FEATURE:
New Discoveries, and Artists Who Have Impacted Me
IN THIS PHOTO: Iraina Mancini/PHOTO CREDIT: Kirk Truman
Marking a Terrific Year in Music
_________
AS we are near the end…
PHOTO CREDIT: cottonbro studio/Pexels
of another great year in music, I wanted to celebrate the fact that some terrific new artists have come through. Whether they have been recording for a while and have released their best music now, or they are fresh on the block, I think that 2023 has been one of the best for many years. There are a few artists I want to mention. All the Spotlight features I have published through this year has introduced me to an artist that is going to go a long way. Those that have added to the variety and brilliance of 2023’s music. There are some lesser-known U.S. artists like UPSAHL (Taylor Cameron Upsahl) that I would recommend. I am going to get to a selection other artists before finishing off. I just want to represent a small section of the wonderful and eclectic sounds that have come into my life this year - or songs from last year that have impacted me in 2023. UPSAHL was interviewed at Lollapalooza back in August:
“Q: Can you describe your style of music to our readers who may not be familiar with Upsahl ‘s sound?
A: “I grew up listening to a lot of, like, punk music because my dad was in punk bands. So, that was kind of, like, the source of inspiration for me. That’s what got me into playing guitar, and like, learning piano, and just being around the punk scene was really inspiring as a kid. And then when I turned, like, I don’t know, 16 I decided I wanted to be a pop star, but I wanted to be punk as f*** about it. And I think just, like, my childhood has definitely had a really big impact on my sound now, which is this, like, alt-pop thing. I love, like, playing bass and guitar, so I try to, like, incorporate that as much as I can”.
Q: How many instruments do you play?
A: “I do just, like, guitar, bass, and piano. I’m trying drums but I can’t get the hang of it. I’m working on it. We’ll get there one day”!
(I sit there and stare at her for a few seconds. The casualness with which she tells me she plays three instruments and is learning a fourth as of it’s the most common talent in the world was mindblowing!)
Q: Did you always know that this was something going to do as a career or did you kind of fall into becoming Upsahl?
A: “I guess it was really kind of both. I mean it was never really a decision or like, a moment where I was like, ‘Oh, like, I want to do music’ you know? It was always just the biggest part of my identity. Like, as a kid I was always just that, like, random ass b**** just singing or playing an instrument. I was the one being annoying playing instruments in the corner. And then I started going to a performing arts school when I was 10 and stayed there until I graduated high school. So it was always just, like, the biggest part of my life was music. So it was pretty natural for me to like…. I moved to LA right after high school. I, like, started doing
Q: So the music came naturally to you. Did performing as Upsahl come naturally to you?
A: “In the beginning, I would always play instruments. So, I didn’t really have to, like, move around. And then once I was like, ‘maybe I’ll, like, just sing for a song’. The freedom of being able to, like, work a stage was, like, so exciting to me. And I think also coming from, like, a punk background, the level of, like, high energy that those shows are, I try to incorporate into my shows. So now, I think over time I’ve become more and more of, like, a high-energy performer. But I think it came naturally at first and it’s only just progressed I guess”.
Q: Where do you pull inspiration from in your music?
A: “A lot of inspiration from my own life. I write about my life pretty much solely. So that is a big part of it. But musically, like, Gwen Stefani, and No Doubt, to me it’s, like, the f****** blueprint. I’m obsessed with her, so I listen to a lot of that. Outkast was a big one for me growing up, and Weezer. Their pop melodies and, like, guitar riffs are always something that I turn to if I’m ever, like, not feeling inspired, or like, need some ‘umph’. Weezer is what I always go back to”.
Q: So can you walk me through the creative process of writing an Upsahl song?
A: “I mean normally, whenever I’m not on tour, but in LA or wherever doing sessions every day. So normally I just go in with, like, an emotion or like, a feeling or sometimes if I’m feeling really inspired I’ll have, like, a concept or like, a title ready. But normally the session just starts with, like, me and my co-writers just talking about whatever it is I want to write about that day. And then just, like, somewhere along the line of the conversation, someone will just accidentally say what the title of the song is going to be and then everyone stops and it’s like, ‘Wait you just said it’, like, ‘That’s what we’re going to do!” And then the song just kind of, like, happens naturally from there. But I find, like, production-wise, and musically I love going into making a song with another song as a reference. Being like ‘We should do something that’s this tempo’ or ‘Have a bass tone that sounds like this song’. So I pull a lot from, random playlists I make”.
Q: What’s a favorite Upsahl song of yours?
A: “Oh, well I think my favorite song I’ve ever written is coming out in a couple of weeks. Which I’m really excited for, it’s called “0 to 100”. Yeah, I’m very very excited for that. But I think my favorite song I’ve released is probably “Drugs”. Just because it changed my life. But yeah, probably “Drugs”. Because it was the one song that I was, like, genuinely so scared to put out, and then years later it became the song that people seem to relate to the most which is really cool”.
Q: How does it feel to be here for Upsahl’s second Lollapalooza?
A: “It feels crazy. I mean I played Lollapalooza in 2019 on the BMI stage. And, like, it was my first time ever playing a music festival. And I rode that high for months. I was like, ‘That was the best day of my life’. So now, a few years later, getting to be back with a few tours under my belt, it feels just like a cool full-circle moment to be here. I’m really excited. I also feel like the lineup is insane so as a fan I’m, like, slay! I get to go watch all my favorite artists. It’s such an honor”.
Q: What’s the biggest takeaway you’ve learned from your time as a rising star in the industry?
A: “Probably just to, like, trust your instincts. I feel like being young too and getting into the music industry so young, in the beginning, I cared so much about what other people thought. And whether it was, like, my fans or my team, I was so easily swayed. And I think finding your voice and like, trusting it is, like, the biggest thing. Because at the end of the day, like, that’s what people I think are going to relate to the most. And that’s how I as a fan relate to the music, is when the artist is really feeling it. So, yeah, I think that’s the biggest thing that I’ve learned is just to trust my gut and do what I feel”.
I think one of the most impressive new artists I have heard this year is CMAT (Ciara Mary-Alice Thompson). The Irish songwriter released her album, Crazymad, For Me, and it was met with huge acclaim. She is someone who writes with such openness and wit. One of the most relatable and instantly popular young artists, she is going to go a very long way! DIY chatted with a spectacular and hugely talented in August:
“Born in 1996 in Dublin, Thompson spent the majority of her youth in the tiny commuter town of Dunboyne before moving back to the Irish capital to study, and then across to Manchester with her then-boyfriend to pursue music. Throughout these periods, the constant thread was a feeling of frustration at the lack of opportunity afforded to her. “A lot of loneliness came from feeling like I was trapped in poverty, in the sense that I felt I was really talented and good at writing songs, but no one fucking listened to me because I was working in a TK Maxx,” she says. “Nobody had any time of day for me. I wrote 75 million songs and a lot of them were good, and I’d be bringing them back and forth to London but no one cared because I wasn’t interesting enough because I didn’t have any resources to be interesting.
PHOTO CREDIT: Jenn Five
“I felt like, for a lot of years, there was a thing I wanted to do but I literally couldn’t see a way of executing it. I had two jobs - I was also a sexy shots lady - because I just wanted enough money to get the Megabus to London to do writing sessions and gigs, and all of my spare time and effort and energy went into trying to be a musician and a pop star. I was so angry and frustrated all the time that no one was paying attention to me because I didn’t have any money. And that was how it felt, that there was no way to get my foot in the door because I didn’t have any connections or resources.”
Eventually, she would crack the door open by leaving her old band Bad Sea, splitting with her partner, moving back to Dublin and beginning to put her songs on YouTube where she was scouted by a management team. The flights of fantasy coupled with feelings of extreme isolation that populated last year’s full-length debut ‘If My Wife New I’d Be Dead’ capture the intensity of this time, while October’s forthcoming follow-up ‘CrazyMad, For Me’ acts as a potted document of that breakup and the years of anger, questioning and resentment that would follow. However, where CMAT’s poetic leanings and tendency for the swooning epic might lend a romantic hue to many of these offerings on record, the reality was far less rosy.
“I find it funny, because I get a lot of people telling me I should write a book but my life was not fucking interesting,” she explains. “I didn’t do anything. All my drug-taking was sad and weird and not that social, and that’s another thing - that entrapment directly leads to substance abuse and that was very much the same for me. I was stonked out of my brain on hash the whole time that I lived in Manchester because I did not want to be in my reality. So temporarily getting out of it for a bit was like, ‘Great, love it’.”
Still, however, Ciara wouldn’t let herself give up. Upon leaving Manchester, she remembers landing her dream proper job as an auctioneer’s assistant but acknowledging that, if she was ever going to make an album, she would have to turn it down for fear of being “too content”. “In an alternate universe, I’m itemising Tupperware from the 1960s - I could have been a contender!” she laughs. “But even when I was working in a shop, and had no money, and was a normal girl by textbook definition, I also wasn’t relatable because I was a fucking freak. I was selling cigarettes and scratchcards on the till and in my head I was like, ‘None of these people know how good I am at writing songs…’ I’ve never been humble in my life”.
One artist I have been shouting about a lot is Antony Szmierek. The Manchester-based Indie Hip-Hop artist is an incredible wordsmith and performer. Like CMAT, another relatable and down to earth artist who has won support form stations like BBC Radio 6 Music. I know he has an E.P. coming out very soon. With a string of incredible and distinct singles under his belt, he is an artist who has had a magnificent 2023. Whynow spotlighted Antony Szmierek near the start of this year. Someone who was already gaining a lot of traction and acclaim:
“How does it feel now things are taking off with the music: overwhelming, exciting?
A bit of everything. I’d be lying to say that it felt real, to be honest. It’s been relatively quick. I’ve been writing poetry and spoken word for years, so I didn’t expect it to take off. I think it’ll feel a bit more real after the summer, but my life hasn’t changed. I’m still in the same flat, and I’m still skint.
Well, as you said, you’re working six days a week. How are you finding the balance between your job teaching and music?
I’m lucky the people I work for are super understanding, but fingers crossed, [music] is the path, and this is the way, and I get to help people differently and share the music and entertain. [Working as a teacher] keeps me grounded because the kids don’t give a shit how many YouTube views I get.
You’ve been writing poetry for years, as you say, and you’ve written novels. How, in your own words, did you jump to making music?
It’s always been my first love: watching bands and watching artists, that’s what I do to relax. A few gigs a week is standard, and Manchester’s great. It’s the thing that calms me down when I’m not on my phone. It’s always been there. I just never did anything with it. I thought I’d missed the boat of being in a band or anything. So I did things accessible to me; I wanted to write novels and long-form stuff, and my writing just got shorter: novels, short stories, then poems.
You were trying to synthesise meaning down further and further…
I think so. It’s funny; I had a conversation with myself, asking, ‘What do I want people to take from my writing?’ And it was little soundbites or quotes in a one-liner. With everyone’s attention spans being so small, even my own, I think it was just bringing it all together and making it accessible and digestible.
Finding my own sound was difficult because I always wanted to be in an indie band; I like singing, showing off, and melodies. I still try and do a bit of that: [my track] ‘Rock and a Calm Place’ does that. I play with a band live, and it feels like a band: electric guitar, bass, keys, but no drum kit”.
Another great artist who has come to my attention this year is Madison McFerrin. Her album, I Hope You Can Forgive Me, is one of the most soulful, hypnotic, rich and atmospheric of the year. She is a remarkable artist who I am going to follow closely. Even if she has been recording music a little while now. This year has been a real breakthrough. 15 Questions spoke with her earlier in this year:
“For you to get started, do there need to be concrete ideas – or what some have called a 'visualisation' of the finished work? What does the balance between planning and chance look like for you?
There’s very little planning that goes into my creative process. I just go with the flow and see where it takes me.
Oftentimes when I try to force the creative process. It ends up taking a lot longer than when I’m in a natural state.
Is there a preparation phase for your process? Do you require your tools to be laid out in a particular way, for example, do you need to do 'research' or create 'early versions'?
No, I just go to my piano or my computer and start to create.
Do you have certain rituals to get you into the right mindset for creating? What role do certain foods or stimulants like coffee, lighting, scents, exercise or reading poetry play?
I don’t, but maybe I should start! I love some green tea. Baking also gets me in a zone.
I’ll try writing a song after the next time I make scones.
What do you start with? How difficult is that first line of text, the first note?
I always start with the groove, be it the chords or the drum beat. Having that flushed out makes the rest of the writing process flow much easier.
When do the lyrics enter the picture? Where do they come from? Do lyrics need to grow together with the music or can they emerge from a place of their own?
Lyrics come last nine times out of ten. I really love writing melodies, that’s where I try and challenge myself. A great example of that for me is my song “Know You Better.”
I purposefully wrote a melody that explored my range. You can’t always force words or sounds into certain melodic phrases, so my lyrics tend to grow from the melody I’ve created.
What makes lyrics good in your opinion? What are your own ambitions and challenges in this regard?
I really enjoy writing lyrics that seem like one thing on the surface, but are really about something else. It gives a sense of mystery and requires a little extra digging for the listener.
My song “Hindsight” sounds like a breakup song, but it’s actually about being sad that Bernie Sanders didn’t win the US Democratic nomination for President.
I always write from my soul, my lyrics are definitely the closest someone else will get to reading my diary.
Once you've started, how does the work gradually emerge?
It varies. I’ve had songs that emerge immediately and others that take weeks or months.
I think it’s all about letting the song reveal itself to you instead of forcing it to be something it’s not.
Many writers have claimed that as soon as they enter into the process, certain aspects of the narrative are out of their hands. Do you like to keep strict control over the process or is there a sense of following things where they lead you?
I definitely follow where the narrative wants to go. Lots of times, lyrics or melodies reveal themselves to me in a way that I wouldn’t have been able to find had I gone searching for it.
It’s also a fun game for me to explore where a song is taking me – it’s a special kind of journey”.
I am going to come to a remarkable trio of artists who are very different but equally compelling. Among the great groups who have emerged and cemented their potential is Panic Shack. One of the most hard-working, authentic and authoritative bands around, I have been delighted and hooked by their music. Even if they have not released new music this year, their live performances and presence in the industry has been strong. They are going to have a remarkable and busy 2024. In August, The Skinny chatted with a group who are keeping things real. A group who graft and work tirelessly:
“With a name like Megan Fretwell, it should have been a giveaway that she might make a perfect punk guitarist. Despite racking up slots at Primavera and Glastonbury this summer though, Fretwell and her punk peers that make up Welsh DIY fem group Panic Shack only began playing together a few years ago. She dials into our call with a brew alongside fellow bandmates Romi Lawrence and Em Smith (the latter is considered the group’s 'real' musician having played bass in bands since she was 18). The trio are lined up on Smith’s leather couch like the opening credits of Friends.
Completed by Sarah Harvey on vocals and David Bassey on drums, the band deserves a bit of a sit down after a whirlwind ride since forming at the tail end of 2018. The last few years have seen them appear on the BBC Introducing stage at Reading and Leeds, supporting Northern lot Yard Act and earlier this year they sold out their own string of headline dates across the UK. But it was Worthy Farm that made the biggest impression so far. “We felt lucky to be able to go to Glastonbury and then the fact that people turned up!” jokes Fretwell. “We weren't mentally prepared. We went on for soundcheck and they were like, 'Okay, just start!'” jokes Lawrence, clearly flummoxed.
PHOTO CREDIT: Ren Faulkner
It was in a different verdant setting that the catalyst for the group sparked after years of feeling frustrated watching their male peers perform. “It was the first time that the four of us had gone to Green Man Festival together,” explains Smith. “When we got back, we had a buzz going on [our] group chat. We were like 'Shall we do it?'” Like the 70s spirit of punk, Panic Shack channel that do-it-yourself resourcefulness in spades. Even if Lawrence was tentative about fully embracing the role. “I used to get shy and nervous, especially about playing guitar. But then I thought, 'There's no way I can watch my best friends be in a band and not be in it!'”
Getting to grips with bar chords, the foursome quickly began songwriting together. Early single Jiu Jits You was a BBC 6Music mainstay with its Kill Bill cool wandering basslines and scrappy guitars. Alongside their kung fu capers, Panic Shack’s Baby Shack EP sketches relatable stories of young adults scrimping and saving, even if it’s dressed up with a hefty dose of satire. Who’s Got My Lighter? conjures up balmy evenings passing the Amber Leaf pouch around the pub garden. While the touring band service station staple gets a nod in Meal Deal, as Harvey exclaims: 'I’m going out for a meal deal because my flat is fucking freezing / I can’t stand it any longer / Can just about afford my heating'.
PHOTO CREDIT: Siân Adler
Even with the band’s obvious hard graft and modest incomes, their working-class credentials have been criticised in the past. “We had this thing on TikTok, where people were saying that we were private school girlies [and] that we were cosplaying the working class,” says Smith. “You can call me an ugly slag and I'll be fine. Yeah, whatever. If you call me posh, I'm like ‘No.’” The Britpop era of the 90s boomed with working-class heroes like the Gallagher brothers and Madchester kingpins Happy Mondays. In the noughties though, certain pop artists (looking at you, Jamie T and Lily Allen) were called out for their hammed-up cockney characters only to confess they’d both attended private schools. So where are we with the middle-classification of music in 2023?
“Now more than ever, the playing field is off balance. Everyone gets a leg up,” believes Smith. But the tension is being magnified as rising artists are facing a whole new level of background checks, not unlike the towering touring policies for bands in a post-Brexit EU. “The discourse has changed now where people have to prove that they're not posh. Like with the whole nepotism discussions, it's starting to become a little bit nasty.”
There’s nothing more telling of the band’s current situation though than their output so far. There’s a reason why they’ve spent close to the last 52 weeks on the road. “Class is a much harder barrier to get into music,” reflects Lawrence. “It's why we've still not released an album yet,” interjects Fretwell. “Everyone's like, 'Where's the album?' Do you know how much it costs to put an album out? We've got rent to pay!” So much so that when Panic Shack packed down the rigs from their heroic set in the Shangri-La fields this summer, they headed home to Wales the next day and back to work. “You need a lot of money to be able to do this and we don't have anything we can fall back on,” says Fretwell. “We've got to work our arses off to do this [but] we're at this tipping point where we can't stop now. And I don’t want to”.
I will quickly round up soon. Actually, before coming to two final artists, I need to mention Iraina Mancini. This year has been her biggest yet. Her debut album, Undo the Blue, is my favourite of the year. I have seen her perform several times. She is a sensation who so many people love and admire. Mancini spoke with House Collective in promotion of Undo the Blue. Without doubt one of the most talented and fascinating artists around, her debut album has so many different sounds working alongside one another. Mancini is such a captivating and imaginative composer and lyricist. A voice that holds so much beauty and power, here is someone else who is going to go a very long way:
“What set you out on the path to be a musician?
I grew up in a very creative household, my mother was a photographer and my father was a music producer, so I was surrounded by the importance of expressing yourself through art as a kid, whether it was watching my mum develop film in dark rooms or sitting in on music sessions at my dad’s studio. My dad used to sing with David Bowie back in the day, from Aladdin Sane through to Station to Station, so I used to listen to old tapes and watch videos of him on stage – all of that had a huge impact on my life. My love of singing started at a super young age – I used to do vocals for dad in the studio when he had an advert or film to write for, so, even at the age of four, I was singing on a song he wrote for an Italian clothing brand, hilarious! I also had a music teacher at school that really believed in me. I used to write songs, and he used to push me to sing them in church in front of the whole school. When people started to ask for copies of the songs afterwards, I knew that perhaps I was okay!
PHOTO CREDIT: Kirk Truman
Why is musical expression important to you?
If I have gone though a bad patch, I tend to need a way to vent those feelings, and emotion and tension can be expressed so beautifully through melodies and harmonies. I have always had a crazy love affair with music, though. There have been times when I have had long breaks from writing, then, all of a sudden I will get a creative burst and won’t be able to stop. It was actually during the pandemic when my music seemed to take off the most, which was interesting. I really had time to focus on it. I released my first single ‘Shotgun’, and that did really well – it got picked up by lot of radio stations and was playlisted on BBC Radio 6, so that was kind of when I thought, oh, okay, hold on, this is kind of working. Then I really buckled down, and, as with all things in life, when you really focus on something, it kind of works out.
How would you describe your music?
I would describe it as psychedelic pop. I am very inspired by the 60s and French singers, I love the style of that era. I discovered the album Melody Nelson by Serge Gainsbourg in my 20s and I just fell absolutely in love. I love all the music Serge made. I love the grooves. I love all the girls who he picked to be on the records. I mean, probably chosen because he liked pretty women as well, right? But I don't know – that's one of those things, isn't it? (Laughs) I mean, he was obviously a bit of a player, let's say, but I'm not particularly interested in that side of him, more just the music he made. I think he was a bit of a genius. Nowadays, of course, it's as much about the personality and the way that they choose to live, as well as their art, which can cause problems. I think pre-social media you could actually have some mystique”.
Hak Baker is a London artist new to me. He blew me away the first time I heard him. His album, Worlds End FM, is one I felt should have been nominated for a Mercury Prize this year! Mixmag shone a light on a stunning champion of the people who was taking down the power-that-be through his stirring and enormously important music:
“As a direct descendent of the Windrush generation, Hak Baker has an intrinsic understanding of the struggles of his predecessors while also embodying the modern-day struggles that still pervade throughout society in the UK. Hak grew up on the Isle Of Dogs in East London, a notorious British National Party stronghold. In fact, 30 years ago in 1993, the BNP won its first-ever seat in a council by-election in the Millwall Ward, which covers the Isle Of Dogs. For Black people living there, and surrounding areas, it was a potentially dangerous place to live, as it was across London and the rest of the UK. Hak has emerged as a voice of the people - the working class, the downtrodden - writing and performing “rebellion music” in the tradition of his Jamaican heritage. His song ‘Windrush Baby’ highlights this lineage, celebrating the position he now holds. “‘Windrush Baby’ is a celebration of the fact that we are now able to embrace our culture,” he explains, sitting outside a pub in Liverpool. When we talk, Hak is midway through a mini tour of the UK, playing several in-store gigs at record shops from Nottingham to Leeds, Dublin and more. “And to attack any atrocities and call it out for what it is without being cast aside or people saying, ‘Oh, well, come on, you should be grateful and all that bollocks’,” he adds.
Windrush heralded the arrival of the first post-war Caribbean immigrants to Britain. With them came a myriad cultural influences, which are still being felt now. Sadly, they were also met with hostility from the communities they lived in, and the authorities. Police harassment and brutality were rife, with little support or sympathy from the judicial system. “It would have been a great positive if they actually removed their pompousness when we came here,” Hak says. “It still exists now. I don’t know why people pretend racism, which is institutionalised and systematic, doesn't. It still exists now, but we're in a better position than our forefathers, grandmothers and ancestors.”
Hak’s music is rooted in the rebellious nature of the island that makes up part of his DNA. Songs like ‘PC Plod’, featured on his 2020 mixtape ‘Babylon’, pull no punches when it comes to his view of the authorities. For those who are unaware, the term Babylon originated in Rastafarian culture as a reference to governments and institutions that are seen as in opposition to the will of Jah (God). This thread of Rastafarianism, Jamaican culture and the lineage that stretches back beyond Windrush landing in the UK, runs through Hak’s music and ethos. He was made aware of the struggles his predecessors went through from a young age, his mother instilling in him resilience and tenacity that remain inherent to his identity today. “My grandmother passed away quite recently, and [before she died] we spoke about things that I would never have spoken to her about,” Hak confides. “She let me know how difficult things was when she was working. She was told she had to do labour that was fit for men.”
Hak’s music embraces diversity, and while the guitar features heavily in a lot of his songs, the term indie, which has been used by some publications to describe his music, does it a disservice. For Hak it’s rebellion music, echoing the feeling that has emanated from Jamaica for decades. During the slave trade, many of the enslaved Africans in Jamaica rebelled and resisted their captivity. Most famous of those who fought hard for their freedom were the maroons (moors), who escaped and fled to the island’s interior mountains, where slave owners found it difficult to recapture them. Reducing Hak’s music to one trite genre category is misleading as he shifts between folk and roots reggae influences (“the unsyncopated guitar strums,” he says), to drum’n’bass and modern electronic styles. All of which represents his own personal tastes and experiences. “Roots reggae was about rebellion and fighting the power, that’s what my music is all about,” he states, explaining that he’s making Rasta music in his own way. “What I do is difficult, I’m not following trends. I’m trying to write my own story. I know a lot of people would have taken a deal, given up, conformed… I don’t have to do that, ‘cos I know what it’s like to have nothing anyway”.
I will finish off with The Last Dinner Party. A group who have gained a huge amount of attention in a short space of time, they have put out three amazing singles this year. Their debut, Nothing Matters, got a wave of love and interest. Sinner and My Lady of Mercy built on that incredible debut and expanded their musical and lyrical palette. The group are primed for greatness. Their anticipated debut album, Prelude to Ecstasy, is out on 2nd February. It is one that everyone will want to snap up! They spoke with Billboard in September. It is clear that these amazing women mean business:
“Although British rock band The Last Dinner Party scored a top 10 alternative hit with their debut single, for the five women that comprise the group, they’d been preparing for this moment for years. Just before beginning university in 2020, lead singer Abigail Morris, bassist Georgia Davies and vocalist/guitarist Lizzie Mayland crossed paths and became fast friends, bonding over musical interests. (Morris and Davies attended King’s College London; Mayland at Goldsmiths.) “We would go to gigs all the time, researching and thinking about starting a band,” Morris explains. “We were very intellectual about it for a long time.”
They soon recruited lead guitarist Emily Roberts and vocalist/keyboardist Aurora Nischevi, both of whom were involved in the local music circuit. The five began writing music together at the height of the COVID-19 pandemic, though their first release wouldn’t come for nearly three years — but the wait paid off. “Nothing Matters,” the cinematic alt-rock debut single that arrived in April has become a force at radio, reaching a new high of No. 8 on Billboard’s Adult Alternative Airplay chart dated Sept. 23.
While fleshing out its sound, the group built a fan base by testing its material in pubs and small venues around London. “In the age of TikTok, people thought unless you have a song go viral, there’s no way of generating a following,” Morris says. “Ours just felt like a more natural thing. We had much more of a jumping off point from playing shows to seven people who don’t give a f–k to [then] playing much larger shows.”
PHOTO CREDIT: Nicole Nodland
With a debut album expected sometime in 2024, The Last Dinner Party’s members seem completely in sync: Morris and Davies finishing each other’s sentences multiple times during our interview, including when discussing what keeps the band’s emotional bond so strong. “I think what’s missing in a lot of artists [is] a commitment to themselves because they want to seem cool or ironic,” says Davies. “I want people to see our sincerity and be themselves too.”
“We advise them, but at the end of the day, they know what they’re doing,” says Richardson. “They have mood boards — everything has already been discussed. Excuse the French, but they’re not f–king around”.
I have selected some of the artists who I have really been invested in this year. Examples of the brilliant artists rising and coming through in 2023. As I said, it has been such a strong year for music. Every artist I have spotlighted through the year is worth following. They will all go on to great things. Even though every year produced some tremendous artists and future legends, I think that the quality we have seen in 2023 will be…
HARD to beat!