool tracks that truly is TLC — as in all three ladies blending their distinct voices as they had on their 1992 debut, Ooooooohhh… On the TLC Tip. A lot had happened in the nearly three years since these sexy tomboys in the baggy jeans bedazzled with condoms arrived on the scene. Most notably, Left Eye had been convicted of arson after nearly burning down then-boyfriend Andre Rison’s mansion, and her court-mandated rehab overlapped with the CrazySexyCool sessions.

Lopes’ raps are notably absent on many of these tracks, and without their toughest, funniest member, T-Boz and Chilli had to reinvent themselves. Working mostly with the same stable of producers they’d used on TLC Tip — Dallas Austin, Jermaine Dupri and Kenneth “Babyface” Edmonds, most notably — T-Boz and Chilli got down on some sultry bedroom jams, scoring big with “Creep,” “Diggin’ on You,” and “Red Light Special.”

It’s mostly via the intro and interlude tracks (there are five of ‘em, this being a ‘90s album and all) that TLC puts forth the album’s loose concept: To some extent, all women are crazy, sexy, and cool. It’s just a question of how those elements balance out at any given moment. With CrazySexyCool, TLC got the ratio just right, and even though the follow-up, 1999’s FanMail, became the group’s first and only No. 1 album, this is the one people come back to”.

Back in 2019, NME celebrated twenty-five years of CraZySeXyCOol by speaking with TLC. ‘T-Boz’ and ‘Chilli’ spoke about how the trio really felt they needed to prove themselves on their second studio album. It was clear they more than stepped up to the plate and delivered one of the seminal albums of the 1990s. It remains this beloved masterpiece:

“We were all sitting there like, ‘This is terrible’,” says Tionne “T-Boz” Watkins, laughing as she recalls the time bandmate Lisa “Left Eye” Lopes turned in her verse for their first Number One single, ‘Creep’. “She basically wrote an anti-‘Creep’ rap. So when it came to shooting the first video we took the rap off of it. And because we did that Lisa put tape on her mouth as a protest so she couldn’t sing the song.”

“And not regular tape,” adds Rozonda “Chilli” Thomas. “We’re talking about the grey tape you put on a box at the UPS store, the stuff that can take your skin off. Then we had to go to the trailer and try and talk her into taking it off.”

According to T-Boz, Left Eye, who tragically died in a car crash in 2002, wasn’t a fan of the subject matter of ‘Creep’. In among the track’s jazzy horns, funky drum kicks and longing synths were lyrics such as: “I’ll never leave him down/ Though I might mess around/ It’s only cause I need some affection,” which she feared her then-boyfriend, NFL wide receiver Andre Rison, might get the wrong idea.

“They had one of those real touchy, jealous-type relationships so she didn’t want him to think that she was cheating,” she explains. “But it had nothing to do with their real relationship, it was actually a personal situation that happened to me.”

Remembering Left Eye and the “cute and weird” ways she would pen her raps, T-Boz says: “She used to go in the bathroom and write in the stall with her little bit of weed. She used to sit there and smoke, and write sideways on the toilet with her feet up on the wall and her back against the stall.” And those raps were an important part of the success of ‘CrazySexyCool’.

Certified 12-times platinum in the United States and selling over 23 million copies worldwide, the album saw TLC go on to become the first girl group to ever be awarded diamond status by the RIAA. Bagging them a couple of Grammys, they were also first black act ever to win the coveted Video of the Year award at the MTV Video Music Awards for their breakout hit, ‘Waterfalls’.

But more than sales and accolades, ‘CrazySexyCool’ paved the way for the next generation of girl groups. Taking what they had learned from watching those that came before them — such as the likes of SWV, En Vogue and R&B boybands like New Edition and BBD — TLC packaged a fresh new attitude and unique swagger that inspired the next wave of girl power. Some of the fans who grew up listening to the group went on to take centre stage themselves: All Saints, Little Mix and, on a much larger scale, Destiny’s Child and the Spice Girls – something Mel C acknowledged in an interview with The Guardian last year.

“We had a lot to prove with that second album,” says Chilli. “It established us as a group that was gonna be here for a long time and it proved we weren’t just a fad.”

“And I think it’s doing what we wanted it to do still to this day” T-Boz adds. “It’s just good music that has no age and appeals to everyone, regardless of colour. It doesn’t matter what gender, creed or nationality you are, it’s just great music and that’s what I love about it. It’s timeless.”

Timeless is a certainly a good way to describe ‘CrazySexyCool’, as is, unsurprisingly, the album’s title. Devised by Left Eye, Chilli says the title — which represents the individual personalities of the group (Crazy [Left Eye], Sexy [Chilli], Cool [T-Boz]) — was conceived while on a trip to Europe.

“It’s so funny because when Lisa came up with it I was personally a little upset,” explains Chilli. “I thought Tionne should have been sexy. We all could have played crazy and sexy but I know I’m cool – I’m the cool one. I was confused as to why I would be sexy. I was like, ‘That’s not me, that’s Tionne!’ I just didn’t look at myself like that.”

Laughing, T-Boz says: “Lisa slapped her upside her head and was like, ‘Girl, you better recognise!’”

It was obvious from the moment you first pushed play on ’CrazySexyCool’ just how much of a departure it was from the group’s 1992 debut, ‘Ooooooohhh… On the TLC Tip’. Pairing ardent grooves and sensual riffs with edgy hip-hop beats and moving away from the popular sounds of new jack swing, they took what Mary J. Blige was doing at the time with her signature brand of hip-hop soul, mixed in some Atlanta swag, and delivered something new and distinctive for listeners to wrap their ears around.

Taking on more serious subject matters than in previous years, the album was a coming-of-age moment for TLC. From AIDS and gang violence to sexuality and romanticism, regardless of the topic there was a newfound confidence and youthful optimism on display across the album’s 16 tracks. In the erotic bounce of ‘Let’s Do It Again’ and ‘Take Our Time’, the trio displayed a more assertive side to their art while proving they were completely comfortable with the more explicit side of self-expression”.

There are features like this that I would advise people to check out. I am going to end with a couple of reviews. Louder Than War provided their take on CraZySeXyCOol in 2014. There is a new generation who are discovering this album and the queens that are TLC. I do hope that CraZySeXyCOol gets a lot of new airplay on its thirtieth anniversary on 15th November. I have loved this album ever since it came out. It was a big part of my teenage years:

“The 23-million selling collection took the band to the top of the charts all over the planet with polished R&B tunes that were perfectly crafted by the leading producers of the day. CrazySexyCool meant TLC members Tionne ’T-Boz’ Watkins, Rozonda ‘Chilli’ Thomas and Lisa ‘Left Eye’ Lopes’ were catapulted into the realm of pop royalty, while simultaneously scrabbling for payment and control over their musical legacy.

CrazySexyCool is the second album from Atlanta-based vocal group TLC and it continued the sex positive message on which the band had built their early persona. The themes of this sophomore effort included women dictating when and how they engaged in sex, women directing how they want to be loved and women showing players what it feels like to be played in return.

This second album was produced by some of the biggest names in the music world including Dallas Austin, Babyface, Sean Combs and Jermaine Dupri. The sound of TLC was heavily shaped by these men who ironed out the Left Eye-driven fun-loving cacophony of early tracks such as Ain’t 2 Proud 2 Beg and Hat 2 Da Back, instead steering the women towards more mainstream-friendly songs such as Red Light Special, Creep, Let’s Do It Again and Take Our Time.

As a fan, I felt rapper Left Eye was pushed out by several forces. Perhaps the men behind the scenes had their eyes on the payout. TLC was a cash cow set for massive things following on from the runaway success of their debut 1992 album Oooooooh… On The TLC Tip. That rap-heavy disc featured Lopes as co-writer or writer on ten tracks and the direction of the group seemed focussed around her.

Left Eye was also battling legal woes following on from an arson charge and a rehab stint supposedly connected to alcohol dependency. TLC was coming apart at the seams as CrazySexyCool was becoming one of the biggest selling albums by a female group in history. T-Boz was constantly struggling with effects of her sickle-cell anaemia, while Chilli was by her own admission still dealing with her decision to terminate a pregnancy with group writer/producer Dallas Austin.

The band was also struggling financially amid claims they were forced to file for bankruptcy due to contractual turbulence with original manager Pebbles. Having sold tens of millions of records, the women were left with very little money. This is one of the saddest but most often-recounted stories in the pop world. Young people sign constrictive contracts that allow no breathing room when runaway sales come knocking. TLC even had to buy the rights to their name and image from their first manager in order to keep the show on the road.

As you can see, it is easy to become swept up in the drama of TLC but it was the music on CrazySexyCool that the public were lapping up.

Waterfalls was the best of everything TLC had to offer at the time. The rambunctious new jack swing of earlier material had been replaced by funky R&B with the smoothest of production values furnished by Organize Noize of Atlanta. Members of this production crew co-wrote the song with Left Eye who delivers one of the most defining raps of her career. T-Boz uses the verses to warn young people of the dangers related to gang activity and unprotected sex while the music and harmonies are irresistible.

The song became one of the highest selling releases of 1995 and showed where a mature TLC could go sonically while retaining the crucial ingredient of Left Eye. Waterfalls is still a staple of mainstream radio in 2014, although sadly it’s the radio edit devoid of the rap that often makes it to air. The song is so well known and loved it has even been recorded by Bette Midler this year for her cover album of female artists. Extra info while we are at it: a little known fact about the tune that became the most well-known of the TLC catalogue is that CeeLo Green sang backing vocals.

CrazySexyCool contains fantastic pop and R&B songs that make for an album with no dud tracks. Diggin’ On You wasn’t an all-conquering radio smash in the vein of Waterfalls, but it certainly is one of the freshest sounding pop songs to emerge from the era while penultimate track Switch is simply a whole lot of fun. After almost being treated as an afterthought throughout the long player, Left Eye returns to close out the album with a darker, self-penned rap on Sumthin’ Wicked This Way Comes. It highlights what an essential component her voice and life views were to the overall TLC package.

The album is a shining example of mid-90s R&B, peppered with just enough pop and rap to ensure maximum appeal. R&B, rap, pop and even middle of the road radio stations kept the singles from CrazySexyCool in near-constant rotation. The production gurus made the long player one of the slickest music collections around and it is often still found on must-listen lists compiled by popular culture buffs.

CrazySexyCool’s follow up, FanMail, opened the door wider for Left Eye to return to the fold which resulted in a futuristic, grittier and more accomplished sound. Her tragic death a few years later put an end to her talent so we must look back on her contributions (such as the 20-year old CrazySexyCool) to remind ourselves how she helped TLC become one of the most celebrated musical acts on the planet”.

I want to include most of Pitchfork’s exploration of CraZySeXyCOol because it makes so many important observations. Their words about a landmark Pop/R&B album are brilliant. Its “unapologetic femininity and low-key swagger” definitely impacted a lot of acclaimed contemporaries. I often think that groups like Destiny’s Child and Spice Girls were inspired by TLC’s second studio album:

“The original concept for CrazySexyCool was simple: Women contain multitudes. The title, an amalgamation of their personalities, was a way to subvert the public’s perception of each member: Tionne “T-Boz” Watkins as the “cool” one, Rozonda “Chilli” Thomas as the “sexy” seducer, and Lisa “Left Eye” Lopes herself supposedly “crazy.” She figured, rightfully, that each of them was all of those things at once. Straightforward enough—and yet some of the album’s male producers initially missed the point about the self as a many-layered construct. “They’d do a crazy song for me, a sexy song for Chilli, and a cool song for Tionne,” Left Eye told Vibe in 1994. “We had to explain that CrazySexyCool doesn’t just describe us individually. It describes all the parts of every woman.”

Each member of the Atlanta R&B trio had a distinct role, but the point was how they all came together. T-Boz was raspy and matter-of-fact, her jazz-like vocal style centering tone and swagger over power and clarity. Chilli was the closest to traditional R&B, imbuing their songs with quiet-storm sultriness. Left Eye was the rebellious poet who rapped, sang, and came up with many of their musical and visual concepts.

It was Left Eye who suggested the group pin condoms to their clothing and tape them over her own eyeglasses to promote safe sex, a laudable fashion statement that came to define their anything-goes credo as artists. As with their predecessors Salt-N-Pepa, none of TLC’s messaging in their songs, visuals, or outfits seemed scripted or telegraphed. Unlike in the typical girl group, no one member was ever elevated over another. Their individual styles merged seamlessly because they played off each other’s strengths, making the whole greater than the sum of its parts.

Their 1992 debut album, Ooooooohhh... on the TLC Tip, presented the trio as sexual and independent twentysomething women who allowed themselves to be goofy, improper, and a little bit messy on their own terms. The critical success and triple-platinum sales of that album positioned TLC as role models for younger listeners and pop industry anarchists who pushed the fundamental truth that women have basic physical needs. In the video for “Ain’t 2 Proud 2 Beg,” they fired water guns and sang about sexual autonomy while sporting bright, baggy jumpsuits and kooky Digital Underground-style puffy hats, making the case for sexual expression without suppression.

CrazySexyCool was slicker and more scandalous, smoothing out TLC’s approach without losing the tongue-in-cheek wit of the debut. Its songs emphasize not just sex but pleasure in all its many forms. It’s a liberating, multifaceted view that suggests sexy doesn’t have to be raunchy or explicit alone: It can manifest itself in the movement of a serpentine sax, or the way T-Boz whispers, simply, “Yes, it’s me again” at the beginning of “Creep” like it’s foreplay.

Released in November 1994, CrazySexyCool earned TLC two No. 1 hits, “Creep” and “Waterfalls,” and secured their current status as the highest-selling girl group of all time, having gone diamond with 10 million units sold in the U.S. by June 1996. TLC’s singular appeal wasn’t only from catchy hooks and savvy visuals: It was their organic way of touching on universal subjects like sex, self-love, and freedom with a certain ease and affability that made their music both exemplary and inviting.

While their more vocal-centric peers of the ’90s—SWV, En Vogue, Xscape—prioritized neatly stacked gospel harmonies and flat-out singing, TLC’s collective advantage was making real music in a pop space that more often presented girl groups as flawless, demure, coordinated confections. With its funky energy and mixture of singing and rapping, CrazySexyCool fit squarely between the year’s star-making R&B debuts by Brandy, Usher, and Aaliyah and the major first statements in hip-hop from the likes of Notorious B.I.G., Nas, and OutKast. Their signing to Babyface and Antonio L.A. Reid’s LaFace records had catapulted them to the forefront of Atlanta’s hip-hop and R&B scenes, and their crossover success carved space for labelmates like OutKast and Goodie Mob to be as weird and expansive as they wanted, and still make it pop.

Left Eye’s deftness as a rapper, and T-Boz’s talk-sing style, which flirted with rap cadences, provided all sorts of possibilities for producers like Jermaine Dupri and Sean “Puffy” Combs, two prominent officiants in the marriage between hip-hop and R&B. Rap bookends the album: Phife Dawg of A Tribe Called Quest sets the tone on CrazySexyCool’s intro, kicking a cool 16 like a hype man warming up the crowd at a house party; and well before many listeners outside of Atlanta knew his name, TLC’s hometown peer André 3000 appears on the gloomy closing track “Sumthin’ Wicked This Way Comes.”

The lead single “Creep” was the first sign that TLC had discovered a more muted palette compared to the hyperactive sound of their debut. The song slinks in with a sample of Slick Rick’s “Hey Young World” as T-Boz presents the best and simplest solution to being cheated on: “So I creep/Yeah.” Her low, conversational register makes it sound like she’s got her feet kicked up in the recording booth and a cool mint in her mouth. She adds a slight vocal fry on the Babyface-produced “Diggin’ on You,” a subtly jazzy and easygoing love story about surrendering to the rizz. Left Eye blocks it instead on upbeat “Kick Your Game,” taking comedic turns as both the pursued and the pursuer over Jermaine Dupri’s signature bells-and-bounce production. Knowing that Left Eye once said she met her ex-boyfriend, NFL star Andre Rison, after he followed her in the club one night trying to holler, it’s hard not to hear the shade when she mentions a pickup line about making love on the 50-yard line.

T-Boz’s morning voice is supremely suited for the album’s overtly sexy songs, especially “Red Light Special,” a drawn-out tease over a spiraling string instrumental from Babyface, with sax notes snaking like they’re doing slow body rolls. She has a laid-back style of seduction, while Chilli sounds like she’s at the edge of ecstasy, a dynamic they also play with on “Let’s Do It Again.” What’s sexy is cool is silly and vice versa, even in passing moments, like the interlude where Chilli initiates a game of phone sex, only to end the call with a juvenile joke and a toilet flush. The only point seems to be that it thrills her, and that’s enough.

TLC’s go-to producer Dallas Austin said he wanted to “bring out the Prince side” of the group on the album, an influence felt in the slithering melodies and pure craving for sex. “Red Light Special” sounds like a straight-shooting sister to Prince’s tickling, moaning “International Lover,” with a similar crawling chord progression. Babyface produced the actual Prince cover: a rework of “If I Was Your Girlfriend” that T-Boz manipulates with a sly wink and a higher-than-usual vocal range. (Prince, who once called TLC his favorite group, granted his rare approval for the cover.) Prince’s original pines for the singer’s imagined intimacy between platonic female friends; TLC uses the more traditional meaning of girlfriend, twisting the original without losing its subversive spirits. “Case of the Fake People” is a similar whirlpool of funk, interpolating the O’Jays’ sweeping “Backstabbers” with boom-bap production from Austin and T-Boz and Chili’s voices swirling in and out of overlapping melodies.

T-Boz loved pointing out that Clive Davis, founder and then-president of LaFace’s parent label, Arista Records, initially hated the concept of “Waterfalls.” In fairness, it was an odd choice for a single: a cautionary tale about the HIV/AIDS epidemic and drug abuse that’s weighty in subject matter but weightless in execution, using lakes and waterfalls as a metaphor for slipping over the edge. The airy, warped production from OutKast producers Organized Noize sounds like actual carbonated water bubbles bursting on the track. It’s a wonder that the song worked, let alone topped the Billboard Hot 100 chart for seven weeks straight. But “Waterfalls” is a beauty, one that gets deep without drowning itself.

By the time T-Boz and Chilli started recording CrazySexyCool in the summer of 1994, Left Eye was spending time in court-ordered rehab after being indicted on a felony arson charge for setting fire to the home she shared with Rison, meaning she wasn’t as present for the sessions as on other TLC albums. She wrote and recorded her verse for “Waterfalls” during a two-hour break from the rehab center. Admiring the world around her in the car, she felt optimistic: “My life is 10 shades of gray/I pray all 10 fade away.” Left Eye, among hip-hop’s most agile lyricists, once said she never really distinguished between a rap and a poem. She rhymes from an almost childlike perspective here: innocent, curious, cocky, and mischievous. “Waterfalls” is as much Left Eye’s poetic opus as it is TLC’s career-defining record. In her limited appearances, she provides the album with many such small but potent pleasures, whether trading preacher-esque yelps with Busta Rhymes on “Can I Get a Witness (Interlude)” or rapping abstractly about whatever she wants to and somehow tying it back to the topic at hand on “Switch.”

Through TLC’s willingness to be anything—but themselves most of all—CrazySexyCool demonstrates that authenticity can be the driving force of a great pop record. That point still resonates nearly 30 years later in the work of artists inspired by TLC, including Kehlani, K-pop powerhouses BLACKPINK, and Cardi B, who referenced Left Eye’s arson charge on her debut album: “Smash your TV from Best Buy/You gon’ turn me into Left Eye”.

On 15th November, it is thirty years since CraZySeXyCOol was released. Rightly heralded upon its release, the album was nominated for six Grammy Awards at the 1996 ceremony. Waterfalls was nominated for the Record of the Year. In addition, two of the album's nominations were for its songwriters: Dallas Austin for Creep; Babyface for Red Light Special. TLC won two awards: Best R&B Album and Best R&B Performance by a Duo or Group with Vocals for Creep. The magnificence and sublime CraZySeXyCOol is a…

LANDMARK release.

FEATURE: The King of Rock and Roll: Why It Is Great to Have Shaun Keaveny Back on the BBC

FEATURE:

 

 

The King of Rock and Roll

PHOTO CREDIT: Joe Magowan

Why It Is Great to Have Shaun Keaveny Back on the BBC

_________

I will try not to uncover…

PHOTO CREDIT: Shaun Keaveny

some old wounds and expose history, but one of the biggest shocks in recent years was when the great Shaun Keaveny left his BBC Radio 6 Music show in 2021 after fourteen years. Seemingly being offered work he didn’t want to and nudging him off his afternoon show, it was terrible when he announced he was leaving. His final show was a mix of sadness and celebration. So many people were unsure of what he would do after that. Would he ever come back on the airwaves?! It was not long (2021 in fact) when he created Shaun Keaveny’s Community Garden Radio. The listener-run station, which was started with producer Ben Tulloh, is still going strong today and is its own little empire. Keaveny’s Friday show runs between 1-3 p.m. There are other broadcasters who have their own shows. It is expanding and this exciting award-nominated platform. So innovative and community-driven. Listeners contributing so much and, as Keaveny has pointed out, he has a lot more freedom and flexibility in this format – including the chance to be political, honest and let out a few swears! Quite a bit has happened since 2021. His podcast, The Line-Up with Shaun Keaveny, seems to be on hiatus at the moment (which I hope ends and we see new episodes). It is always baffling why shows and series are cancelled when they are successful and popular. That need to make change. If Keaveny’s departure from BBC Radio 6 Music has afforded him more variety and freedom – and is a blessing -, you do wonder about some other decisions. The BBC cancelling the terrific Your Place or Mine with Shaun Keaveny. A series that has at least a few more series in it, I wonder why that went. In any case, one cannot dwell on losses and deficits…

View this post on Instagram

A post shared by Community Garden Radio (@commgardenradio)

Shaun Keaveny’s Daily Grind was also a casualty. More to do with attrition that anything else. Putting out a daily podcast for nearly a year was a massive and admirable undertaking. I believe it will be back in some form. Maybe a weekly instalment. Together with producer Ben Tulloh, it was a tremendous listen! The Shaun Keaveny audio network reaching Global. Since his final show with BBC Radio 6 Music, Keaveny has presented on a variety of networks. He has been on Greatest Hits Radio, BBC Radio London and Virgin Radio. He has also appeared on a number of podcasts. In terms of broadcasting achievements that he can tick off his bucket list, there cannot be too many left. I would like he will substitute for someone on BBC Radio 6 Music once and show the station what they are missing! As nice as it is to hear Keaveny on other stations, he does sound especially comfortable and natural on BBC Radio 2. Presenting from Broadcasting House, I can understand why he loves being there. In the heart of London – near Regent’s Street, there is a particular buzz and energy there -, when he substitutes for Liza Tarbuck now and then, it is good to hear an audible smile from someone who, three years ago, left a long-running BBC Radio show. Later today (at 5 p.m.), Shaun Keaveny stands in for Rob Beckett. Sandwiched between the legendary Bob Harris and Tony Blackburn (a cosy place to be!), we will get a two-hour Sunday warmer for Keaveny. A great way to end the weekend! I do love how Keaveny has presented various different slots for BBC Radio 2. I would love him to host Pick of the Pops on Saturday or even stand in for Dermot O’Leary on a Saturday morning. He is this super sub that can pretty much fit into anyone’s shoes. A station that has a lot of love for and trust in!

This brings me, rather long-windedly, to my main point. Sadly, the iconic Johnnie Walker had to step down from presenting on BBC Radio 2 because of ill health. On Friday night (1st November), Keaveny presented his first episode of The Rock Show. It must be bittersweet. As someone who holds Johnnie Walker in high esteem – in fact, he is Keaveny’s radio hero and a huge source of inspiration -, it is also a massive gig. A permanent one! That is important. Shaun Keaveny permanently back on the BBC. I guess it might impact how he interacts on social media and what he posts, though not much will change. It is this security. A terrific long-running show that he took to like a duck in water. Even if he was a bit nervous (understandably!), he was naturally in his element. There was a bit of Led Zeppelin played. I hope he manages to squeeze in another of his favourite bands, Dire Straits, in a future episode. I do hope that we get a new interview with Shaun Keaveny. His reaction to taking on The Rock Show. How he reflects on 2024 and his hopes for the future. Maybe his top-five Rock songs or advice he would give to young broadcasters. A major talent with a wide and very loving fanbase, here is a broadcaster with decades ahead. I do think the best is still to come. Even though his current slot is esteemed and it must be a dream come true, Keaveny will be on our radios for many years more. Who knows what other shows and ventures he will have. Maybe some new podcasts and some career-defining moments. I am especially pleased for him. Three years ago, when he tearfully signed off his final-ever BBC Radio 6 Music show with a thanks to everyone who was a special time him (the tears came thick and fast when shouting out his wife), few thought he would be back on the BBC. Fortunately, as we head towards Christmas and the end of 2024, Keaveny has a lot of positives to reflect on. Aside from some losses – a couple of podcasts -, there have been many gains.

Some great exposure on other networks. Some very happy memories and an expansion of Shaun Keaveny’s Community Garden Radio. The Rock Show must be the icing on the cake! A weekly slot on the biggest network in the U.K. is something to be very proud of. The new King of Rock and Roll has accomplished so much in a few years. If you want to hear some reflection on his departure from BBC Radio 6 Music and life after, then there are some great interviews. Where he also talks about Community Garden radio and a daily podcast. I would recommend this GQ interview from last year. There is this interview from The Guardian. Shaun Keaveny chatting about his Community Garden Radio. A sense of liberation he felt. Even though he is back on the BBC, he has the best of both worlds. As a pioneer of listener-led radio and this lo-fi and low-key show that comes from a small office in Fitzrovia, he also broadcasts on the BBC on a huge show. It must be a dream for every broadcaster! I am not sure if the tone and dynamics of CGR will change now he is a permanent fixture back on the Beeb, though I hope not. We need to give the wonderful Shaun Keaveny all the freedom he deserves. One of the hardest-working broadcasters in the country, this is a new phase in his career. Apart from some minor changes (perhaps he will need to hold back on some political opinions). I wanted to send lots of love and a hearty salute…

View this post on Instagram

A post shared by BBC Radio 2 (@bbcradio2)

TO the legendary Shaun Keaveny.

FEATURE: Radio Gaga: Why Is There Little Effort From Stations to Create Gender Balance on Their Playlists?

FEATURE:

 

 

Radio Gaga

ILLUSTRATION CREDIT: Freepix

Why Is There Little Effort From Stations to Create Gender Balance on Their Playlists?

_________

I have written about this before…

PHOTO CREDIT: Ron Lach/Pexels

and will continue to do so. I recognise that some radio stations have made efforts to affect gender parity on their playlists. Get closer to it at least. I am not sure whether there are any radio stations in the U.K. that have equality. Maybe smaller stations can do that, yet it seems the major stations are still biased towards men. That is the way it has always been. In terms of their top-twenty songs or the most popular, some radio stations do have gender parity. That is only a very small selection of songs played. A niche statistic. Whilst it is important, we have to look at the entire playlist. Click on any station’s website and look at each programme and the music played. How many have as many female artists as males played? Very few have shows where there are more women than me. Yet, we normalise this. It is seen as the way things are. There is no doubting how women are dominating music. As I repeatedly say, this is not new. That has been the case for years now. The most exciting and incredible new artists are largely women. Most of the best albums of this year I would contend have been released by women. I also think that many legendary female artists do not get played enough. In all, there is more than enough choice for every radio station. The industry has not really addressed gender imbalance across their playlists. If small steps have been made to ensure their most-played songs are balanced in terms of gender, that really doesn’t disguise the fact that their entire playlists – all songs from all shows – is male-heavy. In some cases the discrepancy is fairly small. For some stations, it is embarrassingly large. I have been looking at various playlist on BBC Radio 2 the past week or two and some shows only feature a couple of few songs by women!

I have named-and-shamed stations such as Radio X, Absolute Radio, Greatest Hits Radio and BBC Radio 2 before. Even if the latter is good when it comes to their most popular songs – in terms of gender balance -, they definitely do not have gender equality across the board. Even the supreme BBC Radio 6 Music struggle in that respect. They are not featuring as many women as they could and should. Again, we normalise playlists that feature chunks of male artists without a female voice. If the reverse happens, would people complain?! It is rare that you’ll hear a run of five or six female acts/artists in a row. Back in 2020, the Gender Disparity in UK Radio Report highlighted a real gulf. So many radio stations struggling to feature women. BBC Radio 6 Music did get close when it came to their ‘playlist’. This is curated tracks that are played the most on a station, not the entire playlist. It is a portion of the tracks played across a station. It is not really good enough a station affects gender parity with their own playlist but the remainder of their musical output drops the ball. It is deceptive in a way, as it seems like there is gender parity across the station but in fact it only applies to their playlist. As misogyny is still rife in the industry and women have spoken out, one would think things would change. This year’s report showed improvements. It is quite particular. The first part of the report  is analysis of the Top 100 Radio Airplay Songs from 2024 from U.K. and international acts. Where we see breakdown by station, that represents the Top 20 most played songs by British artists. It is good that we can see some equality from some stations but two things are clear. One, so many stations and desperately short of hitting balance. Also, as I have said, it is a very particular number of tracks. Stretch across all shows and every song played and then present those figures. How many stations would have the same positive figures like BBC Radio 6 Music and BBC Radio 2 – possibly not the former and most definitely not the latter!

IN THIS PHOTO: Ken Bruce

Perhaps the feeling is that, if stations hit gender parity on their own playlists/most played songs, that will be sufficient. Stations need to be aware of every song they play. It still look pretty bleak. When you listen to a show and not hearing a woman’s voice for four or five songs sometimes. Quite okay for them to be left out. I don’t think any big station in the U.K. has done enough. There are no excuses when it comes to the reason. There are no quotas or barriers when it comes to how many female artists can be included. Stations choose which artists to play, so they have control over that. If you collate all the stations from the Gender Disparity in UK Radio Report 2024 and average out the percentages, it would not be anywhere near 50%. In terms of gender party. Only a third of the main stations managed to affect gender balance. The remaining stations fared even worse. I think only four of five of the seventeen stations had the same amount of women played as men. It shocking to see how little real development and commitment there has been. Stations not doing enough across the board. If the most played songs playlists shows at least a few stations commit to gender parity, as mentioned, is there a single one that has gender balance across their entire scheduling?! Perhaps not. In 2024, that should not be the case! Stations deliberately overlooking women and having this inherent gender bias. If women feel they will not be played on a station – or only if they are among the most played artists – then that will affect their career. So many perhaps not coming into he industry because they won’t get played. All stations need to do more. There are no excuses or rationale for the way things are. From heavy-hitting BBC stations through to local radio, women need to be given…

PHOTO CREDIT: cottonbro studio/Pexels

THE respect they deserve!

FEATURE: The Digital Mixtape: The Great John Williams

FEATURE:

 

 

The Digital Mixtape

The Great John Williams

_________

PERHAPS the…

IN THIS PHOTO: Steven Spielberg and John Williams at Symphony Hall, Boston in 1998/PHOTO CREDIT: Boston Globe/Getty Images

most recognisable and greatest film composers of all time, John Williams is the subject of a new documentary. He is undeniably one of most versatile composers ever. In terms of all the films he has brought to life with his compositions. Still composing to this day, I wanted to recognise his brilliance by compiling a playlist featuring gems from his wonderful scores. Before coming to that playlist, Mark Kermode wrote for The Guardian about the new documentary and John Williams’ impact:

“Now streaming on Disney+ is a new documentary, Music By John Williams, in which the French-American film-maker Laurent Bouzereau (creator of umpteen behind-the-scenes movie docs) interviews the American composer, who has defined the face of modern orchestral movie music. Williams’s recollections, from his earliest days as a hard-practising pianist (he has a background in jazz) to his blockbuster collaborations with film-makers such as Spielberg and George Lucas, are as clear and concise as his earworm theme tunes for Superman (1978), Raiders of the Lost Ark (1981) and Star Wars (1977) – the last of which spawned a double-LP soundtrack that became the biggest selling symphonic album of all time.

Williams is undoubtedly the greatest “whistle test” composer of his age – a purveyor of instantly memorable tunes that both capture and breathe life into the movies they accompany. In Bouzereau’s documentary we see archive footage of the late Christopher Reeve (also the subject of a new film in cinemas: Super/Man: The Christopher Reeve Story) declaring that “I owe a tremendous debt of gratitude to John Williams. Without his music, Superman’s powers are greatly diminished.” Reeve adds that Williams’s score in effect enabled him to fly. Elsewhere, Spielberg confirms the oft-told story that when Williams played him the two-note theme for Jaws (1975) on the piano, “at first I thought he was joking” – only to realise that “his musical shark worked a lot better than my mechanical shark!”. And we hear the violinist Itzhak Perlman sheepishly admit to telling Williams that he would “think about” playing on his 1993 Schindler’s List score, the Oscar-winning strains of which reduced Spielberg and his wife, Kate Capshaw, to tears after just 10 notes.

Born in New York in 1932 and classically trained at the city’s Juilliard School, Williams played in Hollywood studio orchestras for many years – he’s there on hits as diverse as West Side Story and To Kill a Mockingbird – before turning to orchestration and composition. On his early film scores he was credited as “Johnny Williams”, becoming John only when a colleague told him he needed a name that people would take seriously. And how they did; to date, Williams has racked up five Academy Award wins and a whopping 54 nominations, most recently for Indiana Jones and the Dial of Destiny (2023) at the age of 91, making him the oldest nominee in any competitive category in the awards’ history.

The range of Williams’s film scores is extraordinary, from the old-school twang of The Reivers (1969) to the experimental edginess of his work with Japanese percussionist and keyboardist Stomu Yamash’ta on Robert Altman’s 1972 psychodrama Images (which Spielberg used as an early temporary soundtrack to Jaws), to the jazzy sounds of Catch Me If You Can (2002). He has also scored disaster movies – The Poseidon Adventure (1972), The Towering Inferno (1974), Earthquake (1974); Hitchcock’s last feature, Family Plot (1976); prime-period Oliver Stone hits Born on the Fourth of July (1989) and JFK (1991); and the first three Harry Potter movies (2001-4)”.

To salute and recognise the magic and genius of John Williams, below are examples of his fine work. From classics through to films you might not know about, his music is timeless. That interaction and relationship between music and film. How a wonderful score can elevate scenes and make a bigger impression that what is on the screen. Here are some incredible pieces of music from a composer and cinematic visionary who…

HAS no equals.

FEATURE: Kate Bush: The Tour of Life: Imagining What It Would Be Like Interviewing An Artist I Adore

FEATURE:

 

 

Kate Bush: The Tour of Life

Imagining What It Would Be Like Interviewing An Artist I Adore

_________

THIS edition of…

IN THIS PHOTO: Emma Barnett/PHOTO CREDIT: Getty Images

Kate Bush: The Tour of Life takes us to now. In fact, the future. Sorry to make this feature all about me, but I am going to expand on an idea I include in a feature from October. On 25th October, we all got some phenomenal news when it came to Kate Bush. An animated video, Little Shrew (Snowflake) was released. Directed by Kate Bush, it was intended to raise awareness for the suffering of children because of war and to raise money for War Child. To promote the video, Kate Bush was interviewed by Emma Barnett for BBC Radio 4’s Today. Nobody really saw any of it coming. A new interview with Kate Bush! It would have been enough to have that interview and the wonderful and moving video. Gifts enough for all fans! We could have left it there. In 2022, when Barnett and Bush first spoke – around the success of Running Up That Hill (A Deal with God) and its use in Stranger Things -, there was this what-if about it. The interview was wonderful, though there was no question around new music. Bush said how she really taking to gardening. Many took this as a sign she was retiring or had given up making new music. A little stereotypical, ageist and flawed in terms of logic, one realises Bush was no stranger to gardening. In fact, it helped her creativity! I wonder if Bush had any ideas for new music around that time. Quite a few people thought that a question should have been asked about future plans. Perhaps Bush would have said there was nothing yet. Been a little evasive. However, last month, she was asked that question by Barnett.

No way leaving that question off the table, Bush at first sort of seemed to say there was nothing. She then said how she had been busy with the animation and spent a lot of in revisionist mode. Bringing out her lyrics book, working on reissues of her albums and some archiving. Basically, she was now open to new ideas (and had a lot in mind). It was an exciting moment that many fans did not expect. As I wrote previously, I felt that the death of Del Palmer earlier this year would have spelled the end of a creative relationship that dated back to the 1970s. Bush unable really to conceive of working without Palmer. As much as she adored him, he would have wanted her to continue making music. The reaction from fans around the world was one of relief and excitement. There is no date for a potential eleventh studio album. The fact that it was put out there suggests Bush has already planted seed and has worked up songs. Rather than her being at the sketching stage, I would not be shocked if several songs were already completed. I am writing this on 2nd November, and there have been no announcement about a title or release date. I sort of worry by the time it comes out there might be, which means I have to re-write and edit this feature pretty heavily! I suspect the earliest we might get a new Kate Bush album is the middle of next year, yet one cannot bet against her announcing something long before then. As 50 Words for Snow is almost thirteen, that gap sort of led to an assumption Bush was maybe not going to put out any more music. Luckily, we were given more than a glimpse of hope!

IN THIS PHOTO: John Wilson

I will write a separate feature as to what I think the album might concern and what it might sound like. Titles perhaps. I can either imagine a one-word title or something like Songs for Peace. Given Little Shrew (Snowflake) and Bush raising funds for War Child, maybe there would be this look at the modern world. How there is warfare and conflict. Being Kate Bush, there would also be hope and beauty. Of course, nobody knows for sure what will come and when. That is the beauty of Kate Bush: she could announce an album tomorrow (though, as I say, it will bugger this feature up a bit!). As remote as it was then, now it seems marginally less remote. I am talking about interviewing Kate Bush. As I say, I did cover this a few weeks back. How a dream I thought was dead is, well…slightly less dead. Kate Bush does not know who I am or anything I have written about her. There are people who have written books about her who will never get to interview her. I suspect, when a new album does arrive, she will know the radio stations she wants to feature on. BBC Radio 4 and BBC Radio 6 Music. Returning interviewers like Mark Radcliffe and John Wilson. Maybe Matt Everitt too. In terms of the 6 Music stable, Lauren Laverne too (who is currently away from the station as she is being treated for cancer). There will be some magazine/newspaper interviews perhaps. I guess it depends on how generous Bush is with her time. Interviews will be conducted via landline or she will be recorded at her home. That was the way it was more or less with Aerial (2005), and definitely more so with 2011’s 50 Words for Snow.

IN THIS PHOTO: Lauren Laverne/PHOTO CREDIT: BBC

Bush will not be travelling much/at all to do interviews. I imagine there will be a fair few shorter interviews rather than longer-form ones she did around Aerial’s release in 2005. A single might come – which is unlikely to feature Bush in any capacity in the video – and there will be the vinyl and C.D. release of the album. I think many journalists are in the same situation. We would all love to speak with Kate Bush, though the likelihood for most is slim. I have talked how I would love to send her a letter and say that I have written about her for years - and to wish her good luck. Maybe ask if she might contribute some audio to a Hounds of Love podcast next year (when the album turns forty). It is quite ambitious to think a letter could get to her or I deserve a response, regardless of how much I have written about her. However, helping me through a tough period of depression is this recurring dream: the interview request. Getting a notification – or imagining such a distant reality! – and having to wait by the phone for Bush’s call. Her on a landline and me, rather nervously, on my mobile. Hands trembling as the call comes through, I would need to situate myself somewhere calm and quiet. It would be the ‘screening call’. The introductions and getting a sense of what was going to be asked and how the actual interview would go. You then wait for the day when it happens. I suspect being driven to her home, never really knowing where it is. Getting out of the car and walking to her door to be met by Kate Bush or Dan McIntosh (her partner). The tour of the house, garden and maybe studio too. Reading accounts of those who have been to Bush’s home – her current one or previous ones – and what happens. The hospitality offered. Bush making me feel at ease. After everything is finished, being driven back to London and trying to take it all in. It is exciting to think of that possibility!

IN THIS PHOTO: Kate Bush in 2014/PHOTO CREDIT: David M Bennet/Getty Images

However much I do dream and try and manifest that, I know the reality. The slots are coveted and Bush would probably not take a risk on an unknown journalist or someone with a small readership. A new album after, well, fourteen years (if released next year) would mean interview slots go to big stations and websites and papers. I know Matt Everitt, and as he works for BBC Radio 6 Music, I often joke to myself I could be brought along as security. You know, just in case Kate Bush flips out! That, or I could be part of the team who sets up the microphones. It is nice to dream and have that ambition. Up until a few weeks ago, this seemed intangible and fantasy. Now, because there is a strong possibility a new album will arrive in the next year or so, that does turn that fantasy into something that could be realised. Not that an interview is the be all and end all. Writing about Kate Bush and people connect with those features is its own reward! Something I am very lucky to be able to do. Her knowing about it one day would be amazing! Everything has changed after that Today interview. Bush letting us know that she has ideas for a new album. The fan in me is pleased enough with that and excited that her music will reach new people - and we can only dream of what a new Kate Bush album will encompass. The journalist in me longs for that interview. Or a chance to speak to her. Although it seems unlikely and distant…

STRANGER things have happened!

FEATURE: No Doubt About It: Why I Can Envisage the Great Ella Purnell Stepping Into a Compelling Series with Music at Its Heart

FEATURE:

No Doubt About It

PHOTO CREDIT: Zoe McConnell for NME

Why I Can Envisage the Great Ella Purnell Stepping Into a Compelling Series with Music at Its Heart

_________

THIS is quite a self-indulgent feature…

PHOTO CREDIT: Suki Dhanda/The Guardian

but one that opens to a larger point. One of our greatest actors is London-born Ella Purnell. You might have seen her in shows like Fallout, Yellowjackets or Sweetpea. There are some fascinating recent interviews like this and this that I would advise people to read. There is also this great one with Elle. Almost too much to bring in. The twenty-eight-year-old from Whitechapel is seeing her career explode. Though she knows the acting industry is capricious and unpredictable, the fact she is making every role her own and choosing some really great parts suggests someone who have serious legs and chops. Someone who can adapt to and adopt any role and has that stamina and wisdom. A very smart and grounded person, she is not letting Hollywood stardom get to her. I think she will get a string of huge acting roles. I can see producers and actors like Margot Robbie snapping her up to appear in one of her films. Greta Gerwig too. You can feel some incredible women will look her way. Huge directors like Quentin Tarantino or Martin Scorsese. It is still early days, though you know Ella Purnell is going to be a screen icon and one of the most lauded and acclaimed actors of her generation. I want to bring in some extracts from a couple of recent interviews before I move on and come to an observation relating to music. First, I want to come to an interview from The Guardian. Speaking about her role in Sweetpea, it is always fascinating reading and hearing interviews with Purnell. She is so grounded and relatable but there is this obvious and extraordinary talent at work. Someone who I envisage having this decades-long career:

“All Ella Purnell ever wanted to do was write children’s books about magical trees and talking ducks and happy bunny rabbits, and instead here she is chainsawing a man’s head off in a radioactive wasteland. Or freezing to death in the wilderness and being eaten by her closest friends. Or being so traumatised by school bullies that she takes up serial killing, slaughtering victims with her dead dad’s treasured pocketknife.

It might not be exactly what Purnell had in mind for her 20s, but spending the past few years committing, and being subject to, acts of stomach-churning violence has certainly had its upsides: the Londoner is now on the brink of TV superstardom. Purnell has been on a steep trajectory since 2021, when she appeared in hit US drama Yellowjackets as the prom queen captain of a New Jersey high school football team left stranded in a Canadian forest after a plane crash (think Mean Girls meets Lord of the Flies). In April, she starred in Amazon’s sensationally successful video game adaptation Fallout as Lucy MacLean, a vault dweller in a post-nuclear apocalypse United States who surfaces to search for her kidnapped father (the series attracted 65 million viewers in its first 16 days of release, and helped Purnell accumulate 1.4 million Instagram followers). Now, the 28-year-old is returning to the UK for more viscerally disturbing action. In new Sky Atlantic thriller Sweetpea, she plays Rhiannon Lewis, a receptionist whose mounting fury at being walked all over eventually erupts into a murderous spree.

Purnell isn’t sure why she’s ended up specialising in such troubling material. “People think I must be really messed up, but I swear I’m a happy, well-adjusted human!” Seated on a sofa in the corner of a blindingly white photography studio – the dramatic purple eye makeup from her shoot still intact – Purnell certainly seems psychologically sound; relaxed and genial, with a kind of preternatural confidence (even by American standards: a recent New York Magazine profile described her as “strikingly self-assured”). Yet the actor also joins me in identifying as a total wuss: “I can’t do horror films. I don’t really love watching too much gore, or any supernatural things. I’m not even really a big sci-fi person. And I’m not a gamer. So I don’t know how any of this has happened!”

In truth, there is a logic behind Purnell’s CV – and it can be traced back to the ambivalence with which she has approached her profession. Purnell “never really planned on becoming an actor. I feel a lot of guilt and impostor syndrome attached to that statement, because I know a lot of people have wanted to be an actor ever since they were kids. And that just wasn’t me.”

Confusingly though, Purnell actually was an actor when she was a kid. Growing up in east London, she took singing and dancing lessons at the storied Sylvia Young Theatre School, which led to her performing in Oliver! in the West End when she was 10. She appeared in her first film when she was 14 – playing Keira Knightley’s character Ruth as a child in Never Let Me Go. But as her career picked up further in her teens, she “freaked out” about the path that had been laid out for her (not by parents or agents, she clarifies, but a road she had unknowingly carved out herself). At 18, she decided to put the brakes on her acting career. “I wanted to go to university and be a writer – I wanted to write children’s books.”

Purnell won a place at university (she can’t remember exactly where or what she was going to study, but it was related to creative writing), but ended up deferring after landing a part in Miss Peregrine’s Home for Peculiar Children – working with Tim Burton was her childhood dream and she couldn’t bring herself to turn it down. She thought it would be a one-off, but more irresistible jobs cropped up, such as the lead role in a US TV show. In 2017, Purnell moved to New York to star in Sweetbitter – a series about a young woman who comes of age working in the city’s buzzy restaurant scene – and relinquished her university place. “I realised I didn’t need to go to university to be a writer – I could just write!”.

Prior to moving on, there is another interview I am keen to feature. When speaking with NME last month, Purnell said how there is no filter anymore regarding her growing fame. Quite a big and scary moment of transition, this growing notoriety is a mixed blessing. It will mean security and so many interesting roles. The subject of privacy and remaining grounded. It is harder to maintain:

“In Sweetpea, Purnell plays Rhiannon, a small town Englishwoman – yes, despite the perfect American accent she often uses on-screen, Purnell was raised in Bethnal Green, London – who has been dealt a duff hand since childhood. She was bullied so much at school that she pulled out most of her hair through stress and retreated into herself. She never found her way back out and in adulthood she’s withdrawn and fearful, living at home with her dad and working in a local paper where nobody even seems to know her name. When her dad dies, leaving Rhiannon completely alone, something in her snaps. She starts exacting vigilante ‘justice’ on those she considers bullies, by murdering them.

What’s interesting about Sweetpea is that it’s not just about someone getting what she sees as revenge. It’s about a sort of addiction of victimhood. Rhiannon has so defined herself as the underdog that she considers all her actions justified. She doesn’t notice herself becoming the tormentor, even as she wipes another victim’s blood from her knife. It’s that, not the killing, that interests Purnell. “I like the grey area,” she says. “I like a character where I can’t make up my mind, or who’s divisive… maybe it’s a tiny rebellion, that I get to play people who aren’t necessarily likeable, or who maybe aren’t too concerned about being likeable.” There were times she worried Rhiannon was going “too far” for the audience to possibly go with her, but then says that’s part of the attraction. “I love that shit. I love confusing an audience.”

Purnell couldn’t be less like the awkward, anxious Rhiannon. She walks into a room with ease. Not cocky, but absolutely confident in her right to be there, chatting to everyone she encounters, rearranging her space so she’s as comfortable as possible. Before we sit down to speak, she strides around the hotel room adjusting the layers of her outfit to try to match the mix of hot lights and hotel air-conditioning. Without a table in easy reach, she upturns an empty wastepaper bin and uses it as somewhere to park her iced coffee. She just seems very at ease with herself, like she’s been doing this forever. Which she almost has. Purnell may have only become familiar to many people in the past couple of years, but though she’s only 28 she’s been at this for two decades. She’s put in the work to get here.

PHOTO CREDIT: Zoe McConnell for NME

School for Purnell was not the darkly formative time it was for Rhiannon, but it was still vastly different to most people’s experience. Her acting career technically began when she was eight years old, with “an advert for sweeties in Germany”, but she’s been working regularly since she was about 13, when she played a young Keira Knightley in Never Let Me Go. Acting wasn’t necessarily something she felt a huge passion for initially. She was good at it and enjoyed it enough to keep doing it. None of her classmates were particularly impressed by her occasionally nipping off to set. “I went to a very posh, fancy girls’ school,” she says. “Lots of people had scholarships or were very gifted at things… [Acting] just sort of felt like an extracurricular activity, if that makes sense?”

Basically, it was something she did, not who she was. She wasn’t even sure if she wanted to do it as an adult. “I fell in and out of love with it a million times over,” she says. “But teenage girls go through a thousand changes of heart every single day… Sometimes I’d compare myself to others and want to be a normal kid.” Somewhere between the ages of 16 and 18 – she’s not sure exactly – she decided to take a year off acting and look into other possible careers: “A writer or a teacher, possibly both”. She traveled, “but couldn’t stay away [from acting]. I just kept coming back to it”. Then she won a role in Miss Peregrine’s Home For Peculiar Children, for one of her heroes, Tim Burton, followed by her first American role, in Sweetbitter, and that was the decision made. “That’s when I was like, yeah, I’m sticking with this.”

Career decided, she had to figure out who she wanted to be as an actor. “I made lists,” she says. “I make lists of everything: things to google; food I want to make; actors I like.” Top of that list was Helena Bonham Carter, but also Nicole Kidman and Margot Robbie, among others. “Women who don’t fit in a box,” she says. “Character actors. You don’t see a lot of character actors, especially women.” She says channeling those women, especially Bonham Carter, helped her “learn to find my voice and come up with my own ideas, instead of just doing everything I was told to do”.

I know Ella Purnell is a big music fan. Not to suggest she could have a music career of her own, though I have been thinking how she could play the lead in a music biopic. I definitely can see music playing a part in future roles. Whether it is a film that is set in the 1960s or 1970s where Purnell is playing one of the leads, set to a soundtrack of classic tracks of the time. She is an actor who can pretty much cover any ground or genre. Easily adopting American accents for roles, I do envisage music playing a big part. An actor I really love and have a huge amount of respect for, I do wonder whether Purnell has ever considered taking on the role of a major artist. In fact, when I was thinking about artists she resembled, Gwen Stefani came to mind. Perhaps there would not be scope for a biopic about her band, No Doubt, though I often felt Stefani is someone who could have had a long and successful acting career. I would love to see Ella Purnell take on Gwen Stefani in a film. Maybe playing a young version of her as part of a larger story. Maybe it is a random thought. Purnell has said in an interview how she loved Lenny Kravitz and Girls Aloud. I am not sure how much she has considered a role that would either be a known artist or a film revolving around music. There have not been a huge number of films like this the past few years. Of course, various music biopics made me think about Gwen Stefani and No Doubt. It would be wonderful seeing her in a film where music comes to the forefront.

I have been thinking how the T.V. series Vinyl didn’t last long but should have. A series set in the 1970s. It would be great to see a similar series set in the 1990s. Purnell playing someone in the music industry. I also think of The Beatles and the 1960s. How it would be cool and iconic with Purnell in the mix. This is me spit-balling and throwing out ideas! I have been really getting back into the directing of Michel Gondry and his visual style. How it took that and applied it to films like Eternal Sunshine of the Spotless Mind. Few modern directors who have that sort of eye and intelligence. In reality, what would be great is Ella Purnell playing a fictional character. A series set in the 1970s. Around the styles and sounds clashing through the middle to the end of the decade. Perhaps this love story at the heart. Purnell playing someone in the industry who starts out as this overlooked person who is struggling to find her feet who then becomes this huge inspiring and important figure. Having that sort of remarkable mix of visual styles that Gondry brought to his video. Maybe having him direct. Writing by some incredible women. An empowering, fascinating, compelling and at times edgy and controversial series. This powerful performance by Purnell. The wonderful soundtrack and this evocative soundtrack. Whether it is something she has considered or not, I do hope that Purnell connects more with music in future roles. At least a series that explores music or weaves it directly into the story arc. The fantastic Ella Purnell is one of the best and most humble young actors in the world. I can see such a long career for her. Whether she is as massive a music fan of music as I think she is or not, I do love her adaptability and incredible versatility. Seeing Purnell in a music biopic or series about music would be…

WONDERFUL to imagine.

FEATURE: Sobering Thoughts: How the Music Industry Could and Should Highlight Women’s Safety

FEATURE:

 

 

Sobering Thoughts

IN THIS PHOTO: Saoirse Ronan in 2019/PHOTO CREDIT: Paolo Roversi for DAZED

How the Music Industry Could and Should Highlight Women’s Safety

_________

I am not sure how to…

IN THIS PHOTO: Denzel Washington, Paul Mescal, Saoirse Ronan and Eddie Redmayne on The Graham Norton Show/PHOTO CREDIT: Matt Crossick/PA

wrap a feature around a thought that has been in my mind following something Saoirse Ronan said. The American-born Irish actor recently appeared on Graham Notion’s talkshow and there was this moment when fellow guests Denzel Washington, Paul Mescal and Eddie Redmayne sort of made light of a man having to defend off a stalker or stranger with their phone. If they could use it as a weapon. Ronan, clearly uncomfortable and galled by something women have to consider all the time, dropped the mic and bomb. She interjected and did say that this is something women have to think about all the time. It left them (and host Norton) humbled and a bit dumbstruck. Quite embarrassing for them but incredible to see. The audience definitely appreciated Ronan’s observation. That led to conversations on social media. Entire articles about the reaction to Saoirse Ronan’s truth-bomb. In fact, Marina Hyde wrote this article for The Guardian. Stating how we don’t usually expect hard truths from chatshows. However, we definitely got one:

“Therefore the moments when it isn’t take on outsize significance. As you may have guessed, we are talking about last Friday’s episode of The Graham Norton Show, on which the Blitz star Saoirse Ronan appeared as a guest alongside Gladiator II actors Denzel Washington and Paul Mescal and Day of the Jackal leading man Eddie Redmayne. We join the sofa as Redmayne is doing an anecdote about how his Jackal preparation involved being trained in self-defence, in order to do what Team America would call “his acting”. (Not how Eddie put it, obviously. And yet, the reality.) Redmayne’s revelation that he was shown how to use a phone as a weapon if attacked proves quite the hoot, with Mescal riffing on the absurdity – “Who’s actually going to do that, though?” – Norton chiming in, and Denzel laughing along. Ronan is trying to say something but she gets honked over, before managing to cut through with a line for the ages: “That’s what girls have to think about all the time”.

Oooooof. The look on the other actors’ faces after Saoirse has detonated this chat-icide bomb is hilariously mesmerising, as is the sudden silence, which is split-second but also seems to last 27 years. Ronan obligingly diffuses it by provoking audience applause with a rallying, “amirite ladies?”. And then everyone moves on. Well, everyone except the internet, which has been picking over the entrails ever since. 

The clip itself will be familiar to any woman who has ever wondered if they can be arsed interrupting some self-styled comedy gold happening around them to say something that matters to them. As mentioned, Saoirse herself has at least one failed attempt at interjection before waiting, as one must, and trying again – at which point the guys are having such a rip-roaring time doing their bit that they initially don’t appear to realise she has opted not to respond with the timeworn improv gambit “yes and … ”.

Possibly the best part of the entire thing is the moment after, surely a shoo-in for the Best Silence Oscar. Personally I’d have liked it to have been broken by Denzel thundering “WHERE IS YOUR IMPROV NOW?”, but for some reason such lines desert our leading men. Caught unawares, Redmayne offers a sort of wan yas-kween nod. But the applause for Ronan is seized on as a natural break, and the conversation moves on without anyone at all discussing by far and away the most fascinating thing said on the sofa thus far.

But look, I know what you might be thinking: is all this unfair? I mean, they’re only on a flipping chatshow, aren’t they? The trouble is that there are so few of these sort of moments in the obsessively controlled world of contemporary showbiz that we are left with the somewhat absurd situation of twats like me remorselessly analysing this tiny clip like we’re huddled in the White House situation room watching live footage of some Seal team raid on a stronghold, and holding our breath for the kill order. And yet, this one proves no less satisfying each time you see it. Ladies and gentlemen – she got ’em.

No one is suggesting that the male actors and presenter involved deserve some huge backlash for this. What people are saying is that the moment was telling. When clips like this go viral, it’s for a reason. For this many civilians to share them – this many female civilians, let’s face it – means they instantly saw something they recognised. Most, if not absolutely all, women have been in a version of that conversation in their time, and almost all of us have not found the precise words to say in the moment it was happening, instead either coming up with them while stewing on the way home, or two weeks later in the middle of the night (still stewing).

For the right words to be found in the moment, on primetime television, is a fantasy arguably more powerful than any of the ones the chaps are currently promoting in their movies and prestige TV projects. No offence to the Roman gladiator, former-Roman-gladiator-turned-arms-dealer, and public school assassin with whom Saoirse was sharing the sofa. But Mescal and Washington just got totally colosseumed, while Redmayne took an absolute burn bullet to the forehead”.

I am going to move on to how this applies to the music industry. Or could. I am still compelled to stay with Saoirse Ronan. At best, the guests that sat alongside Ronan with Graham Norton were naïve and lacking awareness. At worst, they were ignorant to the reality women and girls go through every day. I think Saoirse Ronan was very forgiving and generous when speaking about Paul Mescal (a friend of hers) during a recent interview when asked about that moment. One that has gone viral:

“In a Virgin Radio UK interview, she said: “The reaction has been wild. It’s definitely not something that I had expected, and I didn’t necessarily set out to sort of make a splash.”

Ronan continued: “I do think there’s something really telling about the society that we’re in right now and about how open women want to be with the men in their lives.

“So many men and women that I know from all over the world have gotten in touch with me about this one comment, which is, again, I would urge people, please, please, please to watch this in context.

“The boys weren’t sort of like debunking anything that I was saying. But at the same time, it felt very similar to like when I am at dinner with a bunch of my friends and I will always make the point that, well, this is actually an experience that we go through every single day.”

Ronan added that she has discussed the issues with “dear friend” Mescal in the past: “He completely gets that and completely understands that but I think the fact that there was a moment like that that happened on a show like Graham Norton, which is something that the entire nation channels and to watch and even overseas, it’s something that people tune into, it seems to have had an accessibility which seems to have really gained traction”.

Every week, we are reading stories of young women and girls being killed by men. Their motives, disturbingly, jealous. Coercive control. Always so horrible to think how vulnerable so many girls and women are. What shocked me about the Graham Norton event was that the subject of fending off someone with your phone is no laughing matter. Even if it was not meant to be an insult to women or shrugging off a horrific daily reality, it has left a nasty taste. It is an attitude so many men have. Why is it down to women alone (for the most part) to speak out against the fact women’s safety is constantly threatened but rarely discussed more in the mainstream media?! There is very little activation from men. A shocking lack of awareness and knowledge. They are dumb to how nearly every women has to be prepared when they walk the street. The fact they might need their keys or phone as a weapon. Never feeling truly safe alone. I understand there are charities and organisations that exist that help women feel safe at gigs. There are resourced and phonelines. There is information and awareness out there. I feel, with every news story we read of a young woman or girl losing her life because of male violence, the more there should be outrage and protest around the world. It may seem like this has nothing to do with the music industry. A lot of women in music have written about women’s safety and their own experiences. How they keep keys in their hand in case they need to use them as a weapon. Both Courtney Barrett and Billie Marten have discussed it in their lyrics. Away from this, there is not really a lot of discussion and highlighting. As I say with many subjects around women’s safety and equality, there is definitely not enough conversation.

 PHOTO CREDIT: Mikhail Nilov/Pexels

As with all of these topics – gender equality, sexism and women’s right -, it is women who are mostly discussing it. I think there seems to be a pretty low priority assigned to women’s equality and safety. It is something the industry could tackle. It is something that affects all female artists and fans. From those attending gigs who are at risk of sexual assault, abuse or violence in the streets, through to artists who live with that daily risk of being attacked, it shouldn’t take a reality pill from Saoirse Ronan to awaken senses and open eyes to something that some, deliberately or not, joke about. Men not having to worry in the same way women do when it comes to their safety. I have been thinking about women in music and all the layers and types of abuse and harassment levelled at them. How they also have to face sexism and misogyny. It all comes down to misogyny. An epidemic that is claiming so many lives. One might say that the music industry speaking out or there being this widespread activation can change things. Women and girls will always be exposed to male violence. Sadly true, however, the more awareness that is raised, the more it will do to tackle the issue. Making women feel safe in the industry. Calling out men to do more and to ensure that this sickening and frightening epidemic – because that is what it is! – ends in our lifetime. That we do not have to keep hearing about women and girls being murdered, abused and the subject of misogyny and violence. It takes me back to that Saoirse Ronan comeback on The Graham Notion Show. How a brief interjection made such a sobering impact. Stunned and make fools of the men who were casually joking about something that is very serious. Definitely women it comes to women and keeping them safe. How they have to always be ‘prepared’ when they go out in case they are attacked. This is a harrowing and disturbing reality that we should not have to discuss…

IN THIS PHOTO: RDNE Stock project/Pexels

IN this day and age.