FEATURE: In Plain Sight: Inside Self Esteem’s Extraordinary Album, A Complicated Woman

FEATURE:

 

 

In Plain Sight

PHOTO CREDIT: Scarlett Carlos Clarke

 

Inside Self Esteem’s Extraordinary Album, A Complicated Woman

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HAVING just released…

PHOTO CREDIT: Jennifer McCord for DORK

perhaps the most urgent, acclaimed and important album of her career, I wanted to take another look inside the feminist masterpiece, A Complicated Woman. Even though there are other themes and layers to the album, it is feminist. Female. Revealing, angered, raw and empowered. I have seen a few three-star reviews for the album with people not really getting it. Or not connected with it. However, there have been plenty of five-star reviews. No doubt one of the best albums of the year. Self Esteem (Rebecca Lucy Taylor) has recently staged. A Complicated Woman. Many of the more mixed reviews – and a few of the positive ones – say that Self Esteem’s real power and pizzaz comes from the stage. An album that comes alive and is properly realised there. However, take one listen through A Complicated Woman and is it a masterpiece that everyone needs to hear! Rather than do a dissection of its songs and themes and look at it – which I might do at another stage -, I wanted to look at some recent interviews with Self Esteem. A couple of the impassioned reviews for A Complicated Woman. Go and get the album now. I want to start out with an interview from The Times. Although A Complicated Woman tackles cycles of misogyny, feminist anxieties and societal pressures, it also addresses confidence, societal expectations and feminism:

“Taylor, who lives in east London, where she recently bought a two-bedroom flat that she has yet to move into, has frequently spoken about the sea of privileged musicians that seems to surround her and the unfair advantage that having wealthy parents gives artists trying to break through. Her father worked in a Sheffield steel plant as a health and safety officer and her mother as a secretary. She has an older brother who is a history teacher in France. Her mother has warned Taylor not to pretend that she grew up poor, but money remains a constant worry for the singer.

“The reason I get depressed and stressed about the music industry is safety — and that means money,” she says. “All I want is to no longer rely on anyone. To know that the rug cannot be pulled out from under me, the way it has been so many times.

“That’s partly why I’m desperate to diversify. Not that acting is a sturdy career, but it’s another string to my bow that makes me less reliant on the music industry — ‘Oh please, sir, give me a TikTok hit.’ Actually, my label just sent me a bunch of TikToks to approve. Ahhh, I just feel stupid. That shit kills me … and it’s starting all over again.”

A Complicated Woman is out next week and there are high hopes for it to hit No 1. Taylor was given a bigger budget, which she almost wholly blew on vast choirs and sumptuous strings. The first single, Focus Is Power, is a gorgeous gospel banger about bouncing back, but it is the near five-minute-long masterpiece I Do and I Don’t Care that will become Self Esteem’s next signature song.

A swelling, spine-tingling choir, an operatic interlude and swathes of Rotherham-rich spoken word (“We’re not chasing happiness any more, girls/ We’re chasing nothing,” Taylor sings, deadpan) lead to a rousing, all-hands-on-deck chant about the dichotomy of being an outspoken woman: “If I’m so empowered/ Why am I such a coward?”

“That line sums up a big theme of the album,” Taylor says. “I am political and outspoken and I really mean what I say. At the same time I’m shitting my pants that I get it wrong.

“Since becoming more visible, I’m terrified all the time. People are foaming at the mouth for women to make a mistake, especially confident women. Look, I have a laugh most of the time. But walking on eggshells makes me overthink and gets me depressed.”

A Complicated Woman is a statement-maker but, fear not, it’s also great fun. Guests include the former Coronation Street actress Julie Hesmondhalgh, a former Slow Club fan whom Taylor has been friends with for a decade. Hesmondhalgh’s rallying speech on If Not Now, It’s Soon was recorded in her kitchen in Manchester. There are also appearances from the indie musicians Nadine Shah and Sue Tompkins, both of whom Taylor says will appeal in particular to her older, male fans. “I call them my 6 Music daddies,” she says, laughing. “I’ve even had merch made for them. Men in their fifties who’ve had kids but still like cool stuff seem to love me.”

A dance track on which Taylor ranks the sexual positions she likes and loathes, called 69, includes a sample from a podcast by the Los Angeles-based drag queen Meatball. Performing it live should cause quite a stir. “I expect so,” Taylor says. “Everyone’s told me how brave the song is. I realised, shit, so it is. Then I panicked about how the hell I’m going to perform it.”

The Curse is a glorious, strings-soaked, swearword-strewn ode to the power of alcohol that has split Taylor’s team. “I’ve been told not to expect another Tanqueray gin advert,” she says of a previous collaboration with the company that gave fans the opportunity to rent two Self Esteem stage outfits, including the white suit she wore at Wembley Stadium supporting Blur two summers ago. “I do and I don’t care. Ha ha!”

The cover of A Complicated Woman shows Taylor screaming, her blonde hair in braids, sporting a Crucible-style bonnet made from a man’s shirt. “It’s my nod to women being hanged for having opinions,” she says. “History has no empathy for everything women go through. I’ll always scream about that.”

She mentions her hang-up-free boyfriend, a member of the Cabaret cast; she won’t name him, but says his identity isn’t hard to work out. Her previous long-term relationship was with a woman — one new song, Logic, Bitch, is about her ex.

Taylor has frozen her eggs — she can’t make up her mind about having kids — and is hoping to soon move into her new home. The fairytale ending? “Maybe,” she says. “Let’s see first if I can afford it”.

IN THIS PHOTO: Self Esteem, centre, and dancers at the Duke of York’s in London in April 2025/PHOTO CREDIT: Aaron Parsons

I will come to an interview from the BBC. I have not seen the theatre production of A Complicated Woman. However, the reviews for it are exceptional. The more I listen to the album and read about it, the more powerful it becomes. It is this incredible experience. I can see how people are reacting to the album. How difficult at times it was for Rebecca Lucy Taylor. Quite isolating or frustrating. However, A Complicated Woman is an album that will affect so many people. I know I referred to it as a feminist album. It definitely is. However, there is also self-awareness, self-laceration and empowerment:

“She hasn't just made a new album - she has also created a daring, jaw-dropping theatrical experience to go with it.

It's set in a sparse recreation of the community centre where eight-year-old Becky from Rotherham learned to tap dance.

"You just wanted to sing / You didn't know what that would bring," recalls an older, more cynical version of that child – as she assesses her life at the age of 38.

"This really is all there is, and that's what you've got to get comfortable with."

As the show opens, 10 dancers line up on either side of her, dressed in austere outfits that recall The Handmaid's Tale.

Initially, their movements are stiff and restricted but, as Taylor describes suffocating relationships with emotionally-stunted men, they start to thrash and jerk their bodies.

"We start in that world where we're shackled, and then we exorcise it," Taylor explains.

"Over the course of the show, it all unravels and everyone ends up being themselves instead of conforming to these societal norms."

The show runs for four nights in London, but the singer hopes to take a scaled-back version on tour

A four-night theatre residency is an unusual way to launch an album. The audience is unfamiliar with most of the songs, and no-one's sure whether to absorb the performance attentively, or sing along and dance.

Several times, laughter ripples through the theatre as the singer's more acerbic observations hit home. The following morning, she's not quite sure what to make of the reaction.

"Every time people laugh, my heart sinks," she says. "But then I'm like, the lyrics are funny, aren't they?

"And I love changing the laughter into emotion. It feels like people are laughing because it's uncomfortable."

PHOTO CREDIT: Aaron Parsons 

In the end, the audience members mirror the on-stage narrative. Shaking off their discomfort, they rise out of their seats and start making an almighty racket.

The music becomes a soundtrack to solidarity - which, it transpires, was Taylor's intention.

A Complicated Woman might be as cutting and powerful as its predecessor, but the melodies were designed for stadiums.

"Do you remember the Elbow song One Day Like This?" she asks. "The one that goes, 'Throw those curtains wii-iide'?

"I went mad for that song when it came out and, honestly, I played it over and over in the studio and said, 'I want to do this'."

"I was very inspired by trying to make it onto World Cup montages. That's a genre of music that I really, really enjoy."

As the show continues, the music (and the staging) move from darkness into light

That's only half the story, though. The album is all about capturing the complex and contradictory impulses of a woman in her mid-30s.

Recent single 69, for example, is a thumping house track on which Taylor talks with withering candour about her sex life. Imagine Madonna's Justify My Love, if she was really being honest.

"It's an idea I had for ages, of listing sex positions and scoring them so that there's no grey area [for prospective partners]," the singer laughs.

"But there's a more political element, which is that women still aren't saying what they want in the bedroom. And I'm like, I can't bear this any more. Please let us just enjoy having sex.

"It's not exactly going to win an Ivor Novello Award for lyrics, but I think it stands on the album with moments that are more emotional and deep."

Those moments include The Curse, a rousing ballad about using alcohol to dull her anxiety, which is possibly the best song Self Esteem's ever written.

In keeping with the album's themes, photoshoots and artwork higlight the different sides of the singer's personality

Her personal favourite, however, is called In Plain Sight. A collaboration with South African musician Moonchild Sanelly, it's a response to the criticism they've both received for speaking their minds.

"The world is saying who I am, but I thought I knew myself all these years," says Sanelly in a semi-improvised rap.

"I shrink to keep the peace, hoping I don't shake my purpose."

It's a feeling Taylor immediately recognised.

As excitement built around Prioritise Pleasure in 2021, she started getting "nasty messages" on social media, which shook her up.

"I was really shocked the first time I got grief, because no-one's ever been that bothered about what I'm doing," she says.

"People say you should ignore it, but if you went to a wedding and had a nice day and one person called you an [expletive], who would you go home thinking about? It's just human nature."

Eventually, the criticism took its toll.

"There were moments where I considered giving up, which shocked me because I've been this defiant, angry thing for so long," she says.

"But over the last few years, especially with the world being like it is, I've definitely had feelings of protecting myself and shutting up.

"That's the saddest part of the album, really. But I found a way through.

"And if I can, then I hope the rest of the world can too, you know?"

The theatre show ends with a show of female solidarity, as Self Esteem and her backing singers perform as equals - before doing a conga line off the stage

That realisation is the connecting tissue of A Complicated Woman.

Life is never easy, she says. No-one is ever truly satisfied. Relationships are hard work. You can't please everyone. But that's OK. You're OK. Trust your gut.

She sums it up on Focus Is Power, held aloft by the sound of a gospel choir: "And now I see it clear with every passing of each year / I deserve to be here."

On stage in London, she sings those final lines a capella with her dancers and backing singers, arms wrapped around each other in a display of female solidarity.

It's a cathartic moment after the bruising process of putting the album together.

"There's so much joy in being a woman and just being yourself can be beautiful," she says. "You've just got to find a way to do it."

With that, she's off to make tweaks for the show's second night. After that, she has to find a way to scale down the West End production for a UK tour.

"I'll do what I can to make it continue, but it's a huge risk because there's so little revenue from anything else," she says.

Ultimately, though, her ambition is undimmed.

"I want to make 20 albums, I want to do bigger theatre shows," she says”.

I am going to move to a new Big Issue interview, where Self Esteem spoke with actor and activist, Julie Hesmondhalgh. The latter features on If Not Now, It's Soon. We hear Hesmondhalgh deliver a spoken word passage. It is very moving and memorable. One of the highlights of A Complicated Woman. I think this is an album that will be talked about for years to come. It will be exciting seeing where Self Esteem heads next and what her next album contains. Every album she releases leaves impressions. Even though I like everything she has released, I think this might be her finest work to date:

“If I was smart, after Prioritise Pleasure, I’d make quasi-empowerment advert music for like, a Dove advert. Make some brand deals,” she jokes. “But I couldn’t. The new album, I hope, sort of emancipates me from this idea that I’m this really binary, happy-with-myself woman that is going to empower you and make you feel like “Here Come the Girls” every day. A bit of me can, and a bit of me feels dreadful about all the things we all feel dreadful about.”

“If Not Now, It’s Soon” – the song on the new Self Esteem album that features Hesmondhalgh – reflects such feelings of self doubt, and overcoming them. It’s based on the difficult post-Slow Club years, when she was “spiralling”, living in Margate and trying to work out her next steps:

“When you just wanted to sing / You didn’t know what that would bring”, Taylor sings. Shortly after, Hesmondhalgh’s voice cuts in: “Something will happen because it’s got to / It’s not just perseverance we need, it’s patience.”

“I mean, the whole album is about me giving up,” explains Taylor, sipping her tea. “And then it’s almost like, I need you to come in and tell me not to, on that song.”

“It’s personal and political, because personally, you have to wait and one day you’ll get somewhere less painful. But the world will hopefully get somewhere less painful too.”

‘Dark and dystopian times’

It’s now, by the way, that things start getting political. The kitchen-table-at-the-house-party chat has begun.

“Originally, the bit [in “If Not Now, It’s Soon”] that Rebecca samples was a bit from an actual rally that I did back in 2017,” Hesmondhalgh says. 

“Things felt a bit cuspy, things felt like they could change. It was post-Brexit, but it was still kind of like, ‘Oh, actually, people are becoming politicised. People are actually using their voices.’”

It was a time of volatility for the left. Brexit was a recent, painful decision – but disillusionment with austerity and centrism was prompting record youth engagement with Jeremy Corbyn’s Labour. A staggering 63% of 18- to 29-year-old electors voted for the party’s radical 2017 platform, endorsing social democratic policies such as free higher education and the renationalisation of key industries. This unprecedented turnout helped deny the Conservatives a majority at the 2017 election.

For a moment, real change seemed possible: “Lots of young people were joining the Labour Party,” Hesmondhalgh recalls, “there was a sense, I suppose, of change, of possibility.”

We all know what came next. Labour descended into infighting and accusations of antisemitism, and Boris Johnson swept into parliament on his “Get Brexit Done” slogan. Labour retreated to the centre, leaving activists to mourn a moment that had felt so full of promise.

“When it came to actually making the album it was like, you can’t use that [sample from the rally] any more because that moment has passed,” Hesmondhalgh says. “We’ve gone into a darker, more dystopian time now.” 

The direction of the sample had to pivot, Taylor says. “We had this conversation about how it didn’t feel right any more. And then together, we sort of wrote what it is now.” 

We need plenty of patience and perseverance in modern Britain. 

“Because of old membership, I get the Labour Party’s Facebook posts,” Hesmondhalgh says. “God knows who’s in charge of PR. They’re pretend WhatsApp conversations, like” – she pauses, puts on a deeper voice – ‘Hey, did you know? That the Labour Party has managed to deport 19,000 people in the last week?’”

“And then some people are commenting, ‘You’re lying, vote Reform’ underneath. And the other half of the people are saying ‘How is this OK? How are you the Labour Party? This is not what I voted for, I will never vote for you again.’ So on every single level it’s not working as a policy.”

“It’s lose, lose, lose, lose, lose,” says Taylor. 

“That’s what happens when you try and mould yourself into some sort of populist ideal. And the disability cut [Labour’s £6 billion cut to welfare payments, announced last month] the heating allowance – all of it is just really depressing.

“But I will not be depressed, because there’s a whole swathe of young people that are coming up and taking matters into their own hands.” 

Things can change for the better – same-sex marriage, she points out, was illegal a little over a decade ago.

“Life is this long thing,” Taylor adds. “And I’m trying to be like – if we stay, if we fight, if we try, surely something will come back.” 

IN THIS PHOTO: Self Esteem with Julie Hesmondhalgh/PHOTO CREDIT: Olivia Richardson

Why the arts still matter

What does activism look like right now? Well, the usual: marching, letter-writing, volunteering – but also, taking stock, finding solace in community. And that’s where the arts come in.

Engagement in art makes people more altruistic, a growing body of research shows: according to a 2017 study, people who “embrace the arts” are statistically more likely to help others by giving to charity or volunteering. A 2019 Arts Council England report found that 68% of participants felt arts events strengthened community spirit.

But the benefits of the arts cannot be wholly captured in statistical analysis. They are, however, self evident to anyone who has ever seen a killer live show. 

“It was one of my favourite gigs ever in my life,” Hesmondhalgh says, describing watching Self Esteem
perform. Taylor looks pleased, and maybe slightly embarrassed. 

“I went on my own, my mate had Covid. I was right at the front. This group of 20-something year-old women completely adopted me. They had no idea who I were, it wasn’t like that, we were just sort of singing our hearts out at the front, weeping. That’s what it’s about, that feeling of community, of sisterhood, and I mean sisterhood in an inclusive sense.

“I feel like that’s what you’ve created, Rebecca.”

“That’s what I needed, though!” Taylor says. “Everything about my career until I was Self Esteem was so exclusionary – music has always felt so exclusionary, and being a woman has felt exclusionary. Now, I enjoy it too, I really feel it too, when I’m up there.”

It’s this kind of community – found on the dance floor, or in the audience – that the pair hope will see us through “dark and dystopian times”. 

“[The idea of “If Not Now, Then Soon”] is like, OK, what now? and this idea of patience about waiting it out, working always, working together towards a common goal,” Hesmondhalgh explains. 

“That’s what we’re feeling in Self Esteem gigs, you know, this feeling of togetherness. It’s togetherness… You just have to keep banging the drum. Or else people will get away
with everything”.

I am going to end with a couple of reviews for A Complicated Woman. The first one that I want to source is from When the Horn Blows and their verdict on a work that seems as personal to Self Esteem/Rebecca Lucy Taylor then anything else. It is disappointing that there were some less-than-emphatic reviews. That will happen with any album, but for one as incredible as this, it feels like a disservice! However, there is plenty of love out there for this incredible release:

“Three years after the release of her game-changing album, Prioritise Pleasure, Self Esteem, a.k.a Rebecca Lucy Taylor is back. There is no one quite like Self Esteem, whose art is a mix of gut-felt feminism, emotional complexity, lusty humour and a deep appreciation for the power of drag. Releasing her first album, Compliments Please in 2019, and Prioritise Pleasure, which was nominated for a Brit Award and a Mercury Music Prize, in 2021, Self Esteem has been on a trajectory that has only ever been pointing up. Now, she’s set to release what could be her best album yet, A Complicated Woman, which is out this Friday, April 25th via Polydor records.

What Self Esteem is about - well, it’s in the name. Her songs have always been almost overwhelmingly empowering, moving, a hand on your shoulder in solidarity, a light in the dark. Rebecca Taylor has a gift when it comes to writing about complex emotions and her songs often feel like a form of confrontation. Accompanied by a soulful, joyful choir made up of mostly female voices, A Complicated Woman sees Taylor effortlessly exposing the complex feelings that women often keep hidden, with the unique and distinctive sound that is entirely Self Esteem.

Opening with I Do & I Don’t Care, the album is an on-the-spot goosebump raiser. The choir creates an immediate sense of overwhelming power before Taylor comes in with spoken word - “this really is all there is, and that’s the thing you’ve got to get comfy with / we’re not chasing happiness anymore girls we’re chasing nothing / the great big still, the deep blue okay, and we’re okay today”. It feels like a punch in the gut. Rebecca Lucy Taylor doing what she does best - forcing you to confront yourself head on, address and tackle emotions you probably were not even aware you were feeling -  “if I’m so empowered, why am I such a coward, if I’m so strong, why am I broken.”

A Complicated Woman feels primarily about sitting, both comfortably and uncomfortably, in the natural ambivalence and uncertainty that one feels in life, which can be heard in tracks like The Deep Blue Okay, and In Plain Sight. However, it’s also an album focusing on taking control of your own life and the paths you take. The second track, which was also the first powerhouse of a single to be released off the album, Focus Is Power, is the perfect example of that. The track is joyous, soul-lifting, “You see, it wasn’t up to me but now it could be, but now I see it clear with every passing of each year, I deserve to be here…” Shared between a choir of women, lines like this become an incantation.

If Not Now, It’s Soon follows a similar theme. It’s once again the gentle hand on the shoulder, encouraging, keeping you steady. It is Self Esteem’s version of the old saying “whatever is meant for you won’t pass you by” - “whatever is right for you will guide you through.” You must persevere and push for what you want but also have the patience and the trust that it will happen. The music, the orchestral strings in the background - they are constantly building, lifting as the song progresses - the ultimate uplifting track.

A Complicated Woman is certainly not short of dance tracks - Mother, Lies, Cheers To Me and the delicious pièce de résistance 69 are all songs that will make you want to be at an underground club, or a festival with a pint in hand, sun shining. Mother, a deep house track, sheds light on how people often end up mothering their romantic partners and how draining it is: “I am not your mother /I am not your therapist.” While Cheers To Me is a pick yourself up of the floor track, a dance around with your friends, shouting it at the top of your lungs kind of pop track “let’s toast each and every fucker that made me this way / cheers to you but mostly cheers to me.”

The hilarious, ridiculously catchy 69 feels almost satirical, listing and rating various sex positions, but in true Self Esteem fashion, it is not. It’s the truth, hidden in humour. Taylor said of the track “I like the idea of clearly communicating your needs in one quick, three-minute house song. It is also political – women still are expected to cater to others sexually; I can’t hear another discussion about ‘faking it’, it upsets me too much! There’s enough inequality in the male/ female dynamic as it is. Our bodies go through so much more pain and suffering, please god let us get the pleasure where we can!” It’s nothing short of brilliant. Those who loved Chari XCX’s Guess will no doubt be a fan, and it also features the beloved Drag Queen, Meatball.

In Plain Sight, perhaps one of the most poignant tracks of the album, starts off gentle, almost hauntingly so, with Taylor’s stunning vocals accompanied by the plucking of guitar strings. Written with Moonchild Sanelly, Self Esteem’s collaborator on the 2024 standalone single Big Man, who also features on In Plain Sight, the track focuses on the criticism women face when they stand up for what they believe in in the public sphere. It’s harrowing, haunting, bone-chilling in the way that it builds. Moonchild Sanelly adds a flawless spoken word, “Scared to speak. I shrink to keep the peace / what will be of me, if I speak my mind.” A chorus of women come together for the shiver-inducing finale of the track as they scream/sing “what the fuck you want for me - in saving you, you’re killing me.”

The final track of the album, The Deep Blue Okay, which was referenced in the opening song I Do & I Don’t Care, feels like a full circle moment. It opens with a simple piano key which is repeated, fast, insistent, urgent - symbolising the importance of the track, the meaning behind it. It is vulnerable, but also pulsing with excitement, hope. Capturing the essence of the album in its entirety. As Taylor sums it up herself, “acceptance of life’s grey areas leads to a new lease on life.” The Deep Blue Okay feels like an ascension into whatever heaven is - the orchestra building and building to the grand crescendo at the end “It’s still hard out here, but fuck I’ll just keep going/ you’ll always work it out.”

Self Esteem is the definition of empowerment, and strength flows rapidly through A Complicated Woman. With this new album, Self Esteem once again makes us look inward, forces us to confront ourselves and proves that there is a fountain of strength deep within us all”.

PHOTO CREDIT: Scarlett Carlos Clarke

I am finishing up with Rolling Stone UK and their five-star review of A Complicated Woman. If you have not heard the album or only the singles so far, then you really need to hear the entire thing. One of the most inspiring and emotional albums I have heard in years. That is one reason why I wanted to shine a light on it now:

“If I’m so empowered, why am I such a coward / If I’m so strong, why am I broken?” asks Self Esteem, aka Rebecca Lucy Taylor, on ‘I Do and I Don’t Care’, the opening track on her third album A Complicated Woman. Hopeless though the outspoken pop diva may sound, these contradictions are an invitation into the spectacularly more interesting grey area where two things can be true at once.

Paradoxical thinking is nothing new to Taylor, who cut a choppy path to liberation on her widely acclaimed second album Prioritise Pleasure, having gone solo from indie duo Slow Club in 2017. Lamenting cycles of misogyny, feminist anxieties and societal pressures, it was a brave, bolshy portrayal of all her knotty complexities, delivered with a refreshing dose of her trademark irreverence. Now, after some time spent honing her theatrics with a turn playing Sally Bowles in the West End Revival of Cabaret, Taylor returns just as conflicted, but a great deal more enlightened.

A Complicated Woman presents its titular thesis as Taylor finds fun and freedom in life’s eternal incompleteness. There’s no cheeky subterfuge or smirking ulterior motives here; it’s all out on the table, her lyrical realism as relatable as ever. “How many trains can I cry on in a lifetime?” she asks plainly atop a sun-splashed dance-pop groove on ‘Cheers to Me’. Elsewhere, she admits to a tricky relationship with alcohol on the gospel climax of ‘The Curse’: “I wouldn’t do it if it didn’t fucking work.” 

Still, there’s an on-brand absurdity that such uplifting instrumentals — in the realm of “montage music for the World Cup”, as she put it recently — could soundtrack an inspirational monologue about following your dreams. Such blatant clashes of sound and subject matter shouldn’t work as well as they do here; one moment Taylor is running through a checklist of her sexual dos and don’ts on smouldering electronic dance track ‘69’, featuring the drag queen Meatball, and the next she’s leading a choir at megachurch-level decibels on ‘What Now’. 

But it’s the hyperpop bombshells that signal the biggest shake-up, from the whirring electronic bassline and lashing snares on ‘Lies’ (featuring Nadine Shah) to the early 2010s-indebted ‘Mother’, on which she bemoans the inequality of emotional labour set to a ping-ponging beat. Like all her best songs, there’s still plenty of sincerity, particularly on the choral-led ‘Focus Is Power’, which features a female empowerment mantra we can all get behind: “My focus is powerful.” 

Then there’s the guest contributions from Life Without Buildings vocalist Sue Tompkins (‘Logic, Bitch!’), former Coronation Street actor Julie Hesmondhalgh (‘If Not Now, It’s Soon’) and former collaborator Moonchild Sanelly (‘In Plain Sight’), which invite their own moments of quiet contemplation.

Ultimately, though, what we’re left with is a message of hope. “You’ll always work it out,” Taylor resolves on jubilant closer ‘The Deep Blue Okay’. After all, it’s the trying among the mystery of it all that makes us human, and here Taylor shows us just how spectacularly that can be done”.

Self Esteem is one of my favourite artists. Many release albums that might be personal or they are just for fun. She tackles societal expectations and feminism but there is also this inward investigation. Lyrics that are often funny and sharp but some that genuinely move or shock you. Songs that seem like statements or mandates. It is fiercely feminist and empowering but it is also tender and playful at times. No doubting the fact that A Complicated Woman is…

A work of wonder.

FEATURE: Spotlight: Yazz Ahmed

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Alex Bex

 

Yazz Ahmed

__________

ONE of the good things…

about the Spotlight feature is getting to feature a range of artists. I am quite new to Yazz Ahmed. I am very keen to explore the wonderful music of a musician, composer and artist who I feel should be getting more exposure on mainstream radio. This British-Bahraini trumpet player aims to blur the lines between Jazz and Electronic sound design. I am going to start out with an interview from 15 Questions. Although I am not including all of the questions and responses, there were a few that caught my eye:

“Name: Yazz Ahmed
Occupation: Trumpeter, flugelhornist, composer, improviser
Nationality: British-Bahraini
Current release: Yazz Ahmed's new album A Paradise In The Hold is slated for release on February 24th 2025 via Night Time Stories. The second single off the album, “Into the Night,” is out now. The LP features her longtime band as well as a cast of collaborators, including vocalists Natacha Atlas, and Brigitte Beraha as well as percussionist Corrina Silvester.

Just like you, I grew up in between two cultures and always thought it had a huge impact on almost every aspect of my life. What was this like for you – how, would you say, did your bicultural background affect your views on life, art and music in particular?

I moved from Bahrain at the age of nine to South London with my mum and sisters. It took a long time to adjust to this new culture and I didn’t feel as if I belonged, so much so, I hid my identity for most of my childhood and into my teens.

It wasn’t until a reached my early 20s that I became more aware of my identity and started to embrace my mixed heritage. I became curious about the music I had left behind and began to regret that I had not been taught to speak Arabic. I felt detached. However, once I started to explore Arabic scales and rhythms, fusing them with elements of jazz, I began to feel whole.

One thing I was hungry for was to connect with other female instrumentalists with a Middle Eastern heritage who were embracing jazz. It was difficult enough finding women trumpet players to aspire to, but it seemed that Arabic jazz musicians simply did not exist. This made me feel insecure as to whether it would be possible to make a success of myself.

Art and beautiful artifacts are everywhere in Arabic culture, but being an expressive artist, or a creative musician, is not really considered a respectable career. This meant it was a struggle for my Bahraini family to appreciate the path I had chosen.

On my mother’s side of the family, it was very different. I come from a line of bohemian artists, musicians and dancers, so they were very supportive in allowing me to follow my heart.

A Paradise In The Hold deals with your heritage through music. After finishing the album, what would you say is universal in music – and what may, conversely, be very specific?

You don’t need words to convey your message or to spell out the narrative behind the music. Music has that unique ability to evoke deep emotions, on a primordial level, and this is what I hope to achieve – to be genuine, to compose and perform from the heart and leave the listener free to interpret their experience in their own way. I love listening to songs in a language I’m unfamiliar with, because it lets my imagination paint pictures.

However, on A Paradise In The Hold I do utilise some elements that are very specific to Bahrain. When a Bahraini listener hears certain rhythms, certain instruments or vocal timbres in my music, these will resonate in a very specific way, compared to how a listener from outside the culture will react. There are also Arabic lyrics in this album which to a non-Arabic speaker will be evocative, beautiful sounds, but which do carry an intentional meaning, which again will give listeners from different cultures their own experience.

I do include translations of all the text in the album booklet and in fact on one song, Waiting For The Dawn, we hear both Arabic and English versions of the lyric sung in counterpoint.

What was the starting point for A Paradise In The Hold?

In 2014 I was nominated to apply for a Jazzlines Fellowship in collaboration with Birmingham THSH, funded by the Jerwood Foundation. As part of this process, I had to present a concept for an extended composition to be researched and developed over the course of a year, culminating in a live performance at the CBSO Centre in Birmingham.
My idea was to create a suite, based around the folklore and folk music of Bahrain and happily I was awarded the commission. The first stage was a research trip to Bahrain from which I returned full of inspiration, bringing home books of poetry and songs, histories of Bahraini music and instruments, DVDs of performances and my own notebooks and field recordings.

Paradise In The Hold still has many characteristics of jazz, but it plays with and expands on them. As of today, what does the term jazz mean to you?

There are many sub-genres in jazz and hundreds of individual voices who bring their own stories to this ever-evolving music, perhaps more so than ever. To me, jazz is an ancient oak with deep roots, sprouting hundreds of branches. New shoots emerging all the time.

However, I do feel that some artists have lost touch with the essence of jazz, where it springs from, the history and the human struggle at its heart. But of course, there are those who are fully aware of the legacy and highlight social inequality and make protest through their compositions and improvisation.

Saxophonist, Matana Roberts, for example, is a leading light in amplifying this message through the power of jazz.

One of the instantly notable expansions of your sound are the vocal pieces. Since both the voice and the trumpet are inherently connected to the breath – how do you see and feel the connection between your instrument and your voice?

I do see them going hand in hand.

I actually composed many of the vocal lines by singing to myself and then perfecting the melodies on my trumpet. I hope this made the vocal lines feel natural to the singers who recorded on the album

What kind of vocalists do you personally prefer and what were some of the criteria for whom to include on A Paradise In The Hold?

I appreciate all kinds of singers, from Björk to Fairuz, or from D’Angelo to Donald Fagin. What I like is authenticity, a feeling that the singer is revealing something of themselves.

When planning the recording I knew I needed to find artists with great passion, a deep musical understanding of many styles and a clarity of tone. I had to convey to them that the written vocal parts were integral to the composition. These are not songs in which the band is just accompanying the singer. All the parts are equally important.

I also enjoy working with vocalists who will surprise me with sounds I would never have imagined. Brigitte Beraha and Randolph Matthews proved to be perfect choices in this regard. At the end of “Mermaids’ Tears” for example, you hear them engaging in an improvised duet where Randolph conjures up sub aquatic sounds of the ocean’s swell whilst Brigitte seems to be channelling some long-lost dolphinesque language of the mermaids.

The title track, released as the first single off the album, is astounding, a ten-minute composition unfolding like a fantasy. How did it come together?

I began by processing short fragments of ceremonial sounds from my field recordings of the Pearl Divers and morphed them into an undulating beat which emulates the rise and fall, the breathing of the ocean and the creaking of the boat’s timbers. By repeatedly listening to this groove on loop as an inspiration, I was able to compose the melodies and bass lines which suggested themselves to me.

With all my compositions, I begin by writing down between five and ten short ideas - melodies, chords, patterns, forms – and then sift through these structural cells, choosing the ones I’m drawn to, the ones with potential for development. I sometimes have to write a lot of ‘bad stuff’ to get to the good! I then develop my ideas and often the piece transforms into something very different to what I imagined when started.

With this track, the whole piece is a gradual development from the initial statements with new elements being added throughout. All my ideas come together in the final passage but along the way I sort of break things down and show the listener exactly how the piece is constructed by dissecting the ensemble into its individual parts”.

I am going to move to an interview with Bandcamp. Talking around her extraordinary album, A Paradise in the Hold, I would advise everyone to seek it out. Even if Yazz Ahmed might be reserved more for Jazz stations or independent stations, I can see her being more of a mainstream on more eclectic digital stations like BBC Radio 6 Music. An artist that has created this incredible sound:

“For anyone else, the task of conveying a country’s rich culture through a run of albums would be daunting. For British-Bahraini trumpeter and composer Yazz Ahmed, it’s something that summons more hope than anxiety. “It gives me confidence to carry on,” Ahmed says. “I wouldn’t say I feel any pressure. It just fills me with inspiration. I feel like I’m on the right path.” Ahmed’s fourth album, A Paradise in the Hold, tells stories of her home country Bahrain, drawing for inspiration on wedding poems and the songs of pearl divers.

The record first began taking shape back in 2014, when Ahmed was given a fellowship by Birmingham Town Hall and Symphony to research for her Alhaan Al-Siduri suite. Over the course of her weeklong study, she attended private concerts with Bahraini musicians, pored over academic research by a Norwegian music professor who’d visited the island many years ago, and had a “lovely exchange of music” with a fellow artist serving on the Ministry of Culture, who presented her with one of his own compositions on sheet music.

Two years later, with the support of the British Council and Bahrain’s Ministry of Culture and Antiquities, Ahmed returned to Bahrain and performed the finished piece before a live audience. It was a success, and her bass player Dudley Phillips encouraged her to record it for an album. At the same time, Ahmed’s career was starting to get hectic; she was hard at work crafting two other albums, La Saboteuse and Polyhymnia, simultaneously. “[I was] putting things in my diary, making sure to dedicate one week to one project and another week to another project,” she recalls. With her schedule packed, the suite fell by the wayside until 2020, when she finally got an opening—and then the pandemic struck, bringing everything to a halt yet again.

The delays provided an opportunity for Ahmed to rethink the work. “Before the end of 2020,” she says, “I revisited the compositions and went through all the takes. It gave me inspiration and a clearer idea of how to complete the album. Piece by piece, step by step, I started editing and rearranging the parts, because I had given myself so much time to reflect and forget about what happened. I came back with fresh ears, which gave me opportunities to try out new things.”

A Paradise in the Hold’s biggest highlights are the results of this period. On album opener “She Stands on The Sea Shore,” legendary Egyptian-Belgian singer Natacha Atlas’s intense voice crashes against cymbals like waves on the coast. London-born jazz singer Randolph Matthews (on “Mermaids’ Tears,” “To the Lonely Sea”) and Croatian singer Alba Nacinovich (on “Dancing Barefoot,” “Though my Eyes Go To Sleep, My Heart Does Not Forgive You”), who Ahmed met through a cultural exchange many years ago, are among the other dazzling collaborators who lent their efforts to the record.

The album’s lyrics—which borrow from Ahmed’s daydreams as well as folk songs—showcase her knack for storytelling. On the captivating “Dancing Barefoot,” George Crowley’s piercing bass clarinet and Ralph Wyld’s dissonant prepared vibraphones underscore the taboo themes of which Turkish vocalist Brigitte Beraha sings; in this song’s case, a hesitant bride gets dolled up for her wedding only to run off into the night. Elsewhere, “Though My Eyes Go To Sleep My Heart Does Not Forget You” is a reworking of a traditional folk song about a woman who yearns for her lover—a pearl diver—to return home. As an artist dedicated to changing negative mainstream perceptions of the MENA region, Ahmed gravitates toward the stories from the region that often go untold; the end goal, she says, is “a modern take on Bahraini music, which a lot of people have no idea about”.

I am going to end with a review for the transcendent A Paradise in the Hold. Jazzwise spoke with Yazz Ahmed earlier in the year. Someone who has always wanted to write about the rich tradition of Bahrain, this is such a compelling, spellbinding and evocative album. I do hope that her music gets much more love across multiple stations and media sources. Some of the bigger music websites and papers:

“Over the past 15 years, trumpeter and composer Yazz Ahmed has been using her music to connect with her Bahraini heritage. Finding her melodies in quarter-tone Arabic scales and her grooves in complex polyrhythms, Ahmed’s three albums (2011’s Finding My Way Home, 2017’s La Saboteuse and 2019’s Polyhymnia) have produced a distinct blend of jazz improvisation with the echoes of music from her homeland, providing a sonic trace of her ongoing relationship with a cross-cultural identity.

Yet, throughout the span of this recording career, Ahmed has also been working on another project that delves further into her personal history than ever before. Featuring recordings of her family, reinterpreted Bahraini folk music and high-energy ensemble compositions, her latest album, A Paradise in the Hold, has been more than a decade in the making, with versions reworked and honed during live performances across the globe. Now finally ready for release, it shines a new light on Ahmed’s British-Bahraini jazz fusion to produce some of her most expansive and exciting music to date.

“I left Bahrain in 1992 when I was nine years old to move to London and once I did, I left my culture behind so I could fit into Britain,” Ahmed says over a Zoom call from her Bedfordshire home. “I would keep my identity hidden because having an Arabic Muslim father, I didn’t feel accepted – there were so many negative perspectives of Middle Eastern people and Muslims at the time. It was only when I was older that I started to rediscover my mixed heritage and I felt a deep homesickness and hunger to learn about that culture I abandoned. Ever since, my music has been my way of bridging that gap.”

In 2014, following the acclaimed release of her independent debut Finding My Way Home, Ahmed travelled to Bahrain on a research trip to reconnect with these roots.

“I’ve always wanted to write about the rich tradition of Bahrain, which includes the music sung by the pearl divers, as well as women’s drumming groups that would sing at festivals and celebrations,” she says. “People from other parts of the world often assume that Bahraini women are oppressed but I wanted to shine a light on the strong, incredible women who are forging new creative paths in the country.”

During her trip, Ahmed discovered traditional poems and lyrics used by female drumming groups in local bookshops, as well as listening to her grandfather singing the songs performed at his own wedding and attending a concert of pearl diving music from the pearl divers of Muharraq, her family’s hometown.

“It was a beautiful, entrancing experience,” she says with a smile. “The singers silenced the whole room with their melodies and I found it so inspiring. I recorded the performance on my phone and when I came back home, I began separating sections of their songs into loops that would eventually form the ideas on A Paradise in the Hold.”

“Being a female bandleader and instrumentalist, inclusivity and equality is an issue that has always been close to my heart,” Ahmed explains. “When I was starting out, I had no one to look up to who looked like me and it instantly made me assume that maybe women weren’t good enough to play this music. Now, organisations such as Tomorrow’s Warriors, PRS Foundation and Women in Jazz are making a real difference, working with communities of women to develop their voices, but we still have a way to go. It will always be an issue I will champion in all of my work.”

Ultimately, with her decade-long passion project finally released, Ahmed is carving out a distinct path not only as a woman in jazz, but also as a British-Bahraini musician aiming to express the many facets of her heritage.

“I feel more whole now with my identity, like I can embrace both sides of my culture, since the music has been a healing process,” she says. “It brings me a lot of joy and when I go back to Bahrain the feedback is wonderful too. It’s a real privilege to keep shining a light on this music and to do it through my own lens. All that’s left is for people to listen and to lose themselves in the songs”.

I am going to finish off with a review of A Paradise in the Hold from The Guardian. If anything shared above does not sound like your kind of music or artist then I would say to listen to A Paradise in the Hold. You will connect with and fall under the spell of Yazz Ahmed very quickly. Someone who I was unfamiliar with until recently.

“Since the release of her 2011 debut album, Finding My Way Home, British Bahraini trumpeter Yazz Ahmed has been exploring her heritage through jazz improvisation. Using Arabic quarter-tone scales with guitar, horns and traditional percussion such as the darbuka drum, Ahmed’s music is a fiery blend of instinctive soloing with melodic lyricism. While 2019’s Polyhymnia took inspiration from formidable women such as Saudi Arabian film-maker Haifaa al-Mansour, Ahmed’s fourth album turns towards folk traditions to produce 10 tracks of atmospheric intensity.

Drawing on the polyrhythmic Arab sea-music fijiri and wedding poetry, the album marks the first time Ahmed has collaborated with other singers. On opener She Stands on the Shore, vocalist Natacha Atlas’s warm tenor interweaves seamlessly with Ahmed’s plaintive trumpet melody, swelling over bowed bass to evoke the undulating waves, while Randolph Matthews’ lower register on To the Lonely Sea artfully embodies an eerie sense of hard winds and crashing waves.

Some features are less effective, with the droning bass of Though My Eyes Go to Sleep, My Heart Does Not Forget You jarring against Alba Nacinovich’s keening melody, and the group vocalisations of Al Naddaha struggling to be heard amid Ahmed’s doubling trumpet lines. Instead, Ahmed excels when her compositions play fast and free. The fierce polyrhythms of wedding song Her Light spiral into an ecstatic dance, while the joyous Into the Night features Ahmed’s extended family performing traditional ululations and hand-clapping to continue the sense of celebration.

The 10-minute title track is another highlight. Pearl-diving music is an a cappella vocal tradition for guiding ship workers by blending rhythmic droning with high-register melody, and Ahmed uses a processed sample of one such performance to build a vamping groove alongside bass clarinettist George Crowley’s expressive solo and percussionist Corrina Silvester’s extended darbuka break. The effect is infectiously jubilant, drawing the listener into Ahmed’s distinct and modern imagining of Bahraini tradition”.

Go and experience the wonderous Yazz Ahmed. Not only is A Paradise in the Hold a sublime and moving listening experience. After reading interviews from Ahmed where she talks about that desire to connect with Bahrain and her heritage, it made me think more widely about the country and the music from it. Few albums and artists get you to think beyond the music and open your mind to new cultures and countries. That should be reason enough for you to seek out…

THIS incredible talent.

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Follow Yazz Ahmed

FEATURE: Spotlight: Myles Smith

FEATURE:

 

 

Spotlight

 

Myles Smith

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A rising artist…

PHOTO CREDIT: Brennan Bucannan

who probably doesn’t need my kudos, and has had far bigger and more influential sites give him a thumbs up, I have overlooked Myles Smith until now. He is a really promising artist who of course you need to see on the road if you can. The recipient of four awards at this year’s BRITs – including Rising Star -, his E.P., A Minute…, was released late last year. There will be a lot of excitement and anticipation around a debut album. With a couple of E.P.s and a string of great singles under his belt, there is this growing and loving fanbase. I think he is going to be one of those artists who keeps getting bigger and better. Growing and expanding as he releases album after album. I want to move to some brilliant recent interview with Myles Smith. It is worth noting that Smith was recently included as one of TIME’s 100 Most Influential People. A boy from Luton, as he posted on Instagram, it must have been a huge honour and shock – though richly deserved. Let’s get to some of those interviews with Myles Smith. I am going to start out with the end of an interview that The Line of Best Fit published in February. This twenty-six-year-old artist enjoying a meteoric rise, I think the next year or two are going to be among the most successful and memorable for Myles Smith:

“Last year, Smith released two EPs – February’s River and November’s A Minute… – that represent the culmination of these early efforts. Working with the iconic producer Peter Fenn – whose other credits include cuts with Laufey, Fred again.., Valley, and Ava Max – he tracked some of his most intimate moments. Connecting with Peter, he says, helped bring out the best in his artistry simply since the two got along as friends so well. A Minute.., after all, is centered around those life-altering moments that can change everything, whether those moments be with a partner, a friend, or simply ones spent trying to make sense of your own mind.

And yet, in Smith’s songwriting exists an exciting contrast. He manages to take these vignettes and dial them up to anthems, creating stadium-ready singalongs out of his highest highs and lowest lows. “I’m delusional into thinking one day I’ll be playing in stadiums, and so I always write like I’m already there,” Smith says with a smile. “My songwriting approach is always starting from the point of I want a song to live forever and in a big way.”

If the pace Smith is keeping seems dizzying, that’s because it is. In the first half of 2025 alone, he’s set to trot across North America and Europe. “Finally, I feel like I’ve reached a point now where the stages are big enough and the audiences are big enough that I can really put on a show. Being able to delve into creating a solid show that people come and enjoy is super exciting,” he tells me.

Smith is not daunted by the task, nor does he see a break coming anytime soon. Instead, he just wants to do what he knows best and what he loves: writing and playing. That, after all, is what keeps him going. “Whether I’m on tour or off the road, I always try my hardest to put pen to paper,” Smith admits. “That’s the lifeblood of everything we do as musicians. Music drives everything”.

At the end of February, The Guardian interviewed Myles Smith. During his BRITs acceptance speech (for Rising Star) to call on the Government to use their platform and power to protect grassroots venues. Their sustainability is under threat. Without them, we would not have artists like Myles Smith. So many big artists started out playing at smaller venues. Their survival is essential:

“With abundant emotional intelligence as well as a keener political acumen than most pop singers his age, the 26-year-old Smith is sharp and engaging company on a video call as he tours the UK. Born and raised in Luton, he casts himself as a small-town oddball. “I grew up in a working-class neighbourhood, in a Jamaican family – so my interest in rock and screamo, and not being able to play football and rugby, instantly put me in a different category to my peers,” he says. “In all walks of life I’ve felt a little bit different.”

His parents’ marriage fell apart when Smith was between the ages of nine and 13, “a critical period in anyone’s life when they’re forming relationships,” he says. Introducing a song to his 1.6m TikTok followers recently, he wryly said: “Anyone else’s parents divorce and then your dad leaves and then your whole perception of love and relationships is completely screwed up and you don’t know how to trust anyone in your adult life?”

“A lot of my personal development has been off the back of that [divorce] experience,” he says now. “I definitely had trust issues for a while.” He has had therapy – “such a beautiful tool” – to come to terms with it. “At the time [as a child] you’re never really aware – most of the learning comes when you’re an adult and you start to unpack the ways you think and feel. There’s a weird beauty to it – while it is painful and traumatic, and having to relive so many experiences is difficult, it also gives you this key to unlock a whole new side to yourself, when you do understand yourself better. And I’ve got a lot of [the trauma] to thank for being a good songwriter!”

Smith left Luton for the University of Nottingham to study sociology, and founded his own fast-growing business management company after graduating. But he’d been playing pub gigs since the age of 11, and decided to pivot to music, “knowing that if it all went wrong I could reactivate my LinkedIn and get back into the working world,” he laughs. “But those initial months were petrifying, stepping from a stable income to absolute uncertainty.” He started posting songs to TikTok in 2022, where his manager discovered him, and was signed to a major label deal with Sony the following year.

‘I never want to put a false sense of myself into the world, where I am this saviour. I push air – that’s my job’ … Smith performing in Dublin in February. Photograph: Debbie Hickey/Getty Images

But I can hear the sociology student still coming through when he discusses the systemic issues that can hold people like him back in the music industry. “For anyone from a working-class town, the opportunities to get into music are few and far between,” he says. “There’s a huge disadvantage when it comes to access to musical equipment, and even music lessons, at state school level.”

Smith benefited from Building Schools for the Future, an investment scheme brought in by Labour in 2005, then shuttered in 2010 by Michael Gove – who later regretted doing so – as the Tories’ austerity programme began. “I had access to GarageBand, iMacs, musical equipment,” Smith remembers. “And though the costing could be questioned, [the scheme] was very quickly pushed out the window. We’ve now seen years and years of austerity, and it’s not just the arts that have taken a hit – it’s anything that sits on the periphery of the mainstream route to work. There do need to be questions asked about how we’re valuing the arts in this country.”

Exacerbating the problem are the hardships faced by grassroots venues, which have been knocked hard by the Covid lockdowns and then the cost of living crisis. “Suddenly the gap between music being a hobby and being a career is wider than ever. In order to pay for a first show an artist might need to sell 500 tickets [at a medium-sized venue]. Whereas the bands and shows I used to see when I was younger was someone down the pub playing to 20 people, but those don’t exist any more.” And he sees a “dual burden” for people of colour, who as well as being statistically more likely to be working class, “are also not being seen for the amazing cultural value that they bring to this country, and what they add to one of our biggest cultural exports” – namely the arts. “More work needs to be done both on a class basis and a race basis.”

His music tends to be much less political, and is written in a way that allows listeners to map their own troubles and breakthroughs on to his songs. They frequently contact him to tell him so, and on social media, Smith recently reminded them: “It wasn’t my music that saved you – it was you.”

“A lot of people – and I really do appreciate it – will message me when they’re going through troublesome times,” he explains. “They’re dealing with mental health issues – or much further. I could take it as an ego lift: ‘Wow, I’m saving lives!’ But the reality is that those people are doing the hard work to really understand themselves. As an artist, I never want to put a false sense of myself into the world, where I am this saviour. I push air – that’s my job.”

As he hones his craft, Smith says he’s mindful to “take breaks from writing for a few months at a time, so I can go out and experience life, otherwise I’ll have nothing to say,” and also avoiding “external [musical] influence – I’m trying to find who I am, what I’m trying to say.” But time with Sheeran has been useful, seeing how “he has full confidence over his initial ideas. For me and many other songwriters, you can get stuck going over one line for 45 minutes. But he’s of the mindset that if it’s good, it’s good – why are we wasting time?”

After the Brit awards, Smyth has 37 gigs to play across Europe, the US and Australia – all before the end of May, when he starts 29 European stadium shows with Sheeran. It sounds exhausting, but he is clearly exhilarated. “I wrote a song recently about simply feeling good,” he says. “On the surface that could seem super cliched. But it’s taken a long time to just feel great, and not feel burdened with anything. That’s a byproduct of doing the thing that I love. Feeling good – that’s something I’ve been feeling recently!”.

I am going to finish off with a recent interview from Music Week. This is just a taster in terms of the press and interviews. I would urge people to do a bit more digging and listen and read as much as they can about Myles Smith. He is someone who is primed for many successful (and busy) years ahead in the music industry. If you do follow him already then make sure that you do:

“The UK industry's hottest new property Myles Smith has lifted the lid on his stunning breakthrough, signing to RCA and why he's in no hurry to release his debut album.

The Luton singer-songwriter, who covers the March edition of Music Week, has already notched up two UK Top 10 singles in Stargazing (1,147,392 sales, OCC) and Nice To Meet You (240,911 sales) and named winner of the BRITs Rising Star award for 2025, in addition to being crowned BBC Introducing Artist Of The Year.

Moreover, the 26-year-old, who will perform and is also up for Best New Artist, Song Of The Year and Pop Act at next month's BRITs, is adamant he is in it for the long haul.

“Having two Top 10 singles in my first year has been a real highlight,” he said. “It’s been such a good feeling, not just proving it to myself but also to the people who have trusted and invested so much time in me. This is not just a moment that will come and go, it’s the start of something real and long-term."

Indeed, despite his rapid progress to date, Smith indicated that he is taking his time with his first LP.

“I’m not sure when it’s going to come,” he said. “It’s all about carving out the time and making sure I’m in the right place. But when I get there, I want it to push the boundaries of what I’ve already put out, maybe be a bit closer to my heart, baring my soul a bit more.

“I don’t want to make music that’s just cool. I want to make music that I feel in my heart and soul could outlive me.”

Smith is currently on a headline run in the UK and Europe, including sold out London shows at O2 Shepherd’s Bush Empire (February 26) and Hammersmith's Eventim Apollo (March 26), and has 21 million monthly Spotify listeners, led by Stargazing's 666m global streams and counting.

He described the track, which peaked at No.4 in the UK and cracked the US Top 20, as “a beautiful song and a beautiful moment”.

“For people to have a song that explains such a grand emotion in such a simple way, it ticks the boxes,” he said. “It just gives me reassurance that I can write good music. Of course, I’ve sat there thinking, ‘Can I do it again?’ But then I’ve had to snap myself out of it and go, ‘I’ve done it, of course I could do it again.’ I wrote it not thinking I needed to write a smash song, more that I was going to write something that I love. I enter every session with that mindset.”

Initially coming to prominence after posting cover versions on TikTok – where he has 1.6m followers and 34.5m likes – Smith became a viral sensation with his renditions of Amber Run’s I Found and The Neighbourhood’s Sweater Weather.

“It started to go stratospheric,” he recalled. “I quickly started to gain tens of thousands of followers and then hundreds of thousands of followers, all within a really short space of time."

Smith signed to Sony Music UK’s RCA label in 2023, and has a high-ranking supporter in Sony Music UK & Ireland CEO & chairman Jason Iley.

“I’m delighted for Myles that he is doing so well, he deserves it!” Iley told Music Week. “It always comes down to the songs and he is a great songwriter. He had a very successful year globally in 2024 and there are no signs of that slowing down.”

The appreciation is mutual, with Smith expressing his gratitude for Iley's endorsement.

“He knows my weekly schedule and he’s a true believer in what I’m doing,” said Smith. “He’s always had the same mindset from the start, that the songs matter and the music you make matters, so create as much time as you can to truly invest in making great music, because you can become known for other things, who you date, where you go, scandals... He was like, ‘If your music speaks the loudest, that’s what is most important.’”

“One, it was music first. But two, they really cared about me as a person behind the artist, staying authentic, wanting to have my music reach millions but in the right way and in a way which is true to me,” he said

“A big part of the issues I was going through at the time, and still face somewhat right now, is that a lot of the world can box me in as being almost like an exception to the rule of a Black artist making pop music, and that could sometimes be made into a novelty or a spectacle.

“The RCA team really understood that, yes, I am a Black artist, and yes, I do have things to say about my culture and where I come from, but that shouldn’t be the focal point of who I am and what I represent. Not that that wasn’t said in other meetings I’d had, but it was something that they had actively considered. That was a real turning point for me”.

I am going to leave things there. A really important voice in music, do go and show Myles Smith support. Even though I sort of half-joked he does not need my assistance or spotlighting, I think any attention that comes his way is good! Someone whose music should be heard by as wide an audience as possible. He may be only a boy from Luton – not my words but you feel Myles Smith thinks along those lines -, he is now someone whose music belongs to the world. This amazing artist has come a long way. You know he has…

A lot more to say.

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Follow Myles Smith

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FEATURE: Modern Queens: Victoria Canal

,

FEATURE:

 

 

Modern Queens

PHOTO CREDIT: Francesco Zinno

  

Victoria Canal

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THE last time…

that I properly spotlighted Victoria Canal was back in 2023. I have talked about her since but, for this Modern Queens, I wanted to discuss one of the most important artists around. I am going to start off with some interviews from earlier in this year and will end with some reviews for her incredible debut album, Slowly It Dawns. I would advise people pick up a copy of her album. Canal is currently undertaking some U.S. tour dates. For their Class of 2025 feature, DIY spoke with an artist who had a phenomenal 2024. Including playing with Coldplay at Glastonbury and a second  Ivor Novello award win, the Spanish-American was being tipped by many to be the sound of 2025. Her debut album won huge acclaim:

“Set for release in January, ‘Slowly, It Dawns’ is not just the culmination of three years’ work for the singer, but a record that shows a wider breadth of her talents than ever before. “Definitely going on tour with Hozier was the catalyst for that,” she explains of her new, expanded sonic scope. “I think seeing just how varied his music is and how huge it could be, and experiencing those fans that are young, queer and very sentimental, I was really inspired by what my show could become and what my music could sound like. I took the pieces of what inspired me about his show in terms of the grandiosity and used it as inspiration for my own recording process and songwriting.

“I definitely wanted to keep the more intimate, singer-songwriter, bedroom style stuff that is so close to my heart, but I think the album is split into two sides,” she notes. “Side A is this much more confident, unhinged side, which did take a lot of inspiration from that time, and then Side B is the much more introverted, wounded, wiser side.”

Keying into the old school approach of splitting a record into two distinct sides, the album begins with the more carefree fun of ‘June Baby’ before moving into the sultry flirtation of ‘California Sober’ and the hedonistic rhythms of ‘Cake’ which, Victoria explains, represent the earlier phases of life. “To me, the flirty, sort of overconfident, naive side is emblematic of younger life. You know, you’re 18 or 19, you’re going out, you’re trying things for the first time, you’re trying to discover who you are and maybe overshoot.

“I think the main thing is that I just had fun,” she says of her approach when writing those songs in particular. “Music is mostly such a brooding, sorta weepy experience for me – and that is where my heart lies, but I just wanted to test myself and see if I could genuinely have fun and not restrict myself in any way. All the songs on Side A, I felt like they were just a result of me being like, ‘Fuck it, I’m going to make whatever I want today’, and yeah, it did kind of flow; particularly the music and production elements. I think we were just having so much fun, so it felt easy.”

It’s in the album’s second half – around the existential lullaby-esque ‘Vauxhall’ – that things shift to a more reflective, introverted space. “I really liked the idea of bookending the album with ‘June Baby’ as Track One and ‘swan song’ as Track 12, sort of from beginning to end of life and basically a coming-of-age story,” she explains. “There does come a point where you wake up and you’re 24 or 25 and you’re like, ‘Oh jeez, what was all that?’ and ‘I should probably get serious now’. The rest of the album from there becomes more wise and more reflective and self aware, which is much more how I feel in my life now.”

While her debut mostly explores new territory for the songwriter, there are a few familiar faces within the track listing. “Those songs, they’re sisters and they deserve a long life,” she says of the record’s final two tracks, ‘Black Swan’ and ‘swan song’, which previously featured on her 2023 EP ‘WELL WELL’ and 2022 release ‘Elegy’ respectively. Did she always plan to include them on her full-length? “I did, yeah. I just felt like I didn’t want to leave them behind and they’re so representative of who I am and the deepest part of my soul. I wanted to make sure that they got their moment again; it feels really right to me.”

There’s something poignant about the fact that, through the writing of the album, it’s still the songs she wrote some years ago that speak to Victoria most now. “I think that’s part of the concept behind the album too,” she agrees, “that it’s cyclical. You’re born and you live and you die and you’re born again. Even within your life; maybe it’s not a literal death, but it’s an ego death or it’s the death of an idea of yourself. That’s also part of the reason I called the album ‘Slowly, It Dawns’, because it feels like a sunrise and eventually the sun sets but it will rise again. It is interesting, and it really is based on where I am in my life that I feel more like ‘Black Swan’ and that Side B energy versus like, confident, loud, unhinged Side A energy.”

An album of intense honesty that also celebrates the multitudes of the human experience – whether foolish and loud, or meditative and quiet – ‘Slowly, It Dawns’ aims to move away from the highly-curated snapshots of life that society seems so intent on projecting, to showcase it for the contradictory muddle that it can actually be. “I think that’s one thing that I just don’t see too much of online, particularly with really established artists that I follow, for example,” Victoria offers up. “It’s like, they can be this one thing, all the time, and it’s always energetic and it’s always happy and it’s always lively and they’re always performing and whatever,” she says.

“But, for me, I just find that there’s like… I call it the God and goblin complex.” Two halves of the same emotional coin, much like the two sides of the album. “I’m a fan of music and I feel like I’ve been searching for an artist to admit that they are both this and that, you know what I mean?” she asks. “I’ve decided I can basically be that person”.

I am going to move to an interview with Brick Magazine. For anyone who does not know Victoria Canal, I would urge you to seek her out. I think this is an artist that is going to climb to huge heights. Someone who will be headlining big festivals soon enough. Her music is like nothing else. Brick Magazine stated that Slowly, It Dawns is a “defiant yet delicate reflection on the life-long lead-up to her debut album”. It is one of the best albums of the year:

“The record is imbued with memories of her international upbringing. Born in Munich to Spanish and American parents, she grew up mostly in Madrid, but – thanks to her dad’s job in medical tech – she had resided in Shanghai, Tokyo, Amsterdam and Dubai all before adulthood. Her genre-spanning sound has also been the result of abundant creative collaboration, as she was inspired to formally start the album while on tour with Hozier in 2023. “Seeing Hozier up-close and working with Coldplay, I was exposed to bands and artists that make many kinds of music and really stretch themselves in terms of genre and songwriting,” she explains. “I felt inspired to stretch myself, to lean into the pop side of myself, lean into the more brooding, folky singer-songwriter side, and everything else in between.”

She pauses. “At the same time, it is true that your debut album takes your whole life to make,” she adds. To roll out the album’s singles and accompanying visuals, she used the allegory of a house party, embracing the same teenage innocence that once painted Friday nights as the most important times of your life.

The first track and lead single, ‘June Baby’ opens to glittering piano chords and Canal’s soft whispers, as if you’re being awoken by a light breeze as the sun pours in and the hope of a new day rises. The mood heats up on ‘California Sober’ as she flirts with new desires amid sizzling Cuban-inspired guitars and mariachi backing vocals. The deliciously dangerous ‘Cake’ hears Canal descend further into her hedonism, delaying her inevitable return to reality through self-destruction, singing “Fuck the cake, let’s go straight to the vodka.”

She enlisted creative director Abbie Coombs to aid in crafting a universe where ‘Cake’ and the diaphanous ‘swan song’ end up on the same record. Canal discovered that ‘June Baby’ and ‘swan song’ worked best as bookends, saying they felt like “a beginning and an end of a life” that she could then piece together.

“When you grow up, you’re overconfident, you’re naive, you’re really loud about your opinions and convinced about the way the world should be, but you also don’t know anything at all. Then there reaches a point in life where everything flips on its head, and you question: who am I?” she remembers. She asks this on ‘15%’, the album’s keystone track. “It’s looking back and thinking, ‘Oh my God, why did I say those things? Am I amazing? Or does everyone hate me?‘ This social anxiety kicks in but there’s also an understanding that it’s just the way the brain works, and you can’t control it.”

Slowly, It Dawns’ second half reckons with this discomfort and reflects on agency, accountability, and acceptance. On ‘Vauxhall’, Canal speaks to her lover and fantasises of their escape away from responsibilities and repercussions – singing “I wish it was that easy / trading in my dreams for peace of mind” – before realising that she can’t escape her problems as she can’t escape herself. The song is another stand-out from the album, building with discontent until she bursts from frustration, hollering “I wish I had a choice” until it fades to silence.

Meanwhile, the agonising ‘Totally Fucking Fine’ starts out as sarcastic and resentful as its name might suggest, capturing her growing self-belief like weight being lifted from her chest, before transitioning to a meditative instrumental, creating a space to stop and breathe among the chaos. This introspection has undoubtedly been aided by her meticulous commitment to journaling – she’s been writing them since she was six years old, and admits she can get through one every few months.

Canal explains the magic of songwriting, for her, is in its development process and trusting in an idea’s evolution. She needed to create a space “where there are no bad ideas” to sharpen her thoughts, cultivating this with renowned songwriter Eg White who contributed to half the record’s tracklist. “Part of my process – since 2020, when it felt like the world was ending – is to make music where I don’t care if anybody ever hears it. I’m making exactly what I want to make and that’s what matters to me. Then when people hear it and connect with it, that’s an amazing reward,” she explains.

Not caring about what others think is a well-practiced perspective for Canal, who was born without her right forearm due to amniotic band syndrome. Navigating her rise in an industry that “loves to turn you into one thing”, she expresses her mixed feelings towards visible representation and being seen as a spokesperson. “Honestly, if I think about it too much, it’ll give me a headache because it is so conflicting,” she begins. “I feel a responsibility to manage it a certain way, and as I’m becoming more public, I want to get it right. I want to represent without overly identifying with my disability, as it’s just one part of me.”

Looking ahead, Canal is starting the year back on the road, celebrating the album’s release with two Rough Trade performances in London and Bristol, before embarking on a seven-stop US tour, including a stop at Hollywood’s infamous Troubadour. Reflecting on it all, she shares: “The lesson I’m learning in life is that everything will go wrong, but the question is: how do you respond to it? I think success isn’t just things going right in your life, it’s learning how to handle when things go wrong. That’s what success is to me, and that’s something that I’m still working on and finding the strength to live up to.”

To add to her ever-expanding to-do list, the musician has set herself a new goal: to improve the accessibility of music venues on her tour. “There are many venues that some of my fans couldn’t access because they weren’t wheelchair accessible which is so disappointing and something that I think needs to be worked on, particularly for medium-sized and smaller venues,” she explains.

She reaffirms that creative careers are never linear paths to “a Grammy, or 100 million streams, or a million followers” – behind the alluring heights of pop stardom are the stresses of merch shipments getting lost, overbudget tours, and the perpetual fear of flopping. After spending years shrouded in her own uncertainty, Canal has shed her adolescent anxieties to uncover what matters most to her: protecting her peace. She asserts, “I’m really grateful for all the difficulties I’ve faced because I’m learning so much about what it means to feel satisfied and accomplished and purposeful”.

I want to finish off with a couple of reviews. I am going to come to one from When the Horn Blows and their assessment of a remarkable and distinctly original debut album. For those who are looking for an artist who is going to endure for years and continue to put out music of the highest quality, you need to look in the direction of Victoria Canal. I have been a fan for years now and will continue to follow her:

“Victoria Canal’s ‘Slowly, It Dawns’ is a debut album years in the making, but the graft pays off with a dazzling set of self-empowerment pop gems.

The road here was not always pretty, and more convoluted than the German-born, Spanish-American artist, singer, songwriter, actor and manifester’s story sounds. The finished product was made over three years and recorded in London and LA – with Victoria recently posting support on social media for those affected by the ongoing wildfires in the latter. The final product is universal, effortless and refined, reflecting life in your twenties, a time that is usually anything but.

The first half of the album is a pop girl brimming with creativity, beginning with last summer’s single ‘June Baby’. The vulnerability is visibly present in a sunshiny track written with The 1975’s Ross MacDonald, with fellow band member George Daniel on co-production. Victoria sings: “You saw me naked, totally freaking out. Afraid to say it, I think I love you now.” When she repeats the line “I am falling apart, I am falling apart,” it morphs into an anthemic juggernaut.

The glorious “some kind of euphoria” continues with ‘Talk’, about an inconvenient crush over a driving vibe. It has all the hallmarks of another summer smash with her delivery: “We don’t need to talk about it, we don’t need to talk at all.”

‘California Sober’ is big and bold, dripping with confidence and a little Latin sweat. It’s where VC, raised for most of her life in Spain, lets that side in after years admiring Anglo-American acts. Written with Låpsley, the feeling of romance is underpinned by exotic sounds and queer liberation. She sings: “Baby beg for it, lay in it, so close that you can taste it. Be my guest, be my guest” with more beauty than beast. It is crying out for dancing and hot as hell all-night vibing.

‘Cake’ has dramatic undertones and cinematic desperation. There’s a sense of escapism despite strong almost-dystopian electronics, all wrapped up in three minutes. The key line -  “Fuck the cake! Let’s go straight to the vodka. We don’t ever have to think about the cracks in the machine” – sums up some of the contradictions at the heart of the album, and the world. Meanwhile, ‘15%’, about the yin and yang of life, gives the album its title. “Slowly, it dawns, I’m a pain in the ass. Is everyone happy I’m leaving?” Victoria seeks reassurance despite ongoing doubt in a delicate and sombre track. There is also another nod to her mixed heritage, briefly flitting between tongues: “Depende¿ De que depende? It depends on you. It depends on me.”

Side A ends with ‘Vauxhall’ - not the area in south London, but the thought of trading her music dreams for the suburbs with an overly assertive man in a naff car: “I could use your confidence, and your shitty Vauxhall.”  It has full-blown popstar energy with another Bond-esque sound, and rounding off by singing “I wish I had a choice”.

The second half shows a more “self-aware” Victoria Canal in another, slightly less chaotic world. ‘How Can I Be A Person?’ is 165 seconds of calm glory, drifting pleasantly on the idea of recollection with few words, before the meditative sound of Totally Fucking Fine’, which fuses an explicit title with a mellow centre. The bracing and honest piano ballad was delivered in one go, in which she asks: “What good is a holiday if you’re already bored?” It is the track where the girl born without a lower arm most talks about the concept of the body, repeating “that body’s not mine” before declaring the title line again. It has a soft ending, before coming back for a final line of heart-wrenching vocals.

In ‘Hollow’, Victoria questions: “How did I end up here? Guarded and insincere, walking on tippy toes. Nobody knows.” She fears being fake, but the result is 115% real: “There’s no morning glory, no bible or moral of the story to follow. Beneath it all, we are hollow.” In ‘Barely’, VC delivers the lyric “We’re all solar systems, we’re so fucking small. Centres of existence, barely here at all” with beauty and calm, despite the words having a punk energy which a different band would blister through in seconds. It is one of the myriad ways that Victoria changes and subverts ideas, capable of doing things in splendid and unusual ways.

The final songs are a twinset from previous EPs. Coldplay’s Chris Martin, a mentor to Victoria and a key figure in getting her signed to the band’s label Parlophone, described ‘Black Swan’ as “one of the best songs ever written”. It also won the Ivor Novello Best Song Musically and Lyrically last year.  In it, she sings: “Mama, turn me blonde, take my final form. Black swan, black swan”. Meanwhile ‘swan song’ is stylishly crafted, as Victoria ends by contemplating: “Who knows how long we’ve got? As long as I am breathing, I know it’s not too late to love.” It is a sentiment that runs throughout every part of ‘Slowly, It Dawns’.

In a crowded field of female singer-songwriters, Victoria Canal is unique in many ways. The vulnerable and introspective piano art is sometimes at odds with the bravado of Side A, but it is the feeling of being human. She won’t be defined by her limb difference, instead turning to universality which is in the strong songwriting and beautiful harmonies found on this album. Victoria has finally found clarity as her own artist – sometimes wholesome, sometimes sexy, and always showing there’s unlimited potential in her career.

‘Slowly, It Dawns’ is an impressive benchmark jammed with well-executed songs and a strong pop performance. For a woman who begins her album singing “I am falling apart, I am falling apart”, it’s all come together. It’s taken a while, but this is Victoria Canal’s moment”.

I am going to end with a short review from DIY. A 2025 masterpiece, the coming years are going to be really exciting. I have high hopes for an artist who should be on everyone’s radar:

“For anyone familiar with Victoria Canal’s earlier discography - which, after sharing her first EP all the way back in 2016, is already plentiful - the opening chimes of ‘June Baby’ might come as a bit of a surprise. Where her most recent releases (2022’s ‘elegy’ and last year’s ‘WELL WELL’ EP) dwelled in the more introspective corners of life, there’s a sunny warmth to the opening track of her debut full-length ‘Slowly, It Dawns’ that feels unexpected but still well-worn. It’s this spirit that’s carried into the first half of the record via the flirtatious strut of ‘California Sober’ and the thrumming, hedonistic vibrations of ‘Cake’, proving Canal has many more strings to her pop bow. For those more enamoured with her intimate, stripped back songwriting, never fear; ‘Slowly, It Dawns’’ second half is as powerful and devastating as ever, with ‘Barely’ standing out as a particularly raw but striking highlight (“We’re all solar systems,” she sings, in an almost whisper, “we’re so fucking small”). That she chooses to close proceedings with the one-two of her previous stand-out singles ‘Black Swan’ and ‘swan song’ makes perfect sense in context, too; the tracks that helped introduce her to the world now become the poignant final notes of her newest era. A gorgeous debut”.

There are few artists who leave as big an impression on me as Victoria Canal. Slowly, It Dawns is a tremendous album that rightly won impassioned reviews. The future is very bright for Canal. I have never seen her perform live, though that is something that I need to do at some point if she plays London in the future. If you are not following this amazing artist then you need to do so…

RIGHT away.

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Follow Victoria Canal

FEATURE: Out of Ctrl: Women's Sexual Liberation and Revolution Against the Dangers of Online Porn

FEATURE:

 

 

Out of Ctrl

PHOTO CREDIT: cottonbro studio/Pexels

 

Women's Sexual Liberation and Revolution Against the Dangers of Online Porn

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THIS is something I have wanted to…

PHOTO CREDIT: Tim Gouw/Pexels

write about for a while but I know it is not really connected to music. I guess, in the sense that it could apply to women in music. However, it is a more general feature that seems very timely. In terms of sexual revolution  and liberation, especially for women, there is this danger that is threatening that. I am not suggesting that we should embark on a new Summer of Love and there should be this sexual revolution – or maybe there should be. However, in terms of a huge threat facing women at the moment is the way boys and young men are discovering sex. The way they learn about sex. Rather than them seeking out ethical pornography or something that, in its way, sets a good example and is a safe and natural representation of sex, they are viewing sites where women are seen being strangled, assaulted and in a very submissive role. This exposure is hugely influential and unsettling. If boys and young men are viewing this – some are children when they are seeing this -, that is how they think they should act. I have recently read Caitlin Moran’s What About Men?. She discusses her conversations with boys and men and their exposure to online pornography. Especially illuminating when it comes to boys of school age, not only is explicit and violent pornography being shared and widely available, they see it as normal and how they should treat women during sex. There are so many cases of women being killed or seriously injured during sex. I am going to quote from another couple of books that have been talking about a possible sexual liberation and revolution and what is stopping that. How there is this issue with how men (and boys) learn about sex. Their worldview of it. Bolstered by toxic misogynists like Andrew Tate. How he feels women are objects and should be dominated by men. I am going to source from Amia Srinivasan’s The Right to Sex and CTRL HATE DELETE: The New Anti-Feminist Backlash and How We Fight It by Cécile Simmons.

A subject explored by other feminist writers – including Laura Bates in books like Misogynation: The True Scale of Sexism and The Guilty Feminist by Deborah Frances-White, it will also be covered in books like Laura Bates’s The New Age of Sexism: How the AI Revolution is Reinventing Misogyny -. it is not often explored by journalists. As a music journalist, maybe I am not the most qualified or appropriate person to write about it. However, having read some very powerful books where the clash of sexual liberation and freedom against the effects of online pornography and how that can be a danger to women, I wanted to cover it. I want to start out with some observations from CTRL HATE DELETE: The New Anti-Feminist Backlash and How We Fight It. Right near the start of the book, Cécile Simmons talks about the role of incels (involuntary celibate) and their influence on young men. This is an online community bonded by their “inability to find a sexual partner, their resentment towards women and their entitlement to sex”. It is written about misogynist terrorism – cases of incels who visit websites where they vent their hatred of women then go out and commit acts of violence and murder against them – and how it is underestimated by law enforcement. Visits to incel forums have risen and, in terms of law categorisation, attacks by incels on women not seen as terrorism. In a lot of cases, the narrative is shifted from the violence and vileness of the men and their actions are somewhat watered-down. Emphasis on their mental health struggles. Police and government claiming these attacks (which are largely against women) are not gender-specific. One of the most dangerous aspects of incel forms is how some men will adopt hardmaxxing, which can include taking steroids and getting plastic surgery to look a way in which women find them desirable. Many also advocate for “rapepill: raping women as a remedy to one’s sexual frustrations”.

PHOTO CREDIT: Alex Green/Pexels

At a time when women should feel safe and there should be this revolution and explosion of sexual freedom and liberation, will this ever be possible? Many women feeling unsafe during sex. Girls exposed to sexual violence from boys at a very young age. In Th Right to Sex, Amia Srinivasan talks about that “porn came to serve, for feminists of an earlier generation, as a metonym for ‘problematic’ sex in general”. One that was sadomasochistic and was not designed for women’s pleasure. Most interestingly, Srinivasan writes how pornography wasn’t just a contested question in a new political movement. It was a “lightning rod for two conflicting views of sex”. There is an ‘anti-sex’ view that  that sex as we know it is a patriarchal construct.. How there cannot be liberation in any true sense until there is a “revolution in relations between men and women”. The ‘pro sex’ view  is how women should be able to have sex with whomever they like, however they like, without threats, shame, stigma or abuse. There is a big ‘pro sex’ consensus and adoption among modern feminism. However, there is this growing threat of the ‘anti-sex’ voice. They feel that sex needs a “revolutionary transformation”. Second-wave feminists protested against pornography in the late-1960s. When they were striking against pornographic magazines and movie theatres. By the mid-1970s, “feminists began to identify porn as the lynchpin of patriarchy”. There have been anti-porn groups and movements through the 1960s, 1970s and beyond. Many pro-porn feminists argued that these women (anti-porn) were overestimating the power and impact of the medium. The real fear is that porn, true then and especially now, is that is not only depicts the subordination of women. It makes it real. Students feel porn on the Internet is often aggressive and disturbing. It is about submissiveness (by women) and domination (by men). Students understanding that pornography’s role in the modern world is potent and widespread. How girls and young women would advise boys and men that there is feminist and ethical porn. But this is not what they are fed and exposed to. It is somewhat utopian to many to imagine consensual and loving sex, rather than this ideology that sex is about violence and risk. The role of incels and radical misogynists.

I have been thinking back to an interview with Caitlin Moran. How she said the next wave of feminism should be able positive, pleasure and joy. Extending beyond that, for women, how sexual emancipation and liberation should be part of the next wave. In terms of modern sexual revolution, there have been recent articles about the pros and cons. This article asks whether men and women are any happier after the promised sexual revolution. This article, re-evaluating the modern sexual revolution has some interesting observations (“The only way the majority of women can get what they want is through a social shaming campaign against the sexually liberated minority — in other words, “slut-shaming.” But Perry offers no moral justification for slut-shaming beyond “the majority of us want it this way.” It’s unclear, too, how it would be more effective than when purity culture tried it in the past”). This article reacting to Lily Phillips’s feat of having sex with 101 men in a single day had some striking discussion points (“The sexual revolution is getting it in the neck a lot right now. There’s Louise Perry’s The Case Against the Sexual Revolution. There’s the new cult of prim ‘post-feminist’ women and peculiarly angry ‘post-liberal’ men who basically trace the decline and fall of the West back to all that braless dancing at Woodstock. There are those armies of sun-starved blokes on the internet who say they can’t find a good woman because the sexual revolution turned them all into sluts with sky-high ‘body counts’, when the real reason they can’t find a good woman is because they tweet stupid shit like that”). This article, writing how the sexual revolution has been great solely for men. It is a nuanced, complication and divisive subjects. Whether there is a sexual revolution or there could be. If sites like OnlyFans are a positive force. However, what is clear, is that a sexual revolution should be one with no violence, coercion, force or exploitation. How AI and its role now is creating this new misogyny and sexism. Deepfakes and its evil. It is worth exploring modern sexual revolution and liberation and its multiple sides and discussions. However, I have been thinking about recent books I have read that discuss the power of porn and how it can brainwash or affect boys and men. The images it portrays and how women are treated stands in opposition to this idea of a sexual revolution where women can feel free, safe and alive. Pornographic script does not consider women’s pleasure. Government and police not perhaps taking incel sexual violence and crimes seriously. How women are made to feel violated and unsafe online. More needs to be done. New laws. How misogyny needs to be a hate crime. Topics and ideas that require…

A lot more discussion.

FEATURE: Beneath the Sleeve: Miles Davis – Kind of Blue

FEATURE:

 

 

Beneath the Sleeve

 

Miles Davis – Kind of Blue

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I don’t often cover…

IN THIS PHOTO: Miles Davis in 1959/PHOTO CREDIT: Everett Collection/Abaca

classic Jazz albums in my blog. However, for this feature, I was compelled to discuss in more detail one of the all-time best albums. Released on 17th August, 1959 and produced by Irving Townsend, this masterpiece was captured at Columbia 30th Street Studio, New York City. Even though it was a bigger success in the U.S. than it was in the U.K., this hugely influential album has reached listeners around the world. I am going to come to some features around Kind of Blue in a minute. Before that, I wanted to highlight some information from Wikipedia. In terms of its legacy and impact, few albums of the twentieth century are as important as Kind of Blue:

“Kind of Blue has been lauded as one of the most influential albums in the history of jazz. One reviewer has called it a "defining moment of twentieth century music". Several of the pieces from the album have become jazz standards. Kind of Blue is consistently ranked among the greatest albums of all time.  In a review of the album, AllMusic senior editor Stephen Thomas Erlewine stated:

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue possess such a mystique? Perhaps because this music never flaunts its genius. ... It's the pinnacle of modal jazz — tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. ... It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz — but it's hard to imagine it as anything other than a cornerstone of any jazz collection”.

There are some interesting retrospectives like this. Prior to getting to some reviews of a landmark album, this feature from 2022 talks about the making of Kind of Blue. I am not especially knowledgeable regarding the history of the album and its background. When researching for this feature, it was interesting reading about the players and details about the songs. It must have been such a powerful and memorable experience being at Columbia 30th Street Studio during March and April 1959:

“It was the spring of the year 1959, often considered as the greatest year of Jazz that one of the greatest Jazz musicians of all time, Miles Davis gathered a set of brilliant jazz musicians into the famous Columbia’s 30th street studio also known as “The Church”, an old reconstructed Greek Church in Manhattan, NY.

We take a look at what went behind the making of arguably the greatest Jazz album of all time – Kind of Blue, thereby also touching briefly on how Miles and Kind of Blue influenced Indian musicians leading to the release of “Miles From India” in 2008, almost after five decades since it was first released in 1959.

Miles From India is an album that features songs associated with Miles Davis but performed in new arrangements by American jazz musicians and performers from India.

Coming back to Kind of Blue, despite being quite unique, this album is ubiquitous among music lovers. Lovers & friends continue to give the album to each other even after 63 years of its release!

For many music lovers Kind of Blue is the only jazz album they possess. The ultimate album that one is most likely to have heard at a retail store, Starbucks, or at a friend’s place who claims to be a Jazz expert.

Yet, despite all those playing over the years, the record manages to still hold on and still sounds fantastic and inspirational, justifying all the attention it gets.

➡ Recording Sessions and Personnel:

There were two recording sessions, the first one commenced on March, 2nd and the second session was recorded on April, 22nd in 1959. ”43079” was the project number that Columbia had assigned the yet unnamed Kind of Blue session.

There was no written music given to the musicians by Miles and he had brought only sketches of what everybody was supposed to play as he wanted a lot of spontaneity in the playing.

As Bill Evans, who wrote the liner notes of the album puts it, “Miles conceived the setting only hours before recording dates arrived with sketches which indicated the group, what was to be played”

Kind of Blue was recorded with seven now-legendary musicians in the prime of their careers: tenor saxophonist John Coltrane, alto saxophonist Julian "Cannonball" Adderley, pianists Bill Evans and Wynton Kelly, bassist Paul Chambers, drummer Jimmy Cobb apart from the leader of the session himself, trumpeter Miles Davis.

Wynton played only on Freddie Freeloader in the original album. An interesting anecdote mentioned in Ashley Kahn’s A Kind of Blue book recalls how Wynton was surprised to see Bill Evans at the studio and almost left before Miles explained to him that he wanted Wynton also in the first recording session.

➡ The tracks of Kind of Blue

1. So What:

The album opener “So What” is one of the most famous compositions in jazz and is as energetic as the Kind of Blue album can get. Davis and Gil Evans were influenced by composer and pianist George Russell, author of The Lydian Chromatic Concept of Tonal Organization, a radical book of “modal” jazz theory.

The Piano chord played at the start by Bill Evans, another student of Russell is strongly reminiscent of the opening of Debussy’s “Voiles”, composed in 1909.

The melody and use of chords are also reportedly inspired by a tune called Pavanne by Ahmad Jamal who was one of the favorite Piano players of Miles Davis.

So What also inspired the personal theme of the fellow jazz legend and sideman for this session, John Coltrane. Coltrane recorded his tune “Impressions” a number of times in his career which he used to refer to as “So What” before settling the name as Impressions in 1962.

So what continues to be a Guitar player’s favorite, notably covered by Grant Green in 1961 and George Benson in 1971. Jerry Garcia along with David Grisman covered this for their 1998 acoustic jazz album of the same name.

[Watch the video of ‘So What” which was first aired, as part of the program titled “The Sound of Miles Davis” on July 21st, 1961 after being recorded in 1959]

2. Freddie Freeloader:

Freddie Freeloader is inspired by a colorful street character named Fred Tolbert who was friends with Miles in the heyday of the sextet. One of Tolbert’s business cards read simply “Freddie Freeloader” acknowledging his lifestyle.

Bill Evans wrote on the liner notes, that this is a 12-measure Blues form given new personality by effective melodic and rhythmic simplicity.

3. Blue In Green:

Despite Miles calling out that this was solely his composition, to this day this composition is credited to “Davis-Evans” on various albums by Evans.

As per Bill Evans, "Blue in Green" is a ten-measure cycle following a short four-measure introduction and played by a soloist in various augmentation and diminution of time values

Blue in Green is often considered the only composition from the album bordering on absolute minimalism in its expression and construction.

4. Flamenco Sketches:

A tune again claimed to have been composed jointly by Evans, This remains the most modal composition on Kind Of Blue. As Ashley Khan writes in his book, Kind Of Blue, this is also the most prismatic tune on the album, refracting a variety of influences (classical, impressionistic, exotic) into a haunting, pan-cultural theme covering a wide emotional range.

5. All Blues:

It was the last of the five tracks recorded which Miles once described as a slowed down version of his earlier composition “Milestones”. The interplay between Davis and Bill Evans is one of the highlights of the album.

The playing of Evans mimics a kind of strumming the instrument which probably was one of the qualities that attracted the legendary Guitarist Duane Allman, whose version of this tune titled “In Memory of Elizabeth Reed” became one of the big hits for the Allman Brothers Band.

➡ Flaws at the Time of Release:

Despite all the admiration the album garnered over the years, it also came with certain flaws. The Columbia designated A&R man and producer of this album, Irving Townsend failed to make an impactful distribution of the records to Disc Jockeys, Magazine reviewers and stores in a form that would command attention.

The cover close up of Davis taken by Jay Maisel from a show at Apollo Theater, a few months earlier was hardly inspired though the photograph of Miles taken by another photographer and featured on the back cover, relaxing on a stool during the recording session proved iconic”.

I am going to finish off with some reviews. I will start with one from the BBC. Obviously, it is near-impossible to find anything other than praise for Kind of Blue. However, it is how individual critics assess and dissect the album that is particularly interesting. I first heard the album when I was a teenager I think. Maybe not grasping its complexities and layers the first time around, I have come to fully appreciate and connect with Kind of Blue in years since:

“Long held as the jazz album that even non-jazz fans will own, Kind Of Blue not only changed the way people regarded Miles, it changed the very face of music itself. Consistently rated not just as one of the greatest jazz albums but as one of THE greatest musical statements of the 20th century, its 46 minutes of improvisation and sophistication remain peerless.

In the early 50s George Russell had raised the possibility of using a modal approach (i.e. playing within a certain scale, as opposed to according to a fixed chord sequence) as a way out of the straightjacket that restricted improvisation. Miles, at this time, was in thrall to hard bop, but by 1958's Milestones he was ready to try the modal approach, the title track being his first recorded foray into the form.

Kind Of Blue, released the following year, took the idea and developed it to an astounding degree. Its smoky evocation of late night ambience is a byword for laid back elegance. It uses the blues but transmutes those seventh chords into something that still sounds modern 50 years on. Quite simply, the sonic space it creates sounds like the coolest place on the planet.

Key to the album's deceptive ease is the band that Miles had assembled. Honed to perfection were the sextet of saxophonists John Coltrane and Cannonball Adderley, drummer Jimmy Cobb, bassist Paul Chambers and pianist Bill Evans (replacing regular Wynton Kelly on all but one track – "Freddy Freeloader"). All players were to have legendary careers, but it was Coltrane who took Miles' modal template and went furthest with it, with spectacular results.

Dispute still rages as to the role Evans had in the compositions (many regard him as at least a co-author, and he was an acolyte of George Russell's) but what we do know is that on the two recording dates that spawned this masterpiece, Davis, as usual, just laid out the song structures for the musicians on the day with no rehearsal (though "So What" and "All Blues" had been played live prior to this). From the opening murmur of the piano on "So What" to the final sad mute on "Flamenco Sketches", it never falters, despite its meandering pace. Even more miraculous, it never wears thin from repeat plays. Quincy Jones claims to play it every day. So should you”.

I am going to end with a review from AllMusic. In future editions of this feature, I will look at other genres and time periods. It is rare that I approach any albums from the 1950s. I love all of Mile Davis’s work. Each album provokes different moods and reactions. Kind of Blue has this romance and cool. It has a sadness, though I somehow feel warmer and nourished by it:

“Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps it's that this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band - Miles, Coltrane, Bill Evans, Cannonball Adderly, Paul Chambers, Jimmy Cobb, and Wynton Kelly -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes and chords before the tape rolled, and then the band improvised. The end results were wondrous, filled with performances that still crackle with vitality. Few albums of any genre manage to work on so many different levels, but Kind of Blue does. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection”.

Following Joni Mitchell’s Hejira into Beneath the Sleeve, this Jazz classic endures and inspires over sixty-five years since it was released. I can only imagine how fans reacted to Kind of Blue when it was released in 1959. Putting the album on the record player and experiencing this album that sounded like nothing else! Some people see Jazz as a joke. That maybe modern Jazz is more interesting and important. I would urge those people to listen to Kind of Blue by Miles Davis. It is a sonic experience that changes the senses. A steal on vinyl, you really must add this to your record collection! This spellbinding album will reach and move people…

FOR the rest of time.

FEATURE: Groovelines: TLC - Creep

FEATURE:

 

 

Groovelines

 

TLC - Creep

__________

A classic song from 1994…

IN THIS PHOTO: TLC’s Tionne ‘T-Boz’ Watkins, Lisa ‘Left Eye’ Lopes and Rozonda ‘Chilli’ Thomas

there is a bit of a bittersweet reason why I am featuring TLC’s Creep. Released on 31st October (appropriate given the title and link to Hallowe’en!), 1994, it is from their CrazySexyCool (1994) album. Often voted TLC’s best song. The main reason I want to examine Creep is that 27th May marks what would have been Lisa ‘Left Eye’ Lopes’s fifty-fourth birthday. We lost her in 2002 when she died in a car crash. One of the greatest rappers of her generation, she was only thirty. It is heartbreaking thinking how far she could have gone. However, we can remember her incredible solo work and the phenomenal contribution to TLC’s catalogue. Creep was written and produced by the legendary Dallas Austin. Someone trying to write a song from a ‘female perspective’, Creep is TLC coming from the viewpoint of women who cheat on their unfaithful lovers. It is a bit awkward evoking Lopes’s name as she was opposed to the song and threatened to wear black tape over her mouth for the video. I do feel a bit bad. However, her contribution in the song is key and Creep is a song I have wanted to cover for a long time now. Creep was TLC’s first number one on the United States Billboard 100.  A big reason to feature Creep is the remixes of 1996. That was when it was the single got its European debut/reissue. Included in the remixes was a rap verse written by Lopes which warns listeners of safe sex issue. I am going to get to some articles/features about the iconic Creep. A song widely played and loved to this day, it sounds so amazing. Lauded because of the narrative where women were taking control – something not that common of music in the 1990s -, the video is seen as one of the most memorable of all time. The outfits and pyjamas that TLC wore for the video created a stir. The pyjamas (they look like they silk outfits to be fair) created a sales surge. Some have noted how the camera angles used during the video and the outfits worn by the band members suggested sexual availability. There is so much when it comes to unpacking the video.

There were two versions of the Creep video shot before the final one came about. TLC were unhappy with the videos. I want to grab the below from Wikipedia and their research about the actual Creep video, as it provides some really interesting background. One of the defining music videos of the 1990s. One that has definitely influenced so many artists. Before coming to some features about Creep, it is worth getting to know a bit more about a music video that had some setbacks along the way:

“Expecting to show a new and more-mature side visually, TLC were in Los Angeles discussing the project when they saw a Matthew Rolston-directed music video for Salt-N-Pepa. Thomas said, "We were looking at it and said, 'Whoever did this video has to do the "Creep" video.' We fell in love with the way it was shot.” She said several times the video they had watched was "Whatta Man", however, during an interview with MTV in 1995, the show said it was "None of Your Business", a video also shot by Rolston that has more visual similarities to the final "Creep" video. Lopes recalled how adamant they were about redoing the video as they were returning to the music scene. When their management suggested having the video re-edited, the group declined and reached out to Rolston to schedule an August 1994 shoot in Los Angeles.

Rolston brought his team including make-up artist, wardrobe-hair stylist, dancers and choreographer, but had a few creative conflicts with the group. One involved the original routine created by Watkins, who had choreographed most of the group's early videos. She remembered Rolston's choreographer, Frank Gatson Jr., "locked" the girls out from providing ideas as they were practicing the new dance moves. The trio eventually dropped Gatson because they thought his version was not their "style of dancing", though two of his moves were adapted in the final clip. "To me, I didn't even think about, 'Well, can I really choreograph?' I was just like, 'Let me do my thing.' I just like to dance and I know when I like what I see. I like different kinds of stuff", Watkins stated. The "bend-down-and-jump-up" dance that appeared in the video was created by Watkins to "Foe Life", a song by rapper Mack 10, her spouse from 2000 to 2004.

Another dispute between TLC and Rolston was over their wardrobe. The director was interested in "tight and sexy" lingerie looks for them while they only liked baggy tomboy clothes. Combining the two, the girls ended up in bright colored, flowing silk pajamas "that took on an edge when all but one button was unbuttoned and wind machines were turned on high." Each custom-made outfit cost more than US$1,000. Thomas also talked about their exhaustion on the set: "People don't realize that for video shoots you have to wake up at like 5 in the morning for your call time. So when we did that part at the very end of the video where we're talking to the camera and looking all silly, we were so tired. But sometimes that ends up being your best shots." Eventually, she called Rolston's final product "excellent", while Lopes said that after two failed attempts the director finally gave them a "real video".

I will move to a Stereogum feature version. Before that, this article from 2015 grabbed me. There is not a great deal written about Creep. I think it deserves a lot more focus and love. However, the pieces written about it are interesting. Many might not know about TLC and CrazySexyCool:

“As I mentioned in my piece on the Gin Blossoms for 1994 Week, it’s strange to recall how slow the music industry moved back in those days. A song could still be popular years after its initial release and no one batted an eye—in fact, they’d probably still be singing along to it. These circumstances played an active role in my discovery of TLC, through the chart-topping success of both “Creep” and “Waterfalls” in 1995. At the time I had no idea about the larger implications behind each song, but that certainly didn’t keep me from singing the hook to “Creep” any chance I got.

Coming during the midst of the ’90s R&B renaissance, TLC’s reinvention from soulful hip-hop act to sultry powerhouse was sparked partially by Lisa “Left Eye” Lopes’ stint in rehab, as well as a stronger focus on the trio’s pop elements. With the emphasis put on the husky vocals of Tionne “T-Boz” Watkins and Rozonda “Chilli” Thomas, writer and producer Dallas Austin—who deals in pop hooks and Texas cities exclusively—played to their strengths. Which, to the detriment of Left Eye, isn’t razor sharp rapping.

Though it was originally released in 1994, when “Creep” topped the Billboard charts in January 1995 it signaled the started of TLC’s reign over R&B. As T-Boz would later note, the song was inspired by her own experience being stuck in a bizarre love triangle, and Austin pulled all the right facts to turn “Creep” into a powerful declaration that would cement the group’s new image. Gone were the oversized suspenders and glasses with a condom over the eye, replaced with silky pajamas and amped-up agency.

“Creep” would go on to mark the start of TLC’s ascendance to becoming the best selling all-girl group in the United States. After the promotional cycle for CrazySexyCool came to an end the band would have a pair of Grammys under its belt and a lot of inner turmoil to work through—due mostly to Left Eye being wildly underrepresented on its Grammy-winning album. When it returned five years later with FanMail, the band had another new look, a couple more chart-toppers (“No Scrubs” and “Unpretty”), and a newly unified vision. It proved that TLC was far more durable than a trend or any one single, all because it wasn’t afraid to creep toward its goals”.

I am going to wrap up with Stereogum and their The Number Ones feature. Creep was at the top of the U.S. chart for a month in 1995. I have edited the article down. However, I would advise people to read the whole thing. It is really compelling reading about the lead-up to Creep and how TLC came together and evolved. Some of the details about the song. The impact it created:

“None of the members of TLC had a hand in writing “Creep,” though T-Boz later said that the lyrics were inspired by a situation in her own romantic life. The whole TLC saga is its own kind of ethical, emotional mess. It’s the story of three women who came into the music business young and who were ruthlessly exploited by their handlers, to the point where they were barely making any money even when they were one of the most popular groups on the planet. By the time their story was over, one of those three young women hadn’t survived. And yet the actual music that TLC made during their brief run is glorious. TLC left behind a small catalog of gleaming, audacious pop. In their day, TLC sounded futuristic. Today, they’re timeless.

TLC’s 1992 debut album Ooooooohhh… On The TLC Tip was a bright little pop explosion. The three members of TLC wore outlandish day-glo clothes; Left Eye famously wore a condom over the left eye of her sunglasses, a safe-sex PSA that was also a ridiculous and indelible fashion statement. Even if the three members of TLC had been assembled by managers and producers, they radiated blissful camaraderie. All three members of the group had distinct voices and personas, but they all fit together beautifully. They seemed like they were great friends with each other, and it was impossible to listen to the album without wanting to be friends with them, too.

Ooooooohhh… On The TLC Tip went quadruple platinum, but the members of TLC barely saw any money. They eventually fired Pebbles as their manager, but they remained ensnared in an exploitative contract with Pebbitone. When TLC recorded their 1994 sophomore LP CrazySexyCool, Left Eye wasn’t in the studio much, since she was still going through court-ordered rehab for alcoholism. Dallas Austin had written “Creep” with TLC in mind. For a few months, he hadn’t even decided whether he liked the song, but it remained stuck in his head, and he eventually took it to the group. Left Eye never liked the song, and she refused to rap on it. Later on, she explained her objection: “I wasn’t down with the cheating on your man. For me, it’s ‘be faithful.’ I just didn’t know — is this the kind of message we should be sending out to people?… If a girl’s gonna catch her man cheating — this was my thing — instead of telling her to cheat back, why don’t we tell her to just leave?” Makes sense to me!

Unlike many of her ’90s R&B peers, T-Boz never went crazy with vocal runs. Instead, she sings “Creep” with a calm, confident depth. The warmth of T-Boz’s delivery is almost enough to convince you that the response of her “Creep” narrator is entirely reasonable, that it won’t lead to disaster. She slides over the track, describing fucked-up power dynamics with breezy no-big-deal calm: “If he knew the things I did, he couldn’t handle it/ And I choose to keep him protected.” Chilli’s backing vocals tenderly surround T-Boz’s voice, propping her up. “Creep” is jammed with sly little hooks, and T-Boz delivers those hooks with effortless panache. That’s just charisma at work. Only T-Boz could make retaliatory cheating sound cool. It takes a whole lot of pop-music magic to turn a squalid, complicated situation into a four-minute party jam, but TLC had that magic.

Maybe that coolness is why Left Eye didn’t want anything to do with “Creep.” Left Eye pushed against releasing “Creep” as a single, to the point where she threatened to wear tape over her mouth in the video. Eventually, she recorded a verse for Dallas Austin’s DARP Remix of “Creep,” and she used that verse to warn of the dangers of creeping: “Creepin’ is the number one item on the chart/ Rippin’ families apart, the leading cause of a broken heart/ Injuries can be fatal, may infect the prenatal/ HIV is often sleepin’ in a creepin’ cradle.”

In the end, Left Eye didn’t wear tape over her mouth in the “Creep” video — which is good, since the group ended up making three videos for the damn song. The label scrapped their first two stabs at the clip, including one with Boyz II Men director Lionel C. Martin. The third time for the “Creep” video was the charm. Working with Salt-N-Pepa director Matthew Rolston, TLC didn’t dramatize the “Creep” lyrics. Instead, TLC wore silk pajamas — a compromise between the tomboyish style that the group preferred and the sexy lingerie that their label wanted — and hit instantly-iconic synchronized dance moves, looking just as cool as they sounded. Even if you objected to the situation that “Creep” described, you probably still wished you were friends with TLC.

It took months for “Creep” to creep its way up the Hot 100 before it finally became TLC’s first #1 hit. A few days after “Creep” reached #1, CrazySexyCool was certified double platinum. It would go on to sell a whole lot more than two million records. TLC had plenty of hits on deck, and we’ll soon see them in this column again.

GRADE: 9/10”.

It is sad that Lisa ‘Left Eye’ Lopes is not around to see the legacy she left. I wanted to mark what would have been her fifty-fourth birthday on 27th May. Even if she was uncomfortable with some aspects of Creep and its video, she was a big part of its success and durability. You can hear and feel its D.N.A. in music released from artists since 1994. Another song that will never sound dated, it will continue to inspire artists. It is among my favourite tracks of the 1990s. A defiant anthem with an original subject matter, no wonder it was such a success and acclaimed song. Over thirty years since it topped the U.S. chart, the sublime Creep…

STILL sounds untouchable and superb.

FEATURE: Feminist Icons: Yara Shahidi

FEATURE:

 

 

Feminist Icons

PHOTO CREDIT: MaxMara/Yara Shahidi

 

Yara Shahidi

__________

YOU may know…

PHOTO CREDIT: Xavier Dolan for ELLE

Yara Shahidi from her acting work and credits like Black-ish (2014–2022) and its spin-off series, Grown-ish (2018–2024). She has also appeared in the film, The Sun Is Also a Star. In 2023, she starred in Peter Pan & Wendy as Timkerbell. She also was an executive producer on and star of the romantic comedy-drama, Sitting in Bars with Cake. Go and follow her on Instagram. I am including her in Feminist Icons as she is someone who is an activist that has used her platform to advocate for issues like voting rights, BIPOC rights, and the Black Lives Matter movement. Shahidi actively encouraged young people, especially girls, to become politically engaged. I am going to bring in a few interviews with this amazing activist and role model. Heading back to 2017, for W Magazine, Yara Shahidi discussed her relationship with former First Lady Michelle Obama, female empowerment, and Beyoncé’s Pregnancy:

“It started one fateful day,” said actress Yara Shahidi on a recent Friday in March. “I was going to a Beyoncé concert and wearing Ivy Park.” Like all good stories, no?

A fan of Beyoncé (naturally), Ivy Park (ditto), and women’s empowerment (same), Shahidi met the executive team behind Beyoncé’s athleisure label at that concert. They soon recruited her to appear in the latest campaign for Ivy Park, a series of images also starring SZA, Selah Marley, model Sophie Koella, Beyoncé herself and protégées Chloe and Halle Bailey—“my BFFs,” Shahidi said of the sisters, who had just wrapped up their European tour.

“It’s pretty cool to have friends where you can say that: Oh, yeah, they finished their Europe tour,” Shahidi said. “We had to take a moment mid-shoot to just hug it out.”

When we spoke, Shahidi was on a brief break from shooting the third-to-last episode of Black-ish’s third season—and she was about to begin shooting the pilot for the rumored spinoff series featuring her character, Zoey Johnson. While the initial buzz around that spinoff indicated it would follow Zoey’s escapades at college, Shahidi noted the pilot merely begins to plant the idea that Zoey will pursue higher education. (“I can’t give away too much detail,” she told me.)

It had been just more than a month since the campaign debuted at the end of January. Ivy Park Spring 2017 features exclusively women of color and emphasizes the physical and emotional strength of its stars. They’re depicted in their preferred workout environments, and Shahidi gave an interview accompanying the campaign in which she described the balancing, centering dimensions of her karate practice.

“I’ve gotten a lot of questions about if it’s scary to be on a public platform given the current administration and given that I’m a black Iranian,” Shahidi told me, referencing the travel and immigration ban to six predominantly Muslim countries, including Iran. Shahidi’s father is Iranian, and members of her extended family still reside there. “I say that to say, companies that are still supporting individuality—that are still supporting self-empowerment—are so crucial.”

For Shahidi, who made her screen debut in Entourage on television and Imagine That on the big screen nearly a decade ago, her on-camera work and activism have long been intertwined.

“If you look at the history of art and fashion, it’s always been political. It’s always been pushing boundaries,” she said. Last year, she founded the mentoring organization Yara’s Club with the support of the Young Women’s Leadership Network; she said she has also been educating herself on local elections and grassroots campaigns: “Midterms will come up and there will be so many of us that can vote,” she said. “It’s more important, too, to not just vote during midterms, but if you’re of voting age—or even if you’re not of voting age, like I am—there are ways to make changes and be involved, versus this feeling of helplessness because we don’t have any political sway”.

I want to move to an article from 2018, where we learn more about Yara Shahidi’s powerful role as a policy-adjacent leader. They highlight how she has used her platform for “feminist and self-empowerment activism. Focused on challenging eminent social issues such as structural racism, sexism and classism, Shahidi encourages young people to become more politically engaged”:

“One of the most notable contributions of Shahidi’s philanthropy is her partnership with Young Women’s Leadership Network (YWLN) to create Yara’s Club, an online mentorship-based program inspired to “...empower youth to defeat poverty through education.” She also founded an initiative known as Eighteen x ‘18, which focuses on increasing voter turnout for the upcoming midterm elections in November by marketing politics towards younger generations.

Shahidi’s activism inspired former First Lady Michelle Obama to write her a letter of recommendation for Harvard University. She also had the honor of interviewing Hillary Clinton forTeen Voguelast year. Recently, Shahidi made headlines for being supported by Oprah Winfrey, whom she was interviewed by for Super Soul Conversations, to perhaps become the future president of the United States.

In an interview with Vogue, Shahidi stated, “My dharma, my purpose, is not to live in a self-centered world; to feel like one day I can look back and feel like what I did mattered.” In her acceptance speech for an EssenceGeneration Next Award in 2016, she perfectly summarized the influence of women leaders by stating, “It is my belief that there is an unspoken poetry of how the women in this room move through the world, not only as artists or creators, but as revolutions and revolutionaries…”.

Shahidi is a young, empowering example of true dedication to current leading matters for activism. Along with women in the public service, policy-adjacent supporters and political influencers like her play a seemingly essential role in captivating the next generation to join a social movement they believe in. She is, truly, a role model for those who wish to be part of an inclusive narrative inspired to overlook differences and instead unite humanity back together to create direct change in policy”.

I will end this feature soon. Before that, I want to look back to 2023. Yara Shahidi, when she appeared in Peter Pan & Wendy, became the first Black woman to play Tinkerbell. A huge move when it came to representation on the big screen, it is not always met with applause. Many people accusing films of being ‘woke’. The same sort of vitriol that Halle Bailey reived when she played The Little Mermaid in the 2023 film. However, these are important castings that are long-overdue. It is a shame that there is racism levied at these actresses when these films come out. Yara Shahidi was amazing in Peter Pan & Wendy and inspired so many girls around the world. For this feature, Shahidi spoke with a nine-year-old fan, Isla:

“During the interview, Yara Shahidi opened up about her views on feminism, emphasizing that it is about celebrating every aspect of oneself, including the imperfections that make us human.

She also shared her passion for empowering young girls to speak up and make their voices heard, highlighting the importance of providing them with the space and opportunities to do so. According to Yara, even simple actions like asking for their opinions can help train girls to recognize the value of their perspectives. Finally, she spoke about believing in oneself and chasing one's dreams, acknowledging that it is a journey with ups and downs, but emphasizing the importance of understanding that every person is worthy of being in any space they occupy, regardless of their level of confidence.

Isla's mum, Charlotte, expressed how much the moment meant to her daughter:

"Getting invited to interview Yara was one of the most special moments of Isla's life and it was such an amazing experience as a mother to see Isla involved with. Isla got to ask such important questions about the significant of following your dreams, how to get your voice heard and being inspired by your role models to never give up and believe in yourself.

According to Isla's mother, Charlotte, the phone call informing them that Yara had invited them to the premiere that evening was the most thrilling phone call. Isla had interviewed Yara earlier, and the actress had been so impressed that she invited Isla to attend the premiere of "Peter Pan and Wendy." Charlotte was overjoyed to see her daughter's excitement and realize that others had recognized how special she was and wanted to provide her with a once-in-a-lifetime opportunity.

"Isla has had a difficult few years," Charlotte continued. "But she has faced these difficulties with such maturity and consideration for me. She’s such a kind and loving girl; she truly deserved to see what you can achieve if you believe in yourself."

"Attending the premiere with all the other actors and press was surreal. Yara and her team made such a fuss of Isla and she has not stopped talking about this experience.

Her confidence to follow her dreams and be herself has grown, it’s been such a wonderful thing to be part of. Isla is passionate, like me, about equality, feminism and empowering young girls. Isla could see how important self-belief and dreams are and now knows she can achieve hers.

"Getting the chance to ask Yara how it felt to be the first Black woman cast as Tinkerbell was also a moment we will always be proud of. Isla was able to see a young woman who represents her ethnicity stand proud and tell her how special she is and what it feels like to get to where she has.”

At The Female Lead, we strongly believe that young girls should be exposed to positive role models who inspire and empower them to believe in themselves and their dreams. As we have seen through Isla's experience, meeting a role model can be a life-changing moment that gives young people the confidence and self-belief to achieve their full potential. By providing access to stories of female leaders, innovators, and trailblazers, we hope to encourage the next generation of young girls to follow in their footsteps and make a positive impact in the world. We are proud to be part of a movement that supports young girls in achieving their goals and realizing their full potential”.

This is someone who will change society and policies. Away from being a hugely talented actor – whose biggest role and breakthrough appearances lie ahead – and a style icon, she is somebody who is this awe-inspiring activist and campaigner. In her mid-twenties, we are going to see her make huge changes in the world in the coming years and decades. A spokesperson for the young generation, not just in terms of social activism, gender equality and women’s (and girls’) rights, she is also a political activist. Someone who is endlessly impressive. This from Business of Fashion provides some illuminating background of Yara Shahidi:

“Among her generation Shahidi is known as an activist for feminism and STEM awareness, passions that spawned early and may be partly hark back to her paternal grandfather who spent time with the Black Panthers in their heyday. Shahidi’s father is a cinematographer and photographer, who had a stint as Prince’s personal photographer. Inn high-school she started Yara’s Club, a partnership with the Young Women’s Leadership Network, which provides online mentorship with the goal of ending poverty through education. For her birthday iIn 2018, the activist launched Eighteen x 18, a national initiative that encourages civic engagement and voting from young people. In 2018, Shahidi enrolled in Harvard intending to double major in sociology and African-American studies. She was supported by a recommendation by former first lady, Michelle Obama, commending Shahidi on her efforts to effect social change.

In 2016 Shahidi signed with Women Management, a New York-based agency, and she has since become known as a Gen-Z style icon for her red-carpet choices, styled by Jason Bolden , and her wardrobe as Zoey Johnson in “Black-ish,” working with costume designer Michelle Cole. Shahadi has also graced the covers of multiple notable titles, including Harper’s Bazaar Araba, Porter Magazine, Elle UK and became a US Ambassador for Chanel. She has also graced the cover of the Summer 2019 issue of Porter and has modelled for Beyoncé’s Ivy Park. The rising star is set to star in Stan Lee’s Audible drama “A Trick of Light”, as one of the platform’s exclusive audio tales”.

I am going to leave things there. At a time of Donald Trump’s tyranny in the U.S., Yara Shahidi’s voice and activism is even more important. With women’s rights and body autonomy being taken away, and there being this rise in misogyny and violence against women around the world, she is someone whose voice and platform is so hugely crucial. I would advise people to do a lot of further reading and investigation. Yara Shahidi appearing on Season 2 of the Women’s Perspective podcast. Check out this interview last year from Harper’s Bazaar. In it, Yara Shahidi talks about finding her feet with fashion. A new Elle interview where she talked about her new podcast, The Optimist Project. This is what she said about the year ahead:

“'I really feel like I've gotten to usher in the new year activated in all the spaces that I love and that bring me joy. I'm driving to a movie set right now, I've just filmed two podcast episodes, my friend just texted me a picture of this Gucci campaign ad being painted in Soho on the corner that I usually stay on, I'm about to celebrate my 25th birthday... I spent New Year's Eve on the beach journalling with my best friend, and the thing I came to was that 2025 is the year of trusting my gut, in all senses of the term. It's time to take probiotics, it's time to lean into intuition”.

I first came across Yara Shahidi through Black-ish. Obviously a fan of her acting, in years since, I learned more about her activism and wider interests. Her passions. If many know her as an actor and style icon, she also has another side as an activist and campaigner. To me, she is a feminist icon who will and has changed lives. I think she will go into politics in years to come. Make enormous changes that impact so many women and girls around the world. Everyone reading this should…

KNOW her name.

FEATURE: Spotlight: Revisited: Nieve Ella

FEATURE:

 

 

Spotlight: Revisited

PHOTO CREDIT: Bella Howard for CLASH

 

Nieve Ella

__________

MY next…

PHOTO CREDIT: Rachel Billings for NME

Spotlight: Revisited will be of a male artist. However, there are some great women that I included in my Spotlight series a while ago that I was keen to come back to. The amazing Nieve Ella was someone I spotlighted in 2023. She has gained a huge amount of press and love since then. Her incredible Watch It Ache and Bleed E.P. was released back in October. One of our very best artists, everyone need to listen to her. I want to bring in a few interviews with this incredible talent. I want to start out with a 2024 interview from NME. The Shropshire-raised artist captivated fans during lockdown with these amazing anthems. Now, there was this era of “unapologetic joy”:

“Hidden behind a faux telephone box in guitar manufacturer Gibson’s London office is a private bar – a Narnia-esque hideaway where Nieve Ella is taking a brief moment of respite. NME meets the musician born Nieve Ella Pickering amid a 19-date festival run, which will be immediately followed by a six-week tour with Girl In Red. There, she’ll play Wembley’s OVO Arena – ticking off a major bucket list goal at 21 years old.

Lounging on a distressed brown leather sofa, Pickering seems at ease in stillness. She’s given away only by a suitcase lying in the corner, slightly battered from the almost daily trips away from her home, a tiny village in Shropshire.

“It’s so weird going back and forth,” she says, widening her eyes. “There’s nothing at all to do with music at home. I mean, there’s nothing like bloody this.” She gestures to the purple walls around her, laden with shining guitars.

She’s planning to make London her permanent home this year, but the finality of the move weighs on Pickering, who is ambitious but hesitant to close the door on her childhood. It’s a theme that’s imbued much of her music to date – most of which was written on the bedroom floor that now exists solely as a crash pad between trips to the capital.

“My room is my sacred place; that’s where I’ve become who I am,” she says, pensively tracing one of the many silver chains hanging from her neck. Though Pickering’s bedroom clutter may be slightly more glamorous than her peers – it’s littered with guitars and outfits from her recent European tour with Irish rock band Inhaler – this seems to be a sentiment shared among a generation who came of age during lockdown.

In this way, Pickering’s music tells the story of British suburbia and its fleeting encounters with the culture brewing in the cities just out of reach. Her debut EP ‘Young & Naive’ encapsulated the frustration of existing within a society that eschews the needs of young people – evident in their lack of representation in recent election debates. Through a string of pop-inflected, indie-rock singles so far, she’s chronicled the feeling of wanting everything but having nothing, obsessing over pop stars (‘Blu Shirt Boy’ is written about Harry Styles) and daring to dream larger than the confines of rural England.

Even her introduction to music, via the X Factor’s gleaming portrayals of the industry, was informed by an upbringing on the outside. She recalls Alexandra Burke’s winner’s montage as a core memory: “I was so obsessed with the fact that she was a normal person, and then all of a sudden, she became this star. I was just so infatuated with the fact that that could happen.”

But it wasn’t until lockdown, when she picked up a guitar that had belonged to her late father for the first time, that she began to take music seriously. “The songs came out of me and then just didn’t stop,” she smiles.

In line with others whose musical careers were born in the pandemic, she later amassed a fanbase on TikTok. But though Pickering, born in 2003, is a digital native, it’s the hand of live music that’s guided her career.

One day, while on shift in her mum’s shop, she heard via the soft hum of the local radio that Sam Fender was performing in Birmingham that night. She left work early and convinced her friend to trek into the city with her, hoping to gain access to the sold-out gig. In the queue, they happened upon a man giving up his ticket, and then, at the box office, they managed to score another – the last one left. “It was already fate,” Pickering smiles. “And then, this guy that I really fancied at the time appeared.”

They ended up dancing with him and his friend all night at a gig she likens to a spiritual experience. The friend is now her touring drummer, and the guy ended up as the muse for her first EP. “I fully believe that whole day was supposed to happen. Even though he wasn’t the greatest and I’ve written pretty harsh songs about him,” she grins. “I wouldn’t be sitting here if it wasn’t for that day.”

Fender’s music, unsurprisingly, holds sentimental value for Pickering. It manifests in the shades of British indie rock that have moulded her sound – notably a scene that’s excluded women for decades.

The genre has evolved, but for Pickering, getting beyond the barrier has been an uphill battle. She recalls one early experience with an older male producer: “I came in wanting to write a rock song and he was like ‘Nah, that’s not you. You aren’t good for that. You need to write girly pop music’”.

There are a few really interesting articles/interviews that I want to move onto. CLASH spotlighted Nieve Ella in their Next Wave feature recently. I discovered her music a while ago, but the rise and new attention she has accrued in the past year has been amazing to see! A tremendous artist that is going to be a global superstar very soon. She has the talent and passion to be one of the world’s biggest artists:

“Nieve Ella is a force of nature. Coming of age on transitional EP ‘Watch It Ache And Bleed’ – a melange of caustic lyricism and indie-pop anthemics – the West Midlands-bred, London-based singer-songwriter is intransigent about her art. “I don’t want to release an EP again. I just want to release an album now; I want to release a project that I can really make a whole world around,” she tells CLASH.

Nieve Ella isn’t working on something specific just yet, even though she’s writing all the time. “I just need to keep going, I need to keep making art. If I don’t write about how I feel, I’ll literally go crazy!” She feels, she writes, she releases, and repeats; in both a figurative and a literal sense, with a steady stream of singles and EPs chronicling the last few years of her life in real time.

Between 18 and 22, though, you change quite a lot. Most people’s progress is tucked away in a camera roll, a notebook, a finsta, but Nieve’s belongs to other people now, on their playlists – maybe even lyrics copied down into other people’s diaries. “I thrive for that change,” she says. “I look back and think it’s so cool that I did that. I’m so proud of myself, even though some songs cringe me out! I’ve always said I’m never playing ‘Blu Shirt Boy’ [a song written about Harry Styles] again, but I’m coming to a realisation what songs mean to the fans is so much more important.”

“I remember demoing it. I was having fun. I was 18, and I was just so happy I was writing songs,” she continues. “We’re going to rehearsals next week and I want to see what [Blu Shirt Boy] feels like – if we can change some stuff that makes it feel a bit more like me. Or it might not change at all. It’s a normal thing that happens, right? You lose interest in parts of you that were you when you were 18.”

When you write so personally, it can be hard to find people who get you enough to write with you. “I wrote with Will and Nick from Flyte a couple years ago, and they’re my songwriting heroes. It was amazing, it was the best experience but I know it won’t always be like that.” Who does Nieve dream of writing with now? “For me, it was always Sam Fender,” she says, then doubles back. “But Sam Fender writes from his own life, and that’s not my life”.

PHOTO CREDIT: Ed Miles for DIY

There are a couple of other pieces to include. DIY are big fans of her music and inducted Nieve Ella in their Class of 2025 in February. This Gen Z icon-in-the-making discussed her Sam Fender appreciation to making a statement with her music, this is an artist who is connecting with a generation of fans. People who can relate to her and connect. She is an idol to many:

“The 22-year-old says she “can understand so much” why Chappell Roan told fans in August that she needed “to draw lines” between herself and an increasingly large and demanding fanbase. “I’m not at the level where people are coming up to me every single day, so when they do I’m like, ‘Let’s have a conversation. You wanna take a photo? Let’s do it’,” she says. “But if that happened to me everywhere I went, I probably would feel the exact same as her.”

Nieve grapples with her growing profile on ‘Sugarcoated’: a driving highlight from her third and most recent EP, ‘Watch It Ache and Bleed’. Released in October, the eight-song set cements her status as Gen Z’s real and relatable indie queen. When she sings, “I’m burning the candle at both its ends / How can you handle a thousand friends?”, it’s a reference to the whiplash she felt as she embarked on nationwide headline tours and support slots with the likes of DYLAN and girl in red. In September, she opened for the latter at London’s 12,500-capacity Wembley Arena.

“I was so fed up and frustrated when I wrote that song,” Nieve says. “I felt like people on the internet and at shows thought I was this happy, sweet person. And I AM happy and I CAN be sweet, but I’m also so sensitive.” The Shropshire-born musician adores performing, but still struggles with the idea of having “thousands of people staring” at her on stage. “And when you’ve got people on the internet wondering where you’ve been because you haven’t posted on TikTok for three days, that’s just mind-boggling,” she adds.

Social media also evokes mixed feelings in the singer. On the one hand, she likes to unwind by watching Instagram Reels of “people cooking food or giving birth”. But on the other, posting can feel like homework. A week after she created a second, more low-key TikTok account – “It’s not private,” she says, “but I don’t share it anywhere” – it had already attracted 7,000 followers. That’s a fraction of her main account’s 114,000, but it still heaps pressure on her. “When I started my new TikTok, I felt like I could post whatever I wanted,” she says. “But now there’s more people on there, I’m like, ‘Oh crap, I need to post something before people start asking what’s going on’.’’

Of course, TikTok has been integral to Nieve’s rise from the start. She built a fanbase on the app during the pandemic, first by posting covers, then her own indie pop originals. When lockdown gripped the country in 2020, Nieve Ella Pickering (to use her full name) picked up a guitar belonging to her late father and learned to play from online tutorials. Songwriting came naturally – “I don’t actually know how I taught myself,” she says – and a Sam Fender gig proved formative. When she made the 30-mile trip from her “tiny” Shropshire village to the bright lights of Birmingham, her hero didn’t disappoint. “I was pretty drunk, but the way he used instruments with lyrics that are so deep-cutting, it just blew my mind,” she says.

TikTok also introduced her to Finn Marlow, her guitarist, songwriting partner and “best friend in the world”. Nieve recently moved to London, but today she’s speaking to DIY over Zoom from Maidenhead in neighbouring Berkshire, where she and “the boys” – Marlow and her producers – are working on new material. Over the last four days, they’ve written “seven or eight songs”, and the creative rush spills over into her conversation. Candid and chatty, she says she’s “not a worldly person” and confides that she initially struggled with “finding the right words to use in lyrics” – an insecurity that stems from “always being in the lowest sets for English” at school. But both in person and in her songwriting, Nieve is a born communicator.

Nieve has “big dreams” of teaching herself to produce her own music. She also wants to expand her palette of collaborators so it isn’t just “the boys” downstairs. “Maybe in LA there are way more female producers and writers, but I feel like I don’t experience that a lot here,” she says. “My goal is to be that woman producer who brings in younger women and makes them feel comfortable [in the studio].” Having been in songwriting sessions with older men she didn’t gel with, she knows first-hand how stifling this dynamic can be. “It’s really difficult to open up to anyone about your feelings – even the people I write with now, who are my best friends,” she says.

Building a musical community is clearly important to the singer. Before she moved to the capital a couple of months ago, her London base was the family home of fellow indie wunderkind Fred Roberts. “We’re two musicians who found each other at the right time. We make different music but have the same dreams and goals, which is so inspiring,” she says. Nieve also appreciates that she was lucky to have somewhere to crash when money was tight early on. “If I ever win an award, they’ll be the ones I thank,” she notes”.

I am going to end with another feature from CLASH. Writing in February, they observed how her Koko show (in London) felt like a moment. Since then, Nieve Ella has a run of incredible gigs coming up. She is playing Count Bestival, Reading & Leeds, and Isle of Wight. I wonder when she will be asked to appear at Glastonbury on their Other Stage. That cannot be too far away:

“Opening for her on this tour, Fred Roberts is charmingly overwhelmed. 

“This is a pretty cool thing to do on a Wednesday,” says he, his low speaking voice then translating into mellow sung vocals. Accompanied by lead guitarist Rosie, Roberts works through a confident half-hour, including a dreamy, slowed-down cover of Sabrina Carpenter’s ‘Taste’ which works well to get the packed venue singing along – it’s obvious Roberts has plenty of fans of his own in the house tonight.

Another highlight is Roberts’ rendition of his first-ever single ‘Runaway’. “Let’s get hyped!” he urges here – a bit more at this level of energy would have been good, but it’s a warmly-received and accomplished support set. 

It’s Nieve Ella’s turn now and she wastes no time showing us how thrilled she is to be on this stage – her biggest headline show to date. Backed with her rock star look and mellow, pop-inflected sound, the dramatic build of ‘Anything’ makes for a thrilling opener. ‘The Things We Say’ follows: this emotive and heart-torn song delivered with a grin which Nieve cannot suppress.

PHOTO CREDIT: Mollie McKay

The first huge singalong of the evening comes in old-favourite ‘Blu Shirt Boy’, before Nieve and her band are joined by a special vocal quartet on stage to add ad-libbed harmonies to ‘Sweet Nothings’. The unreleased ‘Good Grace’, described as “Ganni Top’s little sister” is forceful, sexy and fun, and precedes a slowed-down section of the set during which Nieve covers Role Model’s ‘Look At That Woman’, duets (seated and embracing) with Fred Roberts on ‘The Reason’, and showcases her vocal abilities, hitting long soaring notes in ‘Glasshouses’.

Energy restored, Nieve powers through the remainder of her main set. ‘Lucky Girl’ is casually dropped in: “this is a treat for you” says Nieve, introducing the live debut of what proves to be an intense rock ballad, sung with hoarse passion. ‘Ganni Top (She Gets What She Needs)’ feels like the pinnacle of it all, the rolling, rock-and-roll riffs and pounding backbeat easing – after the inevitable “Screeaaam!” – into the raucous chants of the pre-chorus. 

‘Meet You In The Middle’ takes us smoothly and euphorically to the “end” of the show. “Brace for what’s coming…  I’m tired of being silenced / Won’t forever hold my peace”… This feels like something of a catharsis and triumph for Nieve: a solo statement of female power, strength and resilience. 

Having packed 14 songs into about an hour, Nieve disappears off-stage for barely a minute before returning to play a musical interlude and then a three-song encore (plus a ‘Happy Birthday’ to bassist Fran). It all culminates in a wondrous, pogoing ‘Sugar Coated’, ending the show in a wave of good feeling.

It’s been an impressive and confident performance – and it’s obvious Nieve has been having a lot of fun. She’s at that level where new experiences and achievements are coming thick and fast; she’s rolling with it, finding new levels of skill and strength – and also, refreshingly, remaining a little bit in awe of what’s happening”.

One of our most special artists, there is no telling how far Nieve Ella can go in years to come. Many will look ahead to a debut album. There will be huge global stages in her future. Some big U.S. dates. I am pumped to see where she heads. Someone whose music I have loved for years now, I think he rest of this year is going to provide so many terrific memories. If you do not currently know Nieve Ella then go and…

FOLLOW her now.

___________

Follow Nieve Ella

FEATURE: Crossing the Line: The Proliferation of Derogatory Lyrics Against Women

FEATURE:

 

 

Crossing the Line

PHOTO CREDIT: Ketut Subiyanto/Pexels

 

The Proliferation of Derogatory Lyrics Against Women

__________

I was recently stunned…

PHOTO CREDIT: Julian Cordero/Pexels

by a recent article from The Telegraph that suggested women in music are driving misogyny. That negative language about other women is the reason for the proliferation of misogyny in music. Even though The Telegraph is a right-wing sh*t-rag, it still seemed such an unprovoked and weird take! Nobody would say women in music are fuelling misogyny. There are some songs from women where they are negative towards other women. That is not misogyny. If you listen to many of the major female artists in the mainstream, there are not loads of songs where they hate on women. It is such a bizarre and misinformed view of misogyny and where it is coming from! If you think about all the most aggrieve and explicit lyrics aimed at women that dehumanise and debase them, they are not coming from women like Taylor Swift, Chappell Roan, Doechii, Sabrina Carpenter or Charli xcx. That is what The Telegraph are seeming to suggest. Discounting that as a seriously deluded article that, in itself, is misogynistic, there is another article – from an actual journalist for a respectable site – that took a look at derogatory lyrics against women in music. Far Out Magazine provided a fascinating article about the proliferation and seeming rise of misogynistic lyrics by male artists. That article was published on 18th April:

“While women have risen, derogatory terms have flourished. A recent study by Startle analysing 600 chart-topping songs across six decades (1974 and 2024) actually draws attention to the troublesome fact that objectification and empowerment in the music industry are still two very distinctive and mutually exclusive strands. According to their findings, the biggest shift occurred at the turn of the century, specifically from 2004 onwards, with a 1,383% increase in female-negative words compared to the previous decade.

Which terms have seen the biggest rise?

Looking at Startle’s research, it’s easy to guess which words have become the most referenced by artists across the board. Actually, and perhaps unsurprisingly, there has also been a spike across rap and hip-hop, especially in recent years, with artists like Kendrick Lamar frequently turning to terms like “bitch” in his work. While including ‘freak’ in song lyrics became something of a trend from 1984 onwards, 60 other terms, including “bitch”, spiked from 2004 onwards.

However, while this increase began in 2004, with the word featuring in songs 18 times, this number nearly doubled in 2024, particularly following songs like Lamar’s ‘Not Like Us’, which uses the word six times. This isn’t a new trend within Lamar’s discography, but it does demonstrate a broader cultural consciousness where such terms are overlooked despite the increase in female dominance in other musical spaces. Other terms, like “hoe”, have also seen similar increases.

IMAGE CREDIT: Far Out Magazine/Markus Spiske

And while all of this has been happening, positive language has decreased. For instance, words like “beautiful”, “honey”, and other terms of endearment have declined by 85% over five decades. That said, while this stark contrast to culture and progression seems dramatic, it, unfortunately, isn’t all that surprising, considering the length of time it usually takes for institutions or certain spaces of the arts to catch up when it comes to equality and representation.

According to Startle CEO Adam Castleton, while we continue to acknowledge and celebrate the increase in female presence across popular music charts and other spaces of the industry, we must also understand that the reasons for the rise in derogatory language are complex. “Firstly, some music genres – like rap, hip-hop and drill – are centred on the hyper-masculine principles of dominance, status and the objectification of women,” Castleton tells Far Out.

“The commercialisation and rising popularity of these genres means labels are likely to prioritise content that fits into established, lucrative formulas, which sometimes include misogynistic themes,” he continues, arguing that the same is true “when it comes to what sells more broadly”. In his view, because the music industry is still male-dominated in many places, and many women feel “pressured to conform to what the industry expects”, choices like “hyper-sexualisation” are usually made by predominantly male labels and execs.

However, he also suggests that another reason for the rise could be the influence of “virality” in the age of social media. After all, “shocking or controversial lyrics”, he says, are often the lifeblood of viral social media trends, which can bleed into streaming sites like Spotify and Apple Music, where listeners can “easily access uncensored lyrics”. While many artists will often have to give credence to some sort of radio edit, this exclusivity on streaming platforms can sometimes encourage them to use such language in their art.

However, while there’s a lot at play here, Castleton also argues that a change can occur when there’s a “wider cultural shift and avoidance of controversial music”. As mentioned previously, some of this can be attributed to women reclaiming the language as terms of empowerment, but this coasts a fine line more often than not, with some contexts “easily reinforcing a cycle of derogatory representation instead of breaking it”.

There are some key takeaways. How women, when they use seemingly derogatory language, it is about empowerment and taking back control. It is not about hating women and misogyny. When men use it, it is very much about ownership and possession. Women being seen as property and assets. It is not reserved to underground artists. Even huge names in Hip-Hop seem to use women as pawns and objects. In the midst of the rather pathetic and toxic beef with Drake, the way women were portrayed in some of the songs (such as Euphoria) was appalling. It is nothing new. If a genre like Drill or Rap has a tradition of aggression and misogyny towards women and that seems to be what makes artists popular then new acts coming through will carry on that legacy. Also, the idea of ignoring the music or listening less. In an age where this music can spread rapidly, it is going to be heard and shared even if people stop listening. Women reclaiming certain words and terms. It is down to men in these genres to change the narrative and to change their ways. How likely and easy is this?! At a time when there are incels and social media influencers brainwashing young men and normalising misogyny and abuse of women, will we see a rise in these derogatory and disrespectful lyrics?! I caught this Far Out Magazine and it shocked me. Women like Lizzo (Juice), Rihanna (Bitch Better Have My Money) or Doja Cat (Paint the Town Red) using the word ‘bitch’ is a playful or authoritative way. Not attacking women. It is about confidence. They are not abusing other women. Maybe that is where The Telegraph got confused. Not understanding context and intent. That or they just love fuelling hatred against women. In any case, Kelly Scanlon’s words above are much more factual, illuminating and evidence-based. With women dominating Pop, it seems like a much healthier environment than it could be. Imagine if Drill and Hip-Hop, largely male-dominated, was in mainstream Pop’s position and the harm that could cause!

I do think that it is down to the industry and men in genres like Drill and Hip-Hop that need to take ownership. To boost and ally with women rather than to continue this toxic and misogynist narrative that they feel they need to conform to. The moment huge artists start to do this then others will follow. Not only is it hugely disrespectful and degrading for women; it also sets a terrible example to young men listening to the music. This then spreads into their lives and the way they view women. It is interesting how Scanlon ends her article: “Representation is one thing, but real progress requires a deeper, more ingrained transformation—one where a woman with power and talent no longer faces labels like “bitch”. She talks about women storming the industry (completely true) but there being this lag in terms of representation, equality and respect – three things women have not been afforded enough of. How virality and this hyper-masculinity means that so many artists are completely comfortable stripping women of any respect, decency or agency. It is brilliant when women reclaim certain words and can transform that into something empowering and positive.

 “Representation is one thing, but real progress requires a deeper, more ingrained transformation—one where a woman with power and talent no longer faces labels like “bitch”

However, as there is such a rise in misogyny and dangerous language towards women, maybe it is a futile long-term strategy. The influence of certain lyrics and music is also too powerful to truly subvert or de-escalate. I think that the industry does need to react to fact and statistics that clearly show derogatory lyrics that are misogynist are rising and creating a hugely dangerous environment across some genres. Not to promote or encourage it but to confront it. Artists who use this sort of language banned or called out. Some might say that is against free speech but, considering the content of the lyrics, allowing it to flourish is enormously disturbing. Rather than normalising misogyny, it needs to be seen as hate speech. Laws brought in that make it a criminal offence. If artists have to entangle themselves in criminal cases and are demonetised or censored then this is a disincentive. What we have at the moment is a horrific and festering tide of misogyny that, contrary to some right-wing and deluded sources, is nothing to do with women and their language – it is funded and fuelled by men. It is a basic matter of respect: the very least women deserve. The sooner women are seen as amazing human beings that warrant respect and decency, then the better society will become. It make take a lot of work and take a long time, but it is clear that we are in a moment of crisis that…

IMAGE CREDIT: Far Out Magazine/Harry Shelton

SHOULD alarm every music fan in the world.

FEATURE: Sisters in the Spotlight: Highlighting the Women in Music Awards - and Going Beyond It

FEATURE:

 

 

Sisters in the Spotlight

IN THIS PHOTO: Victoria Monét, Ari Lennox, Muni Long at the Billboard Women in Music 2025 held at the YouTube Theater on 29th March, 2025 in Los Angeles, California/PHOTO CREDIT: Christopher Polk

 

Highlighting the Women in Music Awards - and Going Beyond It

__________

I am returning…

IN THIS PHOTO: Doechii arrives at the Billboard Women in Music 2025/PHOTO CREDIT: Michael Buckner

once more to Doechii. Not to completely focus on her but, as she recently won the Woman of the Year award at the Billboard Women in Music Awards, it makes me think about the rest of the music industry and making this sort of thing more prominent. It is great that there are events like the Music in Women Awards. There is also Music Week’s Women in Music Awards. I guess it is a different sort of thing to what Billboard does, though it is great that there is recognition of women in music. However, it is crucial making them annual and ensuring that they are never cancelled. I am going to continue on this theme. However, this Billboard article celebrates Doechii walking away with a big prize and her calling for this type of award ceremony to remain and grow:

“Where’s the swamp? Do I have any fans in the house?” Doechii asked the audience inside YouTube Theater in Inglewood, Calif., to laughs and applause after an introduction from two of her collaborators, Jayda Love and DJ Miss Milan.

“I cannot believe it was just two years ago I stood on this stage right here and accepted the Billboard Rising Star Award. I had literally performed so hard I danced my shoes off and had to hop up to the mic,” she recalled of her performances of “Persuasive” and “Crazy,” smiling. “And here I am. That moment reflects how I approach my career – always go full out, always go hard and always be fab.”

Thanking her family, God and the many women on her team and at her label, Doechii noted the Woman of the Year honor was “a full-circle moment.”

She also talked about the importance of Billboard Women in Music as an annual industry event. “I stand here as a fierce ally,” the rapper said. “That word is a key reason there is a Billboard Women in Music.” The event, which began in 2007, came about because “women in the music business were tired of not getting their seats at the table or the credit they deserved,” she said. “This event was created out of a necessity. That word, necessity, is important. My mixtape, Alligator Bites Never Heal, was a space I created out of necessity. A space where I could feel seen, heard and connect with other people through experiences.”

The Swamp Princess noted that nearly two decades after Billboard Women in Music first started, a “lack of inclusion and sexism are still issues in this industry. And that’s a problem. Which is why I’m grateful we have Billboard Women in Music.

“This is our motherf–king night to rightfully come together to acknowledge each other, support each other and to celebrate,” she said. “We are the creators, we are the executives, we are the innovators who are just as central to this industry as the men. Clock it”.

Rather than make this a long feature, I thought it was interesting what Doechii had to say. It is true that women are as central to the industry as men. I think they are more important and influential at the moment. Rather than award ceremonies isolating other genders and it being against men, it is an overdue recognition of women and their contributions. Women coming together to celebrate one another is so important. I don’t know if there is anything like that for male artists. Maybe it would seem crass. It is true that there is still sexism throughout the industry. It should be an even playing field. However, it might take many years until we get there. I would like to see more inclusive awards shows in the U.S. and U.K. Billboard’s celebration is crucial, though there needs to be more when it comes to recognising women through the industry. Here in the U.K, there is not enough either that shines a light on women. The fact that an award show was created out of necessity. If the industry was more inclusive and supported women more – and gave them a bigger platform – then there would not be this urgency to create award ceremonies specifically for women. I know award ceremonies alone are not enough. They might not make that big an impact. However, what is clear is that Doechii’s words ring true. In 2025, how far has the music industry come when it comes to inclusion of women? Baby steps but not big leaps. I do hope that things change sooner rather than later. Award ceremonies for women mean that you can combine these incredible artists and figures throughout the industry. A night especially for them.

Looking ahead, the music industry need to react and transform. Even if there are improvements here and there, there does need to be more spotlight on women in music. They are the ones creating the best music consistently and are making the biggest moves. It is sad that it is a necessity to have awards shows for women. However, it does give them their dues. Even though there are incorrect and ridiculous articles like this from The Telegraph that posit the rise in misogyny in music is because of women and the language they use in songs, it is clear that the misogyny is male-driven. Women are not largely hating on other women and creating inequality and this toxicity. Yes, there are some songs where women are throwing shade on other women and there is this rivalry. However, if you look at every layer of the industry and the misogyny that has always existed, it is driven by and cultivated by men. ‘Negative language’ about women, as The Telegraph write, is not the same as misogyny. Also, there is not a huge amount of negative language in these songs. This report from last year shows how there is sexism and misogyny growing in every layer of the music industry. It is definitely not the case women are spearheading misogyny. It is very much not on them. It is on the wider industry to not judge women and to make sure they are given equality. From songwriting to festivals to many awards ceremonies, women are still in the minority and have to fight to be heard. The highest executive positions and in professional studios. Being including on smaller bills. Inequality around pay too. Women being invited to the table. There is still this huge issue that is not shifting fast. It takes me back to Doechii’s acceptance speech and her boosting women but also calling out sexism. Rather than women in music feeling fearful or isolated, there does need to be…

HEARD and happy.

FEATURE: Groovelines: Coldplay - Yellow

FEATURE:

 

 

Groovelines

 

Coldplay - Yellow

__________

ONE of the most important…

IN THIS PHOTO: Coldplay in 2000/PHOTO CREDIT: Benedict Johnson/Redferns

albums of the early-2000s turns twenty-five on 10th July. Released in the year 2000, it is the debut album of Coldplay. Parachutes reached number one in the U.K. Although some critics gave it a mixed review, the majority were very positive. The album boasts incredible tracks like Shiver, Trouble and Don’t Panic. Perhaps the biggest and most celebrated song from the album is Yellow. It is the one song many associate with Coldplay. The reason I am spotlighting it is because it turns twenty-five on 26th June. I wanted to go further into the song for this Groovelines. Even if I am not a big Coldplay fan, I recognise the brilliance of this track. One that I remember coming out in 2000 and being struck instantly. Yellow won Best Single at the 2001 NME. It was nominated at the 2002 GRAMMYs for Best Rock Song and Best Rock Performance by a Duo or Group with Vocal. That sense of brightness, hope and devotion. The band’s lead, Chris Martin, said that was very typical of Coldplay and their ethos/mood. Many critics describe the track as Post-Britpop or Alternative Rock. It is about unrequited love, I guess. Yellow is perhaps hopelessly romantic…though not in a bad way. There are a few features about Yellow that I want to bring in now. I am going to start out with this feature that gives a little bit of background into the recording of Yellow:

“Yellow” was recorded in Rockfield studio in Wales off of the Parlophone label, which has signed bands such as Radiohead, Gorillaz, and The Chemical Brothers. The origin of the track is the stuff of movies, beginning with the band taking a studio break after recording their first single for Parachutes, “Shiver.” While outside, co-prodcer Ken Nelson noticed how beautiful the lights were, and told the band to “look at the stars.” Yeah, it’s corny.

From there, Martin developed a melody, which eventually turned into the hook. At first, the group was pessimistic about the loose chord progression, which Martin described as a poor impersonation of a Neil Young inflection. Eventually, the track turned into something more palatable, especially after guitarist Johnny Buckland created the riff for the first portion of the song,

Lyrically, Martin found inspiration from his friend Stephanie, who happened to be in the studio during the night of the recording. According to the lead singer, she possessed a “yellow glow” in the night.

I immediately attached to “Yellow” because of its thoughtful and dreamy aesthetic. The song starts off as a blank canvas with its acoustic arrangements and restrained vocals before eventually painting a picture of passionate love. The track forces listeners to grab hold of that one thing in life that’s not worth letting go. Martin and company keep this overwhelming infatuation open for perspective, thus providing people with the luxury of finding their own ways to emotionally attach to this euphoric experience.

Coldplay’s first successful hit brought my dad and I together and gave us something to talk about musically, despite our different tastes. Love tends to do that, even in the worst of times. The band continued to explore this universal theme after their initial success, and still do to this day.

Even while trading old-fashioned guitars for synthesized pop, Coldplay still stays genuine. To me, it’s hard not to like them, especially considering their impact on the current state of alternative music, which is filled with bands like OneRepublic and Imagine Dragons trying to copy their happy-go-lucky style. Coldplay has still found cult success, even through mixed reviews from big-name music sites (namely Pitchfork), all because of “Yellow”.

I am interested in this feature from American Songwriter from 2023. It is simple, random and amazing how the song came together. As American Songwriter say, Chris Martin “was messing around on the guitar with a bunch of folk guitar chords, trying to channel Neil Young and mumbling the word “stars.” He looked across the room and saw a copy of a phone number directory, the Yellow Pages. The rest is history”:

“The first line of the song is a sentence their producer Ken Nelson uttered while the band was taking a break outside the studio. Since they were in the countryside, the night sky wasn’t polluted with city lights. The stars were clearly visible and Nelson told the band: “Look at the stars.”

The song’s lyrics describe all the things—some more ridiculous than others—a person will do to express their love and devotion for someone: write a song, swim and jump across obstacles, draw a line, and even sacrifice their life.

Your skin
Oh yeah, your skin and bones
Turn into something beautiful
You know, you know I love you so
You know I love you so
I swam across
I jumped across for you
Oh what a thing to do
‘Cause you were all yellow
I drew a line
I drew a line for you
Oh what a thing to do
And it was all yellow

The Recording

“Yellow” was a labor-intensive song. “It was really difficult to record,” Will Champion, the band’s drummer, said in an interview with MTV. The musicians had tried out at least five different tempos and had a hard time choosing a final version, Champion recalls. “Sometimes it sounded too rushed, and sometimes it sounded as if it was dragging.”

The plan was to record most of the album Parachutes analog. As the band and producer Ken Nelson forged ahead, they just “couldn’t quite get” the song “Yellow” right, Nelson explained in an interview with Sound on Sound. “We tried it a few different ways, and a few different recordings of it, and we were never really happy. We ended up using Pro Tools.”

A music video worth covering

Initially, the music video for “Yellow” was supposed to show the band on the beach in a carefree summer setting. On the day of the shoot, rain was pouring down in true British fashion and Chris Martin was the only band member who ended up in the video. He is lip-syncing while making his way along the shoreline in a rain jacket. He sang along to a sped-up version of the song so that the final product could be slowed down for a slow-motion effect.

In 2022, the Canadian band Tegan and Sara released a music video that pays homage to Coldplay’s original. The twins filmed a slow-motion video on an empty beach wearing rain gear.  Their song “Yellow” is an original but they couldn’t release a song with the same title without passing up the opportunity to give a nod to Coldplay’s version.

“Yellow” was only the beginning

There are many memorable performances of “Yellow.” Among them is the band’s performance at Steve Jobs’ memorial in 2011. Before the band starts playing, Chris Martin shares a memory with the attendees: In 2001, Coldplay played “Yellow” for Apple’s CEO, who told the band that he didn’t like the song at all. “He said, we’d never make it,” Martin tells the crowd gathered in front of the stage. He then smiles while playing the first chords on his acoustic guitar”.

This feature is really interesting, as it breaks down lines and parts of Yellow and dissects them. Finds meaning behind them. Even if Chris Martin has not really given too much away regarding the meaning behind one of Coldplay’s biggest songs, each listener has their own interpretation and take:

“Look at the stars. Look how they shine for you. And everything you do. Yeah, they were all yellow.” Such is the beginnings of Yellow, arguably Coldplay’s most iconic song.

When Chris Martin was questioned by a journalist on the meaning behind this song — he simply replied (with a smirk) — “I don’t know”. After listening to this song for over 15 years, it is indeed still difficult to truly grasp what this song is really about.

It may be a danger to overanalyze art — whether it be a piece of music, a block of writing, or a set of paintings. Perceiving art from the lense of the intellect may somehow ruin the emotional experience of it. Overinterpretation and pattern seeking may possibly nullify the magic of a masterful song.

Having said all this — screw it. Let us take that risk.

The first 10 seconds of the song starts off with a clean and crisp guitar riff; initially starting with what sounds like an acoustic guitar, then shortly joined by an electric one at around the 6th second.

At around the 11th second, the song explodes to what I can only describe as a glorious — melodious — transcendental — crescendo. This part of the song (we will call it ‘melodious crescendo’ from now on) is repeated multiple times throughout the piece.

It happens at the beginning (11th second), and also two more times (1:50 and 3:13): immediately after the singer professes his love for the person he is referring to (“You know I love you so” and “For you I’d bleed myself dry”). Have a listen to those three parts.

These three points represent the emotional peaks of the song. The profession of love is appropriately followed by the immediate explosion of melodious crescendo, which perfectly reflects the emotional heights of the song.

Throughout the song, the singer repeatedly mentions his acts of service to the person he is referring to. What is peculiar about these acts of services is that they are simple, arbitrary, trivial”.

I am going to end with a 2023 feature from Medium. It is a critique and psychological approach to Yellow. I didn’t think too much of the meaning behind the lyrics back in 2000. Now, as the track has inspired so many other songwriters, I wanted to revisit it. One of those classics that is hard to fault. If you have not heard the song lately then go and check it out:

“Listening to ‘Yellow’ it is easy to tell that the song is about a deep, passionate love but the object of these affections isn’t specified, rather the band chose to leave it open for anyone that listens to interpret the message of the song as they see fit.

The lead singer himself agreed that it was written with no one particular in mind, but the song and its title to him and the band symbolizes “brightness and hope and devotion”. But what is it about a minimalistic, sweet song that would skyrocket a relatively unknown band to global attention so suddenly? To discover this, it is so important to know what the lyrics of this song, its melody, and its intent mean to millions of people around the world but this is an impossible task.

A beautiful expression of this is seen in a letter to Coldplay written by the director of ‘Crazy Rich Asians’ Jon M. Chu, where he said:

“I know it’s a bit strange, but my whole life I’ve had a complicated relationship with the color yellow. From being called the word in a derogatory way throughout grade school, to watching movies where they called cowardly people yellow, it’s always had a negative connotation in my life. That is, until I heard your song. For the first time in my life, it described the color in the most beautiful, magical ways I had ever heard: the color of the stars, her skin, her love. It was an incredible image of attraction and aspiration that it made me rethink my own self image. It immediately became an anthem for me and my friends and gave us a new sense of pride we never felt before… (even though it probably wasn’t ever your intention). We could reclaim the color for ourselves and it has stuck with me for the majority of my life.”

For Chu, the word ‘yellow’ went from one of pain and disgust as he had previously associated it to be, into a word that meant beauty, grace, and love. It’s about self love, taking what was used to discriminate against him to celebrate who he is.

And so the lyrics go like this:

Look at the stars

Look how they shine for you

And everything you do

Yeah, they were all yellow

I came along

I wrote a song for you

And all the things you do

And it was called “Yellow”

These verses describe the way the author perceives his subject of interest. To this author, the reason the stars shine is for the person he loves — the stars emit a pale glow that lights up the night sky, thus the author believes that this person is so precious that he/she is the reason why the stars (which are far away in the cosmos) come out at night to shine.

And so, the author continues by translating his adoration for the subject by defining the things this subject does as yellow which allows the listener to visualize the sort of person the subject is.

The colour yellow is often associated with warmth, happiness, positivity, youthfulness, and hope — it is a colour that signifies something that is alive in the sense that it is throbbing with life. The concept of living happily or being a person that lives a warm, happy existence is a story the colour tells. The author is so greatly inspired by his subject that he must do something about it, and this is seen in the line ‘I came along, I wrote a song for you’.

And what is the aim of the song the author has written? It is a song for the subject and to tell of all the things this person does — to the author, the impact the person has on the world and in the author’s life.

Although the author made it clear that the song was about his person, the lyrics of almost every line come from a subjective view of how the author views the person, what he/she means to the author, and also the lengths the author would go for him/her.

It is not a representation of the individual based on how he/she views their selves, or how the world views them or even who they truly are when no one else is there. The descriptions tell of only one point of view; the author’s.

And so to tell the subject and the rest of the world of the depth of what is felt by the author towards this person, and to paint the picture of how the author sees them, the lyrics go:

your skin, oh yeah, your skin and bones

turn into something beautiful

and you know, you know I love you so

You know I love you so

To the author, this individual is beautiful from their skin to their bones. The line ‘your skin, oh yeah, your skin and bones, turn into something beautiful’ is interesting because it goes beyond a superficial view of what the beauty of this person is.

It holds a connotation of beauty even in death by stating how the skin and bones of the subject turn into something beautiful — perhaps, returning to dust and coming back as nature and life. A beauty that surpasses death. But just to re-emphasise his love, in case it were not already clear, the author sings ‘You know I love you so’

One must agree that the author does indeed love the subject, as the next lines support the statement of the depth of this love. The author takes note of the belief that actions speak louder than words, and so to prove to the subject of just how much he loves them, the author sings:

I swam across

I jumped across for you

Oh, what a thing to do

‘Cause you were all yellow

and you know, for you, I’d bleed myself dry

For you, I’d bleed myself dry

For this person that is ‘yellow’- light, hope, warmth, happiness in the author’s life, he swam across and bled himself dry. For this person, the author is willing to go unquestionable miles up to the extent of sacrificing himself for their sake.

What more is there to say? What more could one utter that could express just how deeply they are loved by an individual? But the author doesn’t stop there. It all sounds so whimsical — the idea that one could be loved so deeply, maybe it even sounds exaggerated to the subject, and so the author says:

It’s true

Look how they shine for you

Look how they shine for you

Look how they shine

Look at the stars

Look how they shine for you

And all the things that you do

And here, he ends his message and his melody.

From the beginning, the song was meant for the subject of the author’s affection. It was never about anything other than this person, and the things that this person does. Along the line, the author took the song in a different direction by telling of the things he would do for the one he loves.

But although the author decided to take this angle, his objective of telling the things that the person stays true. A person’s actions go beyond the individual to affect the lives of those around them. In the case of the subject, the state of this person as ‘yellow’ influences the author to do seemingly crazy things just for their love.

In a way, this is a cause and effect relationship — the individual is the cause where his actions, personality, and being led to the effect of the author’s love, adoration, and devotion to them, even the effect of the stars shining for this one person.

‘Yellow’ is a song meant for just one person; the subject. Throughout the song, the author stays true to singing a love song for the one he loves.

In doing this, he introduces anyone listening (including the subject) to the character, personality, or being of the one he loves through his eyes, and to the way they make him feel”.

I will finish up here. Going deep into Yellow, it has been great learning more about one of the most successful songs of its era. Released in the first year of the twenty-first century, it was many people’s introduction to Coldplay. It was for me. A stirring and impassioned song, it is no wonder it has endured to this day and still sounds so emotional. It is a track that, once heard, gets straight…

INTO the heart.

FEATURE: Spotlight: Revisited: Iraina Mancini

FEATURE:

 

 

Spotlight: Revisited

  

Iraina Mancini

__________

THIS is the final…

Iraina Mancini feature I will publish until there is another album. That is not a threat or pout. What I mean is, since Undo the Blue was released in 2023, I have reviewed the album, written about her on a couple of other occasions and interviewed her. I am very much looking forward to the next chapter for this artist. That said, there is a reason why I reapproaching her. I originally included her in my Spotlight feature back in 2021. I can’t recall the first time I heard her music but, as soon as I did, I was hooked. Such a spectacular artist whose 2023 debut album was my favourite of that year - by quite a distance! I have also said how good she is as a live performer. I have caught her a few times in London. Unfortunately had to miss a few London dates because of double booking and illness – including her appearance at the 100 Club in 2024 (which I was gutted to miss!). I can’t add a tremendous amount to my previous features. However, as this feature is about revisiting artists I spotlighted a while ago and saw potential in, there are so many reasons why you need to follow and hear Iraina Mancini. For one, her 2023 debut, Undo the Blue, is a flawless album that brings in so many genres and sounds. That may be a mixture of her upbringing and experience as a D.J. on Soho Radio. Having travelled the world as a D.J. and with a great love of music from the '60s, '70s, French Pop and so many other tantalising and compelling sounds, I think her influences and sonic palette is so different to anyone out there. Maybe you can look at artists such as Say She She. When she was speaking with Robert Elms on BBC Radio London in April (the link has sadly expired), he played her latest single, Running for your life. Iraina Mancini said how people have compared to ABBA and Jefferson Airplane! There is a bit of Psychedelia and Disco to it. Mancini digs into the crates and her vast musical passion which she channels in order to create songs that sound like nothing else.

I wonder what a second album will be called and sound like. Running for your life ties back to Undo the Blue and songs like Shotgun, Take a Bow and even Cannonball. One of the (many) reasons why I love Undo the Blue is how it can be so diverse but sounds cohesive and connected. Beautifully sweeping cinematic songs like Take a Bow and the giddiness of Sugar Rush. The sh*t-kicking What You Doin’ and the ‘60s-Pop and buzz of Cannonball. The dreaminess of Undo the Blue and the chase scene-soundingDeep End. I can imagine a second studio album will have that same blend and mix of collaborators. However, there will definitely be developments and new sounds. When speaking with Robert Elms, Iraina Mancini was quite self-deprecating. How she has been a bit slow following up her debut. However, she has been busy touring and has been working hard for Soho Radio and also working on new material. I think this year is a perfect one to launch a second studio album (she told Robert Elms it is aimed for the end of this year or maybe next year). After completing a string of dates in the past couple of years, there is this new confidence, energy and inspiration. I think a second album will bring Mancini and her band closer to the bigger festival stages. With more material under her belt, she will have this fresh ammunition. Mancini will play Festival Jazz Equinoxe in Corsica on 9th July; Camp Bestival on 2nd August and a couple of other dates. She collects cool soundtracks from the 1960s and 1970s and writes to instrumentals. Her way of working and the fact that she jams with her band and songs come together piece by piece. Mancini has been hailed and championed by BBC Radio 6 Music and broadcasters she admires such as Lauren Laverne. Even though there is some great music coming out of the mainstream, I often find the most interesting moves are coming from those towards the fringe. In terms of the depth and variety of the music. Iraina Mancini is one of these artists that combines her upbringing – her father, Warren Peace, is a musician who toured and recorded with David Bowie -, the stuff she plays on her radio show and this distinct and personal aesthetic that is unlike anything else.

I love how there is something both modern and vintage about Iraina Mancini! That passion for music of the 1960s and 1970s. That applies to her fashion too. Effortless and impossibly cool. She is the complete package. An extraordinary stage performer who is so engaging and sounds studio-perfect when it comes to the vocals. Every song she has recorded leaves an impression! You are invested in the story and the lyrics. The wonderful production and the gravitas Mancini and her band brings to the song. Undo the Blue is a perfect album that is ordered just right. In terms of balance and flow. I don’t think there is any real rush for a second album. Given how good it is likely to be, you want to give Mancini enough time to lay down these tracks and make sure they are as amazing as they can be. I would urge people to catch her Soho Radio shows as there is always something played that you would not have heard. I hope that there are new interviews and features very soon. In terms of the exposure that she should be getting, I wonder when there will be more radio interviews, podcasts and love from the media. There are a smattering of live reviews; some interviews from throughout the years (not a lot since 2023) and some great archived stuff. I always love writing about Iraina Mancini, as she is an artist that you know will be in the industry for years more. I can see her putting out maybe five or six albums in her career. Recording decades from now, maybe we will see this shift in terms of the inspiration and sound. I also feel she will be doing D.J. work for decades too. This is her passion and calling. I have said before how she would translate to the screen. Many musicians make naturally brilliant actors. There are definitely short films and T.V. projects where you could see Mancini being awesome in. Some really cool roles that she could naturally embody and slay. I also think she has a future too as a composer, where she could provide soundtracks for film or T.V.

I am going to round things up in a minute. I have put all her social media links below. Go and follow Iraina Mancini and be part of her world. The London-born artist is one of my absolute favourites! In terms of resources, you can find more about her past here. I wonder if she still lives in Muswell Hill with her partner because, last year, The Standard spoke to her about her neighbourhoods and the places she hangs out. You can tell that the local environment and vibe influences her writing. It is definitely time for new features and chats. Until then, I would urge people to do as much digging as you can. Listen through to Undo the Blue and buy it here. There will be more tour dates when a second album arrives but if you can see her at Camp Bestival or anywhere she is playing soon then definitely do it! She did used to have an official website. It would be good to have one launched where we get all the archived interviews, photos, news, tour dates and that sort of thing. Her Instagram feed is regularly updated, and you get a real glimpse into her (wonderful and enviable) life and career. I am going to end things here. As a bit of a superfan, it is always good to spotlight this incredible artist. I shall leave her be until album two. Whether released this year or next, it is sure to be a masterpiece! When it comes to this incredible woman, I have…

SUCH love for everything she does.

__________

Follow Iraina Mancini

FEATURE: The 1,000th: Why Kate Bush Remains So Important to Me

FEATURE:

 

 

The 1,000th

  

Why Kate Bush Remains So Important to Me

__________

BEFORE talking about…

IN THIS PHOTO: Kate Bush in 1979/PHOTO CREDIT: Brian Aris

Kate Bush and why she I continue to write about her, there are a couple of special things that I need to mention. This is going to be the 1,000th feature about her I publish. Even though I have yet to share quite a few features published before this one, I wanted to get this one out now. On Saturday, 21st June, I am embarking on a charity walk to raise money for Refuge. My fundraising page is here. One of the reason why I am raising money for Refuge is because domestic violence is an epidemic and crisis in the United Kingdom. More women are dying by suicide rather than homicide when it comes to domestic violence. The rise in violence against women is rising and so many women and children are displaced as a result of domestic violence. It can often lead to homelessness. Refuge is there to provide support for thousands of women and children. Empowering them. What I plan to do on 21st June is start off from East Wickham Farm in Welling. That is where Kate Bush lived as a child and into her teens. I plan to walk to 214 Oxford Street. This is where AIR Studios used to be located. Kate Bush travelled there in June 1975 for a professional recording session under the guidance and mentorship of David Gilmour. Whilst there, she recorded three songs. Two of those, The Man with the Child in His Eyes and The Saxophone Song would appear (unchanged) on her 1978 debut album, The Kick Inside. That fiftieth anniversary is important. I am not sure of the exact date in June 1975 she was there, though I was just important for me to do something. Such an important anniversary and moment in her career. The then-sixteen-year-old recording the first songs for her monumental debut album. Rather than do this standalone as a personal endeavour, I wanted to bring in Refuge. A charity that I have raised money for previously, it is hugely important to put them in the spotlight. As you will see from my fundraising page, there are links to news stories and reports that talk about the rise in domestic violence and the impact that is having on women and children. A desperate time where awareness and funds need to be raised for charities like Refuge.

By the time I complete the walk in June, I hope to hit my fundraising target at least (£350). Ideally, I would like to raise a lot more. I know how tough times are for so many, so I am not expecting everyone reading to donate. However, after publishing this feature and having promoted and discussed Kate Bush’s music for over thirteen years now, I know there are people out there who follow me that will want to be involved. I must say, before I go on, that number, 1,000, is a best/exhausted guess. I publish on Squarespace and unfortunately there seems to be no function where you can see how many posts you have published. I have published thousands of features and, when it came to separating Kate Bush features out to get an accurate number, I had to count it manually. That meant going into the site and typing ‘Kate Bush’; starting with the oldest feature and scrolling slowly up the page and counting. I had a couple of failed attempts as the concentration needed was immense (it turns you insane after a while!). You can easily lose count. On the third or fourth try I manage to make it to the top. It was well into the eight-hundreds by that point. I then kept a tally on a Word document and worked up to 1,000. Someone in years to come might notice an overcounting or inaccuracy but, as accurately as I can determine, this is my 1,000th Kate Bush feature. I wanted to use this feature to talk about why, at the age of forty-one, Kate Bush is more important to me than ever. When she came into my life. To the best of my (spotty) recollection, it was not long after 1987. Kate Bush’s greatest hits, The Whole Story, came out as an album in 1986. There was a VHS release the following year. The beautiful cover photo was taken by her brother, John Carder Bush. I think it was the Wuthering Heights video that was included that truly opened my eyes. Made me think about music in a whole new way. I am not sure who I was into at that age (about four) but it must have been a combination of what was on the radio and my parents’ music. Kate Bush was like nothing I had heard to that point. I was aware of The Kick Inside when I was young and Them Heavy People especially. I think I first heard that when I was in primary school. Maybe years later when I discovered the rest of her work.

As a child, it was the unusualness and originality of the music that moved me. Not conventional or obviously commercial, this was more artistic, expressionist and unusual. I never set out to write about Kate Bush and make it a regular thing - honestly! When I set up this blog in 2011, it was around about the time that she released her most recent studio album, 50 Words for Snow (21st November). I started out writing about other artists. Doing short reviews, interviews and that sort of thing. Kate Bush slowly crept into the mix. Recognising she was someone who was important to me but was not being widely discussed at that point, maybe I was putting out one feature about her every week or more. Not regularly. It is only since 2020 when things accelerated. Perhaps the last few years where I have ramped it up. Publishing three or four features about her a week. I was excited when I past the nine-hundred mark. Knowing that I would not take long to get to that big number: the 1,000th. Now it is here, I intent to keep going. Maybe it will take a very long time until I get to the 2,000th. It is an exciting new stage in Kate Bush’s career. The past few years have seen her reissue her albums and be involved in various interviews – the most recent being the 2024 interview with Emma Barnett for the Today programme. There was the amazing Little Shrew (Snowflake) video that Bush conceived and directed. That was to raise funds for War Child and help children displaced and affected by war and violence. Kate Bush being so charity-minded helped inspire me to do something extra and big to celebrate publishing a thousand features about her. I know she has never read anything I have written about her - and she has no idea who I am! Although, somewhere down the line, it would be nice to think that I am on her radar. That something I have written makes its way to her. That dream of interviewing her will never happen. Another dream would be being tasked to announce a new album and single from her on a station like BBC Radio 6 Music. She has said she’s open to working on new material, so we may get that announcement in the next couple of years!

Why write so prolifically about Kate Bush?! Some people think it is mad or impossible to be so constantly passionate about her, considering she has not released new music since 2011…and, perhaps, is not seen as relevant and contemporary. The thing is, it does not matter when she releases music. Such is the strength and uniqueness of her music that it is being discussed by new generations. In the last few years, several of her songs have appeared in film and T.V. From Stranger Things (Running Up That Hill (A Deal with God), 2022) to The Bear (The Morning Fog, 2024), she has been brought to the small (and big) screen. Artists such as CMAT and The Last Dinner Party have covered her songs. Running Up That Hill (A Deal with God) surprised a billion streams on Spotify in 2023. When a new album does come out, this will ignite an explosion of new interest and affection. Her songs are constantly shared on social media. Used in TikTok videos. There are articles and magazine articles written about her. Books written about her and, thanks to the Kate Bush Fan Podcast, episodes that explore her work and people she has worked with. Authors like Graeme Thomson, Leah Kardos and Tom Doyle illuminating her life and work. Websites like Kate Bush News keeping all her fans up-to-date with happenings and developments. Kate Bush is very much relevant and contemporary. She is raising funds for various charities; reissuing her albums so they reach new people. She was Record Store Day Ambassador (in the U.K.) in 2024. At the age of sixty-six, this iconic artist continues to engage with her fans and be present – without being seen as such. Her music has lost none of its potency and perfection. Her albums do not sound dated or of their time. You can feel so many artists today following in her footsteps. As a producer, Bush very much inspiring so many women. She kicked open doors. For me, writing about her not only ensures that I can reach people who may not have heard of Kate Bush; there is this opportunity to shine a light on albums, songs and events that are either rarely discussed (or haven’t been at all). I am not sure who has published the most words about Kate Bush ever, but I bow to these informative websites like Gaffaweb and the Kate Bush Encyclopedia.

There is still so much to discuss and cover! Even though I have repeated subjects and features over the course of thirteen years – as you would expect -, I always find it so important to do so. Making sure that this amazing work is discussed as much as possible. But trying to keep things fresh too. In years to come, I hope to do some podcast episodes about Kate Bush. I don’t think I will ever write a book because, as a writer, I don’t think I have that skill and would write a decent book. I also worry about making errors and not being able to edit them. I am happier doing a blog where I can write when I like and edit instantly. Also, there are other Kate Bush-related projects and ideas that appeal to me more. It is emotional and wonderful to reach a milestone. To get to the 1,000th feature! Also, it was paramount that I used this feature as a moment to share the charity fundraiser in June. To talk about Refuge and the crucial work they do. As soon as I realised that June marks fifty years since Bush stepped into AIR Studios and recorded songs that would appear on The Kick Inside. I can only imagine what that experience was like. A young Kate Bush maybe being driven down there and being nervous. Coming back after the session(s) and the feelings she had. It was a momentous occasion! A time (June 1975) when many people did not know about Kate Bush. I wanted to honour that by walking from East Wickham Farm to Oxford Street. Also raise money for Refuge in the process. Thanks go to everyone who has read, liked, shared and commented on my Kate Bush features. I hope I have created new fans of Kate Bush in the process! Helped turn people onto songs or albums they might not have known about. Despite some factual errors along the way – I am always learning things about her! -, I would like to think this body of work is quite authoritative and accurate. Her music gives me so much comfort and helps me through some tough time. She inspires me in so many ways, and I love how she broke records, released masterpiece albums and battled through sexism, misogyny and being written off by many. In 2025, someone rightly hailed as a genius and pioneer. Inducted into the Rock & Roll Hall of Fame in 2023, there is no denying the fact Kate Bush is one of the most important artists ever. From here, I am looking forward to what comes next from Kate Bush. Whether a new album comes first or she announces something else – Hounds of Love turns forty in September -, it is a terrific time to be a Kate Bush fan! All the love to those who have supported me through the years. I hope to write about Kate Bush for…

DECADES more.

FEATURE: Chico’s Groove: The Chemical Brothers’ Exit Planet Dust at Thirty

FEATURE:

 

 

Chico’s Groove

 

The Chemical Brothers’ Exit Planet Dust at Thirty

__________

I am looking ahead…

to 26th June. The Chemical Brothers’ Exit Planet Dust was released on that date in 1995. Thirty years later, this album is still being played and talked about. The album was recorded between August and November 1994. Exit Planet Dust reached number nine in the U.K. To mark its thirtieth anniversary, I am bringing in some features and reviews of this epic album. One of the best and most influential Dance albums ever released. Perhaps the best album from The Chemical Brothers. I want to start out with a 2015 feature from The Guardian. They spotlighted a 1995 interview with Muzik. A really interesting interview from a moment when The Chemical Brothers were releasing this seismic album, it is interesting reading what Ed Simons and Tom Rowlands had to say:

“As anyone who ever made it to a Heavenly Sunday Social night will already know, Tom and Ed don’t particularly like the idea of confining themselves to one narrow band of music and Exit Planet Dust is sure to stand as the most eclectic dance album you will uncover this year. From hip-hop to acid to funk to techno, goodness knows where their heads were at when they were in the studio. Especially since the album was recorded in a mere three weeks.

“We were really hammering it out,” says Ed. “We’ve written loads of new material since then and we were toying with the idea of replacing a couple of tracks with fresh stuff, but then we thought, ‘Fuck it. It all sounds great, even if it is now nine months old’.”

“We were very conscious of making the album work together as a whole,” adds his partner. “The first half an hour consists of solid beats, but it also has other stuff on there because people will hear it at home, not in a club.”

With this in mind, two of the tracks, the ghostly Alive Alone and the prickly Life Is Sweet, feature vocals. Beth Orton, who has previously worked with William Orbit and Red Snapper, and Tim Burgess of the Charlatans take the respective credits.

“We had a good session with Tim,” says Ed. “He basically sank four cans of lager, scribbled a few lyrics, and went for it. We first met him when we did a Charlatans remix, after which he regularly came down the Sunday Social and danced around with his Adidas top zipped right up to his nose. We had a wild time messing about with his vocals. But then music should be an adventure, shouldn’t it? Not just going over the same idea again and again.”

“You need different sounds to fit different moods,” says Tom. “We’re both into lots of types of music and I don’t see why we should have to deny that. I can’t believe that even the most dedicated techno buff would want to stick on a Basic Channel tune when they woke up on a summery Sunday morning. I bet they all have a secret stash of Simon and Garfunkel under their beds.”

Imagine Maurizio and the Basic Channel crew flicking through the Sunday Sport with Bridge Over Troubled Water playing in the background. What a genius thought.

Although there are lots of different levels to Exit Planet Dust, it’s the fat beats which hit the listener first. And hardest.

Ed: “I think the album suggests two people with a lot of energy about them, a lot of vitality. It’s a very youthful record. If I was 16 and I went out and bought it, I’d be chuffed to bits.” Tom: “We’re not into avant-garde excursions, the sort of abstract ideas that you’ll hear on a Mo’ Wax record. We’re more like party steamrollers.” 

The dynamic quality of the Chemical Brothers’ music is not in doubt. But it could be said that there’s not a lot of elbow room for any soul.

Ed: “I don’t think that’s true at all. What do you want us to do? Get Luther Vandross to sing with us? A lot of our music is pretty brutal, but I’d say that it has far more soul, more fire and passion than most so-called soul records. It’s like the Tricky album. That’s a heavy bit of gear, but it’s also really soulful. Not everyone wants to be like Portishead, making music for people to put on when they have little dinner parties.” Tom: “Which is not to say that we don’t put a lot of time and effort into our tracks. We re-worked Chemical Beats around 50 times until we were finally happy with it. It’s often a very painstaking process.”

A substantial part of which, of course, revolves around the fine art of sampling.

Tom: “I love the concept of manipulating lots of different artists and having them play together on your record. It’s a shame the days of blatant sampling are gone. Unless you pay shitloads of money. I was told recently about someone who wanted to sample a conga loop and the record company were asking for 20 grand. For a conga loop! It’s fucking ridiculous.”

Ed: “We’re not at liberty to say exactly what samples are on the album, but there are some crazy combinations. Not that even the people concerned would be able to recognise themselves.”

Except Kenny “Dope” Gonzalez, who recently complained that the Chemical Brothers had half-inched all of his beats.

Tom: “I don’t know why he’s creating such a fuss. Apart from the fact that we’ve only ever used one of his beats, he makes music in precisely the same way as us. He loops bits of other people’s tracks! That’s why we didn’t mind when we were sampled by the Boo Radleys. We thought it was great.” Ed: “But we didn’t think much of that other band sampling us, did we?” Tom: “Someone in Germany sent us this dreadful soul record which started with a snatch of Chemical Beats. We refused to let them use it.”

Ed: “We did it more for them than for us, though. We didn’t want them to embarrass themselves. They’ll thank us in the long run.”

Kenny “Dope” Gonzalez is by no means the only one who has taken a pop at the Chemical Brothers during recent months. Even Kris Needs, one of the mildest-mannered guys in clubland, has had a go. And around the time that Tom and Ed were forced to change their name from the Dust Brothers, there was the fanzine which said that they should follow Prince’s example and just use a symbol. They suggested a pile of steaming shit.

The Chemical Brothers are one of the few dance groups to really cut it on the live circuit. A couple of reviewers have suggested that their set is all on DAT. In fact, the duo actually use two huge samplers to build lengthy chains of beats and noise. Listen closely and you’ll hear them balls it up from time to time.

IN THIS PHOTO: Ed Simons (left) and Tom Rowlands of The Chemical Brothers in 1997/PHOTO CREDIT: Rex Features

“Playing live is an essential part of what we’re about,” beams Ed. “One gig which sticks in my mind was at this glitzy club in Los Angeles. There was a weird political meeting going on during the soundcheck, Young Republican of the Month or something, and we were wondering what the hell we were doing there. But when the audience came in, the place went mad. We even had people stage-diving.”

The Chemicals’ live set-up has been specially designed to enable the duo to stand shoulder-to-shoulder onstage. Hunched over the samplers, their heads are simply blurs of movement, but they still seem to be communicating with each other every couple of minutes.

Ed: “But I’m usually talking in Sanskrit.”

Tom: “And I’m usually shouting, ‘More strobe! More strobe!’”

However focussed the group’s live show might be, their DJ sets are all over the shop. With sounds as varied as U-Ziq, Sly Stone, Patrick Pulsinger, Slam, Public Enemy, Desmond Dekker, Emmanuelle Top, Flowered Up, Schoolly-D and even the Beatles on offer, it’s hardly surprising that they’ve come in for some stick about their mixing. Or, to be more accurate, the lack of it.

Tom: “Our DJing has always been about us just getting up and having a go. Neither of us has any decks at home, so we have to practise in public. We’ve definitely been getting a lot better lately, though.”

Ed: “It’s important to connect with the audience. You can hear a thousand records being mixed technically brilliantly, but if the DJ doesn’t actually mean anything to you ... The people who come to hear us DJ probably own some of our records and want to know what else we can give them. Whatever our mixing is like, we’ll always give you a fucking rocking party.”

Chemical Brothers: Leave Home, off album Exit Planet Dust

It’s easy to understand why the Chemical Brothers have come in for a lot of flak in recent months, and why they’ll continue to do so. They can’t DJ, not in today’s accepted sense, but they hosted one of the hippest London clubs of the last few years. They’ve taken their have-a-go attitude into the studio and walked out with a string of successful records. They’ve been lucky. They’re the first to admit it, and their refreshing honesty, both in print and on vinyl, is something else one or two people can’t seem to handle.

But whatever you think about the Chemical Brothers, there is absolutely no question that they do make for a fucking rocking party. There’s the big crate of amyl they keep hidden under decks, just for starters. Then there’s the raucous energy of the likes of Leave Home and Chemical Beats. That’s mainly down to Ed. Listen close to the tracks, however, and you will discover some mighty skilful musical twists in the arrangements, the timings and the tones. That’s Tom”

There are a few pieces that I want to quote from before I finish off. A landmark Dance album, I hope that there is a lot of renewed focus and energy around Exit Planet Dust ahead of 26th June. A massive thirtieth anniversary celebration. Treblezine are among those who have provided a glowing review of one fo the most important albums ever:

“Formed in Manchester at the height of the city’s influential ‘Madchester’ era (defined by the psychedelic drugs that fueled its inception as much as the celebratory combination of dance and rock music its flag bearers championed), The Chemical Brothers discovered an innovative way of bringing the guitar to the club floor. Of course this didn’t actually involve guitars so much as it did samples of guitars, along with drum machines, loops, spot-on sequencing, and a whole host of siren calls (“One Too Many Mornings,” “Alive Alone”). Tracing a neon glow-stick through its many electronic influences, acid house, funky breaks and trip hop to name a few, their debut out-raves any of the dance beats that had yet dropped upon its release.

A jab of sorts at The Dust Brothers (which was actually the Chemical Brothers’ first chosen moniker), Exit Planet Dust very nearly burst under the propulsive strength of its own block rocking feats. Two years before Fatboy Slim’s popular take on the Chem Bros bombastic beat-making earned him two Grammy nominations and invaded television screens across America (in the form of rampant commercial licensing), the duo of Tom Rowlands and Ed Simons helped to pioneer a movement that would ultimately fizzle out around the close of the century, but not before electrifying a whole generation of DJs ready to flex their own mixing muscle.

Go ahead and forget that this is the same band that would eventually release “The Salmon Dance” on their latest flop (2007’s We Are The Night). In 1995 the Brothers’ turntables were unapproachable by mere mortals. These are the same men that ignited a funeral pyre containing the remnants of Manchester ‘s momentary status as drug and music capital of the world, only to emerge unscathed from the flames of the scene’s inevitable demise (or comedown, if you will). What designated Rowlands and Simons was their blatant disregard for what had become a conventional approach to dance beats filtered through a typical guitar/bass/drums combo.

“Chemical Beats” is a trance-worthy plunge into tribal rhythms, drenched in the salt vapor and sweaty abandon it induces. Here and throughout the duo demonstrate persistent production talent, from the ominous alarm sample that opens name-checking first track “Leave Home” to the tightly wound percussion of sensationalist “In Dust We Trust.” Tempos take breathers rather than change outright. “Song To The Siren,” besides featuring female vocal loops that exude icy exhalations with frigid frequency, is a bit of a schizoid shuffle of strange electronic flourishes and drum effects.

With songs sequenced to blend together with no discernable seams, Exit Planet Dust flows as a cohesive whole. The result is a narrative of unstoppable rhythm laced together by necessary highs and lows. Aforementioned “One Too Many Morning” is a cool drop of acid on a daybreak high, hints of dub thrumming through the album’s most placid (and transcendent) vocals. Counterpoint “Alive Alone” delves despondently into its honey-slowed themes with apathetic aplomb. With a chorus as cheery as, “I’m alive, and I’m alone, and I never wanted to be either of those,” who needs self-loathing?

Though bands like The Crystal Method (considered by many to be America’s answer to The Chemical Brothers) as well as countless others would take numerous cues from Exit Planet Dust in the years that followed its release, none seemed able to match the Mancunians beat for beat at their own game as they enjoyed their mid-’90s prime. Big beat may have come and gone in a brief blaze, but its forefathers’ inspiring first foray still shudders and shakes the street as hard as it ever has”.

There are a couple of retrospectives that I feel are important to mention. Stereogum revisited Exit Planet Dust on its twentieth anniversary in 2015. For a new generation that have not heard Exit Planet Dust, it is such a pivotal album when we think of Dance music and its development. One of the very best of the mid-'90s:

“Listening to it years later, it’s a whole lot easier to understand what those critics were writing about back then. Exit Planet Dust is a psychedelic rock record, the big instrumental rave-up that, say, the 13th Floor Elevators might’ve made if they’d had access to mid-’90s technology and less-damaging drugs. The drums aren’t nimble house drums; they’re big, gallumphing thunder-bombs, even approaching Bonham territory on “Playground For A Wedgeless Firm.” The bass-tones aren’t computerized rumbles; they sound like someone ran John Entwistle’s axe through a whole pile of fuzz pedals. the synths don’t needle or stab; they riff. There’s a reason why, in an age of producers using non-representational CGI polygons for their cover art, the Chemical Brothers went with an image straight out of Dazed & Confused.

They weren’t making a record for DJs, though a few of the tracks on Exit Planet Dust apparently did get major club play. They were making an album of fired-up stoner music, one that was intended to be received as an album. Album-oriented dance music was a pretty new thing in the mid-’90s; techno was a singles genre. But Exit Planet Dust was a landmark in figuring out how this stuff could play in album form. The structure — bangers up front, woozy pretty music on the second half — pretty much defined the way most people would assemble dance albums for at least the next few years. And maybe that’s why Exit Planet Dust has aged so much better than so many of the albums that came in its wake. There’s no forced crossover, no pay-attention-to-me gimmick. Instead, it maintains and manipulates a mood, and it does it without dissipating into ambience. And on the two tracks that do feature vocals, those vocals serve a purpose. On “Life Is Sweet,” Charlatans UK frontman Tim Burgess taps into a lost-little-kid stumble that unites the Chems with the Charlatans’ Madchester scene and, by extension, the jangled-up ’60s music that inspired the Madchester scene. And on album closer “Alive Alone,” previously-unknown singer-songwriter Beth Orton coos over sitar samples and accesses the starry-eyed longing that Orton was never able to conjure on her own. To this day, I’m mad that we never got a full album of Chems/Beth Orton collabs. They sounded better together than either ever sounded on their own.

Exit Planet Dust was a culturally important album, and an influential one, at least for a while. The combination of rave sirens and psych-rock far-outness was probably what convinced people like Noel Gallagher and Mercury Rev to jump onboard when the Chems made their even-better follow-up album Dig Your Own Hole two years later. And in the second half of the ’90s, spaced-out dance music came to rival Britpop as the dominant sound of young people getting fucked up in the UK, as you’ll hear on the Trainspotting soundtrack. Exit Planet Dust was a big part of that. But if you look at the dance music that’s taken over the world in the past few years, the bleary space-rock force of Exit Planet Dust is basically a nonfactor. These days, it feels like the Chemical Brothers most influential song is their shallow 2005 Q-Tip collab “Push The Button.” Songs like that are what led American executives to realize that dance music could make ideal beer-commercial soundtrack music, and I’d argue that that’s what really led to the EDM takeover. I’m not even mad at the way festival EDM has taken over. I get it. Watching Kaskade draw the biggest crowd of anyone at this year’s Coachella was an instructive experience; why shouldn’t these vast throngs of kids dumb out to sugary melodies and cinematic buildups? It’s a formula, but it’s one that works. Still, it’s nothing compared to what this music can be. Five years ago, I saw the Chemical Brothers headline a rock festival in Sweden, and it was probably one of the five best festival sets I’ve ever seen. In a crowd of Europeans, in a place where this music has moved crowds like that for decades, I felt an echo of the dizzy communal transcendence that was always supposed to be the point of this music, something I didn’t get from Kaskade. The Chems worked a couple of Exit Planet Dust tracks into that Swedish festival set, and they felt right at home”.

I am going to end with a feature from Spectrum Culture that was published in 2023. I was in high school when this album came out but was probably not aware of it. At a time in British music when Britpop was at its height and stealing focus, there were few people my age talking about The Chemical Brothers. In years since then, Exit Planet Dust has made its way to me and made its mark. It is an album that I really love and would recommend to everyone:

“But by the mid-‘90s, innovative electronic music began to enter the mainstream, whether through the release of a new wave of so-called trip hop paving the way for the big beat explosion by acts like the Crystal Method and the Prodigy later in the decade. On the other hand, artists like Massive Attack and Tricky pitched everything down to a dreamy, relaxed state while eschewing the stomping bassline in favor of lazy drum breaks and moody pads. In 1995, British producers Tom Rowlands and Ed Simons released their first album as the Chemical Brothers. Exit Planet Dust, bearing a title emblematic of leaving their former sound behind (as well as ditching the copycat Dust Brothers moniker they were threatened with legal action into changing), took a vastly different direction from the typical club-friendly house sound. Working as a catalyst for their crossover into the mainstream, this record doesn’t rely on overwrought soul samples, cheesy piano chords or predictable pop patterns. Instead, it tears down the uninspiring dance floor formula from that era and replaces the pop with a psychedelic and percussion-rich sample frenzy, making it one of the most unusual and catchiest dance music records of 1995.

The lead track “Leave Home” is the most iconic on the record. A looping bass note introduces the song under the hypnotic, echoing repetition of “The brothers gonna work it out.” A wah-wah guitar lick adds a layer of unexpected filthy funk to the rhythm, and from that point on the duo adds layers upon layers of slick breaks and synth patterns. What makes the record so compelling is the Chemical Brothers’ seemingly unrefined approach to shuffling loops, beats and warped sound effects as though there were no intended goal aside from keeping the party-goer engaged. With “Song to the Siren,” it’s easy to imagine the two of them in the studio, settling on a limited palette of awesome licks and then playing with them in experimental layers and effects until they’ve just passed the three minute mark—cut and master. It’s this dynamic approach that keeps Exit Planet Dust constantly in motion and perpetually sinking and rising in and out of a deep groove.

If there is a single song on the record that seems to at least make an attempt at traditional house music appeal, it’s “Three Little Birdies Down Beats.” Though weaker than usual, the bass drum is consistent but soon drowned out by another fresh funk breakbeat. Just as “Leave Home” had its signature sound, “Birdies” has a repeating acid worm that nearly crosses the line into over-repetition before falling away into a simple layered beat breakdown. The degree to which the duo failed to make a traditional dance floor thumper is a glorious mistake because they instead created something far more interesting and timeless in the process.

Exit Planet Dust also reveals the Chemical Brothers’ sentimental side, producing some beautifully arranged, reflective sample-based mood swings. The first six tracks all play as though they were a medley, running into each other in a style borrowed from the live DJ experience. Though a listener could pick out a dozen or so looping moments that constitute their personal favorites, the entire album also works as a complete end-to-end listening experience.

Meanwhile, “One Too Many Mornings” is as close to a ballad as the record comes. In applying the Chemical Brothers’ signature sound to a slower beat, and adding airy female vocal samples dubbed over a pad of angels to an organic meandering bassline, the album goes from being a simple dance music record to a complete music project worthy of entering the conversation for best records of 1995. Noted as the second best dance album of all time by the UK’s Muzik magazine, it continued to chart in the UK for the next five years.

Upon the appearance of the Charlatans’ lead singer Tim Burgess on “Life is Sweet,” the Chemical Brothers reach beyond their previously limited appeal in electronic music circles with an effort to pull in fans of the hugely popular Madchester sound of not only the Charlatans, but the likes of the Stone Roses and Inspiral Carpets as well. In another guest spot, British folktronica singer-songwriter Beth Orton adds a sonorous dynamism to the album’s closing track, “Alive Alone.”

Nearly two decades after its original release, Exit Planet Dust sits among that rare list of records that manage to retain a timeless appeal. An unfamiliar listener today could confuse this album for a new release. There’s a larger discussion to be had about the direction the Chemical Brothers took with later releases and their inability to measure up to Exit Planet Dust, but that’s to be expected when this mammoth debut set such a high bar”.

I am going to leave it there. On 26th June, one of the most accomplished and revolutionary debut albums ever was released. This is an album that sound absolutely perfect on vinyl. I know there will be some expansive features around the thirtieth anniversary. For those in the know, go and spend some quality time with the album. Anyone who has not discovered it, go and listen to it now. There are some classics from 1995 we are celebrating this year. Maybe Exit Planet Dust will not get the same kudos and weight as other albums. It should do. There is no denying the fact Exit Planet Dust is…

A game-changing work of brilliance.

FEATURE: The Digital Mixtape: Lana Del Rey at Forty

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Lana Del Rey

 

Lana Del Rey at Forty

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ONE of music’s…

most acclaimed artists turns forty on 21st June. The mesmeric and wonderful Lana Del Rey releases a new album later in the year. Singles Henry, Come On and Bluebird are incredible. With the album bringing in element of Country, it is a slightly new direction on her tenth studio album. Because this music legend is turning forty soon, I wanted to mark that with a career-spanning playlist featuring some of her best songs and deeper cuts. I have compiled a Lana Del Rey mixtape before but, as she has released new music since then, I wanted to update it. Before getting to that, here is some biography:

“Lana Del Rey is one part songwriting superpower, one part constructed character, building a Southern California dream world of manufactured melancholy and genuine glamour in her stylized, meticulously arranged noir-pop songs and becoming an incredibly influential indie superstar in the process. Del Rey's sound and persona were in their rudimentary forms on her 2012 debut album, Born to Die, but both became more personal with subsequent releases. Her popularity grew after a hit remix of her single "Summertime Sadness" and her second LP, 2014's Ultraviolence, received positive reviews to accompany her sales. By the time of albums like 2019's Grammy-nominated Norman Fucking Rockwell!, 2023's Did you know that there's a tunnel under Ocean Blvd, Del Rey's character of the damaged torch singer and tragic romantic icon had become nuanced and complex, and her increasingly orchestrated and often cuttingly direct songwriting had evolved in tandem. She introduced her tenth album in April 2025 with the single, "Henry, come on."

Lana Del Rey's journey to this stardom was a long, steady climb. Born Elizabeth Woolridge Grant in New York City to a pair of wealthy parents, she was raised in Lake Placid, not starting to pursue music until she was out of high school and living with her aunt and uncle on Long Island. Her uncle taught her how to play guitar, and soon she was writing songs and playing New York clubs, sometimes under the name Lizzy Grant. While she attended Fordham University, she continued to play music and started getting serious around 2005. In April of that year, a CD of originals was registered under her birth name with the U.S. Copyright Office and recorded elsewhere, and she finished an unreleased folky album called Sirens under the name May Jailer.

Reverting to the name Lizzy Grant, she signed with 5 Points Records in 2006, recording an EP called Kill Kill with producer David Kahne, who would prove to be her first pivotal collaborator. Kill Kill appeared digitally in 2008, and over the next two years, Grant became Lana Del Rey, digitally releasing a full self-titled album under that name in 2010. Not long after its release, she teamed with managers Ben Mawson and Ed Millett, who helped her separate from 5 Points (rights to her recordings reverted to her), and she moved to England, where she began crafting the Lana Del Rey persona.

The first unveiling of Lana Del Rey arrived in 2011 via YouTube videos that quickly became a viral sensation, led by the moody, murky "Video Games" and followed by "Blue Jeans." Much of her success was limited to the Internet, but it soon started to spill over into U.K. pop culture. By the fall of that year, she'd released "Video Games" on Stranger Records, an independent division of Interscope/Polydor in the U.K., and she won the Next Big Thing trophy at the Q Awards. Del Rey's full-fledged debut album, Born to Die, appeared to considerable anticipation in January 2012. Greeted by mixed reviews, Born to Die's launch also suffered a setback after Del Rey's halting appearance on Saturday Night Live in January 2012, but that apparent stumble ultimately had the effect of raising her profile, and soon Born to Die became a steady seller. That November, Del Rey released the Paradise EP -- at eight tracks and 33 minutes, it was essentially a mini-LP; some pressings bundled Paradise with Born to Die -- which, supported by the single "Ride," charted at ten in the U.S.

Throughout 2013, various singles and videos surfaced -- these included a cover of Leonard Cohen's "Chelsea Hotel #2," as well as a cover of Lee Hazlewood's "Summer Wine" performed with her then-boyfriend, Barrie-James O'Neill -- but her biggest release of the year was the new song "Young and Beautiful," penned for Baz Luhrmann's adaptation of The Great Gatsby. Ultimately, this single was overshadowed by Cedric Gervais' remix of Born to Die's "Summertime Sadness," a remix that turned the song into her first Top Ten hit in the U.S. At the end of 2013, Del Rey released a short film called Tropico, which was accompanied by an EP of the same name. All of these releases -- including a cover of the Disney standard "Once Upon a Dream" for the Disney film Maleficent -- kept Del Rey in the spotlight as she worked on her second album.

Del Rey hired Dan Auerbach, the leader of Ohio blues-rockers the Black Keys, to produce the majority of Ultraviolence, the sophomore set that appeared in June 2014, preceded by the singles "West Coast," "Shades of Cool," "Ultraviolence," and "Brooklyn Baby." The album found a more receptive initial audience than Born to Die: not only were the reviews positive, but so were the sales, with the LP debuting at number one in both the U.S. and the U.K. Ultimately, Ultraviolence didn't generate hits as big as Born to Die, but it performed the crucial task of elevating Del Rey's critical reputation, illustrated by her selection to sing the title song for Tim Burton's 2014 bid for an Oscar, Big Eyes.

Del Rey wasted no time following Ultraviolence. In early 2015, she worked on a third full-length album, and she co-headlined a summer tour with Courtney Love. Preceded by the singles "High by the Beach" and "Terrence Loves You," the album, titled Honeymoon, saw release that September. It topped the charts in a handful of countries, peaking at number two on the Billboard 200. In addition to touring in support of Honeymoon, she contributed vocals to the Weeknd's chart-topping third LP, Starboy, and began recording for her own follow-up.

In early 2017, she released "Love," the first single from her fourth full-length effort, Lust for Life, which arrived that July. Along with debuting at number one in the Billboard 200, the record earned Del Rey her second Grammy nomination for Best Pop Vocal Album. The following year, she began rolling out singles in advance of her fifth album, Norman Fucking Rockwell!, beginning with "Mariners Apartment Complex" and "Venice Bitch." The trickle of new music continued throughout 2019 with a steady stream of new songs, some one-offs, and some album tracks. After ramping up excitement for the record with a cover of Sublime's "Doin' Time" and a two-part joint single, "Fuck It I Love You"/"The Greatest," Norman Fucking Rockwell! was released in late August 2019. It received Grammy nominations for Album of the Year as well as Song of the Year for the title track. The following year, Del Rey issued Violet Bent Backwards over the Grass, a book of poetry that also yielded a spoken word album of the same name.

The official follow-up to Norman Fucking Rockwell!, Chemtrails over the Country Club, appeared in March 2021. Only a few months later, Del Rey released three more singles including the song "Blue Banisters" from her forthcoming album of the same name. Blue Banisters arrived in October of that year, featuring production on some songs from Kanye West and Kid Cudi producer Mike Dean. It reached number eight on the Billboard 200. In December 2022, she landed in the Top 40 of the Hot Rock & Alternative Songs chart with "Did you know that there's a tunnel under Ocean Blvd," the Jack Antonoff, Drew Erickson, and Zach Dawes-produced title track off her ninth album. Two more songs were issued as singles in advance of the record before its release in March 2023. In addition to contributions from the producers, Did you know that there's a tunnel under Ocean Blvd included featured appearances from Father John Misty, Jon Batiste, SYML, Riopy, Tommy Genesis, and backing on the song "Margaret" from Antonoff's band Bleachers. The album reached number three on the Billboard 200 and netted Del Rey five Grammy nominations, including one for Album of the Year. In May of 2023 she released the new non-album song "Say Yes to Heaven," which performed respectably on charts around the globe. A cover of John Denver's "Take Me Home, Country Road" appeared in December of 2023 and was followed in 2024 by "Tough," a duet with a trap-pop single featuring Quavo. Del Rey kicked off her next album cycle in April 2024 "Henry, come on”.

Her debut album, Lane Del Rey, turns fifteen earlier this year. Honeymoon, her fourth studio album, turns ten in September. I am excited to her upcoming album. An album I have followed and loved for years, there will be a lot of new appreciation of Lana Del Rey ahead of her fortieth anniversary on 21st June. Below is a mixtape of her majestic and unique music that shows, from her earlier days to now, there is nobody who has the same power and talent…

AS Lana Del Rey.

FEATURE: Feminist Icons: Michelle Obama

FEATURE:

 

 

Feminist Icons

PHOTO CREDIT: Miller Mobley (via Time)

 

Michelle Obama

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IF you…

PHOTO CREDIT: Jack Taylor/Getty Images

have not read any books by Michelle Obama, I would recommend that you do so! You can find more details here. Her incredible and powerful memoir, Becoming, is a book I would recommend everyone reads. Released in 2018, it won critical praise and was a bestseller. I wonder whether we will get another book from Michelle Obama soon. The former First Lady is someone who inspired countless girls and women around the world. I am going to highlight in a minute how she is a modern-day feminist icon. First, here are some more details about Becoming:

“In a life filled with meaning and accomplishment, Michelle Obama has emerged as one of the most iconic and compelling women of our era. As First Lady of the United States of America—the first African American to serve in that role—she helped create the most welcoming and inclusive White House in history, while also establishing herself as a powerful advocate for women and girls in the U.S. and around the world, dramatically changing the ways that families pursue healthier and more active lives, and standing with her husband as he led America through some of its most harrowing moments. Along the way, she showed us a few dance moves, crushed Carpool Karaoke, and raised two down-to-earth daughters under an unforgiving media glare.

In her memoir, now available in paperback and as a Young Readers edition, Michelle Obama invites readers into her world, chronicling the experiences that have shaped her—from her childhood on the South Side of Chicago to her years as an executive balancing the demands of motherhood and work, to her time spent at the world’s most famous address. With unerring honesty and lively wit, she describes her triumphs and her disappointments, both public and private, telling her full story as she has lived it—in her own words and on her own terms. Warm, wise, and revelatory, Becoming is the deeply personal reckoning of a woman of soul and substance who has steadily defied expectations—and whose story inspires us to do the same”.

I know that The Trouble Club (and its owner, Ellie Newton) have Michelle Obama top on their list of dream guests. I hope one day that she is able to speak for them as I would love to see her! I am going to bring in some articles and interviews highlighting Obama’s feminism and her drive for equality. The advice that she gives to young girls and women. Someone who has empowered so many people through the years, she is still such an inspirational figure. This 2016 article from Dr. Patricia Fletcher about the White House-convened United State of Women (USOW) summit, where Michelle Obama spoke passionately and brilliantly at during a dinner at the event is well worth reading. I am going to move things forward in a minute. I am interested in this 2018 article, where Michelle Obana urged the world to keep fighting for equality – even if it makes people uncomfortable. At such a dangerous time for women and girls (as it is now), she said how tired and drained women are:

“The #MeToo movement has highlighted what a "dangerous place" the world is for women and girls, and this generation can't give up its fight for gender equality — even if makes some people uncomfortable, Michelle Obama says.

"I'm surprised at how much has changed, but how much has not changed," the former first lady said in an exclusive interview on the "Today" show Thursday, just over a year after the global reckoning against sexual harassment and assault began.

"Enough is enough."

"The world is, a, sadly, dangerous place for women and girls," she added. "And I think young women are tired of it. They're tired of being undervalued. They're tired of being disregarded."

Obama's comments came after a particularly emotional couple of weeks and just days after President Trump's Supreme Court nominee, Brett Kavanaugh, was confirmed to the high court, despite allegations of sexual assault against him dating back decades playing out in a public hearing that captivated — and divided — the nation.

After a bitter confirmation process, Trump openly mocked Kavanaugh's accuser, Christine Blasey Ford, and apologized to Kavanaugh for the "terrible pain and suffering" that the accusations had caused him. Meanwhile, the president's son, Donald Trump Jr., said the fallout over the Kavanaugh allegations made him more concerned for his sons than his daughters.

“I’ve got boys and I’ve got girls, and when I see what’s going on right now, it’s scary,” Trump Jr. told DailyMail TV.

Obama said the backlash to the #MeToo movement was to be expected, and said it shouldn't serve as a deterrence.

"That's what happens with change. Change is not a direct, smooth path. There's going to be bumps and resistance. There's been a status quo in terms of the way women have been treated, what their expectations have been in this society, and that is changing," she said.

"There's going to be a little upheaval, a little discomfort, but I think it's up to the women out there to say, 'Sorry. Sorry that you feel uncomfortable, but I'm now paving the way for the next generation.'"

Speaking on the International Day of the Girl, Obama also announced a new initiative called The Global Girls Alliance, which will focus on helping adolescent girls around the world secure an education.

And she said she still sticks by the famous motto that she first used during her speech at the 2016 Democratic National Convention when it comes to avoiding pettiness in politics: "When they go low, we go high”.

I am going to stay in 2018. Michelle Obama. As Slate reported, when promoting her memoir, Becoming, Obama said that she did not believe in ‘lean-in’ feminism ("Lean In" within a feminist context, popularized by Sheryl Sandberg's book of the same name, refers to the idea of women taking assertive, leading roles in the workplace and beyond. It's a call for women to embrace their ambition, take risks, and not hold back from pursuing their goals, even if it means challenging traditional gender roles”). Whilst many women might not agree with her position, Michelle Obama explained how marriage – for many women – is still not equal. This idea of lean-in feminism maybe not applying to the modern landscape:

“The audience of 19,000 immediately went wild at the sound of Obama letting loose a curse word, and while she quickly apologized for the slip of tongue, she doubled down on her criticism of the philosophy popularized by Facebook’s Sheryl Sandberg in 2013. “I thought we were at home, y’all,” Obama said, according to Glamour. “I was getting real comfortable up in here. All right, I’m back now. Sometimes that stuff doesn’t work.” For the uninitiated, the “lean in” corporatized version of feminism suggests that women can have it all if they just act like men and assert themselves more aggressively in the workplace. It immediately drew criticism for seeming to blame women for male-dominated workplaces, and as of 2017, even Sandberg admits that women haven’t progressed much since she popularized the slogan.

But let’s return to Obama. When she stepped onto the national stage with her husband over a decade ago, she was touted as the titular modern woman. From her many career accomplishments to her beautiful family to her effortless style, Obama seemed to embody the idea that women could indeed have it all. As Anne-Marie Slaughter wrote for the Atlantic in 2012, Obama “started out with the same résumé as her husband, but has repeatedly made career decisions designed to let her do work she cared about and also be the kind of parent she wanted to be.” Even though the former first lady said her priority in the White House was to be “mom-in-chief” and shepherd her two daughters through the trials of growing up in front of the country, it was abundantly clear that, as Slaughter put it, “we should see her as a full-time career woman, but one who is taking a very visible investment interval.”

To women everywhere but specifically to black women like me, Obama’s public persona was a physical manifestation of the idea that no matter who didn’t believe in us, we could be smart, accomplished, ­and have the American dream of two kids and a dog to go along with it. But the reality she sketched out in both her remarks on Saturday and in her memoir speak to something much more important: that to be a thoroughly modern woman in America is to sacrifice”.

I am going to move to a Vogue. Michelle Obama talked about ‘imposter syndrome’, empowering young women, and who her role models are. In terms of her legacy and place in the modern world, there are few more important and prominent than Obama. She has helped create so much discussion and activism. Her passion for empowering girls through education is particularly inspirational:

“Most importantly, Obama has made it her mission to champion women and adolescent girls around the world. In October 2018, she launched the Girls Opportunity Alliance, which empowers girls internationally through education. It’s an issue that the former first lady—who documents her journey from Chicago’s South Side to the White House in bestselling 2019 memoir Becoming—describes as hugely personal. “Neither of my parents and hardly anyone in the neighborhood where I grew up went to college,” she explained in a CNN op-ed in 2016. “For me, education was power.”

Programs supported by the Girls Opportunity Alliance will be profiled in Creators for Change, a new YouTube Originals series that will broadcast conversations on tough global issues. In honor of Women’s History Month (which runs from March 1 to 31), its inaugural episode will see Obama discuss the state of girls’ education around the world with YouTube creators Liza Koshy, Prajakta Koli, and Thembe Mahlaba.

Here, Michelle Obama speaks exclusively to Vogue about the women who helped raise her, how she deals with imposter syndrome, and why educating girls means a better future for all of us.

Bottom of Form

The Girls Opportunity Alliance is dedicated to empowering adolescent girls through education. Why did you choose to focus on education as a path to empowerment?

“As a girl growing up on the South Side of Chicago, my access to a good education wasn’t always a guarantee. But I had a powerful advocate in my mother, Marian Robinson. She stepped in to help wherever she could—holding fundraisers for new classroom equipment, throwing appreciation dinners for my overworked teachers, and lobbying on my behalf whenever she sensed standards were slipping. Not only did my mother make sure I was learning my multiplication tables and planetary systems, her actions instilled in me a sense of my own worth: that my voice, talents, and ambition mattered. My life would look a lot different today if I hadn’t had that support.”

“I want every girl on this planet to have the same opportunities that I’ve had. But right now, more than 98 million adolescent girls around the world are not in school. That’s an injustice that affects all of us. We know that girls who go to school have healthier, happier lives, and when that happens, the whole world benefits. That’s why the Obama Foundation started the Girls Opportunity Alliance—we work to lift up the grassroots organizations and leaders around the world already doing the important work of clearing away hurdles to girls’ education in their communities. Every single girl deserves the chance to pursue her passions and fulfill her boundless potential.”

What women have impacted you the most in your own education journey?

“I already mentioned my mother Marian Robinson, who has a kind of quiet perseverance and strength that I still look to emulate. My great-aunt Robbie has been another huge influence on me. She taught me to play piano when I was a little girl in Chicago, and she gave me some of my earliest lessons in self-discipline and good old-fashioned debate. We often butted heads—I kept skipping ahead in my lesson book, itching to learn more complicated songs—but she just wasn’t having it. She believed in the value of patience and diligence, concepts that five-year-old me didn’t yet understand.

In one of my first recitals, I sat down to play my song only to realize I had no idea where to put my hands—our piano at home had chipped keys, and I’d always used them as a guide. Just as I was beginning to panic, Robbie gracefully rose from her seat in the audience and walked to the bench. She gently placed my finger on middle C. And then I played my song.

I think about that moment a lot, because I hope it’s what we can offer all girls—a chance to learn and try new things, a guiding hand to support them when they stumble, and then the freedom to express themselves through whatever medium they choose.”

You’ve spoken publicly about “imposter syndrome” and its negative impact on girls and women. How have you dealt with it and do you have any tips for overcoming it?

“Imposter syndrome is so tough. For so long, women and girls have been told we don’t belong in the classroom, boardroom, or any room where big decisions are being made. So when we do manage to get into the room, we are still second-guessing ourselves, unsure if we really deserve our seat at the table. We doubt our own judgment, our own abilities, and our own reasons for being where we are. Even when we know better, it can still lead to us playing it small and not standing in our full power.

I’ve been there plenty of times. What’s helped me most is remembering that our worst critics are almost always ourselves. Women and girls are already up against so much: The fact is that you wouldn’t be in that room if you didn’t belong there. And while negative thoughts are bound to crop up as you take on new roles and challenges, you can acknowledge them without letting them stop you from occupying space and doing the work. That’s really the only way we grow—by moving beyond our fears and developing trust that our voices and ideas are valuable.”

What steps can we all take to ensure that more women and girls are in positions of leadership?

“First, it’s on all of us to make sure every young girl has access to a quality education. We also need to give our girls the chance to discover their own voices. So often, we tell women that they should be speaking up, fighting for better conditions, and standing up all on their own to the inequity they face. But if we never give our girls the space to practice using their voices, how will they become women who know when to raise them? It takes practice to gain the confidence to make your voice heard in the world.

At the same time, we need to bring our boys and men into this effort, too. So much could change in a generation if we taught our boys to listen to girls, to see them as their equals. Because the truth is women are just as capable and qualified as men to lead. And if we give our girls the chance to become the women they’re meant to be, we really can set off a ripple effect that transforms the world.”

What is one message you would like to share with Vogue readers?

“The evidence is clear: When girls get an education, amazing things start to happen. Girls who go to school have healthier children, higher salaries, and lower poverty rates. They can even help boost their nation’s economy. When girls learn how to think for themselves, they advocate for others and find solutions to some of our world’s most pressing problems. The future of our world truly is only as bright as our girls. Investing in their education is one of the best things we can do for each and every one of us”.

There are a couple of other articles I want to include before finishing up. In 2022, the BBC spoke with her as she was promoting her latest book, The Light We Carry: Overcoming in Uncertain Times. If you have not read the book then I would recommend that you do so:

“Michelle Obama has admitted she struggles with negative thoughts about her appearance and her "fearful mind", but that women need to "learn to love ourselves as we are".

In her new book, the former US first lady reveals she "hates how I look all the time and no matter what".

But she has found strategies to be kind to herself, she told BBC Breakfast.

She said: "I'm still a work in progress and facing myself each morning with something kind is still a challenge."

She continued: "I try every day to, as I say in the book, greet myself with a positive message.

"And it's really a shame that so many of us, particularly women, have a hard time just looking at our own image and not tearing it apart and figuring out what's wrong.

"I think that's at the core of some of our unease and unhappiness, because if we don't start out by learning to love ourselves as we are, it's hard to pass that on to others.

"So I am working on it every single day."

Michelle Obama returned to the White House to unveil a portrait in September

Mrs Obama, 58, was in the White House with husband Barack between 2009 and 2017.

In the only UK interview for her book The Light We Carry, BBC Breakfast's Naga Munchetty told her: "You are seen as a powerhouse.

"You are seen as this confident woman, this established woman, this smart woman... If you're feeling like this, what hope do the rest of us have?"

Mrs Obama replied: "I think that's the point of sharing it.

"We all have those thoughts, those negative thoughts that we've lived with for years, especially as women and as women of colour, where we don't see ourselves reflected in our society.

"I think we're in a better position, but one of the things I talked about was what it was like growing up, not just as a black woman, but as a tall black woman, before the Serena and Venus [Williams] years, before we had the WNBA [Women's National Basketball Association] and had role models other than gymnasts to look up to.

"It is important for us to see who we can be in order to feel good about ourselves”.

I will end with a 2017 feature from Vox. When President Barack Obama and First Lady Michelle Obama left the White House in 2017, they left a legacy, for sure. However, think about their fight for equality and Michelle Obama’s messages. Urging men to be better. The President echoing that. In an age of Donald Trump and his misogyny and evil, the U.S. needs a sane and strong voice in leadership like that of Michelle Obama:

“Michelle Obama is the “new face of feminism.” That’s according to the results of a new poll by PerryUndem Research, in which 47 percent of respondents said she “represents feminism today,” putting her at the top of the list of 14 women including Oprah Winfrey, Hillary Clinton, and Beyoncé.

It’s a victory over the judgments of those who, in the early years of the Obama administration, questioned her feminist credentials, scoffing at her focus on gardening and expressing disappointed at the Princeton and Harvard grad’s temporary embrace of the role of “mom-in-chief.”

But Obama has done something even more powerful than gain and maintain the approval of the public. She’s used her post at the White House to strike a very different tone in the conversation about gender equality. She’s shrugged off the scrutiny of her own feminist credentials, asking not, “Am I good enough as a woman?” but, “What do men need to do better?” — and seemingly led the way for her husband, President Obama, to do the same.

Michelle Obama’s feminism was scrutinized from day one — but she never gave into self-doubt or self-flagellation

In response to Jodi Kantor’s 2009 profile of the Obamas’ marriage for the New York Times, a reader wrote in to an online chat, “Can someone explain to me in what ways is the Obama marriage ‘modern’? It seems completely conventional to me, with both Barack and Michelle playing traditional gender roles.” The comment went on to point out that Michelle focused on “fashion, gardening, volunteering, re-decorating, organizing social nights, and appearing on magazine covers,” while Barack focused on more serious issues.

On that topic, Obama simply told Kantor that the equality of a partnership, in her view, “is measured over the scope of the marriage. It’s not just four years or eight years or two.”

But the scrutiny of her feminist credentials continued. In 2013, the Washington Post’s Lonnae O’Neal Parker reported that feminists were “split by her work,” with some still expressing disappointment at the areas that she seemed to place her focus:

“Are fashion and body-toning tips all we can expect from one of the most highly educated First Ladies in history?” asked author Leslie Morgan Steiner in an online column last January. She said she’d “read enough bland dogma on home-grown vegetables and aerobic exercise to last me several lifetimes.”

Steiner contended Obama probably had little leeway. “I’m sure there is immense pressure — from political advisors, the black community, her husband, the watching world — to play her role as First Black Lady on the safe side.”

Feminist discontent with the first lady spiked again last summer at the Democratic National Convention, after she called her daughters “the heart of my heart and the center of my world.” She then repeated her feminist crazy-maker: “You see, at the end of the day, my most important title is still ‘mom-in-chief.’”

“Why does mom-in-chief have to be the most important thing this strong, vibrant woman tells us about herself as she flexes the strange but considerable power of the office of first lady?” Emily Bazelon asked on Slate.com.

The Post pointed out that many minority feminists and writers of color saw things differently. After all, as Parker wrote, “By necessity and by choice, a majority of black women have been working outside the home at least since the census began keeping track of their labor in 1972. There has never been a national effort to keep black women at home, caring sweetly for their children. They have always worked, and their work has never been a separate thing from their mothering.”

But while others debated Obama, she neither became defensive nor changed her priorities in response to her critics. Instead, she seemed to steadily live the way she chose: still focusing on that garden, the anti-obesity initiative, and more: launching “Let Girls Learn,” an initiative aimed at helping adolescent girls attain a quality education, hosting events specifically celebrating African-American girls and women during Black History Month, giving a headline-grabbing, powerful address at the Democratic National Convention and becoming widely regarded as Hillary Clinton’s most influential surrogate. Her condemnation of then-candidate Donald Trump’s commentary about women and daily assaults on the dignity of women grabbed the entire nation’s attention. In the meantime, she took her daughters to Beyoncé concerts and did Carpool Karaoke.

Subtly, though, through all this, she has insisted on being herself and ignoring the question of whether she was living up to anyone else’s feminist ideals. And at a moment when she had reached the highest approval she had earned, she did something powerful: She shifted the focus of the gender equality conversation to men. Her message: “Be better.”

“Be better at everything,” she said in a conversation with Oprah at the United States of Women summit in June 2016. “Be better fathers. Good lord, just being good fathers who love your daughters and are providing a solid example of what it means to be a good man in the world, showing them what it feels like to be loved. That is the greatest gift that the men in my life gave to me.”

She made it clear that she was talking to all men, continuing:

Men can be better husbands, which is — be a part of your family’s life. Do the dishes. Don’t babysit your children. You don’t babysit your own children. Be engaged. Don’t just think going to work and coming home makes you a man. Being a father, being engaged, all that stuff is important. Be a better employer. When you are sitting at a seat of power at a table of any kind and you look around you just see you, it’s just you and a bunch of men around a table, on a golf course, making deals, and you allow that to happen, and you’re OK with that — be better.”

IN THIS PHOTO: President Barack Obama in Paris/PHOTO CREDIT: Chesnot—Getty Images

When it came to gender equality, the president echoed her message to men

Just a couple of months later, President Barack Obama’s echoed Michelle’s sentiments in an essay titled “Why I’m a feminist” for Glamour magazine in August. He didn’t pass judgment on which goals and dreams of women deserved support, or what kinds of women deserved men’s support, but rather explained how he was in a continuous process of self-reflection — often inspired by his wife:

I’ve seen how Michelle has balanced the demands of a busy career and raising a family. Like many working mothers, she worried about the expectations and judgments of how she should handle the trade-offs, knowing that few people would question my choices. And the reality was that when our girls were young, I was often away from home serving in the state legislature, while also juggling my teaching responsibilities as a law professor. I can look back now and see that, while I helped out, it was usually on my schedule and on my terms. The burden disproportionately and unfairly fell on Michelle.

As Michelle might put it, he decided to do better. And he repeated the shift in perspective she had introduced. This wasn’t about just celebrating or affirming women, but insisting that his gender should improve — from changing attitudes to avoiding stereotypes to taking responsibility for equity in relationships:

So we need to break through these limitations. We need to keep changing the attitude that raises our girls to be demure and our boys to be assertive, that criticizes our daughters for speaking out and our sons for shedding a tear. We need to keep changing the attitude that punishes women for their sexuality and rewards men for theirs.

We need to keep changing the attitude that permits the routine harassment of women, whether they’re walking down the street or daring to go online. We need to keep changing the attitude that teaches men to feel threatened by the presence and success of women.

We need to keep changing the attitude that congratulates men for changing a diaper, stigmatizes full-time dads, and penalizes working mothers. We need to keep changing the attitude that values being confident, competitive, and ambitious in the workplace—unless you’re a woman. Then you’re being too bossy, and suddenly the very qualities you thought were necessary for success end up holding you back. ...

It is absolutely men’s responsibility to fight sexism too. And as spouses and partners and boyfriends, we need to work hard and be deliberate about creating truly equal relationships”.

Undoubtable a feminist icon, I wanted to celebrate the wonderful Michelle Obama! The Girls Opportunity Alliance is doing such key and important work around the world. There will be further books and talks from Obama. She will continue to make a difference and strive for equality for all girls and women. A role model for millions, she is someone that I look up to. Maybe she will speak at The Trouble Club one day (let’s hope so!). Until then, go and check out the work and words of…

THE iconic Michelle Obama.

FEATURE: Various Storms & Saints: Florence + The Machine’s How Big, How Blue, How Beautiful at Ten

FEATURE:

 

 

Various Storms & Saints

  

Florence + The Machine’s How Big, How Blue, How Beautiful at Ten

__________

THIS incredible album…

PHOTO CREDIT: Todd Heisler/The New York Times

was released on 29th May, 2015, so I wanted to mark its upcoming tenth anniversary. Florence + The Machine’s How Big, How Blue, How Beautiful won critical acclaim and reached number one in the U.S. and U.K. Her next studio album after 2011’s Ceremonials, How Big, How Blue, How Beautiful is more stropped back and diverse in terms of its genres. Recorded across multiple studios, the album does not lose any focus or consistency. Some of the finest songwriting and vocal performances from Florence Welch. Ranked alongside the best albums of 2015, it is only right that I investigate this stunning album in more depth and detail. Go and watch this incredible film/visual album. I will get to some reviews of How Big, How Blue, How Beautiful. Prior to that, there are a couple of interviews from 2015 with Florence Welch that I want to highlight. I am going to start out with an interview from NME. Florence Welch addresses, among other things, turmoil, Hollywood, witchcraft and her new album:

“After the touring of ‘Ceremonials’ finished, Florence had a year off to rest, so she could come to a new album completely refreshed. Out of the cycle of gigs, she found herself adrift, searching for who she was when she wasn’t that Florence. A difficult on-off relationship compounded her confusion, and she cocooned herself in the house where we meet today, a beautiful south London terrace with a fairytale garden of thick hedges and sprawling roses. The cosy rooms are filled with antique, heavy wooden furniture, trinkets, endless books and prints, butterflies in glass cases and domes. There is a heavy bureau overflowing with papers, a collection of crowns catches my jumper. In the toilet is a sequinned dragon tail, to be worn round the waist.

“When you come off tour… it’s hard to know what you like,” she explains, happy and relaxed in jeans and a white long-sleeved top. “You’re this big, like (spreads her arms wide like goddess-Florence), but then that’s not here, in this house. I was trying to figure it out, like, do I like partying? I’ll just do that loads. Do I wanna have a relationship? That’s not working either! What is it? What am I looking for? I had to contend with my own feelings for the first time. I couldn’t just be swept away and do a gig. Gigs have this magic thing of absolving. As long as you did a good gig, no matter what’s happened, no matter what’s going on in your personal life, it’s such an exorcism for me that it just resets everything.”

In an interview shortly before ‘Ceremonials’ came out, Florence talked about how songs such as ‘Seven Devils’ and ‘Shake It Out’ were about exorcising old demons, using hexes to ward off the self-destructive side of herself she used to call, around the time of ‘Lungs’, the Chaos Robot (echoed in the original name for her band, Florence Robot Isa Machine; Isa Machine being Isabella Summers, her songwriting partner and bandmate). She also spoke about choosing whether to be swept away by that indulgent chaos, or trying to grow up. This time around, a drained Florence found herself feeling shy at parties and awards ceremonies, wondering: “But I like this stuff, don’t I?”

Looking back now on ‘Ceremonials’, she says, “It was all like (makes dramatic, expansive arm gesture) WHAAAAAAH, y’know? Turning things into spells, and finding other ways to express things so that they wouldn’t be as clear. Because I didn’t feel clear. But with this, I felt clear. It was a humbling feeling. How I usually approach feelings or things that are happening is to translate it into this fantasy… and then having a bit of time away, suddenly like my actual life became something that I had to contend with. It wasn’t like a fantasy… it was like, ‘Oh, shit’… But it felt quite like a new, pure feeling as opposed to kind of like the big whooshy confusion.” She gestures back to the images of whirling Amaterasu. “I still love all of this stuff. But you don’t ever wanna feel like you have to be something.”

All this existential wrangling can be heard clearly in the lyrics: ‘How Big…’ finds Florence standing, fighting, questioning, rather than surrendering or being swept away by her emotions. “I’m gonna be free and I’m gonna be fine/But maybe not tonight”, she sings on ‘Delilah’, acknowledging that there’s “a different kind of danger in the daylight”. Where once she was worshipping the water, calling out from the depths, now she looks to the sky referenced in the title and invokes saints (even if one of them is St Jude, patron saint of lost causes). Most revealing are ‘Mother’ and ‘Third Eye’. In the former, she finds herself at a party, not feeling it. Couples kiss around her, but she leaves, walks out into the night and puts her feet in a fountain. So far, so Florence, but instead of a font of absolution, she comes to a frank admission: “No use wishing on the water/It brings you no release”.

‘Third Eye’ was written by Florence on her own (as well as Summers, she often writes with long-term collaborator Kid Harpoon): “You deserve to be loved/And you deserve what you are given”. Talking to herself? “Sadly, yes,” she says. “I didn’t think I was at the time. When you reach a level of fame and attention, it can make you feel quite unworthy. To be compelled, to need that catharsis and exorcism, there’s obviously going to be an underlying dissatisfaction… it was trying to learn to just be happier in my own skin.”

Florence crafted the words from not just personal emotions but ideas from her voracious reading, snippets from newspapers, titles of artworks. A quick scan of her living room reveals a framed print of contemporary dancer Pina Bausch, a huge ornate volume on the Ballets Russes, and prints, patterns, books, books, books everywhere. Her fans joyfully scour her more literate references and puzzles – a bit of Greek myth here, a biblical reference there – writing essays on her videos, and in the case of some, forming a book club that took suggestions for its reading from the lady herself. “There’s a lot of quite literary kids out there,” Florence enthuses. “Poetry and reading books has played such a big part in the making of all the records, and it’s nice because it’s not as personal, and you can connect with people.”

Musically, ‘How Big…’ was inspired by her songwriting trips to Jamaica and to LA, where, like many before her, the sense of space and warmth and light seeped in (“We’ve opened our eyes and it’s changing the view”, she sings on the title track). She knew she wanted something that sounded “big, but not heavy”, inspired particularly by a late conversion to Neil Young (whose Bridge School benefit concert she also played at in October last year), plus listening to The Beatles, The Rolling Stones, Tom Petty and Springsteen, in search of a “tougher” sound. Also key, though, was Fiona Apple’s last album, which Florence admired for the mixture of strength and vulnerability in its emotional frankness.

Florence does seem comfortable in herself (and in her foot, which has healed from the break it suffered after a Chaos Robot-esque moment at Coachella, when she threw herself from the stage). Recent live shows have seen her eschew the usual stage sets and costumes, “actually just allowing things to be quite raw, and as they are. Again, I think a lot of it was not me wanting to be prescribed to do anything in a certain way, just to be completely liberated. And breaking my foot has been quite good as well, in a way, because it’s forced more intimate performances that I perhaps wouldn’t have done. I was inherently forced to be myself!”

Soon, she’ll be taking the new-style Florence live experience to the Pyramid Stage, and though she doesn’t share my outrage that she wasn’t Glastonbury’s third headliner (“I think I’m quite happy with where we are! It would be wonderful to headline, but I also don’t know how I would be dealing with that right now. I would probably be back in the anorak”), she’s clearly looking forward to the festival of which she’s practically the spirit animal. She refuses to make predictions. “I’m not really planning what’s going to happen at Glastonbury, because I just don’t know. It’s almost quite hard for me to remember gigs sometimes, because I just don’t know what happens. It’s almost like something else completely takes over. So if I’m back in my full-charged-feet mode, I’m nervous for what’s going to happen. Because that’s what happened at Coachella: I hadn’t performed in a really long time. And it was like whoosh… and then the crowd were all taking their clothes off, I had my shirt off and I threw myself off. It’s this sense that anything could happen”.

I am going to move to an interview from Billboard. After breaking her foot at Coachella, there was this enforced period away from the stage. Triumphantly storming Glastonbury a few months later, 2015 was this strange and slightly turbulent year for Florence and the Machine. How Big, How Blue. How Beautiful arrived sort of in the middle - after Coachella but before Glastonbury:

“Welch demurs when asked about the commercial pressure surrounding the new album. (Says Jim Roppo, executive vp marketing and commerce for Welch’s label, Republic Records: “We’re aiming for a No. 1 album.”) “I try not to think about it,” she says. “I’m a strange kind of ambitious, because I never cared about having a No. 1 single.”

Shows have been the focus. “I remember being 20 at the Glastonbury festival. And I had been invited to come and play the Sunday Tea Tent, and I was in my anorak and I had no Wellies, and it was one of the muddiest Glastonburys of all time. I remember looking at the Pyramid Stage and thinking, ‘I wish I could perform there just one time.’ ” And in fact, Welch will play the Pyramid this June, as one of her first sets after her foot is healed. “It’s hard to imagine that you think about something you’d like to have happen in your life and it happens,” says Welch. “For a pessimistic British person that’s very hard to deal with. Whereas in L.A.,” she continues, referring to the city she retreated to while she was off the road, “they would say, ‘You’re manifesting.’ But I obviously wasn’t there long enough to feel I deserve any of this.”

Welch honed her voice singing in her small bedroom in Camberwell, London. Her father, a British advertising executive, and her mother, a Renaissance Studies professor from Boston who moved to England in 1981 and still lives in London, divorced when Welch was 11. When her mother began dating another man, Welch and her two sisters moved in with him and his children down the street. Her maternal grandmother, who suffered from bipolar disorder, committed suicide when Welch was 13. Welch responded to all this upheaval by retreating back into herself, inventing fantasy worlds and warbling in her room. She also suffered from dyslexia and anxiety, and poured her frustrations into songs.

At 18, Welch began writing music with her younger sister’s babysitter, Isabella Summers, who is six years older and remains Welch’s co-writer, keyboardist and best friend. They called themselves Florence Robot/Isa Machine before settling on Florence & The Machine, and recruiting the current core of the band (guitarist Robert Ackroyd, drummer Chris Hayden, bassist Mark Saunders and harpist Tom Monger). Welch dropped out of college to pursue music full time, playing London’s bars and clubs, and convinced her now-manager, a London DJ named Mairead Nash, to book her for a big industry Christmas party after she tipsily sang Nash a few bars of an Etta James ballad in a nightclub bathroom. After getting signed in 2008, Welch went to South by Southwest to play showcases and met MGMT, who brought Florence & The Machine on tour as an opening act and helped kick off the band’s first major run of shows. In the run-up to releasing its debut, Welch dyed her hair a fiery red (she’s naturally a brunette) and began to experiment with glamorous costumes. The band made its first big splash stateside performing “Dog Days Are Over” at the MTV Video Music Awards in 2010; in 2011, Welch joined such stars as Christina Aguilera and Jennifer Hudson for Aretha Franklin’s Grammy tribute.

“She’s one of the few amazing musicians who has a strong eccentric streak,” says producer Markus Dravs, who worked with Welch on How Big How Blue How Beautiful. “I would put her next to Stevie Nicks, Bjork, Kate Bush. What struck me over the years is the commitment and conviction that she has in her art. It goes beyond the songwriting into her visuals.”

Welch admits that a lot of her early costuming and theatrical flair was a sort of defense mechanism. “I did my first press shot when I was 20, and it was the first time I ever saw myself in a newspaper,” she recalls. “I was in shorts, with a goofy grin, and I was terrified. I saw that and was like, ‘No way.’ It was too raw, too exposing to be that real. And so over time, I found ways to protect myself: The hair went bright red, my eyebrows went bleached off, my clothes were completely black and goth. I had a Siouxsie Sioux phase — I looked like a kind of bat. I was always climbing the rigging, always super drunk, yelling and crowd surfing. It was my way of dealing with all the attention.” 

Welch’s striking image caught the eye of fashion designers. She performed at a Chanel runway show in 2011 and even served as a muse to Mulberry — models wore red wigs for a Welch-inspired show (also in 2011). She was devastated to miss the Met Gala in May due to her foot — she had planned to wear a “gorgeous red lace dress from [Alexander] McQueen.” (The heavy boot she has to wear while healing, though, “kind of looks like a Birkenstock. So at least it’s chic.”)

But Welch increasingly feels like “there’s something about me that’s more feral and unhinged than a gown. I love gowns, I love dressing up — but there’s something about a cape or a gown that almost dictates how you will move and stand, and you feel like you have to live up to the dress.” And on How Big How Blue How Beautiful, she wanted to dig deeper. “This new album comes from a quieter place, one that is less grand and more vulnerable, and it wouldn’t feel right to try to put up walls again,” says Welch. “Although I love all that fashion stuff, it is also a way of guarding myself. I decided f— it, it was time to let it all go.”

For Welch, the break from touring in 2014 was “supposed to be when I rested and had a lovely time” writing the band’s third album. She decamped to Los Angeles with Summers. “We lived in a crazy doll’s house on a mountainside,” she says. “L.A. was all big blue skies, driving and listening to Neil Young. I got fully into L.A., the way I go full throttle with everything.” But the downtime left her at a loss. “I had kind of a breakdown and washed up a bit of a mess to the studio. I had just wore myself out.

“Without the structure of touring, you have to face your own chaos,” says Welch. “I was playing gigs nonstop since I was 21. When I was left to my own devices, I realized I was f—ing everything up. I was in and out of a relationship, in and out of drinking too much. It was like constantly picking yourself up and then dropping yourself, picking yourself up and dropping yourself. And that was exhausting.”

Florence & The Machine’s ethereal last album, Ceremonials, referenced mythology and Virginia Woolf. With this record, Welch was finally ready to tackle her personal life. She says Swift made her more comfortable putting her own experiences into song: “Taylor said that you must sing about what’s happening in your life.” (Says Swift: “She’s the most fun person to dance with at a party, but then five minutes later you find yourself sitting on the stairs with her having an in-depth conversation about love and heartbreak.”) “It’s definitely not about trying to be vindictive,” says Welch. “It’s about being honest. This could’ve been a breakup record,” she adds, presumably referring to her longtime off-and-on relationship with well-connected British event producer James Nesbitt, which was closely followed by the U.K. tabloids. “But it was much more about trying to understand myself.”

You can hear Welch honing in on this pain in the crackling recent single “What Kind of Man.” Its video shows her naked and dripping on a bathroom floor, crawling out of a crashed car and being tossed around a dingy hotel room by a surly group of men. “For that video, we were thinking about ideas of purgatory and Dante’s Inferno,” she says. “Because I was in this purgatory with this man. That push and pull thing where you are just stuck and you’re like, ‘Why do we keep doing this to each other?’ ” Welch shakes her fists, causing her jewelry to clatter. “It’s an aggressive song, but I can see my own part in the whole process. I was just as crazy as he was. People think the men in the video represent my ex-boyfriends, but they really represent a lot of different forces that weren’t working for me.”

As Welch gathers her things up to head to the SNL rehearsal — she says she really wants to stand for the performance; ultimately she sat on a stool, seemingly fighting the urge to leap up — she reflects again on her bum appendage as a metaphor: for her new rawness, her need to connect to an even wider audience on a yet more intimate level. “I don’t know why the foot break happened,” she says. “But it forced me in a way to slow down and have the same person who wrote this record to show up and sing those songs”.

I am going to end with two positive reviews for How Big, How Blue, How Beautiful. I want to bring in a review from Billboard. A remarkable album that I think is up there with the very best from Florence + The Machine, I wonder how they will mark its tenth anniversary. Whether Welch will say anything about it. I remember hearing it in 2015 and loving it. It still holds such power. Every song on it leaves an impression:

“Between 2011’s Ceremonials and her new album, How Big How Blue How Beautiful, however, she took a yearlong break to sort out some personal issues — the bad habits and relationship ­damage that are so often inflicted by years of perpetual touring. The hiatus helped her reassess her music as well. In her recent Billboard cover interview, Welch credits Taylor Swift — nobody’s idea of an art-rocker — with counseling her that she needed to draw more directly on her life for her songs. The payoff is immediately audible on How Big. It’s not a radical reformation of Welch’s style; she hasn’t stripped all the ornamentation from her cathedral of sound and become a folky confessional songwriter. But she is resorting less to abstract, lofty imagery and speaking with a more frank immediacy. There’s a confrontational edge to these songs, a dash of Chrissie Hynde pugilism to balance all that Stevie Nicks necromancy. The first lines of “Ship to Wreck,” already one of the more memorable singles of 2015, open on a scene of a body in peril — “Don’t touch the sleeping pills, they mess with my head” — and work their way through one of those painful morning-after reconstructions: “Oh, my love, remind me, what was it I did? Did I drink too much, am I losing touch, did I build a ship to wreck?” On that song and the following, equally urgent “What Kind of Man,” Welch and producer Markus Dravs (a rigorous ­taskmaster whom many artists, such as Coldplay and Arcade Fire, have called on when feeling at risk of a rut) have given her sound a more lean, streamlined propulsion, providing her with plenty of dynamic space to fill, as few other vocalists of her generation can do so well.

Fans of Welch’s most expansively raving anthems won’t go wanting here, however. Songs including “Queen of Peace” and “Third Eye” offer all the sky-high layered harmonies, rolling and echoing drums, and orchestral exclamation points one could desire, with horn arrangements by Will Gregory of Goldfrapp. But the intensity is relieved by sparse, restrained songs like the organ-led meditation “St. Jude” or “Long & Lost,” which, with its hovering guitar and strings and clunks of electronic ­percussion, evokes the dreamy swells of mid-1990s Kate Bush B-sides, or maybe even Cocteau Twins. The only letdown is closer “Mother,” on which Paul Epworth takes over production and comes up with a spiky jam that’s alternately meandering and overly melodramatic.

No matter the mood and tempo, though, the Florence & The Machine heard on How Big How Blue How Beautiful is a newly self-aware one. It shows a different kind of mastery by allowing for a different kind of vulnerability, an especially delicate balancing act for a young woman in pop music. “It’s hard to see it when you’re in it,” Welch sings on “Caught.” Perhaps, but by making that extra stretch for perspective, an artist can create songs that help listeners work out their own tangles and take measure of their own traps. In other words, the songs that people return to”.

I will finish off with a review from The Independent. They discussed an album where Florence Welch was confronting her demons in, and I agree, a frank manner. One of her most personal and moving albums. I am not sure if there is an anniversary reissue of How Big, How Blue, How Beautiful but I hope it is marked in some fashion. A tremendous listen from one of our best acts:

“Before recording How Big How Blue How Beautiful, Florence Welch opted for a sabbatical year off – during which, she claims, she experienced “a bit of a nervous breakdown”.

The results of that stressful period are evident throughout the album: compared to the fanciful fantasy preoccupations of previous releases – especially the death and water fixations of Ceremonials – this is Welch facing up to reality, confronting her emotional demons in a frank manner.

In this she’s helped by heavyweight new producer Markus Dravs (Arcade Fire, Coldplay), whose skill in rendering big, bombastic arrangements with clarity is well matched with the Machine’s grandiose sound.

Dravs apparently forbade her to write any more songs about water – yet the opening track “Ship to Wreck” breaks that rule with panache, Welch wielding various maritime metaphors for insomniac confusion as she admits she “can’t help but pull the earth around me to make my bed”, a vivid notion whose darkness is echoed in the image of “trying to cross a canyon with a broken limb” in the single “What Kind of Man”.

It’s the first of a string of songs dealing directly or tangentially with a difficult relationship. Here, and in “Queen of Peace”, an ethereal, furtive introduction billows into a huge arrangement of crunching rock band beat further inflated by horns.

The emotional turmoil is better served by the more introspective balladry of “Various Storms and Saints” and “Long and Lost”, where heartbreak is more subtly suggested through ambient background textures, wisps of synthesiser, strings and vibrato guitar. The vaunting, anthemic approach, meanwhile, is much better suited to the assertive messages of “Third Eye” and “Delilah”, whose revival-meeting feel is strongly reminiscent of Arcade Fire. But perhaps the most touching performance here is the lost-cause elegy “St Jude”, where she finally reaches the realisation “Maybe I have always been more comfortable in chaos?”.

On 29th May, we mark ten years of Florence + The Machine’s How Big, How Blue,. How Beautiful. A record that was a commercial and critical success, the group took to the Pyramid Stage shortly after its release and stormed it. Ten years on and I still have very warm memories of this album. It is an absolute gem…

YOU all should hear.

FEATURE: The Digital Mixtape: Sugababes’ Mutya Buena at Forty

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Lia Toby/Getty Images

 

Sugababes’ Mutya Buena at Forty

__________

A member…

IN THIS PHOTO: Mutya Buena alongside Siobhan Donaghy and Keisha Buchanan of Sugababes

of music’s royalty turns forty on 21st May. She is one-third of the original Sugababes line-up. Mutya Buena, together with Siobhan Donaghy and Keisha Buchanan have created some truly iconic tunes. There have been line-up changes through the years, but we are blessed to have the original line-up performing together today. I am going to come to a 2024 interview where we hear from a group who dominating dancefloors and getting booked alongside prominent D.J.s. Their latest singles, Jungle and Weeds, show that Sugababes’ originals have lost none of their chemistry and power. Before coming to the 2024 interview, there is an AllMusic biography of Mutya Buena that takes us up to 2007. Despite some somewhat dismissive or insulting words, it at least gives you an impression of the accomplishments of Mutya Buena. Happily, after leaving Sugababes, she did eventually reunite and re-join her sisters:

“Mutya Buena has been an international star since the age of 15, when she enjoyed her first hit with the British pop group Sugababes, but it wasn't until 2007 that she stepped out on her own as a solo artist. Born in London's Kingsbury district on May 21, 1985, Rosa Isabel Mutya Buena was raised in a multicultural family (her mother is of Irish descent while her father is from the Philippines), and she developed an interest in music at an early age. When she was eight years old, Buena met Keisha Buchanan and they became fast friends who shared a love for singing. In 1998, Buena and Buchanan were 13 and interested in putting together a singing group when they met a manager who paired them up with fellow singer Siobhan Donaghy. The new trio was named Sugababes, and their first album, One Touch, was released in 2000, with the single "Overload" reaching the British Top Ten. While the group parted ways with its British record label after One Touch failed to top the charts and Heidi Range replaced Donaghy in the group's lineup, Sugababes' second album, Angels with Dirty Faces, became a smash, going triple platinum and scoring four hit singles in the U.K., including two tunes that went to number one, "Freak Like Me" and "Round Round." Sugababes enjoyed similar success with their third album, 2003's Three, but 2005's Taller in More Ways proved to be Buena's swan song with the trio; she gave birth to a daughter, Tahlia-Maya Buena, in March 2005, and in December 2005 she resigned from the group to spend more time with her baby. The group wasted no time hiring a replacement, Amelle Berrabah, who re-recorded Buena's vocal parts for a single release of "Red Dress" from Taller in More Ways. In 2006, Buena began posting demos of new material on her MySpace page, and enjoyed a hit single with George Michael, "This Is Not Real Love," as well as contributing guest vocals to Groove Armada's album Soundboy Rock. In June 2007, Buena released her highly anticipated solo debut, Real Girl”.

Before rounding up, there is an interview from Mixmag from last summer that is interesting. It talks about the comeback of one of the all-time great girl groups. In the next stage of their careers, it is exciting to see what Sugababes produce this year. Whether there will be an album later. I believe there is one coming:

“While this shift was taking shape, Mutya, Keisha and Siobhán were locked out from the Sugababes brand, with Siobhán’s departure later followed by the controversial replacements of Mutya and then Keisha, until no original members remained. That was the case for a decade, until a 2019 legal victory saw the trio reclaim the name. They immediately leaned into their dance music roots, releasing a cover of UK garage classic ‘Flowers’ as their comeback single, recorded for DJ Spoony’s ‘Garage Classical’ compilation. “Coming back under our name, we definitely probably thought it would have been a big [original] single,” says Keisha. “But we're such a fan of old skool garage and we just thought it was a really cool project to be a part of.” Meanwhile the Sugababes were translating into clubland like never before, with contemporary producers and DJs latching onto their tunes for edits and airplay amid a growing wider trend.

“In my humble opinion, one of the best things about the modern day music industry is the ‘00s pop resurgence. Music that my cooler older brother made fun of me for liking when I was seven, that is now being dropped left right and centre from all your fave DJs in clubs around the world!” says DJ and BBC Radio 1 Dance host Jaguar, who’s coined the term UKC (UK Cunty) for her style that blends “peak-time queer clubs and bass music”. DJs drawing for Sugagabes cuts and reworks in recent times include Midland, Yazzus, Elkka and Four Tet, with notable edits made by the likes of Two Shell, Majestic, Metronomy and Joy Anonymous. A clip of Eliza Rose dropping the latter remix on Boiler Room to a fervent crowd secured another viral TikTok post for the ‘B.O.T.A’ chart-topper. The group that once covered a bootleg to top the pop charts was now being bootlegged into a new era of club prominence. They got asked to do their own Boiler Room (apparently due to the sheer number of their bootlegs being dropped on the platform), have been booked to play dance events such as FALSE IDOLS at Drumsheds, on a bill with Job Jobse, Saoirse, Paranoid London, and more, and now get tapped when brands want clubland clout for events like Berlin späti raves.

The wild response to the Avalon set at Glastonbury seems to have helped this. Simon Denby, co-founder of FALSE IDOLS, namechecks it when discussing the booking. “We were lucky and got in - it was joyous and I loved seeing the crowd mix - partying alongside queer raver friends, edgy Berlin DJs and a more expected fun pop crowd - it was really diverse and everyone was singing along,” he says. “Their music is really well produced and has stood the test of time, it crosses over with UK garage and house and has been incredibly popular in the early days of lots of the artists we have playing who listened to Sugababes when they were growing up.”

Widening the lens on ‘why now?’, his comment alludes to nostalgia, which is an evident force behind all of this. It’s worth noting that nostalgia in music is sometimes considered a symbol of poor scene health and creative stagnancy, perhaps reflecting an aging clubbing base, while for younger audiences, the “boom of ‘90s rave nostalgia among Gen Z … has been linked to the struggling economy” (disucssed in more depth here). But it’s also not a cause for outright cynicism. As Siobhán notes, the way younger gerations with the internet discover music has changed drastically, and different eras are more collapsed into each other now. “I'm always fascinated with what my niece is listening to,” she says. “It was so funny because she tried to introduce me to the Cocteau Twins the other day. I was like they're not new and Liz Fraser is about 60 years old, and she could not get her head around that fact.” She considers that this shift has “thrown the doors open, and it's not people telling the younger generation what is cool, they just discover it themselves, and they like it. Who doesn't love a pop banger?”

DJ Heartstring, real names Jonas and Leo, embody the trend of blending nostalgia with fresher club sounds, which makes them a natural fit to share a bill with Sugababes. They do it very well. The Berlin duo have become one of the most sought after acts on the circuit for their style that sits somewhere between Eurodance and techno, fusing a pop-meets-rave approach fuelled by high BPMs and ecstasy-soaked euphoria that’s hard to resist. They run a popular event series called Teenage Dreams, which takes its name from a punter once complaining about Jonas’ throwback selections. “She was like: 'Can you please stop playing these piano tracks? Because it feels like an endless teenage dream',” he reveals, grinning. “I was like this is amazing, I will continue to play this because that's exactly the feeling that I want. Nostalgia, reminding you of the good old days or whatever that means. That's what we're going for.”

The changes from the ‘good old days’ to now are harder to be positive about. The UK’s club scene is struggling, and intimate nightlife venues closing down amid a trend towards festival-style megavenues is another reason why a booking with the Sugababes' following is appealing. It’s also why DJ Heartstring are thrilled to play with them in a späti. “It doesn't make sense in my head. The Sugababes in a späti!” exclaims Leo disbelievingly. “It feels like we're able to take these legendary people into our world and present them in our way,” says Jonas, calling spätis (which provided his youth with cheap drinks, 24/7 opening hours and casual street seating with a bar-like atmosphere) “as much a part of Berlin nightlife as the clubs are”. However: “Unfortunately the city is trying to crackdown on the culture a little bit,’ he continues, reflecting on related nightlife scourges such as gentrification, stricter licensing and the cost of living that also afflict Germany (among other countries). He fears for nightlife’s future if a new generation can’t afford to participate. “If we lose the next generation it's going to eventually die out.” That’s the thinking behind the späti rave and wider DT campaign: to give Gen Z “access to a range of music experiences” (and promote the brand).

Admittedly nightlife struggles are a somewhat sour context, but still, we can’t help agree with Jonas that “it's sick that [the Sugababes were] up for it. There would be artists their size who would be too cool or important for this.” And getting back to the main matter at hand, it’s a beautiful thing that the Sugagabes have overcome industry fuckery and returned from the wilderness to find their place in the club scene and their contribution to dance music newly recognised. They’re loving that new generations are connecting and experimenting with their music. “I've seen quite a few clips of DJs playing our music out, and it’s always nice to see such a young crowd sing along to our lyrics. Just remix it and put it out there and have fun with it. It's nice to hear,” says Mutya. “Especially when they include a big drop!” chimes in Siobhán. “You don't get that in the original so that's fun.” And not only that, they’re taking inspiration from it in turn. The more intimate club shows are their favourite to perform, and have inspired adaptations to their bigger arena gigs, such as the garage medley section of their live show. “It's become such an important part of our set. I actually can’t imagine the show without it now,” says Siobhán. The choice to perform this on a stage setup in the middle of the crowd at the O2 Arena came from the party vibes they experienced playing Boiler Room. “We wanted to create an atmosphere of intimacy, so we took the concept of playing in the round. You could just feel that garage rave and intimate feeling. We just had a ball,” says Keisha.

Things have come full circle for the three girls from London who connected over garage and formed one of the most successful musical groups in UK history with a raft of pioneering bangers. As far as future music goes, expect the Sugababes and clubland love affair to carry on. As Siobhán explained, “faster tempos don't always lend themselves to a busy kind of harmony situation”, but, she teases, “it's worked on our new record”.

After parting ways with BMG, they released Jungle and Weeds. They are now independent artists. Having recently completed some tour dates and with plenty ahead, it is an exciting time for Sugababes. 21st May is Mutya Buena’s fortieth birthday. To mark that, I have ended with a mixtape of Sugababes songs she has been involved with, in addition to some collaborations and solo tracks – and tracks that she has a writing credit on. Even if you are not a huge fan of Sugababes, you have to give respect to Buena. One of music’s greats, this is my salute to…

HER sheer brilliance.

FEATURE: The Digital Mixtape: Sex-Positive Songs

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Daria/Pexels

 

Sex-Positive Songs

__________

I recently…

PHOTO CREDIT: Pixabay/Pexels

shared a mixtape of female empowerment songs. Something I have done before, I did suggest that, in the near-future, I would assemble a mixtape featuring sex-positive songs. I thought I would do that now. In another feature, I want to examine the issues of women having a sexual revolution now against the rise in dangerous online pornography - and how that is affecting boys and young men. It is going to be a very tough time in terms of a potential movement when sex to so many men seems to involve strangulation, abuse and harm. It is harrowing for so many women. How there is this risk to sex. I do hope that there are changes and progress so that we can turn the tide. A day when young men know that sex should not automatically associated with domination and violence. Thinking about that, I wanted to be positive. Compile a mixtape of sex-positive songs from throughout the years. These powerful and charged anthems that I hope, one day, can genuinely soundtrack and score a modern-day sexual revolution for women. And men too. Even if there are not as many sex-positive anthems now as you might hope – unless I am not keeping my ear to the ground in the right place -, there have been some great modern-day examples. I do hope that, very soon, we hear…

PHOTO CREDIT: Станислав Чмелев/Pexels

MORE of these songs.