FEATURE: Spotlight: Lizzo

FEATURE:

 

 

Spotlight

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PHOTO CREDIT: Michael  Prior for NME

Lizzo

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THIS is where I highlight an artist who warrants...

 

more attention…or they might be on the cusp of explosion. In the case of Lizzo, she has been making some big moves and one feels she is close to headlining festivals! There is a general void when it comes to new headliners who can bring sass, party and a sense of confidence. We are seeing the same names being given a platform and, of the ones who have not headlined before, there is not a lot in the way of genuine pump and energy. I feel Lizzo has been around long enough and is perfectly capable of owning any headline stage. Let’s hope that comes next year because, right now, she is on fire! Lizzo grew up in Houston, Texas and moved to Minnesota by 2011. She perfumed with Indie groups whilst in Minnesota and also helped form a female three-piece Rap/R&B group. Lizzobangers came along in 2013 and, with a few years’ of musical experience behind her, many were amazed by the confidence and command throughout. Lizzo had been performing before 2011 but one feels her time in Minnesota was the most influential and productive period for her. Her debut seemed to come out of nowhere because, before 2013, there was nobody quite like Lizzo on the scene. The production from Lazerbreak and Ryan Olson helped lift the songs and bring all sorts of elements into the mix but it is Lizzo’s extraordinary confidence and energy that makes every song pop and fizz.

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 IMAGE CREDIT: Spotify

The Guardian , when reviewing the album, had this to say:

 “In this super-charged debut, which harks back to early-90s hip-hop, she delights in speeding it up, be it to dazzle male counterparts, as on Pants vs Dress, or simply as a release. At times joyfully nonsensical, Lizzo's stream-of-consciousness rhymes can also be lethally pointed. When she declares herself "the only rapper with a womb/ That'll spit that 16 bars to send you rappers to the tomb", it doesn't sound like an idle warning’”.

It was a stunning and ultra-cool introduction and it only took a couple of years for her to follow that with the amazing Big GRRRL Small World. There were a few more producers in the mix but, once more, it was Lizzo’s personality and talent that drove the record. From the start of her career, her voice has always been natural and completely different to anything around. You get some heat and humour alongside vivid images and some incredible choruses. The music has many different labels and the voice is that driving force. It is hugely evocative but has seduction and tender edges. It was clear, with songs like Betcha and Ride in its order, Lizzo’s second album was not going to be a disappointment. Perhaps a little stronger and more varied than her debut, Big GRRRL Small World was Lizzo armed with even more confident and sense of place.

The songs are incredibly fresh and still reveal new elements some four years after its release. DIY, when reviewing the record, was full of praise and keen observation:

“Her deft wordplay and knowing winks haven’t gone completely – the lines “I swear there should be support groups for men without Lizzo / Meet once a week and deal with y’all issues / Google me and jack off into tissues” in ‘Ride’ can’t help but cause a quiet smile, for example - but ‘Big Grrrl Small World’ is an intentionally intense listen – Lizzo’s physical presence (a black woman,“statuesque and big as hell”) is placed meticulously front and centre.

“I woke up in this / in my skin” she sings in ‘My Skin’, with a wry nod to Beyoncé, “I can’t wash it away / So you can’t take it away from me / Brown skin.” “All my big beautiful big black booty girls”, ‘En Love’ shouts, “light skin, curly hair, afro in the air, love yourself like nobody can”.

It has been four years since her last album and, whilst some might say that is a long while to wait for new material, it seems Lizzo has not been idle. Recent singles Boys and Juice show she has retained her core sound but is addressing new subjects and adding even more into her music.

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 PHOTO CREDIT: Pari Dukovic for The Cut

It is the way Lizzo fails to compromise and continues to evolve that amazes me. Cuz I Love You is out on 19th April and will be one of the most anticipated records of the year. Lizzo’s recent material is, in my view, her finest work and most addictive. I guess touring and time elapsed has helped create this quality but it seems Lizzo is growing stronger and more adventurous with each album. In this detailed and extensive interview with The Cut, Lizzo talked about her hobbies and past. Many might not know Lizzo played the flute – she is pretty decent actually!

“The junior-high punks might have called her corny, but like most hobbies people mock you for in adolescence, it’s now one of her greatest assets. The flute is earning her Shade Room–blessed viral fame, especially after one particularly notable moment from a performance at the University of Iowa’s homecoming. As she tells it, that video was born out of a direct challenge to her ability to play the flute — or to perform at all. During sound check, a professor threatened to report her to campus police unless she showed permits. “The privilege that you have to have to walk up to young women, brown women, black women, and yell, ‘Do you have a permit to be here?’ While we’re clearly onstage with microphones singing and dancing,” says Lizzo, shaking off phantom pangs of annoyance.

It was not an easy start for Lizzo and one feels her rather humble upbringing is the reason she is such a determined and confident artist. Music, it seems, was one of very few companions for a young Lizzo:

Lizzo’s family moved to Houston from Detroit when she was 9. Her parents worked long hours building a succession of businesses, and her two older siblings were often doing their own thing, so music was an early babysitter. In sixth grade, “the flute chose her,” when her school’s band director asked Lizzo if she wanted to learn the instrument. At 14, she formed her first rap group, the Cornrow Clique, with two of her classmates and got her nickname, Lizzo. (She was originally Lissa, but Jay-Z’s “Izzo” was a popular song at the time.) She could rap — which should have made her popular — but she was in marching band, so she wasn’t. Also she smiled too much and laughed too loud. Sometimes she wore hippie clothes, like flowing shirts and bell-bottom jeans. She listened to Radiohead and Death Cab for Cutie because her older sister did. She wore Uggs, the tipping point. Her classmates said she was “too white.” “But like, Lil Wayne also wore Uggs,” she points out.

Lizzo’s notoriously upbeat attitude has not come easily. She works hard to maintain that outward optimism and, as a person, she is always trying to make improvements and take care of herself.

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 PHOTO CREDIT: Pari Dukovic for The Cut

When speaking with The Cut, she revealed how she managed to maintain so spirited and defiant:

Lizzo has always been open about the amount of work she does to maintain her stubbornly upbeat attitude. She goes to therapy. She’s improved her relationship with her mother. She’s canceled shows when she realized she wasn’t taking care of herself. She quotes her own lyrics to herself for motivation. Onstage that night at Kings Theatre, Williams and Robinson will ask her to give advice about self-care. She proudly owns, to the enthusiastic delight of the audience, being thick, being single, being black, being a woman, loving anime. “I started really doing work on like deep crevices of myself,” she explains. “I was like, Girl, do you love your back fat? Yeah, you do. Girl, you have a good ass, don’t think you have a bad ass!”

It is fascinating to see where Lizzo has come from and how she has grown. Her early life was not always easy and happy but her bond to music has seen her come so far. Not only is she a wonderful musician and singer but her sense of the eclectic and varied is amazing. In this interview with The Guardian last year, Lizzo talked about her eclectic nature:

 “I make all different types of music,” Lizzo explains, gesturing expansively to a buffet laid before us. “You see here, we got pineapples, we got croissants, we got sausages – which one you like? I feel like when you’re good at doing a lot of different styles, it hard to stick with one.” After working on the album for three years, this summer she finally laid down the songs that will make the cut. “I hit my stride. It was about embracing my singing voice.”

Not only is Lizzo’s confidence and multifarious nature impressive but she helps give a voice to plus-size people. She is a plus-size artist and, in an industry that is judgmental and promotes those skinny and beautiful, it is refreshing to see Lizzo strike out and show her curves. Lizzo is an artist who has succeeded in an industry that does concentrate on looks an ideal. She has some very clear views regarding body image:

“As a plus-size woman of colour, Lizzo’s success is a respite in an often grimly misogynistic music industry. Her message is straightforward: love your body, have faith in your abilities, don’t let people treat you like shit. “I don’t need a crown to know that I’m a queen,” she croons on Scuse Me, her ode to masturbation – a topic she returns to on Ride. “I swear there should be support groups for men without Lizzo,” she raps. “Meet once a week and deal with y’all issues. Google me and jack off in a tissue!”

There are a load of great interviews with Lizzo and I would recommend people check them out. Lizzo is open and revealing and keen to let people into her world. There are so many sides to her music and, as a woman, she is inspirational and fascinating. There is much to love about her but the way she speaks and how unforced her words are is refreshing to hear.

I think modern music is full of very cautious and uninteresting artists: Lizzo is the opposite and you always get something unique, funny and impressive. The final interview I want to bring in is the one she gave to NME last year. Lizzo talked about her fans’ feedback and which fans are most important to her – finishing off by talking about her upcoming album and its process:

“I get messages from fans all the time,” she says. “I love them all equally, but the ones that really get me are from black women. I guess it’s because my music was indie-leaning for so long and I was in Minnesota, so my fanbase was white. I’m really grateful for that fanbase – they’ve supported me from the start and they continue to support me. But I’m a fat black woman from Detroit who grew up in Houston, and I make music from my experience for my experience. That includes everyone, you’re all welcome to my experience, but what I’m saying is my music is very personal. So when women from my kind of background reach out to me and say, ‘Where have you been all my life? You’re my mood, you’re helping me feel myself!’, that makes me feel like I’m finally getting into my purpose. And I think my purpose is bringing change to the people who need it the most.”

At the moment, Lizzo’s purpose is also working on her new album, but she says she’s in no rush to get it out. “Missy gave me the best advice,” she explains. “She told me to take my time. And honey, you’re not gonna see an album from me until it’s ready because of that!” 

Anyone who has not experienced the power of Lizzo should check her out. Read as many interviews as you can and familiarise yourself with her back catalogue. It is a fascinating picture of an artist who has no real equals. Lizzo’s music is extraordinary and so eclectic but it fascinating reading about her and what she has to say. She is a natural leader and voice that is raising awareness and fighting against prejudice; providing this incredible sense of passion and energy. I cannot wait to hear her upcoming album, Cuz I Love You, and what it has to offer. If the songs she has released in the past few months is any indication it looks likely to be her strongest and most varied. I love how she can add so much colour and vibrancy to every track. Her lyrics are incredible and packed with so many memorable lines. Lizzo’s firepower brings the songs to life and I can only imagine how amazing her live performances are. If you get a chance to see her live – check out her social media pages – then make sure you catch her. Everything combined leads to this amazing and titanic artist that is among the most impressive and rounded in music. You always get something different and memorable from Lizzo and, at a time when there are few artists who genuinely stand out, I think she is a true...

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 IN THIS PHOTO: Lizzo/PHOTO CREDIT: Getty Images

FORCE of nature!

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INTERVIEW: Ferera Swan

INTERVIEW:

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Ferera Swan

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WITH Second Time out in the world...

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Ferera Swan has been telling me about the track and how it came together. She reveals how she got started in music and what her favourite memory is; what she thinks of the modern scene and how she has evolved as an artist.

Swan reveals whether more music is coming later this year and how she relaxes when she has time; which artist she would support on tour if she had the chance and the advice she’d give to any musicians coming through right now.

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

It’s been going pretty well! Thank you for asking (smiles).

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

I am a singer-songwriter and a composer. I’ve released two albums in the past (an R&B one and a Pop album) and rebranded last year. As an artist, I’ve found my voice by sharing my journey through music. As an adoptee, I’ve found my purpose through using my voice to serve others. I’ll be releasing my new single, Second Time, on February 1st!

Second Time is new. What was the inspiration behind the song?

Second Time was written for my birth mother over ten years ago after our reunion where we ultimately experienced the loss of each other all over again after a very complex relationship filled with grief, pain and (what I've now come to realize) love.

Might we see some more material later in the year?

I'll be releasing my new single, Second Time, this Friday, February 1st!  I'll be working on a lot more writing and recording this year, so I'll have some more music for everyone following the release of this single. Stay tuned! (Smiles).

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Can you recall the exact moment music struck you? Did you grow up in a musical family?

I started piano lessons when I was three years old and felt instantly connected to the music...it felt familiar, like it had already been a part of me all along.  

Looking back at last year, do you think you evolved as an artist? What are your impressions of 2018?

2018 was filled with a lot of personal growth, discovery; reflection, redefinition and transition…I think growth directly affects the music we create and what we’re able to share through our art. When we evolve as people, I think the music naturally does, too.

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What do you think of the modern scene? Do you listen to a lot of new artists?

There are a few I like but I find myself craving more vulnerability in not just the content but also the production.

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

I’ve got two so far. In high-school, I won a district composition contest for writing my piece for orchestra and piano titled Serenity and it was premiered by four orchestras and a pianist. I really struggled as a teenager adoptee navigating through emotions, etc. and I remember feeling proud, along with a sense of worth, when I won. I think that’s when I realized that we can turn our pain into beautiful things like music that can truly make a difference.

The second favorite was my last C.D. release party - so much fun in one night!

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

This one is really, really hard...I don’t think I can answer that in one answer!

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

Sara Bareilles. All I need is a piano and I’m good to go!

What advice would you give to new artists coming through?

Be authentically you and people will be able to feel it; the honesty will reflect in all you do.

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Do you think there are going to any tour dates coming up?

Yes! I’ve got a handful of cities in mind. (Smiles).

How important is it being on the stage and performing to people?

If being on stage and performing is the way you know that you reach the hearts of others in need the most powerfully, then that’s where you need to be.

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Are there any new artists you recommend we check out?

No one comes to mind at the moment!

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

I love the outdoors and being in nature. I also enjoy cooking and working out (not at the same time) and spending time with my fur babies!

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

Misery Chain - Chris Cornell (he’s my fave!)

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Follow Ferera Swan

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INTERVIEW: Georgia Meek

INTERVIEW:

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Georgia Meek

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THE excellent Georgia Meek...

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has been telling me about her new single, Pray, and what it is all about; what we can expect from her upcoming E.P., Pop Culture, and how 2018 was for her – Meek recommends a new artist to watch and tells me what she has planned regarding touring.

I was eager to know which albums and artists are important to Meek and how her studio sound differs to that we hear on the stage; the advice she would give to artists coming through – she ends the interview by selecting a pretty cool track.

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

Manic! I’m currently sitting at my laptop on the Monday of release week, which feels daunting to say the least. Haha.

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

I’m a singer/songwriter/producer based between Surrey and London. I make Electro/Indie-Pop with a feminist punch.

Pray is your new track. Can you reveal how the song came together?

It was summer...I was working from a shed somewhere west of London. I remember the day I wrote it because it was one of those days last year where the heat was nearly unbearable. We had to keep turning the fan on and off to record.

It was around the time when my boyfriend (now ex-) had been putting me down a lot for going out. He didn’t like the fact that I liked to party and used to get super-jealous and paranoid every time I had a drink without him. It had got to the ‘self-fulfilling prophecy’ point, where I’d started drinking more to avoid tackling my relationship issues.

I’ll let the song tell you the rest...

I know the track is from your upcoming E.P., Pop Culture. Are there particular themes addressed throughout?

Being the deep thinker that I am, the birth of Pray was the beginning of a multitude of questions and protests within my internal conversations. I started to ask myself, ‘Why am I avoiding all of these issues in my life? I write about overcoming things like sexism and abuse in my past, yet I still can’t seem to get past basic problems like managing relationships, money and my health’.

It then struck me, that, everyone I know my age is in the same predicament. We put so much pressure on ourselves in our twenties to set ourselves up for the perfect life, whether that be finding a partner, getting that dream job or climbing a social ladder.

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The reality is, all this pressure is setting us up for failure. We are creating a generation of alcohol-dependant, mental-health sufferers.

Did you know that anxiety and depression in twenty-somethings is literally at an epidemic? In the U.K. in a year there are an average of 360,000 new diagnoses of cancer. Can you guess what the number is for anxiety diagnosis? 8.2 million.

Is there a song from the E.P. that struck you especially hard? Which was the most interesting to record?

Definitely. And it’s a song that directly addresses the route of all my anxiety issues - an uncontrollable and deeply disturbing fear of death. The song is called Bones:

“Cold, like the fragments of my bones

Disintegrating on their own, into the depths of the unknown

Dark, can’t hear the beating of my heart

I beg the lord I’ve left my mark

And disappear into the dark”

How was 2018 for you? Looking back, how important a year was it?

Unbelievable, I’m still pinching myself. The support on Bare was so uplifting, especially from fellow D.V. victims.

I feel like I really found my voice in the industry and have since signed with a label, manager and booking agent – so, if you’re reading this and are someone who streamed/downloaded or followed me in 2018, sincerely thank you from the bottom of my heart.

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Do you remember the first moment music came into your life? Can you recall the first artist you became aware of?

When I was in reception class at school, there were some cubicle toilets round the corner in the classroom. I sat down for a wee and started singing Away in a Manger because we’d been getting ready for a Christmas nativity. When I finished singing and stood up to flush, I heard everyone round the corner in the classroom start clapping. Can you imagine how embarrassed I was as a five-year-old. Haha.

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

Now! Signing my first deal! That and waking up one morning to 200,000 streams on my Spotify.

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

Not a lot of albums on a whole do, but I definitely have three tracks…

Groove Armada - At the River. Because it reminds me of happier, simpler days.

The Jam - English Rose. I lost my dad when I was sixteen and he always used to pick up my acoustic guitar and noodle the riff.

Primal Scream – Loaded. Because it is literally impossible for me to be sad when I listen to it - in fact, I may just put it on now and dance around my kitchen for a bit.

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

I’m officially Billie EIlish-obsessed, like most other people in the world right now. I really want to give you a cool, alternative answer but this is the honest one. Haha.

And can I put a studio set up on a rider…?

What advice would you give to new artists coming through?

HAVE A PLAN AND STICK TO IT. Be organised. But also I’m going to quote myself because I still mean every word of it:

“Trust your own sound and don't let any idiots tell you that you need to change or 'define' it. I was confused for a long time because people would say things like: “I don't really get what genre you are writing in” or: “Who is this music for?” Let your answer always be: “For me and anyone else who fuc*ing well likes it”. Individuality is dying - remember that the next time someone questions who you are”.

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

I’m at The Slaughtered Lamb in London on 15th February and tickets for my headline show in Guildford go on sale on 4th Feb 4th - that’s on 27th April at The Star Inn.

I’ll also be a headliner at Dart Festival in Plymouth, plus lots more exciting things in the summer that I can’t reveal just yet.

How does your music differ on stage compared to how it is laid down in the studio?

We try to keep the sounds as close to the tracks as possible but there is undoubtedly an added punch that comes with my passion for performing live.

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 IN THIS PHOTO: Your Smith

Are there any new artists you recommend we check out?

I’ve been raving about a girl called Your Smith recently. I think she’s a great writer, super-catchy.

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

Nope! Hahaha. I think the last time we spoke, I said I listen to other people’s music a lot when I’m not making my own - that’s still true but 95% of my time is spent working on myself.

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

As I’m now listening to Loaded by Primal Scream, I think we should just leave it here…I dare you to hit play and not feel a little bit more positive

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FEATURE: Free Fallin’ How Long Will We Have a Sustainable Music Press and Media Scene?

FEATURE:

 

 

Free Fallin’

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PHOTO CREDIT: @juliusdrost/Unsplash

How Long Will We Have a Sustainable Music Press and Media Scene?

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GOING hand in hand with the closure of music venues...

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 IN THIS PHOTO: The former Cosmopolitan editor Sam Baker (left) and Lauren Laverne (right) co-founded The Pool/PHOTO CREDIT: David Levene/The Guardian

seems to be the struggle of parts of the music media. Although music is only a small part of what they do, I read that The Pool was set to close. It was set up by (or co-founded) by Lauren Laverne and has been running for years. It is a female-run website that looks at fashion, music; opinion, entertainment and all sorts of things. It is a great platform but, as this report documents, they have not been given a fighting chance:

“The editor of online women's magazine The Pool has said she is "absolutely gutted" the venture is to fold after almost four years.

Cate Sevilla said she was "heartbroken" more than 20 members of staff faced redundancy from the firm, which was co-founded by broadcaster Lauren Laverne.

Staff were not paid in January and some freelancers are owed sizeable payments.

The collapse of the firm raises questions about whether women-focused journalism can thrive online.

One industry expert said The Pool was caught in a "deadly vortex" of declining advertising revenues.

The site, styled as a "platform for women too busy to browse", went live in 2015 and signed up a collection of prominent female writers and contributors.

The Pool's editor Cate Sevilla said in a series of Twitter posts: "I don't really know what to say. I'm absolutely gutted...

"This has been an extremely frustrating situation, and I'm heartbroken for my team. For our freelancers. For our readers.

"I always wanted to work at The Pool, and I can't quite believe what's happened."

A GoFundMe page to help pay The Pool's staff and freelancers had raised more than £8,000 of a £24,000 target by Friday evening.

Eleanor Mills, chairwoman of Women in Journalism, which supports female workers in the industry, said online news websites were suffering because Google and Facebook were so dominant and took such a large share of all digital revenue, which she estimated at 95%”.

There is a lot to take from those quotes and this article. It seems there is a decline in advertising revenues which is threatening a lot of great sites and journalists. It costs a lot of money to support any website or music magazine and many people forget that. Even if you are getting free tickets for gigs or a lot of free products, you need to pay for the website uptake and there will be members of staff. A lot of music sites have free contributors but, like The Pool, there are expenses that need to be considered. If there is an office then that adds a lot of financial pressure and there are events that require money. In fact, when you do a list of all the costs associated with bringing quality journalism to the people then it is quite galling.

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 PHOTO CREDIT: @mikeack/Unsplash

The printed press, to a degree, can charge and relies on that revenue but so many outlets do not have that option. One of the reasons The Pool was such a success was the variation and the fact there were real voices providing this very useful service. Rather than charge people to read, The Pool relied on advertising revues for the most part. The wages are not steep but there has been a struggle maintaining the site. It is part of a modern culture that, more and more, expects things to be free. This is pronounced when you look at music and realise that many do not want to pay to hear music, let alone read about it. Spotify allows a free service and sites such as YouTube do not charge subscription fees. A lot of times these giants need advertisers to keep them afloat but, really, they are not as solid as you’d hope. There are so many websites and new people coming through, it means the money from advertisers is less stable and assured. The music media used to be lucrative when there were fewer options and the only way you could read a magazine was to pay for it. Pre-Internet, there was this (strange today) culture of purchase and, because of that, there was less need for advertising. It is true that music media has evolved and the sheer choice we have now is a definite step forward.

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 PHOTO CREDIT: @rawpixel/Unsplash

I love the fact there is a website for every taste and you can get your fix of music news at the click of a mouse. I also like the dedication and passion you can see from every corner. It is wonderful seeing so many committed journalists ensuring we are aware of the happenings in the music industry. There is still an active music press but there are fewer magazines than there used to be. Big names like NME have not survived and, whilst there are some new options in the market, I wonder how long this will be the case. These magazines have a dedicated following but I feel, as more websites come out, that might threaten the future and stability. Many of the bigger websites and players – such as CLASH and The Line of Best Fit - have built a name and they have a fairly healthy revenue stream. I am guessing this but I think their attractiveness in terms of advertising means they are not in immediate trouble. Vice is another big name that is experiencing an uncertain future and it seems very few are safe. This article from The Guardian last year suggested the security of the music press was assured:

“And yet, to walk into any major newsagent in 2018 is to be greeted by a dizzying array of titles – far more than there were when Melody Maker, NME and Sounds shipped hundreds of thousands of copies. Today’s circulations are lower, but there are magazines for every niche or genre, from Classic Rock to Blues & Soul to avant garde title The Wire...

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PHOTO CREDIT: MOJO/Getty Images

“I’ve read thousands of words about the so-called ‘crisis in music journalism’, but your average punter would be hard-pressed to understand that,” says John Mulvey, who edits the 63,000-selling monthly Mojo, which celebrated its 300th issue last month. He argues that the ill-fated free NME was “a last attempt to court a general audience, as titles have realised that they are no longer mainstream but specialist publications”.

Following what Mulvey calls a “recalibration”, today’s music titles are adapting to smaller circulations and more competitive markets by lowering overheads, using smaller teams and refining their core specialisms, emphasising quality, longform journalism in the face of an avalanche of disposable free content. Mulvey – an ex-NME staffer who edited Uncut until last January – wants to develop an ageing readership gently by covering new artists alongside the “evolving stories” of veteran Mojo favourites – so Paul McCartney can be on the cover and Malian star Fatoumata Diawara inside. Uncut’s current editor Bonner wants the 44,000-selling monthly to “celebrate the best of old and new” – so David Bowie retrospectives mix with passionate pieces on Rolling Blackouts Coastal Fever or Moses Sumney”.

I agree there are some names in the market that look safe but, as many commentators reflected on the comments section under the article, there isn’t the same appetite for printed magazines. A lot of the younger generation are unwilling to step away from their phones and it seems a loyal core is keeping these magazines safe. I am pleased there is clear visibility regarding physical press but I feel, the more sites that come in, it will not be long before we see many disappearing from the shelf.

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 PHOTO CREDIT: @rawpixel/Unsplash

A lot of these magazines rely on advertising and, with more websites taking business, can we really say that, in a few years, the newsagent shelves will be as broad and well-stocked?! Each week produces some new music website but they often do not charge a subscription fee and, again, are at the mercy of advertising. The market is so eclectic and growing so it can be hard creating that U.S.P. Even if your website or magazine seems unique and caters to an audience that has been deprived, before long you get mimics coming through who make survival harder. There are those who pay to read about music but we live in a time when anyone can listen to music without having to pay. We can all access a world of music media without leaving the house and do so without payment. Retailers like HMV are struggling and I do wonder whether we are losing sight of the importance of funding music. Artists and great sites/magazines cannot continue to work for free and, the more we continue to digest without considering the results, the less certain the future is. I am part of the problem when it comes to my music ingestion. I pay for Spotify but do not for YouTube. I do not pay for any online music sites but, then again, they do not ask – and I would love to contribute. I think there is that fear people will balk if money is asked for but what are the options?!

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 PHOTO CREDIT: @timmossholder/Unsplash

Things are pretty tough right now and I wonder whether there is a way out. I would love to think the music magazines we have on the shelf will be there years from now; all the great websites are safe but, as we see closures happening, do we need to address how music media is funded?! I do worry we take everything for granted and expect it all to be free. I know it is impossible and unfeasible for us to pay every website we visit. It is unfortunate that demand a packed music industry leads to more websites and magazines being created but, before too long, the strain associated with maintaining a free-to-view option becomes too much. What are the solutions to this enigma? So much advertising revenue is being taken by companies like Google and I do not think there is an easy way to increase advertising revenues. Many websites do offer this free trial where you can look at a few articles but then need to pay. I think people who are loyal and use a site a lot should pay a little bit. The costs are not too high and it means that site can continue to provide content. Maybe if it was only a couple of quid for each user, that would make a big impact and not bankrupt anyone! The problem is a little harder to fix when it comes to the printed press.

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 PHOTO CREDIT: Kerrang!/Getty Images

There is a loyal customer base for these magazines but I wonder, as the core demographic ages and these publications rely on the younger generation, will they still be able to trade? I think it is a case of asking people to pay. Music has only come this far because people bought it and it is not fair to ask websites and magazines to produce excellent content without reward. They do a job and it is not fair to consume everything for free. It is sad to see websites like The Pool struggling and I do know for a fact there are smaller music magazines and websites that are facing the same realisation. We need to reverse this rather pampered culture where we can access what we want for free. It is hard to get advertisers involved and should they alone be responsible for financing something like a music website? I do think the consumer has to face some of the cost and, even if it was a small subscription fee, it would help create a more solid future. Every time a venue closes, it is like a punch to the stomach for musicians and the public. The same can be said of the music media: artists rely on these sources to spread their music and give them a platform. The more we take for granted and the more closures we see, the less clear the future is.

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 PHOTO CREDIT: @clemono2/Unsplash

There will never be an extinction of the music media but we are incurring too many losses and there are so many people working for free right now. That is fine if they want to but many sites and magazines cannot afford to pay people. The music press and media has been a central part of the industry for decades and many assume filtering it online means it will continue to grow and be a lot more secure – that is not the case at all. The solution to this problem is not clear but it is clear that we need to do something and try to avoid any more closures in the market. So many talented journalists put their hearts into the work they do and it is a crying shame we have to see them out of a job. Things can change but I think we need to be pragmatic regarding financing and how we consume content! I feel it is wrong to use Spotify for free and I do not feel that comfortable browsing websites for nothing. It would be a bit much to ask a big amount from everyone to view content but some sort of compromise needs to be realised. The music press cannot survive for free and, day after day, it is becoming harder for websites and magazines to keep running how they would like. Maybe that is the burden of competition and the changing nature of the press/media today...we do take too much for granted and are very causal when it comes to the plight and sustainability of music sites. I hope there are relatively few issues this year for websites and magazines I love as it would be a tragedy to see them go. If we all clubbed together, financially and intellectually, I do think a solution can be affected. It may not be a quick turnaround but, in order for the brilliant music press and media to continue to give us the news, reviews and articles from the comfort of our homes, we all need to...

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 PHOTO CREDIT: @rawpixel/Unsplash

DO as much as we can.

INTERVIEW: LEISURE

INTERVIEW:

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LEISURE

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I start the week by finding out about the New Zealand band...

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 PHOTO CREDIT: Ravi Chand

LEISURE and their latest single, Easy Way Out. Jaden from the band takes up the questions and tells me about the track; what the music scene is like in New Zealand and how they got together – he reveals what we can expect from the band’s approaching album.

I ask if there is an album that means a lot to him; whether there are gigs coming up for the band; if there are any rising artists we need to get behind – he ends the interview by selecting a pretty cool track.

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

Very well, thank you - though sorry it is only I, Jaden. N.Z. has a heatwave, so we're taking it easy.

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

We're LEISURE, a five-piece sensual, relax-o band from New Zealand.

Easy Way Out is your new single. What is the story behind it?

We wrote it on a writing trip in Huia, New Zealand. We hired a place on Airbnb and had two makeshift studios going. The song is about pushing through the muck with a Cod-Reggae soundtrack.

I believe there is an album due later this year. Can you reveal the stories/ideas behind it?

Yes. We have just finished the record and the idea was to expand on where we've been but stay true to ourselves and enjoy the ride. 

How did LEISURE find one another? Was it an instant chemistry?

I had met all the guys over my years working in the N.Z. music industry. Once we all got together and made music it all happened pretty easily. Our first single, Got It Bad, was one of the first songs we wrote.

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 PHOTO CREDIT: Ravi Chand

I cannot imagine there is a huge music scene in Auckland. Would that be a misconception?

Yep, totally: we have a very good music scene.

When you were growing up, what sort of music inspired you?

We all have different influences, which come through in our LEISURE tunes, but we all appreciate honest music with good songwriting and no B.S.

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

I think, for me, it would be our very first writing trip, where the band formed. But, we also recently performed at the Auckland Town Hall back by the seventy-two--piece, Auckland Philharmonia Orchestra.

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 PHOTO CREDIT: Connor Nestor

Which one album means the most to you would you say (and why)?

It's hard to have just one, though I'd say Carole King - Tapestry. It never gets old and always puts a smile on my dial.

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

Not sure how to answer that...

What advice would you give to new artists coming through?

Do what makes you happy and focus on your craft.

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 PHOTO CREDIT: Ravi Chand

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

Yes. We're heading to Australia and have U.K. dates to be announced soon.

As you are all men of LEISURE; what leisure activity would you select as your favourite?

Somewhere at an isolated beach house, hanging out and making music.

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 IN THIS PHOTO: HIGH HØØPS

Are there any new artists you recommend we check out?

Our guy Jordan from LEISURE, a.k.a. HIGH HØØPS, has a solo record out. A couple of the boys are working with a young kiwi artist called BENE; also Lord Echo from Wellington.

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 IN THIS PHOTO: BENE

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

Yes. Personally, I spend time at my house working on the garden.

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

Personally, I've been enjoying Phoebe Bridgers’ Funeral

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Follow LEISURE

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FEATURE: Musicians Without Borders: Is It Wrong for Artists to Boycott Gigs for Political and Social Reasons?

FEATURE:

 

 

Musicians Without Borders

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IN THIS PHOTO: Mariah Carey has been criticised by some for agreeing to play in Saudi Arabia (a nation with a poor record when it comes to women’s rights)/PHOTO CREDIT: Getty Images 

Is It Wrong for Artists to Boycott Gigs for Political and Social Reasons?

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OVER the past few years...

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 PHOTO CREDIT: Getty Images 

I have seen examples where artists have performed gigs in nations where there is turmoil. Maybe there is a reputation regarding human rights violations or, if an artist played in a nation like Israel, they are seen to be supporting a certain political ideology. I have written on this subject before but, with each year, a big artist defies barriers and plays a gig because they want to bring their music to the people of the world. Mariah Carey is the latest big name who has divided opinion regarding her choice of nation/gig. I will raise an issue when it comes to comparing the U.K. and U.S. to nations in the Middle East and other parts of the globe but Carey’s agreement to play in Saudi Arabia has been met with condemnation. The Guardian , in this news piece, explains the situation in more detail:

“The singer Mariah Carey has been criticised by women’s rights campaigners, who have accused her of helping to airbrush Saudi Arabia’s poor human rights record by agreeing to perform there.

Carey appeared with DJ Tiesto, Sean Paul and the Yemen-born singer Balqees Fathi on Thursday in what she has claimed was an opportunity to work towards gender desegregation in the kingdom.

Activists, however, have rejected that. “The Saudi government is using entertainment to distract the people from human rights abuses because it can sense the anger among the public,” said Omaima al-Najjar, a Saudi woman who sought political refuge abroad and co-founded Women for Rights in Saudi Arabia (WARSA).

 

Carey’s publicists told the Associated Press that, when “presented with the offer to perform for an international and mixed gender audience in Saudi Arabia, Mariah accepted the opportunity as a positive step towards the dissolution of gender segregation”.

They added: “As the first female international artist to perform in Saudi Arabia, Mariah recognises the cultural significance of this event and will continue to support global efforts towards equality for all.” The statement said that Carey “looks forward to bringing inspiration and encouragement to all audiences”.

There is that divided argument that states that, on the one hand, Carey is breaking barriers and highlighting women and, on the other, is she aiding and abetting the plight of human rights in Saudi Arabia? Saudi Arabia has been judged regarding their human rights violations and their really shocking record. Some think Mariah Carey is whitewasing the issues and ignoring the violence and atrocity. I feel one should define what constitutes ‘supporting’ a regime and being ignorant. Mariah Carey is not coming to the country and ignoring the plight of women and how imbalanced society is. She is not supporting anyone who puts women down. She is, like many artists who have drawn criticism, playing her music and just playing in another country. There is a lot to be said for the argument that claims Mariah Carey is creating something rare. How many popular musicians have played in Saudi Arabia? She might have to make concessions regarding her attire and content but I hope that does not create any issues. For those who criticise Mariah Carey and feel she is making the human rights situation worse in Saudi Arabia, I wonder what artists are meant to do?

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 IN THIS PHOTO: Riyadh, Saudi Arabia/PHOTO CREDIT: @stijntestrake

If they talk about it in their lyrics then that seems a lot more confrontational than playing in a country and not addressing the subject. Is it better to document issues like poor human rights rather than playing a concert in a country with a poor reputation? Can Mariah Carey play a gig in Saudi Arabia and highlight how women are treated there? It is a sticky issue but one cannot say any artist that plays in a nation like Saudi Arabia is backing the government or blind to the problems there. If they boycotted and nobody plays then that, to me, seems more ignorant and destruction. Unless you explicitly say something through music, artists are not taking a political stance by merely performing at a gig. I feel Mariah Carey is actually pretty brave and doing something that will inspire other artists. This is not the first time a big artist has faced conflicts when playing in a country making news for the wrong reasons. Last year, Lorde cancelled gigs in Israel because of the controversy and political ramifications. This, as this report shows caused problems of its own:

“Two New Zealand women who were ordered to pay damages by an Israeli court for their role in Lorde cancelling a Tel Aviv concert have raised the sum through donations – but plan to give the money to the Gaza Mental Health Foundation instead.

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IN THIS PHOTO: Lorde/PHOTO CREDIT: Dean Chalkley 

Last week an Israeli court ruled Justine Sachs and Nadia Abu-Shanab of New Zealand must pay damages to Israeli teenagers Shoshana Steinbach, Ayelet Wertzel and Ahuva Frogel totalling more than NZ$18,000 ($11,700) for writing a letter urging Lorde to cancel her gig, which she did.

The court found the two New Zealand women damaged the “artistic welfare” of the three Israeli teenagers, and perpetrated “damage to their good name as Israelis and Jews”.

In the case of Lorde, she was put between a rock and a hard place and decided to cancel her gigs. The situation in Israel is a little more complex than that in Saudi Arabia but I wonder whether she bowed too easily to social media pressure and ill-advised voices. I will look at a band who actually did play in Israel – and cause some issues – but I wonder whether Lorde was put in an impossible situation. Again, like Mariah Carey, she is not backing a political party or religion by performing a gig there. Music is a beautiful platform that is not meant to divide: it brings people together and creates this rare harmony. I do wonder what would have happened if Lorde played Israeli gigs and brought her music to the masses. Maybe there would have been some angry people but that rage is completely unjustified and needless. Is Lorde bringing together divided factions and making the political situation worse? If she was to talk about the politics and divisions in Israel then it might be a bit too far but that was never going to be the case – she was simply going to bring her hits to her fans.

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 IN THIS PHOTO: Radiohead/PHOTO CREDIT: Getty Images

Whilst artists boycotting nations might placate the radical, enflamed and easily offended, I think it is the fans who suffer the most. How hard is it for music fans in nations like Israel and Saudi Arabia to see big artists they love? Many might not be able to travel to the U.S. and U.K. to see gigs so artists coming their way is a rare treat. Having that pleasure denied seems much crueller and ignorant than the alternative. It seems like there are double standards and people are making far too much of things. Lorde was forced to cancel gigs in Israel last year but, back in 2017, Radiohead made no such decision. Here, as is reported, the iconic band felt it natural to go to Israel and play their songs:

“Radiohead have performed their much-anticipated gig in Israel, after calls from protesters to cancel the show.

The sold-out concert went ahead as planned at Yarkon Park in Tel Aviv on Wednesday, despite urgings from activists and campaigners who have said the show is an insult to Palestinian people facing oppression in the country.

According to Richard Ferrer, editor of the London-based Jewish News newspaper, the audience of thousands represented a “melting pot” of fans.

It comes a week after Yorke defended the band’s decision to play in the country, following criticism by award-winning British filmmaker, Ken Loach.

Loach wrote to the singer on Twitter that “Radiohead need to decide if they stand with the oppressed or the oppressor. The choice is simple.”

Yorke responded in a statement: “Playing in a country isn’t the same as endorsing its government”.

That last line from Thom Yorke makes a good point: artists are not making a stand and being offensive when they play: simply, they are doing their jobs and not taking sides. One wonders how many other artists have turned down performing in the Middle East and Africa because of possible dissent and protest! I think it is unfair to deny a nation’s music fans because there are social rights issues and political divides. Artists like Radiohead and Mariah Carey are not concerned with spreading hate but, when there is a lot of backlash on social media and the possible protest, I can understand why some are reticent. How can we say there is any difference between artists playing in nations abroad suffering political clashes and artists playing here and the U.S.?! When it comes to civil rights, racism and turmoil; are Britain and America any better than Israel? We might not have the same level of violence and religious clash but our leaders are responsible for fuelling division and tension. What if an artist were to come from Europe and play here – knowing we are leaving the E.U.?! That would not be sniffed at and, instead, be seen as a positive and natural step. Would it be wrong for a band/act who was against racism and division to play in America...a nation ruled by Trump and going in the wrong direction? I think there would not be the same strife and anger regarding artists from here and the U.S. (and New Zealand) doing a similar thing.

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 IN THIS PHOTO: Tel Aviv-Yafo/PHOTO CREDIT: @adamjang

I know the debate is more complex than I have suggested but we are not talking about commentators, comedians or anyone who is likely to address the issues happening in nations like Saudi Arabia. I think, if a comedian did a set about human rights, it could cause a divide but isn’t that what they are supposed to do?! Music, for the most part, is politically-neutral and not concerned (in a bad way) with what is happening in that nation. They want to entertain and unite people and, by facing pressure and scorn, that is being taken away – it seems almost ironic. I don’t think it is right for musicians to be panned and judged if they want to play a gig, regardless of the nation involved. I am impressed Mariah Carey has taken a stand but I fear this will not be the end of things. I wonder whether more artists this year will be subject to scrutiny if they gig in the Middle East or parts of the world where there is a tense and complex political landscape. If an artist takes a stand and pulls out of a gig for personal reason then that is down to them. I think too many are being backed into an impossible situation. Music is a wonderful and for-the-masses-and-not-for-the-few arena that should not be subject to restriction. In a time when there is so much hatred and needless division, we should not be urging artists to boycott; instead, we need music to act as a powerful and unifying...

FORCE for good.

FEATURE: Vote for Us: The Artists Going Deeper When It Comes to Inspiration

FEATURE:

 

 

Vote for Us

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IN THIS PHOTO: The Specials released their first album in eighteen years recently with Encore/PHOTO CREDIT: Getty Images 

The Artists Going Deeper When It Comes to Inspiration

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THERE is some definition needed here...

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 PHOTO CREDIT: @marcooriolesi

because, for the most part, artists have not really pushed against the conventional for many years. There is, mind, something coming out that shows more depth and political motivation than recent years. I think certain genres have always put social awareness and politics first but, in terms of the mainstream and the artists at the forefront, it has been a long time coming. I wonder whether our Government and their rather slipshod handling of Brexit negotiations means that, finally, artists have had enough. It is not everyone who is making this shift but I am pleased to see politics, harder-hitting subjects and something more aware coming through. Most of the mainstream still deals in love tropes and the usual fare; a lot of bands are still hooked on themselves but I do love the artists who look out and are actually talking about the world. One might argue the fact artists have been talking about the state of the world for decades! This is true but I would argue (the fact that) this is one of the most intense and unbalanced times in recent history. I have campaigned for musicians to stray away from the bedrooms and the inner realms of their own minds and actually address what is happening around them. There were many reasons why the return of The Specials delighted me and many. The fact that their last single, Ghost Town, was released thirty-five years ago left many nervous and a bit unsure.

How would the legendary Ska band come back? Would it be a soft affair and would they still have that magic? The fact that their single, Vote for Me, sort of continued where Ghost Town left off meant that it was a pleasant and easy transition. I was worried the band, as they are a bit older now, would swap politics and the crumble around us for something more comfortable and safe. Maybe Vote for Me is not as sharp and anthemic as Ghost Town but it definitely is a relevant and of-the-moment track. One can see veiled disappointment and the dissatisfaction with our leaders. On their new album, Encore, there are frank tales of mental-health issues – their lead, Terry Hall has bipolar affective disorder – and one hears stories and lyrics that are actually quite intense. I think there has been a hesitation regarding discussing mental-health and issues like politics. It has been sprinkled through music through the years but there seems to be more of a concentration among today’s artists. I think most know the leaders we elect are going to de-prioritise important issues that will impact us and, instead, are clearing up the mess they have made. In a social media age, how easy is it to talk frankly about stuff like mental illness and politics without incurring judgement and harsh opposition?

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 IN THIS PHOTO: Ariane Grande (who is one of few Pop artists unafraid to talk about politics)/PHOTO CREDIT: Getty Images

I think a lot of people actually do want to discuss these things but the always-capricious nature of social media means only one person ranting and attacking you can do a lot of harm. I do like what is in the mainstream but I think there is a perfect opportunity for the biggest artists to, with slight risk, go somewhere a bit darker. It is all well and good talking about heartbreak and commercial avenues but, given the fact so many teen listeners experience mental-health issues, should they not be more conscious? Some Pop artists like Selena Gomez and Ariana Grande have talked about that sort of thing in their song but how often does politics and the larger world infuse their sounds? Maybe it is a gamble to do that sort of thing but there are artists willing to break from the conventional. The Special are doing it and Foals, on their new track, Exits, talk about political departures, mental-health and thought-provoking matters. Look at IDLES and how their 2018 album, Joy as an Act of Resistance, really struck a chord. There are many other artists tackling deeper subjects in music and it is good to see. I think there is a danger, if everyone did it, it could be oversaturating and a little heavy. I look around genres away from Hip-Hop and Rap and I do wonder whether what is being said is actually attuned to the modern age. Sure, talking about social media and its affects is impressive but what about the divisions in the world and the rise in mental-health problems?

Not only is this sort of approach to music brave and new but there is an educational aspect. We can all bond with artists who talk about their pains and heartaches – many can empathise and it is good to have that common bond. I actually think there is a lot of anger regarding modern politics and this culminates in personal stress, confusion and a real sense of dislocation. In the same way fun and upbeat music can be an escape and release, so too can songs that take our pains and observations and make sense of them. In an interview with The Guardian, various personalities asked The Specials questions and one of them related to depression and airing it out. A lot of depression and anxiety, for musicians, can arise from deciphering what defines ‘success’. Getting to the top of the charts is not as important as, say, releasing a song that carries a real message. I think that is a message that needs to be put out more: you are worth a lot more than chart positions and streaming figures. In the same interview, the reporter looked at The Specials’ lyrics and how they have retained their sense of observation and attack at a time when it is really needed:

“Lyrics take on the personal and the political, the US and the UK, though more ambiguously than the Specials’ original precision attacks. On BLM (Black Lives Matter), Golding talks us through three racist experiences from his past. And then there’s Vote for Me. Golding points out that the Specials’ (as opposed to the Special AKA) last release was Ghost Town, so it seems right that the next release, 38 years later, is Vote for Me. Hall agrees: “With Ghost Town we didn’t say, ‘This is the right way, this is the wrong way’, we just said, ‘Things are pretty shit, really’. And we’re saying the same with Vote for Me. I find it difficult to vote on anything, really. Whereas before, we were staunch Labour. Now, I feel like I don’t trust you, I don’t like your face. On a personal thing with Corbyn, I definitely can’t do it any more. But what are the alternatives?”

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PHOTO CREDIT: @sharonmccutcheon  

It must be strange to make a comeback now, to return in your middle age at a time when Britain itself appears to be determined to return to the more depressing parts of the early 80s.

“Well,” says Hall, “if we’d released a record at any point in the last eight years it would have been relevant. Because not a great deal has changed. There’s different names for it, like Brexit, which sounds nuanced, but isn’t far from the one called ‘unemployment’ and the one called ‘racism’. Look, we didn’t plan it. We didn’t say: ‘Let’s get a mix done quick, because Brexit’s out at the end of January’”.

Maybe I am getting side-tracked but I feel one of the reasons music has not made a particular huge impact or affected real change is the fact artists are still unwilling to get involved. Bands like IDLES and The Specials are just the tip of a growing iceberg. Whether discussing racism or global warming...I feel musicians have a role and a chance to really make an impact. I think back as recently as a few years and was not aware of that many albums that has a political edge or artists taking that stand. The likes of PJ Harvey could definitely please that desire but there was this mainstream of rather bland and aimless music. Now, I am seeing more mobility and consistency. I look back at 2016 and 2017 when we got big political statements from Beyoncé, Kendrick Lamar and Neil Young but that was an exception.

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 IN THIS PHOTO: Beyoncé (her 2016 album, Lemonade, was lauded for its documentation of social issues and political mindset)/PHOTO CREDIT: Kevin Mazur/Getty Images

I think a lot of artists without huge label and commercial pressure are more mobile and willing to explore subjects that are becoming less taboo. It is hard to ignore issues as huge as mental illness, racial attacks and political disintegration. If we ignore it and just use music as this rather shallow if fun medium, is that a chance missed? Do we get leadership and awareness from our leaders? I think the arts world is much more influential and important when it comes to discussing and highlighting problems and divisions. Not only does that provide oxygen to the subject but it opens up conversation in a way less controversial and more unified than social media. In many way, people are looking back and fondly remembering music how it used to be – rather than move forward and adding something new. Perhaps, decades ago, artists were bolder and the fact movements like Britpop resonated was because there was truth and a common spirit. I feel, the bigger the music industry gets, the more we are scattershot and divided. I am pleased to see bands and artists opening up in music and, at a very tense time, unafraid to create a little sense of unease and discomfort. I think it brave to witness music that opens its soul and, when needed, provides a boot to the bottoms of the politicians who continue to deceive and obfuscate. So long as we do have something more escapist and fun to balance out the more serious and ‘relevant’ music then it can only be a good thing. Some artists might be reticent regarding being confessional and political but, at a time when all of us need some guidance and voice, going off piste is actually...

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 IN THIS PHOTO: IDLES are a band who always put deeper, less commercial subjects are the forefront/PHOTO CREDIT: IDLES/Getty Images

A very good thing.

INTERVIEW: Maya Lavelle

INTERVIEW:

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Maya Lavelle

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IT has been great speaking with the epic Maya Lavelle...

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about her new song, House on a Rocky Road, and how it came together. I ask about its video and shooting that; which artists and albums are important to her and whether there is a new artist we need to get behind.

Maya Lavelle discusses her upcoming album and reveals whether there are tour dates coming; which artist she’d support on tour given the chance and the advice she’d offer rising talent – she ends by selecting one of my favourite tracks ever.

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

Jolly good, thanks! My week has been pretty exciting with a new release coming up.

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

I just moved to London from Amsterdam. I would love people to join me on this peculiar journey and experience the twisted reality portrayed with my music, to escape boredom. To convey the stories of remarkable characters and quirky places, I blend Classical and Electronic music styles that merge into Electronic, Cinematic pop.

House on a Rocky Road is your new track. What inspired its creation?

From my experiences whilst living in Amsterdam, London and Los Angeles, as well as traveling through Asia and Africa. Amsterdam inspired me daily in writing my music. The amazing architecture and gothic buildings, the mystery behind the Red Light District; plenty of undiscovered dark corners, the quirky vibe of the coffee shops; old wooden sailors’ pubs, the graveyards of bicycles; beautiful art galleries in the nine streets, Vondelpark (which is 5 minutes’ walk from my studio) and, most importantly, positive people who appreciate freedom and love to celebrate life – they were triggering  a lot of my ideas.

I also get a lot of inspiration from going to the cinema, theater and through literature. In fact, just the illustration and reading the first few pages of The Graveyard Book by Neil Gaiman spawned the idea that later evolved into House on a Rocky Road.

What was it like putting the music video together?

This video was shot in an old quarry and abandoned mine, which is today a remote cave. To perfectly portray the atmosphere of my songs, I tend to end up on difficult terrains for shooting the video because those are usually the ones that look the most mysterious.

I must say it was challenging to shoot in such warm weather, covered in dust from the erosion and bleeding from being stung by giant horseflies. Switching to the second shooting location in the middle of the night, in the middle of nowhere, with a crew and cast of over seventy people wasn’t an easy task. But, everything went smoothly thanks to working with a very talented and professional team.

I understand there is an album approaching. Can you reveal anything about song themes/titles etc.?

My debut album, Hobo, took just over five years from concept to completion because of creating very rich arrangements in perfect counterpoint to convey the journey of peculiar places and edgy characters that you will find scattered throughout the album.

All the characters are lonely searching for love and care - just like Hobo and they all meet in House on a Rocky Road in Darkwille County.

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Were there experiences and particular stories that influenced the songs on the record?

Zombie Town represents a post-apocalyptic future we are heading towards by neglecting the outcome of global warming - and I wrote this out of great concern from current events that are taking place. Ben is a song about my dog that passed away and I wanted to bring him back to life, which I kind of did through the song.

Hobo is a song about a man who failed to fight the system and who lost everything but his soul. The character was inspired by what I recognised in the eyes of a stranger I met whilst walking down Sunset Boulevard in Los Angeles.

You hail from the Netherlands. What music did you listen to as a child and when did you decide to pursue it as a career?

As a child, I would listen to very diverse music from Jazz to Electronic to Classical and film soundtracks. I only saw one path for myself: music. It was like I didn’t have a choice. I went to music school when I was six and started playing piano and, soon after, I was writing piano compositions and songs.

Do you think there is a way to describe your sound – or do you feel like it is hard to categorise?

Phantasmagorical!

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

I have many good memories...but one of my favourite was when I won an award on the Young Composers Meeting in Apeldoorn, the Netherlands, for one of my compositions. I enjoy when big ensembles perform my music live.  

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

Kate Bush - The Kick Inside

Dead Man’s Bones - Dead Man’s Bones

Björk – Utopia

Because I still didn’t get bored of them, even after playing them hundreds of times.

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

AURORA. My rider would be to have a French bulldog puppy in the dressing room.

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What advice would you give to new artists coming through?

I don’t think I can give any advice, because everyone has a different path, but you’ll need to grow a big capacity for hope and not let anyone else tailor your destiny.

Do you think there are going to be any tour dates coming up?

When my album is published in June I am hoping to tour.

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IN THIS PHOTO: SEVDALIZA

Are there any new artists you recommend we check out?

She is not a new artist, but you should check out SEVDALIZA if you don’t already know her

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

I feel like music is like one of my organs. If it wasn’t there I would fall ill. I relax by watching T.V. series/films and going to the theater.  

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

Kate Bush - Babooshka

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Follow Maya Lavelle

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TRACK REVIEW: Jamie Hutchings - December Park

TRACK REVIEW:

 

Jamie Hutchings

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December Park

 

9.4/10

 

 

The track, December Park, is available via:

https://www.youtube.com/watch?v=c9jqxkg7gUk

ORIGIN:

Sydney, Australia

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The album, Bedsit, is available via:

https://open.spotify.com/album/3o8NU61qgyOOEzV3UVXLid?si=LUXV2IxJRGqXYS16AyYj_A

GENRES:

Singer-Songwriter/Indie

RELEASE DATE:

2nd March, 2018

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I am in need of a distraction at the moment...

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as my email account has been hacked and, rather annoyingly, there are a lot of emails and contacts on there that I cannot retrieve. That may be by the by but, as usual, I need some sort of calm and settle from music. It is a bit of a chilly time out there so I am looking for something to settle the blood. I will talk about Jamie Hutchings’ December Park in a bit but, before then, I wanted to address a few things. Although his album, Bedsit, has been out for a little while and there has not been a new single since the early part of last year, Hutchings has been working hard in Australia and trying to get some traction for the record in the U.K. and Europe. I will discuss that later too but, for now, wanted to look at unusual and rare settings for writing music; Australian artists and a part of the world I do not get to investigate that often; record that, whilst in a tone I am not a huge fan of, seem to be very personal and might have their own escapist quality. I also want to address artists who mature and move through different stages/ranks to get that experience; a bit on breaking from somewhere like Australia to the U.K. and a little on when Jamie Hutchings might head. Most records tend to be written somewhere quite conventional and conducive to calm. There are albums that are penned in the studio or somewhere a bit unusual but most artists favour something a bit more settled and unusual. They might write at home or go on holiday somewhere to get the creative juices flowing. I often wonder whether there is a link between location – when it comes to writing – and how a record sounds. It is interesting to see why certain artists choose the locations they do and how that translates in the final product. For Hutchings, he went to the Outback. That might sound quite bleak but it seems like it has led to something very personal and revelatory.

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I have seen artists retreat from the busy city and go somewhere quite sparse and nomadic. Think about Bon Iver and when he recorded For Emma, Forever Ago. He was in a woodland cabin and sort of shut everything away; reflecting on personal heartache and coming to terms with change. In many cases, Hutchings has replicated that process and he has taken a similar approach. I wonder whether the woods or Outback is more detached and which creates the best sound. I do wonder whether more artists should take an approach like this and get away from all the technology. I think Hutchings needed to shut away any noise and really get down to the nub of things. I think it can be a bit extreme going away and being that distant but it can focus the mind and lead to some fantastic songwriting. I will move to another point very soon but it is fascinating to me. I think there is this wisdom that suggests you need to record at home or a studio and that is the way to do things. In a lot of instances, finding your own version of unique and peaceful can add something to the music. There was the emotional reason behind Hutchings going to the Outback and choosing to record like that and it seems to have brought the best from him. I am curious whether he got much time to walk around outside and find inspiration there. He was in this sort of converted shed/barn and, with a sixteen-track recorder and six microphones, recorded Bedsit with a few musical friends. It is amazing to think it came together like that and such a location led to this brilliant music. I think there is a natural correlation between your setting and sound but I hope Hutchings finds some peace and is in a finer mood on the next record. The Outback is a great area but one would not want to record there all the time you’d think.

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I mention Australia and the Outback and it has been a while since I have been to that part of the world. A lot of my reviews and interviews look at musicians from the U.K. and U.S. and it is good to be in Australia. I love the music from there and how artists work. Historically, Australia has produced some of the finest artists ever and I think they should not be overlooked. Given the distance between Australia and nations like America and Britain, I do think the artists over there get ignored and it can be hard for them to get focus. That is a shame because there are some fantastic artists working in Australia. I think the standard of living and the varied landscapes have a lot to do with the music variation and quality. One often thinks of Australia and relates to this rather calm and measured demeanour. It is true the Australians, for the most part, are pretty chilled but that would suggest the music is all like that. In fact, music coming from Australia is as wild, eclectic and passionate as any in the world. With incredible cities like Sydney, Melbourne and Hobart producing their own scenes and some fantastic locations, I feel Australia is a nation that many should look towards. Think of all the past treasures that have come from the nation: everyone from Nick Cave to Sia and it is clear there is a lot of brilliance to be found. I think it is harder for artists to get worldwide acclaim in the country and, when it comes to touring, it often involves a hefty flight. There are fewer finer countries to tour in than Australia but, if you want to go to different nations, it can be a hard and tiring process. I think one of the reasons I love Australian music so much is the fact it tends to stray from what we consider to be normal and mainstream here. There is a mainstream there but a lot more artists moving to their own beat and stepping away from the conventional.

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I will address another point soon but I think Jamie Hutchings perfectly displays what it is about Australian artists I love. He has recorded in this very grand yet underpopulated part of the country and did that because he wanted to get the best from the music; cut off from the distractions of a city and go somewhere he felt comfortable in. I do like the fact that he is a respected musician in Australia and I hope his music gets to make a big impact over here. There are great reviews out for Bedsit so I am confident it will not be long until the man is touring here and has that demand. It will be a long trek but we do not often get to see Australian musicians tour and I think that is a shame. If one dips deeper into the nation and discovers the music out there then they will find one of the most interesting and innovative scenes around. I mentioned different cities and it is true there is a vast contrast when you move from state to state. I guess there is here in the U.K. but Australia, to me, seems to be even more exciting and varied. Great Australian newcomers like Camp Cope, Jade Imagine; Moaning Lisa and Orion are starting to turn heads and show what they are made of. It is hard for people in the U.K. and U.S. to get a good impression of the nation unless radio stations play artists from Australia. I will look away from Australia but I would recommend people do some research and dig deep. Make sure you listen to Jamie Hutchings because he is one of the finest and most respected artists from the nation. I am excited he has an album out right now and there is that interesting recording process. Although a lot of the themes addressed will resonate, I think Bedsit is this personal and very precious collection of songs that, in many ways, sounds like a man unburdened and opening his soul.

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I have rallied against artists who are quite downbeat and often wonder where all the fun has gone. I am not saying we all need to abandon the rather unhappy or personal songs but the music industry seems to lack a sense of excitement and optimism right now. I am not sure why that is but one assumes the personal is easier to explain and explore and it is something people can relate to. I agree with that but do wonder how many realise music should be escapist and we need to find some pleasure and optimism among it all. That is another issue because Hutchings could not have written a record like Bedsit and added too much fizz. I guess there are artists, new and older, who can give you something rousing but Hutchings has produced a record that is stirring and frank. He has opened up his heart and mind and brought the listener in. The title of his album seems to be very apt. Hutchings found himself living in this single-roomed house and it was a bit of a change for him. I am not sure whether he was living with someone else before then and had to move but it seems like there was transition and that change. One can get a sense of the narrow and insular on the album and maybe the images of living in a bedsit are a world away from the scenes of the Outback. In many ways, there is that related sense of loneliness and a chance, in different ways, to reflect and be with yourself. Bedsit is a very personal record as you’d expect and you get that live sound to it. One can imagine this rural space with very few luxuries where the musicians were all together and recording quite fast. I think there is this assumption music is at its finest when there is time to dwell and you have technology at your feet. Some of the best records ever have involved very little comfort and this rather natural and naked sound.

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That is not to suggest Bedsit lacks richness and depth. In fact, the album has humour and great stories; the musicianship is great and the production balances between the live flavour and something a little bigger. I prefer my music a little bolder and optimistic but I think this is something Jamie Hutchings had to get out and explore. If a songwriter is going through a tough time and their world is changing, it is their duty to reflect that and put it out in music. I feel many will be able to relate to what he has gone through and how life has shifted. I do find myself wondering whether Hutchings is looking at lands altering and modern life smashing down what stood before; if it is about love and losing someone close; a feeling of being displaced and trying to come to terms with that – maybe a combination of all of them. Many who know the geographical sounds of Australia attest to the fact Bedsit feels very Sydney in its tones. Hutchings is from there so it is understandable he would have that sort of feel. I am interested whether there is a distinct smell and tone to Sydney and whether that differs greatly to Melbourne. Others have noted references to dreams and nature on Bedsit. We have an album that talks about the heart and home but it also spreads its wings and says a lot. Everyone will be able to take something from the album and feel represented. I like the fact the record is quite stark and bleak in places because it is quite brave being that naked. Many artists sort of skirt around the darker topics and going too deep but Hutchings knew he had to go that way. There is plenty of light to be found in the cracks and the variation of Bedsit is wonderful.

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Jamie Hutchings might be familiar to those who know the band Bluebottle Kiss. They were quite a big name in the 1990s but maybe you need to be more familiar with the work coming from Australia during that time. The band was underground but they were much-loved and produced some fantastic material over time. Hutchings is one of those musicians who is not confined in terms of bands and sounds and he has performed as part of Infinity Broke. They are a percussion-heavy unit and working alongside songwriter Peter Fenton as part of The Tall Grass. I am not familiar with the ins and outs of those acts but it is impressive to see the fact Hutchings can step into different moulds and has that variation. It is the fact Hutchings is a seasoned live performer and has worked with different bands that leads to such great music. He has that knowledge and can bring the confidence to his latest album. Many artists take a while to cut their teeth and that inexperience can show in the studio. I think it is a shame Hutchings does not get a chance to perform more in the U.K. and U.S. but he has done before. There is a hope that, once Bedsit does good business here, that sort of possibility will be realised. I am new to Jamie Hutchings so I am sort of piecing everything together and getting to grips. I have listened to his entire latest album but I am also looking back at what came before. It is a great collection of work and I think more people need to check Hutchings out. I do think that experience he has had with different bands has worked in his favour and given him the confidence to be bolder as a songwriter. When it comes to the live performance, one can see this very natural and accomplished musician and you’ll get a very varied and interesting set. Let’s hope he gets a chance to bring it to the U.K. soon.

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The aim, I guess, is to get Hutchings to other parts of the world because, as I have explained, it is hard for Australian artists to really shine and get focus further afield. I hold hope the media will change its ways and pay more mind to musicians in Australia but I guess it can be hard. The rigours of touring here and finding the money is always a challenge and something that needs to be considered. I do hope Hutchings gets over here because we need more internationality in music. Australia is producing some brilliant artists and I think they could find some great venues and support in Britain and America. It is hard to break any nation but Hutchings has a solid reputation. He is already loved in Australia but there are some who do not know him over here. Bedsit is picking up reviews but I guess it is tough to truly get the music to the people unless there are tour dates. I do hope more stations and people here play the music and there is great awareness. We need to start looking beyond obvious cities and nations because, when we truly open the eyes, we discover incredible and unexpected treats. I shall come to a song from Bedsit I wanted to review because, when you listen too, you’ll find that it is a fascinating and memorable moment. It is time to move on because a lot has been said about Jamie Hutchings and his latest album. I have explored a few sides to it and what makes it stand out but I suggest people either stream it or purchase it and listen to it alone. It is one of those albums you can get lost in. I am picking up new aspects from different songs and it is a wonderful collection. I wanted to focus on December Park because it has a video alongside and it is one of the finest tracks Hutchings has produced. It seems to embody everything about Bedsit and it definitely stays in the mind.

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The opening of December Park is very natural and intimate. We hear the record start and you get sounds from the studio space opening things up. It is quite subtle but, rather than this brash and huge production, one gets to discover little noises and elements that you’d normally not experience. The guitar coda that leads from that is intensely beautiful and incredibly immersive. You are lost in this heavenly and intimate sound that gets into the mind and swims. I am not sure who Hutchings sources as inspiration but you can hear some greats of the guitar in his performance. It is a sensational opening and, before too long, you are engrossed in the track. I was already wondering what it was about and whether December Park was based on a real place or a state of mind. Maybe there is a combination of both because we see Hutchings walking through dark streets and getting tangled up. I guess there is that sense of mental dislocation and isolation; a need to find some safe space and comfort. The vocals match the music in terms of the production and sound. It has this quite bare tone but there is ample beauty and fullness to be discovered. Hutchings’ voice is not too high in the mix and it fuses nicely with the guitar. The guitar gets firmer and larger as the hero asks about someone and where they are now. A storm is coming and it seems like there is a bit of mystery. It is clear there is another party involved in the song but it is quite hard deciphering the true story. I do like the fact there is mystery and every listener can come up with their own interpretation. There are some wonderful lines expressed that makes you curious who this other party is. Maybe they are a former love but it seems like memories are flooding through.

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Hutchings does not know whether the other is alive at all and what they are up to. He even projects this image of a badger in a ticket booth – an example of his original imagination – and you picture all these different elements and visions. Rather than portray rather ordinary and predictable words, Hutchings fuses in the unusual and unexpected. Many songwriters could learn from him when it comes to their own material. As the hero walks through the park, he ponders how easy it would be for him to be an apparition and spirit. Maybe the other person in the song was a former lover but they are somewhere else right now. It is not clear whether there has been this natural split but it seems like where Hutchings is now holds all sorts of bad images and memories. The way Hutchings reveals the words and opens his heart is spellbinding. I cannot compare his voice to anyone else and it has this very potent quality. The composition is not too heavy but there is this energy and sense of gravitas that adds to the vocal. I love the song and everyone will have their own interpretation. One of the best things about December Park is the imagery and how powerful the words are. I love the detail in the track and the unusual verses; the way the words entwine and how they seem to project this dreamy perspective. It is very personal and meaningful but everyone can find something that relates to them and their experiences. This other person has disappeared and there are questions around that. As the guitar campaigns and continues to strike, the hero lets his voice wander and wonder.

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The hero/heroine being spoken of is coming back weary and lost. Maybe Hutchings is talking about himself and his sense of isolation but one feels there is a relationship or friend being ascribed. Little elements of Crowded House do come in here and there and I like the fact December Park has a mix of the relatable and original. It is a wonderful track that will get you thinking and perfectly documents what Bedsit is all about. Even though it is nearly four minutes in length, you will come back to the song and try to understand it. I have my own views and conclusions but others might go in another direction. I do love the vocal but think the guitar work is exceptional too. One gets this rather bare-boned sound but it works perfectly on this song. If anyone wants to discover a songwriter who can pour their heart out but does so in an imaginative and evocative manner then they need to listen to a song like December Park. I will follow Jamie Hutchings and his music because I think he is a rare talent and someone who can go a long way. He already has gone a long way but many people might not know him over here. I think that can all change when it comes to Bedsit and getting more attention in the U.K. and Europe. It is understandable why Hutchings is a celebrated name in Australia and has that big fanbase. There are very few who have that balance and mixture of intimate and personal alongside the imaginative and open. I think more songwriters should follow this course because, we can hear, the results are incredible.

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Jamie Hutchings is touring around New South Wales, Australia from March and it will be good to see how the people respond. He is touring alongside Darren Cross – two of the most respected names in Australian music – and there are some great dates. Most of us will not get a chance to see them there but let’s hope Hutchings is afforded the chance to head this way later in the year. I love what is explored through Bedsit and it is one of those albums that will inspire so many others. It is a stark and bare album but one that has plenty of life and colour. Many might be offput by the fact it is very personal but I think everyone can get something from it. Make sure you spend some time with the album because, when you close the rest of the world away and focus, it is a wonderful thing. I am glad I have discovered Jamie Hutchings and will follow to see where he goes next. He has enjoyed a long and fruitful career and it is entering a new phase. I do wonder whether Bedsit represents a more single and lonely time for him. It appears things have changed and I do like the way he is handling it. Rather than get angry and hide away, he has released this record that brings listeners into his world and explains what he is going through. There are many beautiful moments on the album but I love December Park because it seems to incorporate all the aspects and contours that makes Bedsit shine. Let us end things here and I would implore, going forward, everyone to have a listen and discover a great artist. If it does well in the U.K. and Europe then there might be that chance for touring and further exposure. I hope that comes to pass because, after only one listen, Bedsit is an album that...

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HAS won me over.

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Follow Jamie Hutchings

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FEATURE: The Voice Inside of the Voice: Is Kate Bush Underrated?

FEATURE:

 

 

The Voice Inside of the Voice

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IN THIS PHOTO: Kate Bush captured in 1980/PHOTO CREDIT:  Patrick Lichfield

Is Kate Bush Underrated?

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IN another two weeks...

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 IMAGE CREDIT: Spotify

it will be forty-one years since The Kick Inside was unveiled to the world. On 17th February, 1978, Kate Bush’s debut album created this star, this rare voice; this songwriter the world had never seen before. It arrived at an interesting time and provided an alternative to the burgeoning Punk scene. Kate Bush was a fan of Punk but her music sounded nothing like the music the likes of The Jam were coming out with! The Kick Inside is my favourite album of all time and, to me, it has yet to be topped by Kate Bush. At such a young age (she was a teenager still when the album came out) she was producing material more mature, accomplished and special than the vast majority of songwriters out there. Just listen to the voice itself and had the music world experienced anything like THAT?! Listening in 2019 and I still cannot think of anything with the same beauty, haunt and grace. The intimacy and balletic quality means all of the tracks take on their own life; Kate Bush embodies different personas on different songs and it is a staggering work. I will try to answer the question I asked at the top of this review but, ahead of The Kick Inside turning forty-one, Pitchfork investigated and shed new light on many of Bush’s greatest records. Laura Snapes looked at The Kick Inside and remarked on some of its qualities and depths.

“But provocation for its own sake wasn’t Bush’s project. EMI not pushing her to make an album at 15 was a blessing: The Kick Insidearrived the year after punk broke, which Bush knew served her well. “People were waiting for something new to come out—something with feeling,” she said in 1978. For anyone who scoffed at her punk affiliation—given her teenage mentorship at the hands of Pink Floyd’s Dave Gilmour and her taste for the baroque—she indisputably subverted wanky prog with her explicit desire and sexuality: Here was how she might intrude. The limited presence of women in prog tended to orgasmic moaning that amplified the supposed sexual potency of the group’s playing. Bush demanded pleasure, grew impatient when she had to wait for it, and ignored the issue of male climax—rock’s founding pleasure principle—to focus on how sex might transform her. “I won’t pull away,” she sings almost as a threat on “Feel It,” alone with the piano. “My passion always wins”.

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IN THIS PHOTO: Kate Bush in her home in September 1978/PHOTO CREDIT: Getty Images 

There were many different sides to Bush’s writing but it was the way she addressed gender and sexuality on The Kick Inside that was so different to what a lot of other singer-songwriters were discussing:

“What made Bush’s writing truly radical was the angles she could take on female desire without ever resorting to submissiveness. “Wuthering Heights” is menacing melodrama and ectoplasmic empowerment; “The Saxophone Song”—one of two recordings made when she was 15—finds her fantasizing about sitting in a Berlin bar, enjoying a saxophonist’s playing and the effect it has on her”.

There was plenty of confidence in the young songwriter and the tenacity to get the best from her material, again, was rare for such a young artist. Whilst The Kick Inside was not entirely the album Kate Bush wanted to make, it was remarkable in terms of its uniqueness and unmistakable strength:

“The Kick Inside was Bush’s first, the sound of a young woman getting what she wants. Despite her links to the 1970s’ ancien régime, she recognized the potential to pounce on synapses shocked into action by punk, and eschewed its nihilism to begin building something longer lasting. It is ornate music made in austere times, but unlike the pop sybarites to follow in the next decade, flaunting their wealth while Britain crumbled, Bush spun hers not from material trappings but the infinitely renewable resources of intellect and instinct: Her joyous debut measures the fullness of a woman’s life by what’s in her head”.

I mention The Kick Inside because it is coming up for its anniversary but it was evident, even at the start, here was an artist who would have no equals. I think Kate Bush is always talked about in passionate tones but I do wonder whether she gets the respect she deserves. Many radio stations play her music but it is quite limited in terms of its scope. Wuthering Heights is an obvious standout and legendary song but it is favoured over most of her back catalogue. Songs such as Running Up That Hill (A Deal with God) and Hounds of Love get a lot of play as do This Woman’s Work and Babooshka. There is no truly bad album from Bush – although 1993’s The Red Shoes got some mixed reviews – and it is the richness of her entire catalogue (not just the hits) that makes her special. From The Kick Inside and Lionheart in 1978 to 2011’s 50 Words for Snow, there is so much treasure and variation Bush’s arsenal. I look at an album like Hounds of Love (1985) and, whilst it is seen as her best, how many of the songs do we hear on modern radio?! The Kick Inside, Never for Ever (1980) and The Dreaming (1982) are packed with incredible moments but few are exposed on radio and T.V. From the amazing strings of Houdini (The Dreaming) through to the evocative beauty of How to Be Invisible (Aerial, 2005), there are so many wonderful songs that are not given proper attention.

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 IMAGE CREDIT: Spotify

For a songwriter regarded so highly, we only really get a portion of her genius and the picture is more complex and varied than many assume. I am not suggesting everyone listen to all of her albums the entire way through but there are a load of songs most people do not get to hear. We think about Bush as a singer and great artist but how often do we think about how she pushed music forward? Bush became the first U.K. female artist to have a self-penned number-one with Wuthering Heights and, when Never for Ever became a number-one album, it was the first time a British female artist had achieved that feat. Bush’s lyrics are, as they always have been, filled with incredible language, scenes and expressions. We use the word ‘unique’ when it comes to Kate Bush and that can certainly extend to her lyrics. If you have not got a copy of her book, How to Be Invisible, then it gives you a spread of her lyrics, collected together for the first time. The appeal and endurance of Kate Bush extends beyond her music. Look at her videos and you can tell this is an artist who has as much fascination regarding film as she does music. Always pushing boundaries and doing something different, videos for songs such as Cloudbusting and Army Dreamers are iconic. Listen to Kate Bush being interviewed and, from the start of her career until now, she is illuminating, engaging and warm.

So many big artists tend to be a bit cagey and detached in interviews and you can tell it is hard to get a lot from them. Kate Bush has always kept her private life from the press and it has always been about the music. As such, questions are trained on the songs themselves and it means Bush is much more willing to converse, open up and reveal. She is a complete artist and personality and I wonder whether there is anyone who has so many sides. Maybe there are other icons that are as fascinating and bright but few have all the qualities and colours of Kate Bush! I think Kate Bush’s influence and talent is more important now than ever and, at a time when many songwriters struggle to stand out and say something new, many could learn a lot from her. There is speculation as to what comes next from her but, last year, Bush released a book of lyrics and re-released her back catalogue on vinyl. It is likely there will be new material soon but, as always with Kate Bush, she will take her time and not be predicted! Many talk about Kate Bush as being this icon and legend but how much of that takes into account her full body of work and her true self?!

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 PHOTO CREDIT: Trinity Mirror/Mirrorpix/Alamy

I often wonder why Kate Bush has not been made a Dame! Many other women have over her – who, I feel, have contributed less to the world – and I think it is only a matter of time before that honour comes her way. The more one explores Kate Bush’s music, the more you learn and are moved. Maybe the fact Kate Bush is more popular here than in the U.S. – Bush did not perform much in the U.S. and only broke through there fairly late – means she does not have the focus other big artists do but look at the music closely and I wonder whether many go beyond the surface. To hear her speak about her process and music is a wonderful thing and, when you put everything together, it is an enormous impact. Maybe I am biased in my praise but I feel there are a few artists whose relevance can inspire the new generation. Female songwriters, today, have to struggle to get equal rights and I wonder whether, in some ways, music has taken steps back. These women’s’ worth cannot be measured entirely in terms of Kate Bush but she is someone who stood aside from her male peers from 1978 and I think her importance cannot be undermined. Ensure you look back on full body of work; her interviews and her videos and get a fuller impression of who Kate Bush is and why she is unique.

It is subjective when it comes to looking at an artist and claiming they are underrated but, as a huge fan of Kate Bush, I do think we need to go deeper. A deeper understanding – I shall stop the song-based puns – is required and I think there are artists today who could take a cue from her. Maybe they will not be able to match her voice and songwriting ability but there are so many aspects that can be taken to heart. From the incredible videos and warm interviews to the original lyrical bent and evolving albums; there is a lot to be admired and songwriters of today need to follow her closer. I do think, when it comes to looking at the reputation and brilliance of Kate Bush, so many drill her down to a few songs and moments. As The Kick Inside celebrates a new anniversary in a couple of weeks, it is worth listening to the album harder and not just talking about Wuthering Heights and The Man with the Child in His Eyes. This year is an interesting one as you’d think, logically, there will be something from Kate Bush regarding new material. Maybe that is a bold prediction but I am hopeful. Bush has definitely made the music news in the past year and it is clear her impact and influence will never wane! It is clear Kate Bush has a special place in the hearts of fans, the media and fellow musicians but I think, in so many ways, the much-loved artist is...

UNDERRATED in so many ways.

FEATURE: The Basket Case and the Longview: Green Day’s Dookie at Twenty-Five

FEATURE:

 

 

The Basket Case and the Longview

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IMAGE CREDIT: Spotify 

Green Day’s Dookie at Twenty-Five

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THIS year is an important one...

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 IN THIS PHOTO: Green Day in 1994/PHOTO CREDIT: Michael Müller

because we get to celebrate albums turning twenty-five! One can say that is the case every year but, in 2019, that means we look back at 1994. I think that year is the best from all of music and it is interesting to see how the biggest and best albums fare this year. I am looking forward to Oasis’ Definitely Maybe (29th August) and Jeff Buckley’s Grace (23rd August( turning twenty-five but, first up, is Green Day’s Dookie. It is unusual for big albums in general to be released so soon in the year but it was clear that, by February 1994, Green Day has entered a new phase and were striking hard! By 1994, Grunge had sort of entered a new time and we had seen the end of Nirvana – that came with the suicide of Kurt Cobain in April 1994. Band like Soundgarden and Pearl Jam were around and, although Grunge was not dead, it was different to what we saw from the likes of Nirvana and their ilk. In terms of Pop, it was a ripe time but there were not a lot of artists providing a balance of Punk and Pop: a nice and fun sound but one with plenty of bite. 1991’s Kerplunk scored good reviews for Green Day but nothing would equal the sort of buzz they received in 1994. Kerplunk has twelve tracks and runs just over thirty minutes; plenty of variety and straight-out smashes meant the Billie Joe Armstrong-fronted band had obvious substance and brains. 1991 was a terrific year for music but 1994 was on a different level!

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 PHOTO CREDIT: Getty Images

What I love is how much freedom there was and how far it is to define the ‘1994 sound’ – there is so much genius from all corners of the musical globe! Dookie was a natural evolution from the band’s successful Kerplunk. Record labels were circling Green Day given their new trajectory and, as rumour has it, a trip to Disneyland was even offered by one label – I’m trying to picture that image and it makes me smile! Green Day were impressed by Reprise and their work with The Muffs so signed to them. The band was moving on and, whilst Dookie is not pure Punk, it is a step in the right direction and brings in a nice balance of Pop. The band wanted to create a sound similar to Sex Pistols: a bit dry but with plenty of raw energy and fun. Billie Joe Armstrong, Tré Cool (drums and guitar) and Mike Dirnt (bass and backing vocals) set to work and, by the end of the sessions, had a tight and incredible set of songs! Songs like Longview and Basket Case became huge hits – the bass line for the former was written by Dirnt whilst under the influence of LSD. Billie Joe Armstrong led the songwriting and a lot of the tracks take from his personal life and have a very confessional feel. Basket Case, the biggest hit from Dookie, is about Armstrong suffering from anxiety – he was diagnosed with a panic disorder soon enough. The song is quite complex and memorable and, as Armstrong said in interviews, he wanted to challenge listeners and himself.

Although there are hard-hitting and tense songs on the album, there are plenty of radio-friendly songs that ensured Dookie was spread far and wide. Green Day would eventually stray away from the radio-friendly sound on future albums but, on Dookie, there was that balance of accessible and edgy. She is an example of Armstrong showing his sensitivity (about a feminist poem, with the same title, Armstrong’s former girlfriend showed him; this song was a response and poem for her). When I Come Around, another monster track, was fuelled when Armstrong and his girlfriend has a falling out and Armstrong had time to reflect. The fact the songs were so frank and open connected with the listeners; many of whom were going through the same sort of thing as Armstrong. Not only did the lyrics strike a chord but the songs’ incredible nuance and catchiness meant Dookie gathered huge acclaim. There were some mixed reviews but most were pretty kind and impressed. In a retrospective review, AllMusic gave their thoughts:

“They were products of the underground pop scene kept alive by such protagonists as All, yet what they really loved was the original punk, particularly such British punkers as the Jam and Buzzcocks. On their first couple records, they showed promise, but with Dookie, they delivered a record that found Billie Joe Armstrong bursting into full flower as a songwriter, spitting out melodic ravers that could have comfortably sat alongside Singles Going Steady, but infused with an ironic self-loathing popularized by Nirvana, whose clean sound on Nevermind is also emulated here. Where Nirvana had weight, Green Day are deliberately adolescent here, treating nearly everything as joke and having as much fun as snotty punkers should. They demonstrate a bit of depth with "When I Come Around," but that just varies the pace slightly, since the key to this is their flippant, infectious attitude -- something they maintain throughout the record, making Dookie a stellar piece of modern punk that many tried to emulate but nobody bettered”.

Pitchfork made some interesting observations in 2017:

“What set Dookie apart from the grunge rock bellowers of its day was Armstrong’s voice, foggy and vaguely unplaceable. “I’m an American guy faking an English accent faking an American accent,” he teased at the time. Though Armstrong’s tone was bratty, his phrasing had that lackadaisical quality that left room for listeners to fill in their own interpretations. On Dookie, Armstrong channeled a lifetime of songcraft obsession into buzzing, hook-crammed tracks that acted like they didn’t give a shit—fashionably then, but also appealingly for the 12-year-old spirit within us all”.

At a time when Green Day’s reputation and quality was not completely established, it could have all gone wrong. 1994 was such a huge year and we were seeing this transition from Nirvana and Grunge to the new movement. So many new bands came through and very few made an impact. Molly Lasker, reflecting on Dookie turning twenty-five talked about its influence and how it changed music in the 1990s:

“The album teetered on the edge; it was too aggressive to be pop and too mainstream to be punk. It was, perhaps, one of the biggest genre-defining releases of the ’90s. It made the entire pop-punk movement possible.

Before Dookie, ’90s rock was bleak, with bands like Nirvana whose brand of grunge was heavier and more dismal than Green Day’s. Dookie wasn’t built on melancholy like Nevermind was. Instead, it delved into themes of sexual orientation, anxiety, masturbation, boredom and ex-girlfriends. It was dewy-eyed and inexperienced, in all the best ways possible...

Yet music critics believed in Dookie, and the album amassed acclaim worldwide. It charted internationally and paved the way for the band to become one of the most prolific acts of the 1990s and early 2000s. Their subsequent releases followed suit; while their later albums didn’t have quite the same impact as Dookie, the band continued their well-deserved ascent to the top”.

I remember entering sixth-form college in 1999 and seeing a lot of bands continuing Green Day’s mix of fun and Punk. Some were quite successful (such as Blink-182) and there were plenty of goofy and insignificant alternatives. By this time, Green Day were moving in a more mature direction but the influence of Dookie is clear. Green Day saw themselves as an angsty alternative to the scene of the time but were worried about the influence of record labels and keeping them in the studio – forcing them into multiple takes to create their vision of a radio hit. Some of those in the Punk scene rallied against Green Day and felt Dookie was a step in the wrong direction. The band did not care at all. When the album came out, the crowds got bigger and bigger and the band felt comfortable with their stadium credentials. Even though the band would suffer a form of identity crisis before long – a Punk band who were mainstream; how could they come to peace with this contradiction? – Dookie became a huge album and took Green Day to the next level. The band is still very fond of Dookie and play some of the album’s songs on tour.

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Random thoughts and gratitude for the 25 year anniversary of the big D: We wanted to think of something special to do but we couldn’t quite come up with anything.. Maybe play the record in its entirety at the pyramids in Egypt. Or jam it Machu Picchu ? Exclusive in Viggiano.? Never quite came to fruition.. But never despair. 2019 still has time.. Dookie makes me think about Berkeley a lot. Our house on Ashby and Ellsworth a block from telegraph avenue. Living in a basement with a band called East Bay Weed Company. Our friend Ben Mattick... socialist college girls living up stairs. Coming up with she and coming clean. Riding bikes and bong hits. Turning 21. Pete’s Wicked Ale. Hysterical laughter. Maniacal laughter. Butterball turkey. “The Ashby house” was our little punk house. I would write songs all night and wake up at 2:00 pm. Have a bagel and a coffee on the front steps.. debilitating panic attacks.. my guitar, my Marshall, my 4 track tape recorder. Weird A &R dudes sniffing around. Eventually Meeting producer Rob Cavallo.. we learned so much from him. Playing Beatles songs over and over... Richie Bucher’s amazing ep cover he did for a band called Raúl inspired us to ask him to do the cover art for Dookie. Mike’s G3 bass. Tre’s Noble coolly snare... driving in my old Ford Fairlane hearing Longview on the radio for the first time. Blair Hess. our first show in Italy at a place called in bloom. Wild nights in Barcelona.. having a lot of uncertainty about our future but not giving a shit. Wanting and dreading to be a rock star.. if that’s even possible.. Local punk scene backlash... Fist fights at Gilman street... stress stress stress!! You have to have gratitude for the bad and the ugly too.. Well... that’s the random thoughts I have for now... I hope people keep listening.. cause we’ll keeping playing... love BJ

A post shared by Billie Joe Armstrong (@billiejoearmstrong) on

It is clear Dookie arrived at the right time and was the sort of guiding light the scene needed. The National, when marking Dookie’s anniversary, talked about the need for more upbeat music that wasn’t as doom-laden as Grunge:

“Dookie’s success created an appetite for more upbeat rock, and in the process helped shift the US punk community away from its restrictive principles.

As a result, a slew of once-struggling punk bands embraced the opportunities afforded them, and groups such as The Offspring, Blink 182, Good Charlotte and Sum 41 all commanded, and still do bring in, big audiences and sell an impressive number of albums. Despite their pedigree, the success would have been harder for these bands if Green Day had not charted them a course.

Twenty-five years on, the album and the band has yet to receive the credit they’re due. Like their forebears the Ramones and The Clash, Green Day played an important role in expanding the sound of punk. While they went on to more success with their politically charged 2004 album American Idiot, the reverberation of their masterpiece Dookie still resonates today”.

That sense of timing and arriving just when change was needed was another reason Dookie impacted in 1994 and has endured to this very day:

“However, like most landmark albums, Dookie actually arrived at just the right moment. Some would even argue that it dropped in the nick of time, as the rock genre at that stage was positively humourless. It needed a Dookie. In 1994, Pearl Jam released their rollicking yet bleak Vitalogy, Bush kept the grunge flame alive with their sludgy debut Sixteen Stone and Nine Inch Nails were deathly dark with foreboding opus The Downward Spiral”.

The band knew when to be funny and when to be serious. Dookie boasted an array of singles, each with their own killer video. Green Day had that great blend of humour and attack and seemed to respond to young listeners who wanted the teeth and swagger of Punk but something a little more melodic – even if Green Day themselves were ostracised by some clubs in the Punk scene. Green Day would go on to become more political in time and I wonder whether we have seen another band as potent and important since. By that, I mean one who has managed to create an album that inspired so many so quickly and had that rare contrast of fun and serious. There are a lot of Punk-Pop bands around today and many of them owe a huge debt to Dookie. We look back at the album at twenty-five and it has not really aged at all. The songs sound fresh and a lot of the songs we overlooked the first time have picked up new light and appeal. Dookie is an incredible album and is definitely one of my favourites from the 1990s. Life would change beyond recognition for Green Day and, in 1994, this epic and phenomenal album rivalled the biggest releases. Think about the genus albums from 1994 and you can rank Dookie alongside all of them. From Longview, Basket Case and Burnout to She, When I Come Around and Chump; the magnificent Dookie is filled with gems that are still...

MAKING their mark on music twenty-five years later.

INTERVIEW: Karolina Rose

INTERVIEW:

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Karolina Rose

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MY interview of the day...

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is with Karolina Rose who tells me about her new E.P., Invicta, and the sort of themes/stories that inspired the songs; whether she has a favourite cut from the E.P. and which albums are most important to the songwriter.

Karolina Rose talks about moving from Wall Street to music and where she heads next; her love for Kate Bush and which rising artists we need to look out for – she selects a song I definitely adore and can get behind to end the interview with.

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

Hello! I’m doing well, thanks. I’m on my way to rehearsal. I have a release party this week at Muchmore’s in Brooklyn.

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

Hello. I’m Karolina Rose. I am indie singer-songwriter based in Brooklyn. These days, I like to focus mainly on dark, dreamy music.

Invicta is your new E.P. What inspired the songs and the themes addressed?

Invicta is a mix of songs that had to do with my mindset at the time - changing careers and transitioning to a polar opposite pursuit; finding courage to pursue one’s calling/dreams/whatever name you want to give it (Crystal Gem, Going to Berlin), exploring the power of a new love (Move with Me and Love Crazy); attraction to the unknown (Downhill) and exploring dream states (Goodnight, Mr. Moon).

Do you have a favourite song from the E.P.?

It’s between Goodnight, Mr. Moon and Downhill (smiles). They both hit upon a very strong mood and it makes them stand alone for me. Goodnight, Mr. Moon is sort of divulging the secrets of our dream state to process life.

Downhill is that simultaneous feeling of excitement and fear when pursuing something entirely new and unknown. It’s walking right through it and cutting it with a knife.

I believe you left your job on Wall Street before getting into music. What was the reason behind leaving that job when you did?!

It’s something I felt I had to do. Pursuing music has been a gradual evolution for some time and, at some point, I realized my thoughts were entirely consumed by music...so I felt I had no choice but to dive in and walk away.

Do you think you learned anything from your time there that you have brought into music?

My life was enriched in learning and growth with all the lovely people I worked with and I still miss them. I reach out to them often and perhaps in this way I still hold onto to a piece of that world.

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

I listened to a combination of Alternative, Pop; Hip-Hop, Dance music and Polish and French music. I absolutely love Czeslaw Niemen from Poland - check out the legendary tune Dziwny Jest Ten Swiat. The live performance in Sopot in 1967, when he is dressed in a white suit with a bowl haircut, is amazing. It’s hard to find so here’s the only link.

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

I think the first time I heard the crowd singing back my tunes. I was taken aback. That mutual feedback feeling is really something.

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

So many artists I could mention...

I’d say The Miseducation of Lauryn Hill is quite the masterpiece that I go back to.

Kate Bush’s Hounds of Love - her art has a poetic innocence and goodness that I live for.

Lungs and Ceremonials or any album by Florence + the Machine. I think listening to Florence lent to making me feel empowered to be a singer when I was in the Wall St.-music transition phase.

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

Kate Bush or Debbie Harry!

I’d request a few beautiful plants, an oil diffuser; lavender, very authentic Japanese green tea with pottery set; lots of champagne, some cozy throws and textures and things.

What advice would you give to new artists coming through?

Brace yourselves. Haha, I don’t know. Maybe that living your dream is just lots of work that you can enjoy (a good amount of the time).

Do you think there are going to be any tour dates coming up?

Nothing I can announce yet. Follow me on Spotify, Songkick; Bandsintown or join on my website for the latest updates on that.

Might you come to the U.K. and perform this year?

Oh, I would really love that! I hope so! I’ll be sure to invite you (smiles).

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 IN THIS PHOTO: Blak Emoji/PHOTO CREDIT: Kathleen Reynolds

Are there any new artists you recommend we check out?

Sure! Some of my favorite artists and friends making music I love are Blak Emoji, Janita; Whitney Tai and Mothica.

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IN THIS PHOTO: Janita/PHOTO CREDIT: Anthony Friend

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

Haha. Not at the moment, I’m obsessed. I unwind with movies; anything I can do to spend time in nature, art exhibits or going to friends’ shows.

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

This Woman’s Work - Kate Bush

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Follow Karolina Rose

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FEATURE: The February Playlist: Vol. 1: A Sinister Title from Ms. Eilish

FEATURE:

 

The February Playlist

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IN THIS PHOTO: Billie Eilish/PHOTO CREDIT: Getty Images 

Vol. 1: A Sinister Title from Ms. Eilish

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THERE are a few big releases…

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 IN THIS PHOTO: Mitski/PHOTO CREDIT: Bryan Derballa for GQ

this week but not many as there have been over the past couple of weeks! Aside from some huge songs from Billie Eilish, Big Boi and The Chemical Brothers, it is a far quieter collection of songs that we are used to. I wonder whether artists are preparing for spring and we will see a lot of mainstream/big releases then. That is not to say this week lacks bite and interest. There are plenty of great songs to have a look out for that should keep you invested and interested. Among the gems are videos/cuts from Self Esteem, Ian Brown and Mitski – more than enough to keep you occupied! Have a look through this week’s new tracks and they should provide plenty of energy and allure. It is a less-epic week, for sure, but among the releases there is…

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 IN THIS PHOTO: Big Boi/PHOTO CREDIT: Getty Images

AMPLE gold to be found.  

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

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 PHOTO CREDIT: Viva

Billie Eilish – bury a friend

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Sophie Ellis-Bextor – Murder on the Dancefloor (Orchestral Version)

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FIDLAR – Can’t You See

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PHOTO CREDIT: Nick McKinlay

Julia Jacklin – Pressure to Party

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Interpol – Fine Mess

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Self Esteem – The Best

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Better Oblivion Community Centre – Dylan Thomas

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Circa Waves – Me, Myself and Hollywood

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Palace – No Other

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Mitski – A Pearl

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IN THIS PHOTO: Big Boi

Big Boi (ft. Sleepy Brown) – Doin It

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Woman’s Hour - Luke

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Bonnie Tyler – Hold On 

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The Chemical Brothers – Got to Keep On

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White Lies – Fire and Wings

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Empire of the Sun – Chrysalis

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Odette – Lights Out

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New Hope Club – Permission

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Ian Brown – Blue Sky Day

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IN THIS PHOTO: Sam Smith

Sam Smith, Normani - Dancing with a Stranger 

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Tom Odell – Go Tell Her Now

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PHOTO CREDIT: Pooneh Ghana

Stella Donnelly – Lunch

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Ben Platt – Bad Habit

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Nina Nesbitt – Is It Really Me You’re Missing?

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grandson – Apologize

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Claire Richards – 7 Billion

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PHOTO CREDIT: Benjamin Street

Emily King – Go Back

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PHOTO CREDIT: Rory James

IDER – Brown Sugar

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PHOTO CREDIT: Natalia Mantini

Soccer Mommy – Be Seeing You

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PHOTO CREDIT: Janne Rugland

Astrid S – Someone New

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Cage the Elephant – Ready to Let Go

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PHOTO CREDIT: Rosie Matheson

Ady Suleiman – Strange Roses

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Girlpool – Pretty

Sports Team – M5

TRACK REVIEW: The NonStick Pans - Man up, Man!

TRACK REVIEW:

 

The NonStick Pans

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Man up, Man!

 

9.3/10

 

The track, Man up, Man!, is available via:

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

ORIGIN:

Blackpool, U.K.

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The album, Nineteen Sixty Four, is available via:

https://open.spotify.com/album/0YGu3vwxGbcKqsxbJvfNfV?si=04U4DhGzRUqGmhIGFCmgOA

GENRES:

Alternative Rock/Power-Pop

RELEASE DATE:

11th December, 2018

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THERE is a lot to recommend...

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when it comes to The NonStick Pans but, perhaps, lettering is not one of them. That sounds odd but I think it is for artistic affect. The ‘NonStick’ combined as one word (without a hyphen); the title of the new track being spelled ‘up’ instead of ‘Up’ and the album being ‘Nineteen Sixty Four’ - without any hyphens. A lot of artists do this with their song titles and names. Billie Eilish is renowned for putting her song titles in lower-case lettering but, in a packed industry, it sort of stands out I guess. I was not going to expand on it – it was an observation and I wondered whether artists did do it for an artistic affect. In any case, I will focus on the more positive sides of the music. I want to address artists who put their everything into the mix and create a real labour of love. I will also look at those inspired by the sounds of the 1960s and particular acts. I will bring in sounds in general but also look back at the North and ask whether it is here we are finding the most intriguing songwriters today. I will then go on to look at new artists and getting noticed in the modern scene – completing by thinking where The NonStick Pans might head. I do not review entire albums – only the singles – so cannot give you my impressions regarding the rest of the material on the record. I recommend you listen to the whole of Nineteen Sixty Four because, in many ways, its title sort of gives you an impression of the sound and quality. This was the year when The Beatles produced A Hard Day’s Night and Beatles for Sale and there was a great Pop sound coming through. I think The NonStick Pans’ creator has taken to heart this great Pop core and combined it with something very much of his own. There are few artists who put their all into the music and you can hear that incredible effort.

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I listen to the music on the album and can hear all the effort and love that has gone into it. It seems strange for me to mention quality in music and passion but how many artists do put this much attention and detail into their work? I think there are a lot who really hone and put passion into their music and it can be a really hard slog. That sounds a bit dark but, to get ahead and produce something exceptional, you need to really expend a lot of time and energy. It is clear The NonStick Pans – not sure I will ever get used to that name! – has been away and really worked on the songs to make sure they shine and have that balance of the old and new. I do think there is a lot of pressure when it comes to getting music out there and putting something into the market quickly. I worry that artists have this pressure to put out music fast so they do not get overlooked. As such, I am discovering a lot of music that sounds fairly forgettable and it can be frustrating. Those who take the time out and really work on something fresh do risk losing some traction regarding pace and attention but I think it is the right approach. It will be a while before The NonStick Pans gets to the bigger festivals but that achievement will happen because of the strong material and the fact it sounds so solid. I can imagine him doing some of the Folk festivals or maybe ascending to one of the biggest gigs in years to come. The rich vocal harmonies and tight songs come from someone who has really stood back and ensured the material is as strong as it can be. I love the songs and feel the album, Nineteen Sixty Four, is really solid. One gets something very fresh yet professional when listening to The NonStick Pans’ music. That is rewarding to hear and something a lot of musicians should take to heart.

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I think I am drawn to the music because it has that inspiration from the 1960s. You get the harmonies and sunshine from The Beach Boys and there is the melodic sensibility of The Beatles. I think a lot of artists look back when it comes to inspiration and there is nothing wrong with that. So long as you are contributing something new to the older mix and not replicating the artists then that is okay. What we get with a song like Man up, Man! is a modern-sounding theme and storyline but there are those scents of the 1960s. On other songs, one gets a more evocative and potent semblance of the decade and a real love of the time. I do wonder how many young artists coming through will actually take inspiration from the 1960s and whether it is a relevant time. So many parents now are of an age where they did not listen to music from then – or were born in the 1970s and 1980s – and they do not pass that down to their children. I got exposed to music of the 1960s as my parents were born the decade before and this was the music they grew up around. How many parents now look back at the 1960s as opposed, say, the 1990s?! Maybe there are a few who are that bold but it is good to see an artist as young as The NonStick Pans forsake the 1990s – so many are following and working in that decade right now – and go back to that golden age. It is quite lofty following the sounds of The Beatles and The Beach Boys and one might have certain expectations. In this case, you get the shimmering and California-rich harmonies but you also get the northern sensibilities of The Beatles and that sort of blend – not something we hear often in modern music! I think many fear looking at the 1960s because they assume it is quite limited or it is hard to follow those big acts. I think there is so much gold from that time that, if done right, can lead to some sensational music.

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What one gets with The NonStick Pans is a nod to that time and a way of writing that does add optimism and light into the blend. Too many modern songwriters are quite moribund and hopeless when it comes to joy and I feel we need to bring the thrill back. I am not suggesting Nineteen Sixty Four is all joy – there are moments of anger, fear and darker mood – but one does feel buoyed and elevated by the music. I often look at the 1960s and think it is that happy time when there was genuine optimism around. Maybe things have changed but I look at modern music and do not think there is as much hope as there should be. I think a reason why people avoid the 1960s is because the music of the time was defined by a certain tightness and catchiness. Bands like The Beatles cut their teeth crafting these three-minutes wonders and bringing something instantly memorable to the plate. Maybe The Beatles and The Beach Boys started getting more experimental after a time but think about their earlier work and it is all about these really tight tracks. I listen to The NonStick Pans and songs do not run on and outstay their welcome. It is refreshing hearing a songwriter who can write a great song and does not feel the need to go past the five-minute mark. Because of that, you get these fairly brief songs that pack a lot in. I do love the sense of energy that runs through and a distinct accent. Too many people, when replicating 1960s sounds, tend to Americanise their accent or mimic other artists. You can tell our hero has not done that and keeps his true voice strong. I have been looking away from the North quite a bit and focusing on London to an extent. It is good to have the chance to go back to an area of the world that is producing sensational music.

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The NonStick Pans is based in Blackpool and, aside from Jethro Tull, there have not been that many big artists from that part of the world. Lancashire in general is a productive and epic spot for music and I can see why artists are not willing to leave there. When I am faced with a northern artist, I often wonder whether they will move to London but, in a lot of cases, they stay put. I think this is good because it shows there is an audience there and venues willing to put them up. Down here, we have a lot of venues closing and it is becoming very packed. It is harder to get attention and I do wonder whether we have reached a saturation point in London. I feel there is still too little attention paid to northern artists by the big websites and papers. Think about the great bands like The Beatles and one would think they alone have done enough to ensure the North does not get overlooked. Today, there might be fewer legends here than there was in decades past but I am seeing a great new crop grow. I do like the fact there is more personality and variation in the northern sounds. I feel artists have less stress on their shoulders and write more honestly. Maybe that is because of economic divides or it might be the natural personalities of the people. Whatever the reason, I love music from the North and it definitely deserves more acclaim and focus. Let’s look at somewhere like London and whether it is possible to distinguish artists here. There are countless great acts here but how easy is it to find them and stand them aside? Because of the pace and crowded nature of the city, I do wonder whether a lot of acts are getting buried and overlooked. Compare that to somewhere like Blackpool and it is a lot easier to unroot the very best. Maybe The NonStick Pans will locate to Liverpool or Manchester in the future because I think there are more venues and labels that could catch his eye.

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I think Liverpool especially is a city that is coming back with force and attracting a lot of young musicians. It is the history and heritage of the place that beckons them in and, as a result, leads to fantastic music. Why do we tend to ignore the North and concentrate too heavily on London? Maybe some of us are bolder but it seems to be a media thing. I am discovering so many great northern acts emerging and wonder whether they are being exposed. There is a definite split in terms of voice and narrative when one compares the South and North. I love the more humorous, natural and varied sounds of the North because you get all these extra elements. One gets charm and humour mixed with something deeper and more serious. It is hard to define but I think northern artists approach music differently and put more of themselves into the songs. Listen to The NonStick Pans’ love of 1960s music and that fuses brilliantly with his natural surroundings. One gets a blend of the modern and of-the-moment with that dreamy and wistful nod to the 1960s. There is also a great mixture of Britpop-era sounds that, perhaps, is a time he dimly recalls. Many artists are inspired by the 1990s but I wonder whether they find it hard to match the sense of energy and hope that came from Britpop. Instead, many are looking at Grunge and the American Alternative scene from that time. Maybe it is not exclusively a northern thing but I love that mixture of decades and what comes out in an album such as Nineteen Sixty Four. Take a listen to the whole album and one gets so many great stories and combinations. I wanted to feature a few other songs in this review but I feel I will only give them a slight nod. I have picked Man up, Man! because it is especially strong and a song that has received a lot of attention. I shall come to that in a bit.

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It is hard to stand out nowadays and I do wonder what life is like for a new artist. A lot of the time, there is so much to consider and quite a task ahead! Think about all the social media factors and the fact you need all these different accounts. By the time you have them going, you need to promote yourself and, with each new track, there is this cycle and pressure. One needs to keep the focus strong but also ensure other factors are considered. By that, there needs to be regular updates on social media and one will always be pressured to gig. Most artists love to perform but, alongside gigging, you need to look ahead to yet more material and ensuring you are ahead of the competition. It is hard for every artist but I think those coming through right now have it hardest. That might sound scary for The NonStick Pans but think about all the work that must have gone into an album like Nineteen Sixty Four. The songs need to be memorable and fresh and the quality has to be there through every stage. When the album is done, it needs to be promoted and the music needs to get the attention of the public and radio stations. The NonStick Pans also needs to push the music on social media and get as much press as possible. It is exhausting promoting the work, let alone being successful and ensuring enough people are invested. It is impressive when one comes across someone like The NonStick Pans because you have this very professional and assured artist. So few artists have good social media numbers and pages but his are impressive and always growing. The music is solid and the visual aspect is very pleasing. Given the fact the 1960s-inspired sounds have led to these great images from The NonStick Pans, I wonder whether even more photos could be provided with this sort of aesthetic – I love the shots that are out there that sort of shows the hero as a Scott Walker-type figure.

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I think, if an artist does not rush and takes time, they can get everything right. There is this pressure to get stuff into the ether and so much competition around. Many get stressed because they always have to get their music out there – I think this is quite dangerous. It can be stressful putting together music and succeeding today but I think originality and a unique sound can do a lot of the work. That might sound tricky considering the number of artists around but it is not impossible. The NonStick Pans has this brew of the 1960s and 1990s and joined that to this rather striking and personal tone. As such, one gets a little nod of familiarity but there is this chemistry that nobody else has. I feel so many modern songs are quite dour and lack any sense of happiness. People want to discover music that can make them feel better and is not always so downbeat. Musicians today need to think about why we listen to music and the power it holds. If everything is too ‘real’ then that provides little escape and can actually create something negative. Those who manage to be personal and honest but ensure there is light and colour in their sounds will get ahead a lot quicker than those who are all bleak and too insular. It is a promising and big start from The NonStick Pans and I feel he can success and grow if he remains true to his core and sound. The 1960s-scented material is fantastic and there are few other artists out there who sound quite like him. I should get onto the new material of The NonStick Pans and a song that mixes the classical sounds of The Beatles with something quite today-focused and vital. It is a song that conveys a very important message but enriches you with its colours and energy.

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I am always interested in how a song starts and what approach an artist will take. Do you go in quite urgent and try and grab them in the first few seconds – like The Beatles did so effortlessly – or does one build the mood and not give too much away at the top? In the case of Man up, Man! there is this rather instant and alluring start. The drum sort of roils and rollicks and you get this burst of energy and Pop magic before a word is spoken. It is a nice and unexpected introduction that gets you involved straight away and represents what The NonStick Pans is all about. The hero talks about someone who is the “king of the world” but is unable to jump for joy right now. Although I have mentioned bands like The Beach Boys the vocals, in fact, have a little touch of singers Paul Heaton and Paddy McAloon. I am not sure how familiar with them The NonStick Pans is but one gets this soulful richness in the voice. It seems like this is this rage building up (in the subject) but this is being replaced by joy. The song’s title might sound like something that is being avoided in modern music: that ‘man up’ sentiment and just getting over something. Here, it is used in a humorous and conversation way and there is never a sense the hero is trying to undermine a subject or create tension. In fact, the vocal is consistently light and breezy but has so much texture and heart. One definitely hears the influence of the 1960s because of the general energy and skip of the track. It is impossible to listen and not be moved by the music. The composition is fairly sparse but the sturdy percussion gives plenty of kick and guidance. It is the vocal and the alacrity of The NonStick Pans that creates the biggest draw. It seems like the song’s hero is someone who has been through a lot and, in some ways, needs to do some growing.

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Maybe the title – Man up, Man! – is more a call for maturity than balls. In some ways, the song commentates on the way we approach feelings and our emotions. Are men pressured into being quite angry and distant and not letting their true emotions out? Is toxic masculinity and ignorance still too present and dominant? One can approach the song from different angles and it is interesting picking things apart. Perhaps this is a song that addresses a particular subject and the way they have approached life but there is that wider vision. I love how, in spite of everything, the man keeps the song cheery and delightful. There is a sheer infectiousness and sense of rouse that gets the words to life and puts them in the brain. It seems like, the more the song goes on, the more it applies to the general population. I get the feeling The NonStick Pans is looking at the way men are expecting to have this mask and what that is doing to the mental-health of many. Is it time we sort of broke from that parable and encouraged more openness? I think there are a few songs that carry a similar message but very few in such an uplifting way. Maybe the tone and sound is ironic in a way: the rather happy delivery is a way of hiding something more troubling and serious. Listen to the rest of Nineteen Sixty Four to know there are plenty of other happy moments but, in this context, the sound carries particular punch and weight! The chorus is instantly memorable and I do love the way new instrumental elements come in near the end. We get a blast of horns and there is this growing mood. The lead vocal is consistently strong and soulful and it adds so much to the song. You are invested all the way through and wonder if there is this particular man in mind. The hero talks about someone who has bottled things up and might not be in the best headspace right now. In a larger sense, there is this wider message that looks at masculinity and whether we are telling men to hide things and not let their emotions out. By the time Man up, Man! comes to an end there is so much to look back on and ponder. The song itself is great and has this perfect energy and fusion. I kept coming back to it because you get this release and explosion. It is a wonderful song but one that carries weight and a serious lyric. Many will have their own interpretations regarding the truth and story and I hope that I have gone some way to explaining it. Make sure you investigate and get behind the wonderful tune. It is the perfect example of what The NonStick Pans is all about and what defines his sound. Let’s hope there are many more albums from the man!

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I think this year will be a big one for The NonStick Pans. I am not sure whether he has any tour dates coming up and what is in the diary. I would love to see a U.K. tour and a collection of small dates that brings the Nineteen Sixty Four album to the people. I stated he is based in Blackpool and asked whether he might move at some point. There are some great venues where he is but, actually, he is not too far from Manchester and Liverpool and it is not such a trek getting that way. Maybe London is more of a trek but there are a lot of venues that would put him up and give him some stage time. I love the record and feel the song titles alone are worth exploring! Somehow Girl, Jennifer String and Ignota are favourites of mine and you listen to the song just to see whether the inspiration behind those titles is revealed! I think it is great the album is out there – it was released last year – and there is a chance to release a few singles/videos from it. That will give The NonStick Pans a chance to bring to life some of the bets cuts and get the music to new audiences. He is active on social media and building a small fanbase at the moment. That will increase when more airplay comes and he tours a bit wider. I know there is that demand already and the incredible songwriter has been noticed by critics. I love how the music has that effortless blend of natural tones and the familiar sounds of The Beach Boys and The Beatles. That means those who grew up in the 1960s will find much to love but one does get a smash of the 1990s and, in every moment, sounds of the here and now. The strong songwriting is evident and the songs get into the head without much struggle. I predict The NonStick Pans will go far and it will not be long until he is...

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TAKING these songs all around the country.

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Follow The NonStick Pans

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

FEATURE:

 

 

Sisters in Arms

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

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AS the snow has come in...

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 IN THIS PHOTO: Celeste

and it is definitely wintery right now, it is time for a collection of songs – fresh and a few that are a bit older – that will warm the bones and get you in a better mood. There are some winter-flavoured songs in the mix as well and it is another spread of great female-fronted tunes that is guaranteed to do the job. I think we need music right now to give us some energy and something special; to get us all in a better frame or comfort us. Before thinking about the weekend, have a look at these great songs and there will be something in there for you, I am sure! It is another collection of special songs that, on this snowy day, is perfect for when you just want to stay inside and...

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 IN THIS PHOTO: Lauran Hibberd/PHOTO CREDIT: Nathan Russell

DO nothing.  

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

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PHOTO CREDIT: Timothy Cochrane for Loud and Quiet Magazine  

Lucy Dacus – La Vie En Rose

Kelsey Lu – I’m Not in Love

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Elsa Hewitt – Tiny Dancer 

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ALMA – When I Die

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Broods – Peach

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Hubert’s Friend – Shipping Forecast

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Ora the Molecule – Sugar 

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Soccer Mommy – Be Seeing You

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PHOTO CREDIT: Jani Ugrin

Anja Kotar – Kids

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Dani Le Rose – Shellshock

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I Am Snow Angel – Mothership

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Anna Wang – Ritual

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Kelsy Karter - Harry

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Lauran Hibberd - Sugardaddy

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Astrid S – Someone New

PHOTO CREDIT: Pooneh Ghana

Stella Donnelly – Lunch

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Olivia O’Brien – Love Myself 

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PHOTO CREDIT: Rory James

IDER – Brown Sugar

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Sofia Wolfson – Nothing’s Real

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PHOTO CREDIT: Emma Swann for DIY

Ex:Re – New York

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Gia Woods – Jump the Fence          

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Rosie Lowe – Birdsong

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Celeste – Father’s Son

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Polo – On My End

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Haiku Hands – Dare You Not to Dance

INTERVIEW: Jacob Henley

INTERVIEW:

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Jacob Henley

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WITH Train Rider out today...

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I have been speaking with Jacob Henley about its creation and what he has coming up; what it is like putting his debut track out there and which artists he is inspired by – Henley reveals albums that are important and influential to him.

I ask what it was like working with Ralph Murphy on Train Rider and which new artists we need to look out for; how he relaxes away from music and whether Henley will tour soon – he picks a good song to end the interview with.

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

Hello! BUSY. Ahahaha. Over the last few months, my whole world has been releasing this single it seems. It’s been a battle but it’s going to make having it out into the world so much sweeter.

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

Well. My name is Jacob Henley and I’m a singer/songwriter from Canada, now living in Dublin, Ireland. If I had to describe my sound I would describe it as ‘Guitar-Driven Pop’, with influences such as James Bay, Shawn Mendes; John Mayer, Hozier - with nods to the artists I grew up listening to such as Leonard Cohen, Joni Mitchell etc. I’m a big fan of songwriters; I’ve always been a big fan of songwriters and the craft of taking real life stories and turning them into songs. I just love writing songs whether it’s for myself or others. It’s always been a love for me.

Train Rider is your debut single. Is there a history behind the song?

I wrote Train Rider about three years ago. I was taking a train to Toronto from where I live and I was enjoying the scenery of the ride (the train runs right beside Lake Ontario) and I saw a man and woman exchanging looks and smiling from across the seats. They didn’t know each other but they were smiling and seemed to catch themselves looking at each other, before looking away quickly, realising they’d been caught.

I wondered, in my head, if those people would work up the courage to talk to each other or if they would just let it pass them by. It sparked the influence and the song is really a story of finding love in unexpected places and taking chances.

You wrote it alongside Ralph Murphy. How did you come to work with him?

I actually started the song with my cousin Andrew Dawson (Gold Complex) who’s a writer and fantastic artist in Toronto and my friend Ryan O’Shaughnessy who is also an incredible writer and artist. We all met in Toronto at Canadian Music Week and one day we got together and wrote Train Rider in Andrew’s back garden in downtown Toronto. We then sent the song to my friend and mentor Ralph Murphy in Nashville who worked his magic on the song and finished it off!

Train Rider is your debut track. Are you excited to see how it’s received? What comes next?

This song has been a battle. I’ve been planning to release music for the last three years - but, for some reason, it didn’t work out or it didn’t feel right. In hindsight, I’m glad that I waited. I have grown so much in that time as a person and I feel like I am more sure of who I am now than I was back then. It’s got to feel right when you are releasing music in the world and I feel like I’m finally in a place where I can put this song out into the world. I’m excited to see how people feel about the song for sure! Every artist wants their music to be enjoyed and every artist wants their songs to be played.

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However, with Train Rider most of all, I would love it if someone related to the song or if it made them feel. The thing I love about music is the feelings it gives me. I remember the first time I heard Suzanne by Leonard Cohen; I remember the first time I heard Guiding Light by Foy Vance; I remember the first time I heard Thunder Road by Bruce Springsteen – I remember exactly how I felt at those moments. I would love for people to have that reaction to my music, like I had to those artists’ music.

I’ve got plans to release more music this year and am currently in the process of recording my next single. The plan is to play as many shows as possible and get my songs out there! 2019 is going to be a busy year and I wouldn’t have it any other way.

You began life in Canada but are based in Dublin. What inspired that move?

I’m from a small town called Newcastle, Ontario (Canada). It’s a small town outside of Toronto. I moved to Dublin about ten months ago for music but I’ve been writing/performing in cities across North America and the U.K. for years - cities like Nashville, Toronto; Montréal and London.

I went to Dublin in 2015 and as soon as I left I had this desire to go back. I went back in September 2017 and as soon as I left that time and landed in Canada, I knew that I wanted to move back there. I don’t know how to explain what inspired the move but all I can say is that it felt right. I’ve been so productive here and have met so many like-minded musicians and writers that this is where I want to be right now. I adore Canada and it will always be my home, but Ireland just feels right for me right now.

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What is the Dublin music scene like? Is it a great place to create?

Incredible. I think that the Irish music scene in general is pumping out so many incredible artists and songwriters. There is so much talent in this country and it’s steeped in their culture. Everyone and their mother can sing. Ahahaha. There’s something about this country that is so inspiring. I find that Ireland and Canada are very similar. Canada has pumped out so many great artists and songwriters but they are often overlooked and I feel like Ireland are the same. However, I feel like that’s changing with the power of the Internet and Spotify etc.

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

There are so many. But, one for sure that always pops in my head is when my friend Neil Sanderson (Three Days Grace) saw me playing in my hometown pub in Newcastle, Ontario (when I was fourteen-years-old) and he said “Hey, kid! Wanna go to Nashville at the end of the month?” and I did what any kid dreaming of being a Rockstar would do and said “Let me ask my parents!” Ahahaha. We went down and met Ralph Murphy - it all kind of started there.

Do you have a list of artists who you draw influence from? What sort of music did you grow up around?

I come from a very musical family. Not everybody plays but everyone loves music and loves a variety of music. My dad is an incredible performer and great singer so I drew a lot of influence from him. But, I remember growing up and there were always loads of singer/songwriters playing around the house like Leonard Cohen, Joni Mitchell; Neil Young, Carole King; Bruce Springsteen etc. so I was heavily influenced by artists like that.

But, recently, I listen to a healthy dose of everything. Whether that’s James Bay, Shawn Mendes; Julia Michaels, Ariana Grande or any of the music that is doing well in the charts - I find myself listening to all of that. HOWEVER, I always go back to my old favourites.

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

The first Leonard Cohen album, for sure. I’ve never had an album that has moved me more than that album. It is such a masterpiece and his songwriting is so visual. Forever my favourite.

I’d say Foy Vance’s Closed Hands, Full of Friends album. Again, such a visual album and so perfect.

Then I would have to say Abbey Road because every songwriter has to have ONE Beatles album on their list and the whole album is a masterpiece.

Also, just a bonus…I would have to say Songs in the Key of Life by Stevie Wonder. MASTERPIECE.

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

That’s a tough one. I don’t really know! I’d be grateful to open up for anyone. Maybe a bar or two of chocolate back stage wouldn’t go astray…ahaha

What advice would you give to new artists coming through?

Well. I would say this: put in the work. Go out and gig as much as possible, promote yourself on social media; write as MUCH as possible with as many different people as possible, put yourself in situations out of your comfort zone. Go to a conference, network; write with someone out of your genre. But, most importantly, be a good person. Good people are remembered for the right reasons.

Do you think there are going to any tour dates coming up?

I have plans for gigs coming up, starting with Train Rider’s single launch on 11th February at The Workman’s Club in Dublin with support from Tim Chadwick and Josh Gray. But, there will be more over the coming months and they will all be posted on my socials and website.

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 IN THIS PHOTO: Gold Complex

Are there any new artists you recommend we check out?

Gold Complex, Ryan Mack; Tim Chadwick, 1000 Beasts; Laura Elizabeth Hughes, Ryan O’Shaughnessy; Kolumbus, Josh Gray; Orchid Collective and Zapho - those are just a few of my friends who I think are incredible.

 IN THIS PHOTO: Laura Elizabeth Hughes

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

I watch A LOT of ice hockey. Ahaha. You can take the boy out of Canada - you can’t take the Canada out of the boy. I love walking around the city, spending time with my friends and writing. It’s important to enjoy your breaks - it keeps you fuelled for your work.

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

Lord (It’s Okay) - 1000 Beasts

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Follow Jacob Henley

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FEATURE: Going Bad: The Problem with Hip-Hop and Genres with Huge Male Dominance

FEATURE:

 

 

Going Bad

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IN THIS PHOTO: Nicki Minaj has regularly talked about sexism and misogyny in Hip-Hop and Rap/PHOTO CREDIT: Getty Images 

The Problem with Hip-Hop and Genres with Huge Male Dominance

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IT is rare one of my tweets provokes a debate...

but I was engaged in one with someone I had not conversed with before – a rapper and musician who responded to an observation I made regarding the line-up for this year’s Wireless. This festival has changed through the years and is mostly a Hip-Hop/Rap event now. I noted how, over the three days of the event, not even twenty-percent of the total line-up is female! Cardi B is the only female headliners at Wireless and, whilst this is not new regarding the rest of the festivals – there are none in this country who have more than one female headline act –, there is usually a closer gap between men and women on the rest of the bill! Wireless, through the years, has not been great when it comes to gender equality but this year’s line-up is especially biased and male-heavy. I think any festival that has a glaring imbalance needs taking to task as we are to assume, I guess, there are very few women capable of filling the slots. The first point that was addressed after my tweet was the fact that festivals are based on meritocracy: acts are booked because they will sell tickets and, to that extent, this is why we see the Wireless bill we do. I contested the fact there are so many able and willing female Hip-Hop acts that have been overlooked; other festivals are promoting men above women and it is not really a case of booking based on quality/popularity.

 IN THIS PHOTO: Carrie Underwood has spoken out against sexism in Country music, showing the problem extends beyond Hip-Hop and Rap/PHOTO CREDIT: Getty Images/Press

Look at all of the festival announcements and bills and one could argue a case to have more women on all of them. There have been glaring omissions and, whilst a lot of festivals are improved from last year, I do not think any are close to a fifty-fifty gender split. From a purely talent-based ratio consideration, between the new and older artists, one cannot say men outrank the women! I do not care what genre you are talking about but there is not a huge divide in that respect. Certainly, when it comes to Pop, Rock and Folk…why are festivals not recognising the fact the gender gap should not exist?! It was raised – in the Twitter chat – whether there are certain genres that encourage men and are seen as naturally male-focused. If you think about Metal and the heavier side of music, it is mostly owned by men and we can apply this to other genres like Grime. I think, in the case of Metal, there is not as huge a desire among women to play that style of music – or maybe there is. One cannot assume genres are tilted towards men because of apathy from women; a sense of a distinct sound only being worthy in the hands of men. I am discovering a lot of great female Alternative and Punk bands coming through.

Not only are many experiencing discrimination and not being booked by festivals but many others are keen to go into Metal but feel that is a boys’ club and they will not be accepted. I do not think it is a matter of women not being interested in certain genres: the issue is more regarding the nature of these genres and whether they are welcoming to women. Gaps are narrowing but there are still genres hugely imbalanced. One might say that what is the problem so long as great music is coming through? Why sweat about festival line-ups as long as the artists booked are the best choice and will get bums in. As I contested, I do not think festivals reflect merit and the realities of music. If one is to believe that more men are worthy than women when it comes to festival places then that is ignorant. We can get much closer to a balance at festivals without having to compromise on quality – in fact, I feel there is more diversity and passion to be found in the music coming from women! I feel like there are genres that put off women because they feel their voices will not be heard. Look at the covers of music magazines and, more often than not, they are populated by men.

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 PHOTO CREDIT: @Roxannemusic 

Magazines that cover genres like Metal are male-heavy and, whilst that may be a reaction to the balance of the genre, are we doing as much as possible to encourage and promote women – given the fact there is that desire and every genre is stronger when there is a blend of men and women?! The majority of the conversation I had with this Twitter user regarded Wireless and the proliferation of men. He argued there are more male rappers because women are not as interested in the genres (Hip-Hop/Rap). He was not too concerned about the imbalance and argued the fact other professions were heavy in favour of the men – do we complain when we see more male plumbers than female?! I feel these arguments are specious because the reason for gender imbalance in many professions IS because of a lack of interest (from men/women) and I not as concerned if my plumber is male or my hairdresser is a woman. Music is an equal field and there are as many women playing as men. As such, we need to wonder why certain genres are imbalanced and dominated by men – I do not think you can say any genre is heavy with females (even Pop). Hip-Hop has always been male-focused to a degree and I wonder why this is. I know of many women in Hip-Hop and Rap who either do not get focus or they feel unsure stepping out. They think the market is too skewed or there is a deeper and more worrying issue: the nature of lyrics in the genre.

A lot of make Hip-Hop and Rap artists have been accused of sexism and misogyny through their lyrics. Can you think of a genre that has such a reputation for sexism and misogyny?! Thinks have improved and the days of Eminem making the news for his views on women (and the L.G.B .T.Q.I.A. community) are over. I still feel like there is too much casual sexism - and a lot of Hip-Hop/Rap songs promote messages of men abusing women, treating them badly and talking about them in very crude and disrespectful tones. It does not apply to everyone but there is far more controversy in Hip-Hop than any other genre I can think of. One might retort the fact Hip-Hop has always been like this and few have raised eyebrows. Hip-Hop is my favourite genre and I have so much respect for the artists who have defined and evolved the genre. The thing is, I am always uncomfortable listening to artists who are sexist and my favourite Hip-Hop albums talk of political change and betterment – not those who disrespect women and feel like they are second and inferior. I respect those who are not concerned about the gender imbalance in music but it does bother me. It is clear thee is sexism in all genres and festival line-ups are not based on merit and the finest; studios are not male-heavy because women lack ability and music labels are not run by men because women lack the acumen and business mind.

Hip-Hop has always had a problem and I wonder whether, whilst other genres have improved and moved on, the boys are still very much unwilling to bend here. Maybe we have lost the more coarse and extreme Hip-Hop/Rap artists from the scene but the Wireless bill reflects something deeper and more complex than mere sexism or a lack of visible women in Hip-Hop. I will end with a point regarding intent and whether sexist/misogynist lyrics in Hip-Hop are designed to sell or whether the artists believe them – or whether it is a case of history and doing things the way the forefathers did. One does not have to search too hard on Google to find articles exploring sexism and hate in Rap/Hip. Here an article that raises interesting observations:

“One such example is the saturation of rap and hip hop music with misogynistic lyrics that hypersexualize and give little to no respect to women. On Feb. 24, 18 out of 25 of Billboard’s top rap songs—most of which are also classified as hip hop—had lyrics referring to women as “bitches,” “hoes,” or “whores.” While the core message of most songs do not line up with such belittling rhetoric, these words saturate the songs with misogynistic undertones, and their presence in so many top songs indicates how pervasive said undertones are.

The overt lionization of infidelity is similarly prevalent and problematic. One doesn’t have to venture far to find an example of this glorification. In “Gummo,” number 12 on Billboard’s Top 25 as of Feb. 24, 6ix9ine says, “Your girl on my phone / she wanna fuck but… I only want the jaw / that’s really all I use her for as I kick her out the door.” The next song on the chart, A$AP Ferg’s “Plain Jane,” contains equally demeaning lyrics: Towards the middle of the song, he says, “I fuck yo bitch for the irony.” These misogynistic lyrics run contrary to the progression of gender equality. At a time when some of the nation’s most power leaders have undercut the social strides we have made as a country, it is important to be vigilant in denouncing misogyny and to be careful to not take these aspects of rap and hip-hop to heart”.

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 IN THIS PHOTO: Lil Pump/PHOTO CREDIT: Getty Images

There are cases where, a lot of the times, artists are using explicit language and degrading images simply to get gain popularity a largely male audience. I looked at this article from GQ and wondered, when considered some of the points, how women feel hearing songs that are offensive and disrespectful:

“That being said, Kanye West & Lil Pump’s “I Love It” was condemned to the trash pile as soon as I heard Pump open with “You’re such a f**kin’ hoe”. There’s an argument that the inclusion of Adele Givens saying, “Cause you know in the old days they couldn't say the shit they wanted to say/ They had to fake orgasms and shit/ We can tell n*****s today, ‘Hey, I wanna cum, motherf**ker’” as an intro and outro subverts the outright degradation of women in their lyrics, magically transforming “I Love It” into a song about sexual liberation. To me, it reads as an insurance policy add-on, a crash mat for West and Pump to bounce back off as soon as someone tells them that, actually, it’s not very 2018 to tell a woman that you “like a quick f**k” and that you’re willing to buy her a boob job in exchange for a blow job”.

Afropunk expanded on these points:

“Writer Mychal Denzel Smith wrote in The Nation about “Rap’s Long History of ‘Conscious’ Condescension to Women”, following beloved rapper Lupe Fiasco’s apparent slut-shaming in his track ‘Bitch Bad’ in which the chorus goes “Bitch bad, woman good, lady better”.

So, when even the “conscious” rappers have problematic lyrics, we have a long way to go. And the first step is to admit it to ourselves and hold ourselves accountable to take down patriarchal views of women once and for all”.

I have only selected a few cases: there are numerous articles, as recent as last year, that explore sexism and misogyny in Rap/Hip-Hop and how there seems to be no end. If a male Pop artist was talking offensively towards women then he would receive condemnation, given the fact there are a lot of women in Pop. Look at Hip-Hop and it seems there is this rather casual attitude. Nicki Minaj, as this NME report from 2017 found, had to fight to have her voice heard on a record:

“This was so nice of you my love, thank you,” wrote Minaj, before commenting that, “In any field, women must work TWICE as hard to even get HALF the respect her male counterparts get. When does this stop?”

Yesterday, Minaj wrote on Instagram that Kanye West’s track ‘Monster’, on which she guest raps, was almost cut from ‘My Dark Twisted Fantasy’. Jay-Z, Rick Ross and Bon Iver also worked on the single”

“Kanye called me to tell me Jay put a verse on this song & that he was still deciding if he would put it on his album,” Minaj wrote. “It was like an hour-long call where I tried to convince him to let the song stay on his album”.

Regardless of whether there is genuine meaning and personal belief in the seedy and offensive lyrics, one need only look at music videos and see the way women are almost seen as possessions. This article illuminates the extent of the problem:

“Women tend to be objectified in music videos. They are like props. They make the video look cool and sexual so that people will be more likely to watch. Why? Because sex sells, that's why. Women who rap know that sex sells and they use this to their advantage. Think about it, would you feel the same way about Nicki Minaj if she didn't flaunt her round ass in almost every video? But she has to flaunt her sexuality. Otherwise, some people wouldn't give her any attention, even as a talented rapper. Moreover, ironically she is also bashed for how she looks. There is just no winning...

 

The truth is that people don't want to hear female rappers unless they are society's standard of beauty, even though beauty comes in all shapes and sizes. I just want to say, from a bisexual black woman's point of view, that I don't want to see someone's ass every time I turn on a music video. To me, it's old. Let's see something no one has seen before, like I don't know *gasp* premeditated creativity. Instead of the norm being bubble butts in the camera. I'm over it. Women are over it. We don't want to see it.

I will say that this is not the case for all rappers. Some artists are creative with the visuals for their music. I am only referring to the rapper that you pictured in your head when you read the above paragraph”.

I do agree there have always been men in Hip-Hop and the imbalance has been there from the very start. I also agree that some genius albums have come from male artists here. It is undeniable that Hip-Hop is among the most powerful fountains of music out there…but I wonder how much of that comes from attitudes to women and causing controversy. I feel many women are being overlooked or not coming into the genre because of the messages being presented by male artists. I have to make it clear I am not talking about ALL artists - but there are some huge stars who feel it is okay to have this rather unseemly approach to women. One wonders whether they write and perform this way to shock and bait or whether they feel this way. There is some truth in the fact a lot of the most blatant cases of sexism and misogyny occur because that artist wants to shock and they feel that is what makes them appeal. I think the problem with sexism extends to communities and the way men in Hip-Hop and Rap have viewed women for decades. Many feel women are possessions and an accessory; they are arm candy and have to be quiet - not meant to be equal or play any other role than being their toy. That may sound extreme but, again, one does not have to search too hard to know there is truth there.

I wonder how far we have come since the 1980s and whether, in fact, the issue has worsened with the rise in male artists and the fact there is little condemnation from record labels and those who buy the records. Even if a lot of the Hip-Hop customer base does not object to the sexism available in some songs, does that mean it is okay?! To balance out the accusation and blame, here is an piece that highlights cases where Hip-Hop artists, men included have fought against sexism. There have been, as this article shows, recent cases of rappers making the news for the wrong reasons:

“The most pointed example of our acceptance of such immoral actions is embodied through one of Americas trendiest rappers: XXXTentacion.  “I’ma f*** ya’ll little sisters in they throats. I swear to God anybody that called me a domestic abuser, I’ma domestically abuse your little sister.” So says XXXTentacion in an Instagram rant, responding to his domestic charge allegations. This is not the first time the rapper, born Jahseh Onfrey, has dabbled with violence in his short 19 years.

Another instance in which the public places more focus on a rappers musical success over their moral obligation is in the instance of R. Kelly. R Kelly is still widely acquitted and it seems many seem quick to forget R Kelly’s quickly annulled marriage to then 15 year old Aaliyah (he was 27). Kelly was and still is a predator. He was acquitted on 14 counts of child pornography back in 2008 and it was only recently that news emerged of the singer’s ‘sex cult’. Despite this, his songs are still played at family weddings and at the end of mediocre student nights and no one seems to blink twice. These stories of Kelly are normalized by the media, in favor of covering his topchart songs.

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IN THIS IMAGE: Cardi B (who will headline Wireless this year but is a rare example of a female artist headlining a Rap/Hip-Hop festival)/IMAGE CREDIT: Getty Images 

Whilst sexism and misogyny are present in many genres – Country is a stark and worrying example – is there a culture in Hip-Hop where women have to be subservient and have this rather diminished role?

“As females, we are taught by society and the media, that good-mannered girls apologize. “Sorry” had become a bad habit that slipped out of our mouths before we could stop it. This so-called harmless word had subtly changed not only how we are perceived, but how we understand ourselves. In Amy Poehler’s book, Yes Please, she wrote an entire chapter on apologies, and explained that “it takes years as a woman to unlearn what you have been taught to be sorry for.” However, female rappers have tried to reclaim their music by empowering women. Feminist rappers like Queen Latifah, Yo Yo, and Roxanne, speak their minds on issues that truly matter, but this isn’t unusual in pop culture. Queen Latifah’s rap surrounds the idea of women promoting other women and makes explicit assertions of female strength.

We need more female, commercially successful voices in hip-hop. The generation of fierce, empowered femcees of the late 80’s and early 90’s (Queen Latifah, MC Lyte, and Queen Lauryn herself) can be born again. It’s becoming more evident through female rappers such as Cardi B and Nicki Minaj that being unapologetically yourself is important now more than ever for the female consciousness. However, although female rappers are starting to become more popular, I look forward to the day there is an even amount. We need more female voices in hip-hop, making catchy songs about their own experiences. We need to bop our own truths, and then we may finally be able to honestly don the labels of both feminists and hip-hop fans”.

I agree the argument regarding gender imbalance at Hip-Hop festivals is complex and one must look at genres like Metal, Country and Dance to see the rather imbalanced line-ups. It is not acceptable there but I feel there is something rotten at the core of Hip-Hop that has not been challenged. I cannot agree with the notion Hip-Hop is stronger because of men are there are few women wanting to be rappers. I disagree with anyone who feels it does not matter whether there are more men in Hip-Hop and the genre is based on merit and should not pander – there are barriers prohibiting women coming through and being heard. It is great artists like Cardi B and Nicki Minaj are raising awareness and showing their talent but I think something needs to be done. I know for a fact there are many women who are in Hip-Hop and being ignored and many more who want to come through but feel the scene is too sexist and they will be subject to discrimination. I do agree that there are female Hip-Hop artists changing their narrative and lyrics to include sexist lyrics and hyper-sexual messages - a way to fit in and be accepted, perhaps?! I feel Hip-Hop is much stronger with a greater female voice and there is nothing to suggest women lack headline ambitions and potential. Every genre needs tackling when it comes to sexism but I feel, in the case of Hip-Hop and Rap, there is such a gender imbalance and problem – reflected by the massive gulf on the Wireless bill this year. I just hope, sooner rather than later, Hip-Hop and Rap clean up their act and make sure there are safe and equal platforms where women can...

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 IN THIS PHOTO: Few modern artists have done more to progress Hip-Hop than Angel Haze/PHOTO CREDIT: Kasun London

ADD their voices to these wonderful genres.

FEATURE: Life Before The Beatles Exploded: Why It Is Worth Investigating Music of the 1950s and Early-1960s

FEATURE:

 

 

Life Before The Beatles Exploded

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IN THIS IMAGE: Elvis Presley’s Jailhouse Rock was released in 1957/IMAGE CREDIT: Getty Images 

 Why It Is Worth Investigating Music of the 1950s and Early-1960s

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ALTHOUGH this is the second-consecutive feature where...

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 IN THIS PHOTO: The Beatles chilling out in 1963/PHOTO CREDIT: Getty Images

I mention The Beatles, I am not really focusing on them. I am a bit but I use them as a benchmark really. For me, my musical tastes stretch before The Beatles but I do not spend as much time look back as I should. I wonder whether enough of us are broad when it comes to decades and investigating deep. Many assume music was a bit boring and naff before the 1960s and there is not a lot of greatness to be discovered. I agree the best albums and most popular artists started life in the 1960s but it is not the case anything before, say, 1962 is not worth a thing. Something definitely happened when The Beatles ignited popular music and took it in new directions. The band themselves were inspired by music of the past and, whilst that doesn’t mean those artists were great, it is wonderful listening back further at a time when music was a lot punchier and tighter. When I was growing up, I was raised on a lot of different stuff but I was being fed music from the 1950s and 1960s. This is when my parents were born/young and, as such, the sort of stuff they were listening to. I recall as a child getting the critically-slated Jive Bunny: The Album and playing that to death! Its charm was that it has a modern sound (this was 1989) and there were some great samples in there.

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 IN THIS PHOTO: Little Richard in the 1950s/PHOTO CREDIT: Getty Images

The fact this was the same year that saw American Hip-Hop groups like De La Soul and Beastie Boys take sampling to a new height did not bode well for the Rotherham novelty act who, let’s be fair, were not in their league! Say what you want about that album and its validity but the fact was children my age got to hear music from our parent’s generation. Chubby Checker’s Let’s Twist Again and Glenn Miller’s In the Mood were sat alongside The Everly Brothers’ Wake Up Little Susie, Little Richard’s Tutti Frutti and Elvis Presley’s All Shook Up on the track, Swing the Mood. Copyright and legal issues meant re-recorded version of the songs had to be included – the critics did not like this – but it still meant I got to experience this new world! Elsewhere on the album, Chuck Berry’s Johnny B. Goode and Runaround Sue (Dion) were included. There was all this great Rock & Roll, Doo-Wop and Swing that, whilst replaced and evolved by the 1960s, did help compel the next generation and influence a lot of the best albums of the time. I think, even if children go back and look at music from the past, they will not get far past the 1960s. Maybe The Beatles is their limit and that is going back far enough.

I love so much music from the 1950s and early-1960s. From Del Shannon’s Runaway (1961) through to the early work by Ray Charles and Sam Cooke. Throw in great stuff from The Drifters and Fats Domino through to The Platters and you have some fantastic songs. I think a lot of these artists can inspire the new generation because, to me, that era is defined by a sense of joy and chirpiness. There were some sombre songs but there was a lot of sunshine, catchy tracks and effortless bliss. How many of us can say the music scene is like that today?! I will look at a few songs that really inspired me as a child but, in terms of the 1950s and the Rock & Roll movement, there was this epic scene that helped kick-start the 1960s and is still working through the marrows of modern music. Not only did the 1950s Rock & Roll movement help bring about social change, the sounds that were being produced had this sense of freedom and real innovation. Rolling Stone, when investigating the music of the music of the 1950s, made some interesting observations:

“First, it was the only form of popular music that specifically addressed and was tailored to teenagers — there had been adult records and kiddie records, but nothing for that burgeoning bulge of the baby-boom population caught between childhood and adulthood. Second, rock & roll enabled “marginal” Americans — poor white sharecroppers, black ghetto youths and, not coincidentally, storefront record-label operators in out-of-the-way places like Memphis — the opportunity to express themselves freely, not as purveyors of R&B and C&W, whose audiences were limited, but as a dominant force in the popular marketplace. Elvis was transformed from hick truck driver to idol of millions in less than a year. Suddenly, it seemed, the sky was the limit, if there was a limit at all...

 

The coming of rock & roll in the mid-Fifties was not merely a musical revolution but a social and generational upheaval of vast and unpredicatable scope. It also represented a major reversal in the business of popular music. There were no pre-rock & roll counterparts to Sam Phillips, who parlayed a tiny Memphis label with a staff of one into a company whose artists sold millions of records throughout the world. In record-business terms, rock & roll meant that small, formerly specialized labels like Sun, Chess and Specialty were invading the upper reaches of the pop charts, long the exclusive domain of the major corporate record labels and old-line Tin Pan Alley music-publishing interests.

Much has been made of Sixties rock as a vehicle for revolutionary social and cultural change, but it was mid-Fifties rock & roll that blew away, in one mighty, concentrated blast, the accumulated racial and social proprieties of centuries. What could be more outrageous, more threatening to the social and sexual order subsumed by the ingenuous phrase traditional American values, than a full-tilt Little Richard show? There he was, camping it up androgynously one minute, then ripping off his clothes to display for a packed house of screaming teenage white girls his finely muscled black body.

If Fifties rock & roll failed to realize the creative and social aspirations it so eloquently expressed, on a purely cultural level it succeeded beyond the wildest dreams anyone could have entertained at the time. Not only has it proved more than a passing fad or an episode of youthful folly, it has provided the model, the template, the jumping-off point for virtually every subsequent wave of pop-music innovation. The best of Fifties rock & roll may have promised a utopia that was not to be, but as long as the music survives, the dream will live on”.

The 1950s and start of the 1960s is worth fond study because of the way it changed society, especially in the U.S.A., and how it led to revolution in the 1960s. Lesser genres of the time – a fairly disposable Pop scene, Doo-Wop and the like – are interesting in themselves but, again, it is the simplicity and sheer catchiness of the music that gets to me. I feel so many artists today are too safe and produce songs that tend to ramble – you would be hard-pressed to find a song from the 1950s that strayed past five minutes! To me, there are these evocative and timeless songs that are being skipped by the new generation. Two tracks that came out in 1958 – Nina Simone’s My Baby Just Cares for Me and Jackie Wilson’s Reet Petite – were big favourites of mine. The former seemed to be playing a lot and I love how passionate Simone’s performance is. The production at the time was modern but I think, looking back sixty-plus years later, it is almost groundbreaking in terms of its basicness. The fact Reet Petite was given a Claymation music video in 1986 opened my eyes and gave this exceptional song a new life. Wilson’s performance is sensational and one cannot help but sing along and groove to the track. Although Pop music heightened and evolved in the 1960s, the sounds of the 1950s were cooler than you think.

This article highlights why Pop of the 1950s is worth another look:

“Studio experimentation was central to much 1950s pop. Finding a fresh sound was paramount. The well-funded masters like Sam Phillips created networks of rooms wired to serve as reverb chambers. Many others behaved like mad scientists, such as the producers of “The Big Hurt” by Toni Fisher, who plastered the entire mix with a flanging effect (think the middle section of “Black Water” byThe Doobie Brothers, which is phase-shifted to similar effect).

“Cathy’s Clown” by The Everly Brothers, I would argue, has almost all the elements of some great early Beatles singles. The drum part is certainly as inventive and new as “Ticket to Ride” was at its time. The vocals use a trick identical to that in “Please Please Me,” wherein one singer stays on a note over multiple syllables while the other descends. The lyric presents a clever and very specific point of view about being cheated on, and reminds me of “Not a Second Time” by Lennon, only better”.

I often think of the 1950s and early-1960s and imagine very bright street, colourful shops and this rather stylish and wonderful look. Look back at photos from the time and the nostalgia and beauty tends to take the breath. I can see why songwriters were inspired but, at the same time, there were social issues and tensions that led to Rock & Roll creating emancipation.

I have sort of stopped at the 1950s but there is some great Swing and Blues from the 1940s and 1930s that is worth listening to. Many write the 1950s off and assume the 1960s kicked into life in around about 1963. I guess The Beatles did herald in a new movements and exciting time for modern music. I find myself heading back in time when it comes to emotional release and discovering some joy. There is some to be found in modern music but I can guarantee a smile and sense of cheer when I get to grips with the 1950s. So much was happening at the times and its pioneers – like Little Richard and Elvis Presley – paved the way for what was to happen in following decade. You do not have to be of a certain age to love the music or be alive when it was released. There is something timeless and effortless about the music that means you can pick it up in 2019 and love it. There are so many who avoid the 1950s and introduction to the 1960s because they feel it is pretty lightweight and one of a single sound. You will find, when you dig deep, that period offers songs that will get into the heart and…

    

STAY in the mind.    

FEATURE: “Whisper Words of Wisdom...” The Upcoming Sir Peter Jackson-Directed Beatles Film That Will Capture the Band During a Hugely Important Time

FEATURE:

 

 

“Whisper Words of Wisdom...”

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IMAGE CREDIT: Spotify 

 The Upcoming Sir Peter Jackson-Directed Beatles Film That Will Capture the Band During a Hugely Important Time

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THIS year is a big one for The Beatles in many respects.

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 IN THIS PHOTO: The Beatles during the Let It Be sessions/PHOTO CREDIT: Getty Images/thebeatles.com

today marks fifty years since they climbed onto the roof at Savile Row to perform their famous gig – the last time the band performed live together. That concert was a revelation and unique thing in 1969. No band, to the best of my knowledge, had taken such a step and it brought the surrounding areas to a standstill. The most famous band taking to the roof to jam together a final time must have been an emotional experience for the lads. The fact they were all smiles and thrilled unsuspecting people to this great outdoor gig ranks alongside the most iconic moments in musical history. It has been announced that Sir Peter Jackson will direct a film that edits footage of The Beatles recording their final album, Let It Be. Of course, the final album to be recorded was Abbey Road – Let It Be was released in 1970 but recorded the year before. Later in the year, we will mark fifty years of Abbey Road and it will be a big occasion. The band knew this was their last fling and, because of that, they were more united and relaxed than they had been in a while. Let It Be followed the success and popularity of The Beatles and, whilst a packed and eclectic album, one could feel some cracks. I wonder whether there was a feeling in 1968 that, soon enough, the band would start to fall apart and there would be tension.

It is remarkable to listen to this ambitious and daring album, The Beatles, and then compare it with Let It Be. Although Let It Be has some wonderful moments – the title offering and The Long and Winding Road – there is less of the fun and upbeat songs that were present in previous albums. Maybe it was clear there was strain and the group were not completely harmonious. The new project has been announced and it provides this rare and comprehensive look at a band going through a very changing and important time. By 1969, they had stopped touring and sounded very different to the band that thrilled back in the early-1960s.

“Jackson is collaborating with the Beatles’ record company Apple, with the approval of McCartney and Ringo Starr, as well as Yoko Ono Lennon and Olivia Harrison.

Jackson said: “The 55 hours of never-before-seen footage and 140 hours of audio made available to us ensures this movie will be the ultimate ‘fly on the wall’ experience … it’s like a time machine transports us back to 1969, and we get to sit in the studio watching these four friends make great music together.” Jackson says the project will use the same film restoration techniques as were employed for They Shall Not Grow Old.

Lindsay-Hogg’s Let It Be – compiled from footage shot in January 1969 as the Beatles worked on what was to become their final released studio album – has long been out of official circulation since it was last available on home entertainment formats in the early 1980s. Attempts to reissue it since have never come to fruition; however, Apple say that a restored version will be released after Jackson’s edit.

The film has always held interest to Beatles fans as it documents the group at a time when tensions within the band were beginning to become obvious – including George Harrison’s decision to walk out after a few days of filming”.

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 IN THIS PHOTO: Sir Peter Jackson is to helm a new film that looks at The Beatles during the creation and recording of Let It Be/PHOTO CREDIT: Shutterstock

It will be remarkable to see this film for a number of reasons. For a start, any new Beatles-related material is great and not many have seen the band in the studio creating. It is remarkable to compare The Beatles in 1969 with the bright-faced and cheeky boys that broke through only a few years earlier. They had toured extensively and gone through a lot but it was clear that Let It Be was the beginning of the end. It may sound completely bleak and exploitative but seeing the band working on their last (released) album is a treasure trove for fans. There is very little footage of the band compiling songs and recording but, as it is fairly intrusive, they had been reluctant until that point. Whilst the cameras did add an element of tension and pressure, it captures the complexities and chemistry that defined The Beatles. It is sad to think an album like Abbey Road is fifty very soon and, this time next year, we will be preparing to mark fifty years of Let It Be. The Peter Jackson film will culminate with the roof performance atop the Apple offices on Savile Road and the finished project will hone fifty-five hours of never-seen-before footage. I think a film that portrays that recording as angry and unhappy will drive people away but, as has been announced, there will be plenty of fun, humour and interesting moments – balanced with the more tense and fractious times.

There is a new generation growing up who are discovering The Beatles now and might only be listening to their albums on Spotify. Maybe they check out a few videos but they might not be aware of the history and why Let It Be, despite the material not being the strongest of their career, is a vital addition to their cannon. The album sounds very different to anything they created and, in fact, a sense of disconnection actually creates this very striking recording. I think there are some really underrated tracks on Let It Be – including Two of Us and One After 909 – and I am interested to see how they came together. This was a period when Paul McCartney was exerting more influence – it was his idea to let cameras into the recording studio – and he would be the one to get producer George Martin back for Abbey Road after Phil Spector took control for Let it Be. I love a lot of the tracks on Let It Be and it is interesting to see this leadership from McCartney; John Lennon and Yoko Ono in their camp and George Harrison and Ringo Starr in their corners. The band still wanted to record and be together but it is clear they had reached a point where true agreement and the flair they had years before had gone. I am interested to see what direction the film takes and whether we get to see some of the more heated moments.

The reason I am particularly interested in seeing the Let It Be film is because of the fact it is the band crafting these songs and going through the process. It is fascinating seeing the biggest group in the world discuss the music and shoot the breeze. Maybe having people film was a bit pressurising but I know there is footage of the band relaxed and joking with one another. I am interested to see how songs like Let It Be and I Me Mine started life and matured through the recording process. There will be some awkward moments and some great jokes; songs being compiled and the band jamming. There is so much footage to scale into a single film and I wonder whether a Netflix series would have been an idea – surely a longer investigation is needed? In any case, Let It Be was a big time for the band and one where they were sort of just hanging on. They would split soon after Abbey Road was completed but, The Beatles being The Beatles, there were amazing tunes coming from all corners. Harrison would create his best material for Abbey Road (Something and Here Comes the Sun) but he contributed I Me Mine and For You Blue for Let It Be. Lennon would write finer cuts for Abbey Road but Across the Universe is a treat that stands up after nearly fifty years – Dig It is a rare occasion of all four band members contributing.

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 IN THIS PHOTO: John Lennon (foreground) and Paul McCartney (background) during the Let It Be sessions/PHOTO CREDIT: Getty Images/thebeatles.com

Although Let It Be is Macca-heavy – even though he and Lennon probably contributed the same to the album one feels McCartney’s influence more – I love the fact we get such a deep and long-lasting look into that recording. It is not the case of a few minutes being scraped together: fifty-five hours is almost unheard of in this age! How often do we get to see The Beatles putting an album together and get this very natural – as much as they could be – representation of them near the end of their career. After Let It Be and its rather tumultuous experience, they decided to go back to basics a lot for Abbey Road. George Martin came back and, knowing this was the last album they’d record together, the music sounds more free, exciting and cohesive. That rooftop gig – fifty today, let’s not forget! – could not have happened were they balkanised and separated. The Beatles were very much the brothers they had always been but maybe the creative pressures and lack of inspiration meant the most compressive in-studio look at the band was a little misjudged – recording Sgt. Pepper’s Lonely Hearts Club Band in such detail would have been epic! That rooftop gig was them, in a way, free of the confines of the studio and able to achieve what they really wanted – playing a gig and being able to hear themselves play; not drowned out by fans and able to let the music be heard!

Let It Be collated recordings from 1968, 1969 and 1970 and the rehearsals for Let It Be were fraught. The band was lethargic and Lennon especially was in a fragile state. Many think of this album/time as the break-up and we will see a few conflicts in the film I am sure. There are two sides to the documentary and filming. The Twickenham rehearsals were cold and the band was really divided. Harrison quit the band and returned on the promise The Beatles would not perform live again (like they used to) and the remainder of the film would be them making the album. Billy Preston was brought in to add a barrier and add to Let It Be whilst the band also premiered and started work on some songs that would appear on Abbey Road. The decision to ascend to the roof at Savile Road sort of gave original filmmaker Michael Lindsay-Hogg a suitable, almost fairytale-like ending – the band happy and jamming like they used to. Most of us know the facts regarding the Let It Be sessions but how many of us have seen these rare moments? We will get to witness the biggest group of the time record what was to be their last-released album. For Beatles fans old and new, it will act as this wonderful glimpse into a period where they were transitioning from world-famous and on top of their game to sort of coming to the end. It will be sad to see the tense and edgy moments but, as will be revealed, The Beatles were very much...

THE same boys we’d always known.

FEATURE: If Politicians Can’t Solve the Problems... Is It Time for a Viral Campaign or New Initiative from Music?

FEATURE:

 

 

If Politicians Can’t Solve the Problems...

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PHOTO CREDIT: @anniespratt  

 Is It Time for a Viral Campaign or New Initiative from Music?

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THAT proposition might sound confusing...        

 PHOTO CREDIT: @katyukawa

but remember when we used to have these viral campaigns that raised money for charities?! They ranged from the rather silly Ice Bucket Challenge to simpler, less cold ideas. The campaign raised money for those suffering from ALS – although the initial aim was a bit sketchy and it only concentrated on ALS a bit later on. I was a bit miffed regarding the campaign as it seemed a rather unpleasant way to raise money to help cure a disease that had no relation to ice and buckets – the link is rather strange but it was a simple activity that showed people were willing to suffer a little to raise some cash for a good cause! There have been others since and, as the idea is to mobilise the masses and create a simple thing, they have been fairly unchallenging but helped generate awareness. I guess that is the main thing to do. I have proposed an idea that would involve a sort of music government. I think, in the quagmire of Brexit and what not, music is not high on the agenda for this Government. We could have a cabinet that specifically looks after aspects of music – from social media and tackling mental-health issues to keeping venues alive – and making sure old and new music was spread far and wide. There are so many issues in the world and I do not think enough is being done to tackle them. Look at the U.S. and U.K. governments and can we really say they are concerned with much beyond the problems they are creating?!

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 PHOTO CREDIT: @infectedluna

Around the world, we are seeing poverty and racist crime; there is knife crime in this country and the huge mental-health debt is taking a lot of great people from the world. Toss into mix (the fact that) there are issues in the music industry itself – including venues closing when they could be saved – and you have a lot of concerns that need addressing. I think it is time for there to be some sort of music-fronted body that insinuates itself in aspects of life and raises awareness and finance. It would not have to be about music-related issues: the charity/body could use music as a way to tackle so many different ills and social concerns. I do wonder how much is slipping from the worldwide net and whether our leaders are taking the time to address real problems. We have a great health service in the U.K. but I worry they are not being looked after as well as they look after the public. I am not sure why we have not seen a viral campaign the last few years. There have been one or two low-level initiatives but nothing on the same level as the Ice Bucket Challenge. Maybe that was a rarity but I do feel like the world is more tense and troubled than it has been for many a year. Social media can be immensely powerful when we are spreading huge messages and uniting people through a common thread.

 IN THIS PHOTO: The Ice Bucket Challenge went viral on social media between July-August 2014/PHOTO CREDIT: Getty Images

I am passionate about a number of things – including tackling homelessness, animal rights and gender equality – and, whilst there are charities set up to help fight these areas, it is always good to know there is a bit more help and incentive there. I keep seeing various public figures talking about subjects and areas close to their heart – from climate change and racism; there is a lot of passion that asks for change and love. Many governments either have their hands full with internal strife or they are unconcerned with the cries for help. Maybe my drive seems unfocused and speculative but I think there is a real opportunity to unite music with not only those in the industry but people around the world; celebrities, huge figures and those who hold power – including tech companies and business moguls. I am not suggesting billions could be raised but, a lot of the times, we often get overwhelmed by all the causes out there and struggle to take it all in. Sometimes, the hard-hitting adverts can be a bit too much and there are times where we get a bit casual and assume there is enough money in the kitty. I do believe music is the most potent force out there and something that most of us have in common. I feel there is a lot of energy out there regarding real mobility and a huge change. My idea of a music government might be a way off but I do feel like music has a vital role to play and can instigate progress.

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 PHOTO CREDIT: @breakyourboundaries4

Perhaps it would not be something as brief as an Ice Bucket-similar campaign but think about how effective that was and how quick – people could film a clip of them being very cold on their phones, send that to social media platforms and spread the word. One of the issues was the lack of donation: many too caught up with the gimmick rather than actual goal behind the Ice Bucket Challenge: getting money to those suffering with ALS. Music is exploding and expanding at the rate of knots and, with that, streaming platforms are bulging and the likes of Instagram are getting heavier and busier. We have a lot of armoury and ammunition in order to get something special out into the world. Whether you are compelled to see gender equality or want to see climate change reversed/improved, how about something singular, fun and music-themed?! I loved the viral campaigns that have come before and it was heartening to see celebrities and the general populous alike come together and do something good. What I am suggesting would not be a one-off campaign nor would it be something that dominates and never goes away. I like the idea of using social media in a simple but powerful way. By that, we do not need people to write essays and do something complex; just a nice post or theme that everyone can get behind and have fun with – raising a lot of money for charities and, with it, greater awareness and change.

 PHOTO CREDIT: @sahuaromedia

I think it would be hard to focus on one charity/concern to tackle because we are all different and want to see change in different areas. Music and our love of it is the common thread and what will be the singular factor. My bid is that we/someone sets up a single website/campaign – not sure what the name would be yet – that would guide people through the process. There would be information and social media links (a hashtag that everyone would post) but, most importantly, this single form/page that one would enter details onto. I think, when it comes to music, it would be hard to think of an initiative that would involve a single video or song. Instead, and it would take a little more time, it would give people a chance to select a few songs/albums that are important to them. It would not be too strenuous but one would be able to create their personal profile that would have a number of categories – their favourite album, song that means the most; childhood favourites and best new band/act etc. That would mean people could create this unique profile/playlist that would bring new music to other people but would get them to think deeply about music and what it means to them; the power it holds and how it has shaped their lives. One sees these sorts of features on radio stations but this would be a way for everyone around the world to create their version.

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 PHOTO CREDIT: @stairhopper

When the user is happy with their selection and they have completed all the selections – there would be a nice profile image that would be an album cover – then that get saved and you would have this URL/link. The central website would update with everyone’s selections and you would be able to go in and see what people from around the globe are posting. Part of the registration/submission process is a link that needs to be fulfilled: donate to a charity/charities of your choice or donate money that helps fight a cause. You would either be taken to a charity’s page or an organisation that fights something you are passionate about (whether climate change or eliminating gun crime). This campaign – maybe it could be called Make That Change – is designed to bring about change, raise awareness and, importantly, bring us all together. Once the submission is complete (and money donated), that link would then be posted to social media. The only other thing one would need to do is post a video (no longer than thirty seconds) that says who you are raising money for and why. There would be a hashtag for the campaign and, when the ball starts rolling, more will get involved and we all get to help make a difference and, in the process, discover some new music along the way. You could share your tweet/post and others and, like the biggest viral campaigns, it would be fun to do but would be serious.

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PHOTO CREDIT: @nordwood  

Some might say it is best to do something simple regarding the music side. Maybe just focus on a single album or song that means a lot to someone. There could be a database of album covers and that would be all one needs to do when on the campaign’s official website. Whether it is a single song/album or something more detailed, it is something that can bring us together on social media and genuinely raise a lot of money for causes and charities in need. It shows how passionate we are and what is important to us, bring music in as that common link and would not outstay its welcome. There would be no time limit as to how long the campaign would last but it would naturally peter away and stop. I propose launching a new one each year because a new musical angle could be explored and asking people to donate once a year is not too much, surely?! I think we have reached a point where music is exploding and growing to this extraordinary height. Alongside this is the troubles we face in the world and a desire among the people to change things. There must be a link between universal love of music and a way of bringing us all together. I am open to suggestions but my hope is something viral can occur where the likes of you and me and huge figures are take part in this movement.

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 PHOTO CREDIT: @juja_han

I think social media is wonderful when it is sharing joy or doing something good. A lot of the time, we are disconnected or sharing stuff that is really inane. Other times, we are simply on there to pass time, unware that something so powerful and popular can actually be used in a different, better way.  Music is, as I say, common to most of us and I like the idea of a campaign that helps raise money but also introduces music to people – some of us might discover new bands/albums that we were not aware of. I do not think our tolerance of viral/social media campaigns has died out. I like the fact a few have taken hold and genuinely captured the imagination. Maybe it was the simplicity of that idea but I feel one, when faced with a music incentive, would put in a couple more minutes in order to achieve the common desire. I am seeing so many social media posts from people angered at injustice or inequality. There are all these passionate people around who want to see betterment and it can be hard connecting everyone and unifying people. Maybe that is the ironic thing about social media: are we as connected and sociable as we can be? I feel, even if it is a one-off, an imagination-spiking campaign could get people connected and do a lot of good in the process. The fine details can be worked on but, like so many out there, I definitely want to help...

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PHOTO CREDIT: @brucemars

MAKE a change.