FEATURE: Spotlight: Violet Grohl

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Milly Cope for The Forty-Five

 

Violet Grohl

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YOU will definitely connect…

PHOTO CREDIT: We Are Moving the Needle

the surname to a pretty well-known Grohl but, rather than this being the daughter of Dave Grohl following in her father’s footsteps or getting a leg-up by association – as many will call it nepotism -, this is a teen artist who has her own career on her own terms. Indeed, she does have creative parents and a father who has been a stalwart of the music scene for decades now. However, this is a singular and already distinct and talented artist that is making her own way and will release her debut album, Be Sweet to Me, on 29th May. Violet Grohl is incredible, so I wanted to spotlight her. She also turns twenty on 15th April, so that is going to be another reason to celebrate her here. There are some features and interviews I want to get to. You can pre-order Be Sweet to Me. Grohl plays Reading & Leeds in August, though I hope there are more intimate gigs in the U.K., as she is developing a fanbase here. I am going to end with a new interview from The Forty-Five. They spent time with a compelling and passionate artist whose debut album is primed to be among the best and most notable of 2026. Let’s start with her interview with Far Out Magazine, where Violet Grohl discussed her five major influences:

“It is no surprise that Violet Grohl’s first teaser tracks from her upcoming debut album are so good. When you’ve grown up with a rock star dad and a director mum, surrounded by the greatest talents in the musical world thanks to their social circle, you’re bound to get some great inspiration passed down.

In debates about nepotism, that nuance is often overlooked. Yes, Grohl has connections most people could only dream of. But when it comes to her artistry, what she really inherited was an extraordinary education. Her father is a genuine music obsessive who has witnessed many of the greatest moments in modern music firsthand. Growing up with him meant being surrounded by incredible music, hearing endless stories and recommendations, and having someone able to guide her toward the very best of it all.

In Far Out’s conversation with Grohl, that point comes up quickly as she reflects on the huge influence of simply driving around with her father. From the passenger seat throughout her childhood, she discovered many of her favourite albums and films. It became the ultimate starting point for her own musical journey, and she ran with it.

But now, age 19 and prepping to release her own debut album, Grohl is out there on her own, merging those life-long influences with new ones she’s gathered along the way as she forged her own passion and built her own artistic world”

The Breeders – ‘Last Splash’

Grohl makes no secret of the immense influence the 1990s have had on her. Obviously, she wasn’t there as she was born in 2006, but naturally, the soundtrack of her childhood came from the records her mum and dad loved from their own youth, forever enamoured with the sound of the ‘90s grunge wave that they were both invested in, either as a musician in Dave Grohl’s case, or a fan in the crowd for her mum, Jordyn Blum.

One of the key acts on repeat was always The Breeders, but it wasn’t until she got a bit older that this second record from the group really hit her. “That album totally opened up a world for me sonically when I listened to it for the first time,” Grohl said, adding, “The way that Kim Deal writes music is so spectacular and just so enjoyable to listen to. It’s so frenetic and high energy and also really beautiful at the same time.”

‘Twin Peaks: Fire Walk With Me’ (David Lynch, 1993)

“When you come, I’ll be waitin’,” Grohl repeats on her single ‘595’ like the voice of Laura Palmer, haunted by the spectre of BOB in her final days.

Since her teenage years, when she first saw Blue Velvet, the world of David Lynch has always been important to her. But for this record especially, it was the dark, devastating and eerie world of the Twin Peaks prequel movie that kept coming back to her.

“There were lots of moments when we were recording where scenes in that movie would just pop up in my head and or there would be a line from the movie that was just so spot on to what I was trying to say that we would throw it in there just as kind of a little nod to him,” she said, treating her music as a kind of sonic tribute to Lynch, adding, “There’s something so beautiful and dark and emotional about his work that I just I relate to very deeply.”

The state of Virginia

While Grohl was born and raised in Los Angeles, her ancestral home of Virginia always had a draw to her. While Dave Grohl is mostly associated with Washington, the majority of his young life was lived in Virginia, and for all of Violet’s youth, trips to her grandparents’ house always felt like a hyper-inspirational step back in time.

“I love Virginia, and I feel so connected to it,” she said, adding, “My dad grew up there, and I used to go to his childhood home all the time and spend time with my grandma there, and her house is, it’s basically left exactly as it was when my dad was like, growing up there.”

As a young girl, only really coming to realise that perhaps her dad was a person of note, looking at the bits and bobs at her grandparents’ place felt like a gateway to something, as she said, “There’s just so many little bits and pieces of memorabilia and of moments in time that are so special and beautiful”.

Her grandma

In a similar vein, it wasn’t just the house that felt inspiring, but the woman who kept it, too.

“I think both of my grandmas, my dad’s mom and my mom’s mom have both been just like massive inspirations for me my whole life,” she said, honouring her family. “As a person, in art, in school, in whatever field it was that I needed support in. They were always there to support me. Always are there to support me,” she added, highlighting that the influence of her family goes way beyond her dad.

“They’re so wise and beautifully articulate, and that’s just like everything that I could ever aspire to be, and having them raise me was really, really, really special,” she gushed as a beautiful tribute”.

PJ Harvey at Glastonbury

When you’re a kid at arguably the world’s greatest festival, the experience is bound to be formative. When you’re 16 and performing at that festival as part of your dad’s secret set, that’s also bound to be a highlight. But for Grohl and her many experiences of attending Glastonbury, nothing was quite as impactful as in 2024 when she was in the crowd watching PJ Harvey’s set on the Pyramid Stage.

“Marina Abramovic came out and did a silent meditation piece at the beginning, I think it was ten minutes, but it was just the most, like, beautiful emotional roller coaster,” she said as the set started powerful and stayed that way. “There were moments where my sister and I would look at each other and we’d have tears in her eyes, and then the next song would play, and it would be like a fucking amazing rock song, and we’d be jamming out,” she said of the experience.

To Grohl, it was everything she could’ve wanted: “It was just like she had perfectly encapsulated her essence into that live show, and it was so spectacular”.

It is worth moving along to Kerrang!. Great to see her getting some love and attention in the U.K. press. Here, Violet Grohl talks about “finding the confidence to go it alone, how her late grandmother Virginia is still a “massive presence” in her life, and if there’ll be UK shows”. I cannot wait for the release of Be Sweet to Me. Although I love all the details about recording the album and working with producer Justin Raisen, it is her connection with her grandmother . This interview was published in March, and Grohl was asked at the end whether there will be U.K. shows, to which she answered, “You might hear something soon…”, so we may get some confirmed venue dates for fans who want to see her here:

“Your initial songwriting efforts were solitary but became more collaborative in the studio. Was that something you pushed for, to take you out of your comfort zone?

“Yeah, that was something I wanted. After a while of writing on my own, I started to get emotionally drained, as I was pulling from some very memorable places. That put me into a zone it wasn’t really easy to get out of, so it was fun to be in a spontaneous environment and really beautiful. A lot of stuff happens in those moments that you don’t really expect. Sometimes it might go wrong, but other times something even better comes out of trying. THUM was written and recorded the first day we were in the studio – I thought, ‘I didn’t even know I could do that.’ I had a lot of unfinished demos, so I hadn’t finished my own song before. It all fell together and lit a fire under my ass.”

You have your grandmother’s portrait tattooed on your arm. You’ve also written a song, Bug In A Cake, about living in her house now, and her continued presence there…

“She was such a massive presence, and when she passed it was really devastating. But her presence on earth was so strong and so vibrant that it feels like she’s still here and I feel very close to her all the time. Moving into her house was all I wanted to do. The thought of it being torn down and turned into some developmental property broke my fucking heart, so I couldn’t let that happen. Last year, I officially moved in. My grandmother had kept the most amazing family heirlooms, like my great grandpa’s World War II dogtags, and all the letters he wrote to my great grandma when he was serving in the navy. The song Bug In A Cake is about how the house is haunted, because my grandmother is still very much there. There’s a lyric, ‘Turn the TV off so it turns back on,’ about when I came home and despite switching everything off, the TV was on in the bedroom, with MSNBC on, which was my grandmother’s favourite channel.”

What qualities did Justin bring as a producer? Given your relative inexperience, what were you looking for from him?

“We both had the same feel for what we wanted to do. He’s pretty hands-on – he’d hop on the bass when he needed to – and wrote the bassline for THUM. He’s not overbearing – he has so much going on in his brain constantly and is like a mad scientist. It was very collaborative, and everyone was willing to listen.”

Let’s talk about a few of the artists on those playlists and what qualities you were trying to emulate from them – starting with Soundgarden…

“Their guitar sound is so sludgy and so powerful. I love it because it can be angry one moment and very emotionally heavy the next. And I just love the melodic structures of Soundgarden songs. Plus, there is no man who can sing like Chris Cornell. I’ve never heard a guy do a good cover of a Soundgarden song – only women.”

What about the Pixies? You seem to share a predilection for surreal lyrics with Frank Black…

“Absolutely! I love how abstract his lyrics can be, but somehow beautiful and depressing. It feels like unfiltered expression of exactly what he wants to say, which is so fucking badass. Plus, their guitar sound and backwards drumming are so iconic and inventive.”

And what about PJ Harvey?

“PJ Harvey is just something else… the way that she’s able to translate her emotions in extraordinary ways, and her sonic choices are so tasteful and spectacular, and never obvious. I think I was 12 or 13 when I got my first PJ Harvey record, [1993’s] Rid Of Me, and it blew my fucking mind!”.

I want to end with this new interview from The Forty-Five, as the photoshoot (photos are by Milly Cope) is incredible and we get this fascinating portrait of a young artist about to release her debut album. Such an incredible time for Violet Grohl, she has this affinity for London. That bodes well for potential shows here. The Forty-Five sat down with Grohl to discuss a debut album that could (and probably will) rival some of the greats from the '90s. I don’t want to include the entire interview, though there are selections that I was eager to highlight:

“In person, Violet is sweet and polite, gushing about how much she loves London (“the architecture! The big grassy fields!”). She has her mother, actor and director Jordyn Blum’s piercing blue eyes that well up as she talks about her love of music.

But the rest is all Grohl. And not just her dad – familial influence dating back to her paternal grandparents, who set in motion a love of music that would shape the generations that followed. There’s not a hint of precociousness to her, nor is she a wallflower. She chats away freely and enthusiastically about the process of making her debut record. Not shying away from her lineage, Grohl’s debut is steeped in 90s influences. Be it the dream-pop of Cocteau Twins on ‘Pool Of My Dreams’ or the DC hardcore-indebted ‘Cool Buzz’, it’s a record that says: I know who I am and I’m proud of it.

Enrolled in the school of rock from birth, morning trips to school in the San Fernando Valley were soundtracked by the 90s alt-rock canon of PJ Harvey, The Muffs and Juliana Hatfield and the experimental sounds of Bjork. Picking up a ukulele and, latterly, guitar, Violet taught herself to play music and write poetry. Aided by a voice that can belt out a gravelly rock song with the same conviction as a jazz standard, and perhaps, a debut album was always an inevitability.

By thirteen, around the time when most of us were discovering Nirvana, Violet was playing with them. At a one-off LA reunion show (only the fourth time the band had publicly linked up since Kurt Cobain’s passing) she joined Krist Novoselic, Pat Smear and Dave Grohl on stage. And despite the familiarity, the weight of the occasion wasn’t lost on her.

Though many of her early musical experiences were utterly atypical, Violet was still a teenage girl, growing up in an age where another teenage girl was making serious waves.

PHOTO CREDIT: Milly Cope

“I’ve been following Billie Eilish since the beginning – like, since her SoundCloud days,” Violet admits. “I love her. She’s a lovely person. Watching her open up this path for female musicians in this alternative pop space that’s still beautiful, it was just so incredible to me. I watched her play live a handful of times in 2018 and it was just insane.” She recalls a moment side of stage at Camp Flog Gnaw, when Eilish’s dad handed her his ear set so she could listen to Billie’s isolated vocals. “I was crying so hard the whole time, because it was so raw and so beautiful. And I was just like, this is all I want to do. It totally lit a fire under my ass.”

Turning painful experiences into art was something Violet discovered at a young age. “When I’m in an emotionally vulnerable place, or I’m very sensitive, I’m more open.’ she explains. “There’s something about it that puts me in this perfect temperature where it’s the sweet spot to finding stuff that resonates very deeply with me, I guess. “Making this album, I was definitely unpacking a lot of past pain and stuff that was going on in my life. But it just came out the way it came out. I wasn’t looking for feel, particularly.”

That seismic emotional shift is felt most prominently moving from track six, ‘Mobile Star’; an Eilish-indebted shoegaze track inspired by Ian Curtis’ death and “the pressure to be a certain way” into ‘Often Others’ – the record’s heaviest song: a sludge anthem with doom-laden, droning guitars. “There’s so much emotion behind a sludgy guitar,” she shares of the artistic choice. “It feels like a gut punch.”

PHOTO CREDIT: Milly Cope

On ‘Cool Buzz’, Grohl prods at the hypocrisy of men in the hardcore scene, who pretend to be progressive but still don’t welcome women into their spaces.

“It still feels like an exclusive scene,” laments Grohl. “Especially when you wanna listen to really hardcore shit and run around and mosh, there’s a lot of ‘Oh, you’re too delicate, you’re too feminine, this isn’t your place,’ she sighs. “ But I do wanna be in that space and I know there are a lot of other girls who want to be there too. So I think more girls should make punk music, if these spaces aren’t gonna allow it.”

At nineteen, Violet seems to have a lot worked out already And most importantly, she’s made a record that should go a long way to silence those claiming she’s only here because of her last name. “I’m beyond grateful and for the life that I was born into,” she says, fully tapped into the discourse. “It’s such a privilege to be able to be around musicians and in a space that nurtures my interest and allows me to grow and to make a record.

“Obviously, doors are open for me because of my last name,” she eye-rolls. “It’s not something I’m ever going to hide behind or say, ‘No, I worked so hard for this! You guys shouldn’t say that! That hurts my feelings.’ I don’t care – I really don’t. I’ve heard that since I was 13 years old. So call me a Nepo Baby all you want. It’s whatever to me. I just hope that eventually people will give me a shot.”

This summer, Grohl will play Reading and Leeds festival for the first time, just like Nirvana did thirty-five years ago. A smattering of UK shows is also on the cards. As her team prepares to whisk her off to Paris for a run of European press, she ends our conversation with a request –  or perhaps a challenge – for the naysayers.

“Come see me live,” she urges. “Come listen to my music and then you can decide for yourself if I’m worthy of this career or not.”

She pauses, those big blue eyes glistening a little. “This is my passion, this is my thing – and it’s all I want to do”.

Violet Grohl celebrates her twentieth birthday on 15th April. On 29th May, her debut album, Be Sweet to Me, arrives. She has some huge festival dates in the U.K. later in the summer, but it seems like we may get some news before then of extra dates. From there, it really will be full steam aged. An artist who will be hugely in demand and will scoop a load of ecstatic reviews for her debut album, make sure you connect with Violet Grohl. This is a brilliant and instantly engaging and lovable artist and person who…

YOU truly need in your life.

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Follow Violet Grohl

FEATURE: Dua Lipa Curating the London Literature Festival: A Hugely Positive and Influential Way to Get More People Reading

FEATURE:

 

 

Dua Lipa Curating the London Literature Festival

 

A Hugely Positive and Influential Way to Get More People Reading

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THIS news story…

PHOTO CREDIT: Dua Lipa

went out a while ago, though the festival itself is not until October. The incredible Dua Lipa has a busy year ahead of her. She will appear on A24’s new comedy film Peaked, as Deadline reveal. It sounds like an incredible project. Lipa has appeared in films but, like her Pop peer, Charli xcx, she has not quite been given the right project and vehicle. This new film sounds like one that will put Dua Lipa more in the spotlight and give her an opportunity to flex her acting muscles. What I mean is that, so far, she has not been given too many challenging or vastly interesting roles. I feel she is a wonderful natural actor, so I hope that Peaked is the start of a run of films that sees her seen as an accomplished and varied actor. You can see her tackling really gritty roles and also charming romantic-comedies and biopics. At the moment, she has a lot of other things on her plate. Her latest album, Radical Optimism, was released in 2024. She will be thinking about her next album. If some saw Radical Optimism as a less spectacular follow-up to 2020’s Future Nostalgia, I felt that it was equal to that 2020 album. I feel Dua Lipa will do something very different for her fourth studio album. I believe she is also engaged to be married, so that is going to be a big focus for her this year. We will see Dua Lipa grace the big screen and perhaps the small screen if the right scripts come her way. At the moment, I think her Radical Optimism Tour has wound down. It seems like a new chapter and time for her to launch new music. It is not unusual for artists to have offshoots and other things they do.

Usually, that means products and brand advertising. Nothing like a whole new discipline or something beyond that. Apart from acting, most artists are busy with music but do not get involved too much in other areas of the arts. Sure, Dua Lipa has been involved with advertising and she has been in some popcorn flicks or films that are a bit empty. That will change when she is seen more as a genuinely great and eclectic actor. One of her most fulfilling ventures is the Service95 Book Club. Service95 is a global style, arts and society venture – the ultimate cultural concierge – at the service of the reader. What is fantastic about Service95 is how engaging it is. Dua Lipa recommends a monthly read. There are articles and interviews. The Reading List is probably my favourite part. I am trying to think of other high-profile artists that are avid readers and extraordinary interviewers too. Dua Lipa is as good as any interviewer. I feel there should be a YouTube series where artists interview one another. A format where they talk about their career sand select tracks and there are these different segments, I would love to see Lipa talk with another big artist. Service95 is something Dua Lipa is passionate about. She also is encouraging so many people to pick up books. Her young fans, who might be distracted by the shallowness of social media, are encouraged to pick up books and engage more with literature. It seemed like a natural step that she was asked to curate this year’s London literature Festival. Art Plugged provide details of a festival that is going to be fascinating:

“The Southbank Centre has named Dua Lipa as curator of its 2026 London Literature Festival, placing one of pop’s most visible literary advocates at the helm of the capital’s longest-running festival of literature and spoken word. The Grammy and Brit Award-winning artist, who founded the Service95 Book Club, will shape a series of events for the opening weekend on Saturday 24 and Sunday 25 October, alongside programming across the wider festival in collaboration with Service95 Book Club.

Running from Wednesday 21 October to Sunday 1 November, the 2026 edition arrives as part of the Southbank Centre’s 75th anniversary year and during the National Year of Reading. Now in its nineteenth year, the London Literature Festival has established itself as a fixture of the city’s cultural calendar, bringing major authors, public thinkers and new voices into conversation on one of London’s most prominent arts sites.

Dua’s curatorship reflects a reading life she has made increasingly public. In 2023, she launched the Service95 Book Club as part of Service95, her global culture platform. Each month, she selects a title and speaks with its author for the club’s podcast, building an audience around reading that extends well beyond traditional literary spaces. She has also used that platform to advocate for readers who face barriers to access, including those affected by book bans and incarceration

Commenting on her curatorship, Dua Lipa said: “Reading has anchored me through every chapter of my life – from being the new kid at school in a new country to finding quiet refuge on tour. Curating the Southbank Centre’s London Literature Festival is a dream come true. I’m thrilled to indulge one of my greatest obsessions: books and the brilliant minds behind them. I can’t wait to dive into the imaginations of some of my favourite authors in one of London’s most iconic cultural spaces.”

For the Southbank Centre, the appointment places literature within a broader anniversary programme that looks to the institution’s postwar origins while inviting contemporary artists to recast its public role. It also signals an effort to connect literary culture with audiences who may first know Dua through music, fashion or digital media, but who have followed her growing commitment to books, authors and reading communities.

Mark Ball, Artistic Director of the Southbank Centre, said: “The Southbank Centre was borne out of the 1951 Festival of Britain – a moment that galvanised the nation using art, music, science and design to imagine a brighter future. 75 years later our anniversary programme is capturing that optimistic spirit of ‘51 by inviting global creative talent to help us celebrate the unifying power of arts and culture and to conjure up visions of the future.

“Dua Lipa is a global cultural force with millions of fans around the world, and her passion for the written and spoken word has inspired a new generation of readers. We’re absolutely thrilled that Dua will take the reins of our flagship London Literature Festival, applying her incredible creative talent, her advocacy and her reach to connect audiences to our finest writers.

The drop was especially pronounced among primary-aged children, with reading continuing to attract lower engagement among boys than girls. In that context, the London Literature Festival will include events designed to engage young people with books and storytelling, with creative collaborations from the world of gaming, special workshops and a programme of free events. This strand is supported by Bukhman Philanthropies”.

PHOTO CREDIT: YSL Beauty

I am going off on a slight tangent. Dua Lipa is also someone who I would genuinely call a businesswoman. An innovator and someone who I feel might become more involved in politics years from now. Last month, for ELLE Singapore chatted with Dua Lipa. She has been the face of YSL Beauty’s Libre since 2019. Lipa talked about the scent and her association with it and affinity for her. Talking about her scent and perfume regime, we see another side to her:

“Every girl wants to be Dua Lipa. Since signing her record deal with Warner Records Inc. in 2014 and releasing her debut track "New Love", the 30-year-old British singer has evolved into one of music’s bona fide stars. In true popstar fashion, she's scored a slew of UK top ten hits—including three off her third studio album Radical Optimism—and has won countless awards, including Best Pop Vocal Album at the Grammys for Future Nostalgia and seven Brit Awards throughout her career. She has also gone on to headline Glastonbury Festival in 2024, star in movies Barbie (for which she sang the hit "Dance The Night Away") and Argylle, complete three successful tours, and perform her greatest hits with the Heritage Orchestra at the Royal Albert Hall for the television special, An Evening with Dua Lipa, all within the last decade.

Combined with her free-spirited nature, vivacious sensuality, and zest for life, the British songstress is every bit of an it girl; well-read, well-loved, and well-traveled as displayed through her acclaimed weekly lifestyle newsletter Service95 alongside its accompanying podcast Dua Lipa: At Your Service and sun-soaked snapshots with her equally stunning entourage and fiancé, actor Callum Turner, around the world on Instagram. It’s this exact effervescence that makes her the perfect choice as the face of YSL Beauty’s Libre since 2019. This oriental scent—along with its sister iterations—is inspired by the independent Libre girl embracing life fearlessly on her own terms. In short: it’s sexy, sophisticated, and unapologetically bold, much like Dua herself”.

That was a slightly distraction. However, it does show how Dua Lipa gets to balance brand association, film, music and her Service95 book club. Her helming the curation of this year’s London Literature Festival is going to be a major priority. I wonder how she will incorporate Service95 and whether there will be a tie-in. Already, she has so much influence on many young fans. Those who may not have picked up a book or been too interested in literature. Dua Lipa, as this engaging and very intelligent and skilled interview also has this great connection with authors and people she interviews. This month’s recommend read is quite momentous for Service95 Book Club:

“April 2026 marks a milestone for Lipa’s Service95 book club: its first play. In her intro, Lipa notes that she first read “Jerusalem” when she was 15 and the play’s main character “has stayed with [her] ever since.”

“From the very first page, Rooster is mixing himself a hangover smoothie of sour milk, eggs, vodka and… speed,” Lipa explains. “He’s a former daredevil now living in a caravan in the English countryside, spending his days dispensing booze, drugs and tall stories to local teenagers. He’s also been served an eviction notice for unauthorised encampment. It’s not his first warning, but it feels like it might be his last.”

She continues: “What I love most about “Jerusalem,” and why I’ve chosen it as our first play, is how alive it is on the page as well as the stage. One moment you’re deep in English folklore: giants, fairies, ancient drums. The next, someone is arguing about Girls Aloud (if you don’t know, get to know!). It is funny, it is tragic and it is the best possible reminder that reading plays is not only for school”.

The Service95 Book Club is this phenomenal thing that is definitely something Dua Lipa believes in and wants to see grow for years to come. Rather than it being a celebrity gimmick or something that an artist is doing to make themselves seem deeper, Dua Lipa has always been a committed reader and she believes in the power of the written word. Alongside Service95, her curating of the London Literature Festival will get more people reading. Though, how do you keep traction and interesting going so that people keep picking up books, rather than just the one book. Ikon London Magazine asked if Dua Lipa taking control of a huge literary festival will inspire more reading among her fans and far wider beyond:

“The festival, which runs from October 21 to November 1, lands in the middle of the UK’s National Year of Reading and marks the Southbank Centre’s 75th anniversary. Dua will shape the programme across the first weekend, from October 24–25, and contribute events throughout via her Service95 Book Club.

There is a clear reason organisers are trying something different. Reading, particularly among younger audiences, is slipping. Research by the National Literacy Trust found that just one in three children aged eight to 18 read for pleasure in 2025, the lowest level on record, with the steepest decline among primary school pupils and boys.

That context makes celebrity involvement look less like a gimmick and more like a calculated shift. If people are already following public figures into fitness regimes, skincare routines and viral challenges, it is not unreasonable to think they might follow them into reading. The difference is that books ask for something rarer: time and attention.

Dua Lipa has been building towards this for a while. She launched the Service95 Book Club in 2023 as part of her wider cultural platform, pairing monthly book picks with long-form interviews and recommendations shared to a global audience. On Instagram, those choices travel far beyond traditional literary circles, landing in the same space as tour footage and fashion campaigns.

“Reading has anchored me through every chapter of my life,” she said. “From being the new kid at school in a new country to finding quiet refuge on tour.”

There is precedent. Oprah Winfrey turned her book club into a publishing force, while Reese Witherspoon has built a media brand around monthly selections that regularly push titles onto bestseller lists. Emma Watson has also used reading initiatives to build engaged communities around books.

The Southbank Centre is now applying that logic at scale. This is not a one-off appearance but a curatorial role. Dua will shape conversations, invite writers and set the tone for a weekend likely to blur the line between a literary event and a broader cultural moment. Expect a mix of established names and emerging voices, alongside free events aimed at audiences who might not usually book a ticket for a traditional author talk.

Mark Ball, the centre’s artistic director, put it plainly:
“Dua Lipa is a global cultural force… her passion for the written and spoken word has inspired a new generation of readers.”

The festival itself is hardly niche. Now in its nineteenth year, it remains London’s longest-running literature and spoken word festival, with past headliners ranging from Ai Weiwei to Malala Yousafzai and Margaret Atwood. It spreads across the Southbank Centre’s full site, from the Royal Festival Hall to smaller performance spaces, mixing headline talks with workshops, spoken word and experimental formats.

Literary festivals themselves have been shifting in response to changing audiences. Star-led programming is becoming more common, often used to widen audiences rather than redefine the format entirely. In the UK, literary events have increasingly mixed writing with wider cultural personalities to broaden their appeal. Long‑established festivals such as the Cheltenham Literature Festival programme conversations that bring together novelists, actors, broadcasters and public figures, recognising that cultural conversation doesn’t stop at the boundaries of genre. The Hay Festival’s 2026 line‑up itself includes artists and thinkers known outside strictly literary circles, signalling a shift toward programmes that feel less like academic showcases and more like shared cultural moments.

What changes here is the framing. Books are being positioned less as a specialist interest and more as part of a broader cultural circuit, sitting alongside music, performance and digital storytelling. There are plans for collaborations that stretch beyond traditional readings, including projects that tap into gaming and other narrative forms.

Ted Hodgkinson, who leads literature and spoken word at the venue, describes reading as “a creative and collaborative act”, pointing to Dua’s interviews and selections as a way of opening that up to a wider audience.

The timing is deliberate. The literature festival sits within a wider anniversary programme that includes projects from figures like Danny Boyle and a major exhibition by Anish Kapoor. In that context, handing part of the programme to a pop star feels less like a novelty and more like a recalibration.

Whether it works is another question. Celebrity book clubs can drive attention, but attention does not always translate into habit. It is one thing to double-tap a recommendation. It is another to read the book”.

I do think that Dua Lipa will help make a push towards more of us reading and becoming more engaged with literature. Perhaps more aimed at a younger demographic that might not have otherwise stepped into that world. Whilst not influential or powerful enough to completely change habits or get millions reading, I do think that someone with her reputation will truly make a big difference. I feel other artists need to follow her lead. Go and follow Service95 Book Club on Instagram. It is so fulfilling, fascinating and revealing following. In terms of the authors featured and what is discussed and recommended. I wonder if Dua Lipa has a literary adaptation she would love to feature in or whether she herself would ever write a novel. This multi-talented artist, actor, businesswoman and modern icon will most assuredly get many more people reading and discussing literature and engaging with one another as we go through this year. And beyond. For that, she deserves…

A huge amount of respect.

FEATURE: Modern-Day Queens: Karol G

FEATURE:

 

 

Modern-Day Queens

PHOTO CREDIT: Gray Sorrenti for Playboy

 

Karol G

__________

I am putting this out quite quickly…

PHOTO CREDIT: Netflix

as Karol G is headlining Coachella on 12th and 19th. She will be joining incredible artists like Wet Leg and FKA twigs during one of the world’s biggest festivals. Alongside headliners Sabrina Carpenter and Justin Bieber, Karol G will deliver spellbinding sets. Her incredible album, Tropicoqueta, last year. I will drop in a review for it. There are a couple of other reasons for highlighting Karol G. She recently was featured in Playboy and asked actor Sofia Vergara if she should do it. Also, she has been warned not to say ‘ICE out’ during her set or risk losing her Visa. Born in Medellín, Colombia, Karol G a pioneering GRAMMY-winning reggaeton and Urban Pop artist. Known as a ‘Bichota’, she broke barriers as the first woman to debut at number one on the Billboard 200 with an all-Spanish album, Mañana Será Bonito (2023). I do want to drop in some interviews. Last year, Karol G spoke with Harper’s Bazaar about her new Netflix documentary, Mañana Fue Bonito (Tomorrow Was Beautiful). One that shows “the highs and lows of being a trailblazing Latina in music”:

“When she released her fourth studio album, Mañana Será Bonito, it evolved from being just the latest in a string of successful projects into something more—a mantra that came to define her entire being. The album was accompanied by numerous accolades: it became the first Spanish-language album by a woman to top the Billboard 200 chart, Karol became the first woman to win the Grammy for Best Música Urbana Album, and it fueled what became a landmark tour. This tour was not only the biggest global outing of Karol G’s career, but also the biggest in history for a Latina artist. To this day, the Mañana Será Bonito tour is the highest-grossing—and the first-ever stadium tour—by a Latina recording artist.

Now, thanks to a new documentary—Mañana Fue Bonito (Tomorrow Was Beautiful)—available on Netflix today, Karol's fans can relive the era that changed everything for the singer, as well as see all that it took to make history and shift the perception of success for Latinas in music.

“The first time that I saw the documentary, the first thing I felt was I really forgot how much effort it took to get here,” Karol G tells Harper's Bazaar. “Every day you wake up thinking about the future, what's gonna be your next step, what's gonna be the next thing to do, and maybe you don't always have the time to stop a little bit and remember how far you've come from the beginning. That was the most beautiful and important thing for me about this documentary—it gave me this different perception of everything that [I'm experiencing] right now. I feel even like more inspired and more motivated for what's come.”

Creating the documentary hit home for the film's director, Cristina Costantini, too. Its release comes at a particularly tense time for Latinos in the United States.

“There’s never been a tougher time to be a Latino. It’s a time when Latinos around the world have been told to shut up, to sit down, to self-deport, to give up. Our leaders have told us they can do whatever they want with us, separate our families, make us live in perpetual fear of deportation, send our loved ones to whatever country or prison they like with impunity,” says Costantini. “During this era of great tragedies, it’s an immense privilege to release a film that brings our community hope. To watch a leader like Karol stand in stark contrast to all the hatred and division around us has been a great source of inspiration for me personally. I wanted to bottle that feeling in this film, and share it with an even wider audience.”

Both Karol and Costantini shared vision of being able to show audiences what it's really like to be women on the road—especially on a tour that many industry gatekeepers initially dismissed as impossible.

“We had this special connection talking about how hard it is for women sometimes to be on the road in different professions,” says the singer. “By the end of filming, there were 22 women [involved]. The cameraperson was a girl and the director was a girl and the producers! We didn't even ask for that but everything ended up that way. This documentary [exemplifies] empowerment for women.”

Amid all the highs that viewers see Karol G accomplish throughout the film—recording the album, collaborating with Colombian icon Shakira, and her first VMAs performance—the singer is never afraid to get vulnerable either. Karol sheds plenty of tears throughout the nearly two-hour feature, but they're never seen as moments of weakness. On the contrary, these are the moments in which Karol is fully processing the highs and lows that come with breaking boundaries, especially as a woman. According to the singer, she wanted to show the full spectrum of what it takes to be a boss. She hasn't deemed herself la bichota for nothing”.

I will come to a review of Tropicoqueta, as it was one of the biggest and best-received albums of last year. It is a tremendous album from one of the world’s best artists. Although she does not have as much acclaim in the U.K. as in the U.S., she is this celebrated artist that we should be talking about more. As a trailblazer and pioneering artist. Rolling Stone spoke with Karol G about the how it is heavy and representing her community – but she is ready to do that. The Colombian superstar made an incredibly adventurous album, and, in the process “overcame criticism, and spoke loudly as an artist and a human being”:

“Despite the many peaks in Karol G ’s career since she broke out of the music scene in Medellín (where she began performing as a teenager and playing the quinceañera circuit with fellow locals like J Balvin), the 34-year-old singer still exudes a near-breathless incredulity when describing a few of the milestones she hit this year. “I’ve done legendary stages that never in my life I imagined I’d perform in, like the Vatican or Crazy Horse or at Victoria’s Secret,” she says, every word vibrating with glee.

Those moments — Karol duetting with Andrea Bocelli in St. Peter’s Square or taking over the legendary Parisian cabaret — were all in some way or another the result of Tropicoqueta, the gamble of an album she released in June. It wasn’t typical of Karol’s albums, which have toggled between happy-go-lucky party queen and tough-talking bad bitch while launching reggaeton hit after reggaeton hit. Tropicoqueta was a deeper excavation of her roots in Colombia. She tried out traditional rhythms like folksy vallenato and ballads about profound heartbreak with Eighties legends like Mexican singer Marco Antonio Solís. “Songs like ‘Coleccionando Heridas’ and ‘Ese Hombre Es Malo’ remind me of the music that I used to listen to when I was in school,” she says. “I wanted this album to get to those feelings and that nostalgia.”

Some people didn’t get it — and still don’t. Tropicoqueta was easily her most polarizing project, one that didn’t fit into the commercial objectives that preceded it. She remembers just how intense the early reactions were: “‘I love the album, it’s crazy.’ ‘I hate the album.’ ‘It’s so special.’ ‘The album is just garbage,’” she recounts.

But once she started focusing on her original intentions — how she wanted to celebrate the novelty dances at family parties called La Hora Loca, and to shout out her tias who used to dance in the kitchen — she saw how emotionally the project landed for so many people. On TikTok, girls posted videos singing the songs with their grandmothers; others proudly did choreography to the anthem “Papasito.” She wasn’t just representing where she comes from, but also inspiring pride and encouraging fans to embrace their Latinidad. “I went back to my memories of being on tour,“ she says, “people bringing their flags in every single concert, flags from Mexico, Argentina, Colombia, Puerto Rico, Dominican Republic, and me feeling that I was bringing a piece of home to every place I went.”

That sense of joy and self-identity felt even more necessary in 2025, when immigration crackdowns and anti-Latino rhetoric pervaded the culture. Karol has been outspoken about what she’s seen in the political arena, issuing a statement on her Instagram amid the ICE protests that swept the U.S. over the summer. How did it feel to shine a light on a community that was engulfed in so much ugliness? She pauses for a second. “Oh, that question made me a little emotional,” she confesses. “This year, I knew a lot of people that started feeling ashamed or shy to show that they were Latinos, and that was super hard to watch.… It felt so hard on my heart.”

In a lot of ways, Karol has always understood the responsibility of being seen as a beacon for fans. Sure, she’s known for her bubbly disposition, but there’s a grit to her that’s come from clawing her way through an unforgiving, male-dominated industry. It’s part of the reason she wanted to dive into nonprofit work with her foundation, Con Cora, which supports women and girls in Latin America who have come from vulnerable or abusive backgrounds. Karol rebuilt her childhood school in Medellín in 2024, with the idea of creating a safe space. She understands that need intimately: Earlier this year, she released a Netflix documentary in which she tearfully recounted being harassed at just 16 by a former, much-older manager. “I can do 105 documentaries and a thousand interviews, and nobody is going to understand how hard it was to be a woman in a room with a lot of people with so much power that can make you feel really small,” she explains.

So much of this year taught her to believe in herself, and it’s ended on a high: Last week, Karol took home the award for Song of the Year at the 2025 Latin Grammys, winning for her chart-topping hit “Si Antes Te Hubiera Conocido.” She used the opportunity to encourage anyone else who might be too afraid of criticism to chase his or her dreams. “There are so many people at home who think they’re not good enough or professional enough to do what they want,” she said onstage, holding the trophy. ”Forget the world, forget the noise… Love and passion over talent, and passion and obsession for what you do.”

And there’s more left to do. Currently, Karol is developing a visual album version of Tropicoqueta, which she expects to come out in December. “I’ve been working on it since March, recording in different places around the world where it’s kind of a movie,” she says. Then, in 2026, she’ll become the first Latina to headline Coachella, another spotlight that will give thousands of people a chance to be seen. Karol admits that at first, she had some trepidation about accepting the offer. “When I got the call, I was like, ‘Am I ready?’” she remembers. “And then I was like, ‘Yeah. I really need to do this.’” She’s been rehearsing the show since the beginning of the year, working on choreography done by Parris Goebel, who also had a hand in Lady Gaga’s Coachella set”.

I will get on to that Playboy article very soon. I want to drop in a review for Tropicoqueta before getting there, as it is an album that I really love. Celebrating a tender and expansive album, Pitchfork noted how Tropicoqueta is “a reverent tribute to generations of Latin music and the Latina entertainers who brought it to life”:

“The album’s historicism goes beyond strictly musical references. Last week, Karol brought iconic Cuban journalist Cristina Saralegui out of retirement to film a special episode of her eponymous talk show, which hosted the biggest Latin musicians from the ’90s until 2010. She name-dropped @ficheraz, an archival project dedicated to preserving the fascinating history of Latin, Caribbean, and diasporic showgirls. Starting as early as the 1940s and continuing into the ’80s, these vedettes—dazzling leading ladies who danced, sang, acted, and even clowned all within one show—took control of their own sensuality through cabaret, burlesque, and film. In the video for “Papasito,” Karol dances Brazilian lambada on a chintzy set reflecting this era of Latina entertainers. The album’s only song partially in English, this galloping, flirty technomerengue evokes archetypal vedettes like Iris and Lourdes Chacón, muses who spoke to international audiences with over-the-top charm and enigmatic, at times absurd, performances. The sumptuous, smouldering bachata of “Ivonny Bonita” embodies these baddies of decades past: bold rumberas who, like Karol G, fell in love with the stage. 

You could follow just about every song here into another musical genre or historical tangent. Even the contemporary-sounding songs have lineage, like the slow-whining, old-school flows of “Dile Luna,” an acknowledgment of how much Afro-Panamanians like Eddy Lover have done for reggaeton. Mariah Angeliq singing, “Ya tú sabes quiéne’ son, en un makinon” (“You already know who it is, in a huge machine”) is a shoutout to Puerto Rico. Karol also references the legacies of several Mexican it-girls and artists, recreating Rossy Mendoza’s glittering green two-piece in the “LATINA FOREVA” video and opening the album with a casual, honey-toned duet with Thalía, the “Queen of Latin Pop,” singing her classic “Piel Morena.” Later, Marco Antonio Solís, formerly of Los Bukis, conjures sweeping novela imagery with “Coleccionando Heridas”—picture a male protagonist riding a white horse on a beach at sunset, half-buttoned shirt rippling in the breeze. But the real showstopper is “Ese Hombre Es Malo,” where Karol’s vocals soar over a breathtaking 57-piece mariachi symphony.

With Tropicoqueta, Karol G delivers an album for people who love Latin music and show business as much as she does. Her ambitious vision is shaped by those who’ve come before her and dedicated to the communities who lift her up. The album’s studied combination of traditional and modern sounds underlines what makes today’s urbano so addictive: The cultural references that the Latin diaspora recognize so easily. The way we know which steps to dance within a song’s first five seconds. “¿Será que se quedó el amor en otros tiempos?” (“Could it be that love has stayed in the past?”) Karol asks in “Coleccionando Heridas.” Her fifth album asserts that it’s inside of us at all times, if only you know where to look”.

Before getting to an NME article relating to Karol G being warned not to mention ICE during her Coachella set, I want to focus on an amazing Playboy article and interview. It is interesting reading what Karol G has to say, but she also looks incredible! I am including an abridged version of the interview. However, Karol G does mention ICE in the interview. It is a shame that artists are being threatened and censored at a time when they should be encouraged to speak out:

“Karol G is about to make history—again. The Colombian pop superstar lands on the cover of Playboy‘s Spring 2026 issue just as she becomes the first Latina to headline Coachella. After years of careful cultivation—topping charts, breaking records, and racking up awards—she tells Playboy she’s no longer interested in playing it safe. We are entering a whole new era of her artistry and her womanhood. 

Shot by Gray Sorrenti in Los Angeles, our cover story captures Karol G at a turning point: past a devastating and very public breakup, and unapologetically embracing her full self. “Last year…life threw me to the floor, kicked me, pushed me, stood on me, spun me around,” she says. So she flew to Hawaii, chopped her hair off, and did some thinking. Now, she’s on the verge of what could be one of the biggest years of her life.

Posing for Playboy, she tells writer Paola Ramos, was entirely her call: 

“Why do I want to do this? Because I want to. Because I grew up inspired by how beautiful the women in the magazine looked and now I have the opportunity to be that beautiful, sexy, mamasota.” 

In the interview, Karol opens up about everything from her responsibility to the Latino community to the freedom she’s found being single, and the “wild woman” ethos that’s been fueling her this year.

PHOTO CREDIT: Gray Sorrenti

On this weekend’s history-making Coachella performance: 

“I thought that this was going to be like my consecration, but I actually feel like it’s the beginning. This is the first time in my life that I feel I’m going to see myself as the artist in the same caliber as the stage that I’m stepping on.”

“When I received the call, I felt like a huge weight fell on me…. I feel very blessed to be part of a generation that is trying to change the narrative and raise our voice for the community… I feel like it’s a show for my community, for the world, but it’s a show that’s very much for me.”

On standing up for her community:

“I don’t want to just say “ICE Out” and have nothing come from it… I’m probably going to go a little harder than that. I just want to represent my community. But what I’m telling you is that, as a human being, I want that to mean more. I’m not saying that I’m not going to do it; what I’m saying is that I would do it and will do it with my soul. But I want to sit down and understand, in my head: Here’s what that meant.”

On being single:

“I’m letting go of everything. I’m single and, to be honest, I’ve always thought that my most evolutionary moments come when I’m alone. As a good Latina from a traditional family, they teach you to give yourself fully to relationships, to a point where you can even lose yourself… I think you have to work a lot on yourself so the relationship can work. You also have to do the work so that you can walk away when you recognize it’s not going to work. When I finished my last relationship, I initially felt like, Wow, I’m here again. But then I saw it as, Wow, how beautiful that I had the courage to say that I no longer wanted to be there.”

On being happy where she is:

“According to my culture, I should have kids by now. But you know what? This year has literally been like, Fuck it. I don’t feel like I’m behind. I actually feel that it’s beautiful that I’m living my process, that I’m evolving, that I’m learning, that I’m not tired of experimenting, that I’m curious.”

On her Playboy cover:

“The only person I asked if I should do it or not was Sofía Vergara. I called her and told her, ‘If you tell me not to do it, I won’t.’ [She said] ‘Mijita, with that body? When you get to this age, you tell yourself, “Fuck, why didn’t I pose that one time? I should have posed more with a thong!” Just one thing: Don’t show your pussy!’ She also said, ‘This moment will have a reason. What is going to be your reason?’”

Playboy’s Spring issue officially hits newsstands on April 14th, but subscribers can access Karol G’s full cover story—including exclusive inside photos—starting today. Plus: Misses January, February, March, and the (unreleased) Miss April; an unforgettable edition of the Playboy Advisor; the Playboy Interview returns; and our favorite writers embark on journeys ranging from swingers’ cruises to the future of artificial intelligence”.

PHOTO CREDIT: Glenn Martens

I am going to end with NME and their article about Karol G’s upcoming Coachella headline slot. Someone who feels strongly about ICE and what they are doing, it is sad that such a phenomenal artist who uses her voice for good and to speak out is being silenced:

“Karol G has said that she has been warned not to say “ICE out”, as doing so could lead to her losing her visa.

The Colombian pop star is set to make history later this week, as she will become the first Latina artist to headline Coachella Festival in California.

In a new interview with Playboy ahead of the slot, the singer said that she is eager to use her platform to speak out against issues she sees across America – in particular, the actions of ICE – but has been warned that this could come with consequences.

Sharing that she wants to call out ICE, Karol went on: “People will say, ‘It’s better you don’t… Because if you say the thing, maybe the next day you’ll get a call: ‘Hey, we are taking your visa away’.”

“You become bait, because some people want to show their power,” she added.

Karol then added that just the popular anti-ICE phrase “ICE out” would be a risky move, and quipped that even though her “team would kill” her if she said it, she isn’t letting that stop her from speaking her mind.

“I’m willing to say it… If I’m being honest with you, it’s something that crosses the line of what I have to do to protect myself. But at the end of the day, what is my role if I’m in this position?” she said, adding that she wants her comments to have a depth to them, rather than being said for the sake of it.

“I don’t want to just say ‘ICE Out’ and have nothing come from it… I’m probably going to go a little harder than that. I just want to represent my community,” she shared. “But what I’m telling you is that, as a human being, I want that to mean more. I’m not saying that I’m not going to do it; what I’m saying is that I would do it and will do it with my soul. But I want to sit down and understand, in my head: Here’s what that meant.”

Karol concluded: “I have a huge stage. That’s why I want to wait, and if someone were ever to do something to me, I want to stand firmly on my stage for my community. So that’s why I may have to be more careful, and wait for my turn, and ensure that, through that opportunity, I can talk and represent something more”.

Even so, Karol G will headline Coachella. She is one of the world’s best artists. I say that about other artists, though it is always true. Following Tropicoqueta, I do wonder what comes next for the Colombian superstar. A beloved artist who has achieved huge success with Spanish-language music and she has empowered women throughout the world. Karol G is a cultural phenomenon who has redefined the Latin Urban genre, paving the way for female artists and cementing her status as a global superstar. This Modern-Day Queens shows love for…

A true icon.

____________

Follow Karol G

FEATURE: Spotlight: BombayMami

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Lily Lytton

 

BombayMami

__________

HER incredible new…

PHOTO CREDIT: Haya Studios

album, Peaceful Attitude, came out on 17th April. If you have not discovered BombayMami, then now is the absolute perfect moment. I am going to include some songs that are on Peaceful Attitude. I am going to head back to last year and some interviews then before carrying on. In terms of what you need to know: “BombayMami is an Indo-Swiss artist known for her viral hit Fire in Delhi, blending Indian classical music with R&B and pop. Her bold visuals—like snowboarding the Swiss Alps in a red lehenga—have earned millions of views. Raised between India and Switzerland, her upcoming album Peaceful Attitude fuses Bollywood and Western sounds. With genre-defying music, multilingual lyrics, and striking style, BombayMami is redefining global culture”. I actually want to start out with this 2024 interview, where the artist formerly known as Ta’Shan talked about her reinvention:

“The artist formerly known as Ta’Shan is ready to re-introduce herself, and there are many reasons for her to do so. Since her last release under her previous moniker she’s been tapping into and honing in on the parts of her artistry that relate to her individuality most. Being both half Indian and half Swiss, her sound and all things associated with her music are at one with her identity now in a way they haven’t been before. And so BombayMami was born, “honoring both my Indian and Swiss roots, my femininity, and the evolution I’ve gone through as a person and an artist,” as she tells me herself.

Early 2023 was the last time she released music, and that time since has been filled with learning and re-imagining both the soundscape and visual world for her upcoming album, Peaceful Attitude. She began to study Hindustani classical music just a few years back as well as has recently begun learning the tabla, something she sees as a lifelong practice to fully get to know and master it. “I’m still a student and I guess I will be forever… The challenge comes when I try to bring those classical elements into modern soundscapes. It’s about staying authentic to the source material while making it accessible and relatable to the audience . The tabla, for instance, doesn’t just provide rhythm, it carries a heartbeat.” The way she describes the training and the practice makes it obvious that these are things incredibly close to her due to how they allow her to self-express when in the studio or writing music.

PHOTO CREDIT: Alia Romagnoli

You’ve stated that your upcoming project is all about honouring your roots, both Swiss and Indian. Can you tell us a little about your upbringing between these two cultures and countries?

Growing up between these two really opposite cultures was the most normal thing for me. It was exciting as my parents used to be tour guides, so we used to spend our winters in India and the summers in Switzerland. I feel I am a proper blend between the chaos, wildness, bling and spirituality of India and somehow the Swiss drive to make everything to a high standard and my dedication. We used to live in Delhi in an area called GK2 and there used to be snake charmers that used to play the flute or the man with the little monkeys in front of our house, that used to be my highlight of the day. As my parents loved to host parties and invite artists, painters and writers, my growing up was definitely infused by all this creativity. I remember us going to Hindustani classical concerts late at night and me getting on stage as a 5 year old. ( Indian classical concerts tend to go all through the night. My Dada Ji ( grandfather) used to live with us when we were in India and I loved spending time with him. He always gave me a couple Rupees to buy KitKats and Mango Bites.

DhinDhinDhaa is the first single to introduce your new sound. How would you describe the sound you’ve curated and how has it been combining so many influences? What felt right about releasing DhinDhinDhaa as the first single?

DhinDhinDha is really a fusion of the world that I enjoy.  Bringing in the tabla bols which are the rhythmic syllables in Indian classical music is something that I do so naturally now that I am learning the tabla and blending it with RnB and Two step just made a lot of sense. When we initially started making the song I wanted to make a really emotional RnB song but the drop into Two Step just made so much sense so we just ran with it. Alex Naim who produced it is also half Desi so it was nice for us to dive into these sounds together. Kemi Ade who is my bestie and my favorite person to write with could tell you that I was at a very low phase of my life when we wrote this song and I guess when you really listen to what I am saying  you can sense that sadness. As I knew that this song was not going to be on the album it made sense for me to release it as a single first.

As a Swiss-Indian artist, how do you balance reflecting both of your cultural heritages in your work and in the way you present yourself to the world, such as through fashion?

I feel when it comes to the creative direction of my music and my image I tend to lean more into my Indian heritage. I am definitely more inspired by Desi culture and I am obsessed with our fashion. The blinger the bling the better. The way I love going to Green Street and Southall! When Jonni Boi (Miau..Rawr)  and I started working on the creative direction of this project we took many trips there and as we both lived in India we just always felt like going home. If BombayMami was a moodboard it would give: Indian Goddess in an 2000 R&B video.When it comes to my fashion line SHAVA that I am working on I tend to pair clean minimalist Swiss-inspired silhouettes with Indian inspired cuts.

What can people expect from the album after hearing DhinDhinDhaa? What is both expected and perhaps unexpected?

After hearing DhinDhinDhaa, people can expect the album to offer more of that rich blend of classical Indian roots and contemporary sounds, but there will definitely be surprises. Some tracks will be intimate and stripped back, letting the raw emotion shine through, while others will be bold and experimental. I’m blending genres and traditions in ways that push me creatively, so I hope listeners come in open-minded. Expect a deeply personal album, but also expect to be taken to places you didn’t anticipate. It is  a reflection of my evolution, and I think it’ll resonate with anyone who’s ever grown through life’s complexities”.

Apologies if these are quite random selections, but I like this interview, and I feel we learn more about BombayMami. As she has a new album out now, it is interesting looking back and seeing how she has evolved and talked about future music. Someone that definitely needs to be on your radar. In terms of music in the mainstream, we need to encourage BombayMami and her blend of sounds and cultures:

“We hear and feel auras of body positivity, seduction, and femininity emanating from BombayMami's captivating choruses and slick rap flow. They are filled with other cultures, as seen by her work with individuals from Nigeria, the United States, India, London, and elsewhere. BombayMami's catalog, which ranges from Sorry to Yoga, demonstrates her musical aptitude and dedication to her craft. She exposes her expressive and creative personality to future and current admirers whilst touching on topics such as heritage, creativity, dreams, and her career. We go into what makes her, such as her current favorite tunes, her inspirations, her motto, and her devotion to female empowerment in the industry.

BombayMami is a hardworking artist who enjoys bringing talented and ambitious people to the stage. Dreaming big is not common in Switzerland, so doing what she does highlights her personality as a "sensitive but bossy girl." BombayMami has been a music enthusiast since the age of eleven. She has been in the studio since she was 14 years old, and she quickly realized that music was her calling. "It became something I really enjoyed; being in the zone and doing my thing, you know." I had no idea that making music could be a vocation. There isn't much of a scene in Switzerland, and there's rarely anyone to look up to. Then, in 2012, I went to Los Angeles and told myself, OK, music is something I want to do." I returned to Switzerland after that decision, and TASHAN was born. "

A perfect environment is required when creating music. The studio allows BombayMami to flourish. The place to be and learn is with the main producers, people who help her write music, her friends and mutuals. Furthermore, travelling to different parts of the world, such as Germany and London, provides a new perspective on producing music. It enables BombayMami to begin again. Going to different countries also makes her feel more at ease because these experiences allow her to bring new flavours to a new scene while also allowing her to absorb the culture that surrounds her. Her upcoming song "Popping," which has some French lyrics and will be released on June 3rd this year, is an example of this outcome.

Her parents are her life inspirations since they have worked hard their entire lives and created everything from nothing. For example, they now have a business. When it comes to music, Missy Elliot's unapologetic looks and flows make BombayMami "fall in love with her," along with other female rappers and singers from the 1990s and 2000s, such as Alicia Keys. Sadhguru is a yoga teacher to whom BombayMami listens on a spiritual level. He is extremely encouraging to her because his energies bleed into her songs. "When it comes to being an artist, everything is tied to what you do in life, what you listen to, and so on."

After asking her about a defining moment in her career, we get an insight into BombayMami’s motto: "To listen to your gut and just do what you want to do." Embrace that natural feeling! That’s how life is: If it feels right, it feels right. You can’t always change the things you feel, so to conquer that, you need to adapt and live life to the fullest! " This comes from her experiencing a defining moment within her career, where the single "This Time" did really well in numbers. "It’s funny that it did so well because I never wanted to place it on my EP, BombayMami, Vol. 1. From this, I learnt that you can’t always expect things to always go the right way if you plan them. Taking a leap into something that I feel is right is more of a suitable route for me, I think." Making music in a different language is not something you would expect your usual artist to do, but because of what BombayMami does for the music, the art, and herself, she takes on the challenge that's given to her.

Such an amazingly empowering, inspiring and immensely talented artist, I will move to a new interview soon. However, I will get to this interview, that notes how BombayMami, “Through her music, visuals, and fashion, she celebrates womanhood, duality, and identity in all its forms”. I am quite new to her music but I am really invested in it now. Someone who needs to get a lot more focus and celebration:

“Latina Bohemian: How does it feel shifting into a musical path full of courage and one that inspires not just women but individuals in the LGBTQ community as well?

BombayMami: It feels like coming home to myself. Finally. I used to play it safe, thinking I had to fit into something that already existed. But now, I’m building my own lane. I’ve always been surrounded by powerful queer and femme energy, and I think that’s why I create the way I do. It’s about freedom, self-expression, and radical love. Courage is contagious, you know?

LB: You found purpose in your art after a period of trial. How did your Indian roots influence the transition?

BM: My roots brought me back to my truth. When I started reconnecting with my Indian side—the music, spirituality, and rituals—I found a peace I didn’t know I needed. It grounded me. Indian culture has this way of reminding you that beauty and pain are part of the same dance. That understanding really shaped how I create now. With more intention, more surrender, and more fire.

LB: Why is it important for South Asian women to be expressive with their creativity and body image?

BM: Because we’ve been told to shrink for too long. From our bodies, our voices, and our desires. All of it has been policed or misunderstood. But expression is sacred, whether it’s through dance, fashion, or music. It’s about reclaiming ownership of how we exist in the world. South Asian women deserve to see themselves as art, not just as tradition.

LB: Self-love is a theme in your music. When was your golden moment of finding beauty in heartbreak?

BM: When I stopped trying to fix what broke me and started thanking it. I realized heartbreak didn’t destroy me; it refined me. That was my golden moment. You start moving differently when you understand that love, even when it hurts, is still a gift.

LB: You have a new single out soon. What’s the impact you want to make in diverse societies?

BM: I want people to feel seen, whether they’re brown, queer, mixed, spiritual, or just different. My music is for the ones who never fully fit in. I want to create soundtracks for healing, empowerment, and having fun while doing it”.

PHOTO CREDIT: Alma amala (via Vogue)

Prior to ending with an interview from Glamour, I want to drop in this from Rolling Stone India. BombayMami “opened up about how a group of rural feminists inspired her to create a women’s day track and merchandise drop as part of her upcoming album, ‘Peaceful Attitude’”. This is undoubtably one of the most distinct and powerful albums of this year. I do hope that BombayMami gets a lot more elevation and exposure:

“The Indo-Swiss songstress has been on a lore-laden run lately. One second, she’s riding a horse, wearing a turban with a veil tucked under it, the next she’s floating across a lake in a pink, princess-esque tub as she serenades the audience with her soaring voice.

Turns out, it’s all part of the visual universe she’s threading together for her upcoming thirteen-track EP, Peaceful Attitude, out on Apr. 17, 2026, which sees the singer and creative director carving out a third space of feminine co-existence. “The album title is almost ironic. It’s like, I have a peaceful attitude…until you test my boundaries,” the multi-hyphenate tells Rolling Stone India.

And in keeping with that, her second drop off the upcoming album, “Gulabi Mantra,” is inspired by valiant stories of the Gulabi Gang, a resistance-led collective of female vigilantes from rural Uttar Pradesh, who, armed with bamboo sticks, fight against domestic abuse, sexual violence, and systemic injustice.

“I remember seeing images of women in bright pink sarees holding sticks and at first I thought, “Is this a film still?” she recalls, explaining how a research rabbit hole to build an audio-visual framework around “divine femininity” led her to discover the powerful all-female group. Dressed in a stereotypically “girly” color, pink, the lathi-wielding, saree-clad women truly embodied “divine feminine” by taking matters into their own hands, and responding to injustice with a seething rage.

Inspired by their vigor and courage, “Gulabi Mantra” became BombayMami’s way of navigating autonomy. Infused with afro-beat rhythms and syncopating Carnatic riffs, the two-minute track echoes a message loud and clear through its catchy hook: “My Body. My Voice. My Kitty. My Choice.”

“Bodily autonomy means I decide the terms,” the singer affirmed. “I don’t want to be reduced to a hypersexual fantasy. But I’m also not afraid of being sexual. I love feeling sexy. I love expressing that part of myself. That’s not weakness…that’s power. The difference is choice,” she elaborates.

Reduced to objects, burdened by stereotypes, and caged by conservative dogmas, women are far too often pushed into socio-political submission. Be it governments waging war on bodily autonomy, law enforcers “normalizing” sexual assault and violence, or social media popularizing problematic trends like “trad-wife” and “body facism,” the freedom of choice has historically been out of grasp for most women.

“Growing up, you learn very early that your body is watched. Commented on. Protected. Judged. Desired. Sometimes all at once. And as a performer, that becomes amplified. People feel entitled to your image, your sexuality, your energy,” she reflected.

PHOTO CREDIT: Lily Lytton

Rage, anger, defiance, and ownership; these are all aspects of the female emotional spectrum that have been contorted into a villainized lens. And that’s exactly what BombayMami is trying to challenge. “There’s this expectation, especially in South Asian culture, that women should be calm, graceful, forgiving. Like Lakshmi all the time. But we forget that the same culture also gave us Kali,” she states. “For me, as a Swiss-Indian woman moving between worlds, that duality hit deeply. The softness of pink. The hardness of resistance.”

Set against a bubblegum pink sunset, the cover art for “Gulabi Mantra” has the artist sitting atop a tiger, trishul in hand, serving celestial bombshell realness. “Visually, I drew inspiration from Durga and her symbolism: Strength with serenity, beauty with danger, stillness with power. The tiger represents instinct and raw force. Sitting on it represents mastery. Controlled fire. It felt important to embody that instead of just referencing it.” she mentions.

Slated for release on International Women’s Day, the anthemic single also comes with a limited-edition merch drop consisting of “kitty” printed socks, Om-shaped bindis, and a matching tote bag. “Everything, from the cover art to the merch, carries that same energy:  Feminine, but not fragile,” she pointed out. Even the tiniest details, such as typography, were used to create artistic semblance, rather than divergence: “I didn’t want the visuals to feel separate from the music. It’s one universe,” she vocalizes. Proceeds from the same will be going to UK-based and Indian women’s rights charities like SHEWISE and ActionAid India.
Tying it back to her Gulabi beginnings, the singer seeks strength in tales of female infallibility: “There’s something extremely powerful about rural women, often dismissed, often underestimated, becoming their own protection system,” she observes. Dismantling hypersexual fantasies, she hopes to spotlight the female gaze, which reveres sexuality rather than fetishizing it, “I can embody goddess energy…strength, protection, fierceness and I can move my hips and feel sensual. Those things are not contradictions. They coexist”.

I am finishing with Glamour, and their interview from March. It is said how, “the genre-blending artist is turning personal healing into powerful music”. I am not sure whether BombayMami has any tour dates planned for the U.K., as she would be warmly welcomed here. I know she is playing BBC Radio 1’s Big Weekend next month, but what comes after that? I would love to see her play live:

“She speaks of how it’s imperative to be strong, especially when your art is so personal. Striking that balance between being open and strong is also how she takes care of her mental health. She centres herself by returning to movement when criticism and the unpredictability of the music business become too much – a grounding that helps her steer the highs and lows of creative life with equanimity and ease.

“I feel better the more I push myself. When I stop moving forward, that’s when I get uncomfortable.”

That forward-thinking helped her finish her next album, Peaceful Attitude, conceived and recorded during a challenging time in her life when she walked out of a toxic relationship. This paved the way for a reformed personal life and the music that followed.

“Choosing myself meant learning to say no. Not playing small to make other people feel better.”

The song Fire in Delhi, driven by electrifying beats and a sultry groove, encapsulates it best. It’s more about the aftermath than the heartbreak, about picking yourself up and putting yourself back together. A feeling that resonates with many women reclaiming themselves.

Writing the album was therapeutic for her. “When something happens to you personally, you suddenly see how many women are going through the same thing. And so many can’t let go.” Her voice tightens when she discusses the systemic issues domestic abuse survivors face.

Shanti has raised funds for an organisation supporting domestic abuse survivors in India. “I want to do more. But everyone has to pull their weight where they can.” Using her platform this way feels like an organic extension of her beliefs into her work. And this is just the beginning, she affirms with unmistakable ardour.

Success isn’t always about streaming numbers; it’s about connection. She reflects on her early collaborators and the queer clubs and nightlife spaces that shaped her as an artist, sharing how the community pushed her when she wasn’t sure she could continue, providing both artistic liberty and acceptance.

She recalls that at a recent shoot, many brown women came up to her just to be part of the moment. “That feeling,” she says after a pause, “is everything” – nudging the importance of representation and the hushed but commanding effect it can have.

Her album, she hopes, will leave listeners empowered with a fresh way of perceiving things. “Life isn’t a straight line. There will always be ups and downs.” And, as the name suggests, it’s about learning to let go and approaching life with a shant (peaceful) attitude.

Before we ring off, I ask what message she wants young women to take from her story, and the answer comes immediately: “You don’t have to change who you are to meet anyone’s expectations.”

We log out of Zoom as Mumbai’s chaos continues its restless hum outside my window, and I hit resume on her track Gulabi Mantra – an homage to the legendary Gulabi Gang, the pink (gulabi)-sari-clad sisterhood that rose up against gender-based violence in India. Turning the song into a battle cry that lingers long after the music fades”.

Such a phenomenal artist who it has been incredible learning more about, I feel everyone should hear Peaceful Attitude. It is one of the standout albums of this year. She does have fans here in the U.K., though I don’t feel there has been as much press attention as there should be. I hope that changes, as the stunning BombayMami…

IS a music goddess.

____________

Follow BombayMami

FEATURE: Modern-Day Queens: Sian Eleri

FEATURE:

 

 

Modern-Day Queens

PHOTO CREDIT: Jasmine Engel-Malone for NOTION


Sian Eleri

__________

I have spotlighted…

IN THIS PHOTO: Sian Eleri during filming of the documentary, Keep the World Away - Finding Gwen John

the tremendous Sian Eleri before. She is one of my favourite broadcasters and someone who I feel is going to have such a long career. You can follow her on Instagram. On BBC Radio 1, Eleri presents the Chillest Show and the Power Down Playlist. She also presents Future Artists. One of the station’s best and most reputable names, a phenomenal broadcaster who is a master at providing the most cooling, chilliest and relaxing music. But she also has this eye for new artists and the best coming through. I will highlighting interviews where Sian Eleri has talked about new music. Eleri also hosts Selector Radio. Born in Caernarfon, Wales, she now resides in London. Before getting to some interviews with her – as it has been a while since I last wrote about her -, there is some biography that I need to cover off:

“Sian is one of BBC Radio 1’s leading music tastemakers, known for her warm, easy-going style and deep musical knowledge. She shares her passion across three flagship shows: Future Artists, The Chillest Show, and The Power Down Playlist. Each week, she champions artists from rising stars to household names, including interviews with Chappell Roan, RAYE, Hayley Williams, Olivia Dean, Gracie Abrams, CMAT, Role Model, Wolf Alice, and many more.

Since 2024, Sian has hosted a weekly show on Selector Radio, connecting a global audience to the UK music scene across more than 30 countries. The show has also taken her to host live gigs around the world - from Osaka to Austin, Texas.

Her love of documentary-making led to presenting the hit BBC Three series Paranormal, watched by millions and nominated for multiple awards. Across all three series - available on iPlayer - Sian brings curiosity and empathy to every story. She is currently filming a solo BBC documentary on painter Gwen John, featuring an interview with fashion icon Jonathan Anderson, due for release in 2026.

In 2025, Sian was selected to present the new Welsh-language version of The Voice for S4C, joining one of the world’s most successful entertainment formats. Filming for Series 2 begins in winter 2025. Other TV credits include live BBC coverage from Reading Festival, BBC One Wales’ cultural programme Green Space Dark Skies, Merched Yn Gwneud Miwsig for S4C (celebrating women in music), and Celebrity Gogglebocs.

Named Music Week’s Rising Star in August 2021, Sian’s deep expertise in music has seen her serve on several prestigious judging panels, including the Mercury Prize (2023–2025), the BRITs, the AIM Awards, the Youth Music Awards, the British Podcast Awards, and the Welsh Music Prize.

Sian also has extensive experience hosting live events, where her presenting style is consistently described as warm, accessible, and engaging. Whether presenting at Glastonbury, guiding audiences through BBC Proms, or hosting the Welsh Music Prize, she brings a relaxed confidence and genuine enthusiasm that makes every moment feel personal. Other career highlights include Radio 1’s Big Weekend, the British Society of Magazine Editors (BSME) Awards, and red carpet coverage at the BIFA Awards. She also curates her own gig night, TONNA’, spotlighting some of her favourite emerging artists - with more events planned for 2026.

Sian is a sought-after voiceover artist, with clients including Google, the Women’s Euros, BBC Archives, 4Music, HMRC, and the Six Nations Championship. She narrates the popular BBC Wales series SOS Extreme Rescues, and her voice can also be heard on the BBC podcast Story of Miwsig alongside DJ Huw Stephens, and across various BBC Sounds playlists.

She recently partnered with Barbour International as the face of their Badge of an Original campaign - a celebration of trailblazers who forge their own path. Sian has also been profiled by Notion Magazine as a rising star in British music and broadcasting.

Whether on air, on stage, or behind the mic, Sian brings people closer to music - with curiosity, care, and a voice that feels like home”.

This is an amazing talent who I really admire. As a tastemaker, her passion for new music is infectious and so important. I have discovered artists through her. Also, I love a great chill-out show. I feel, now more than ever, we need these in our lives. With such a calming and soothing voice, and picking some wonderful music, I try and tune into her Chillest Show and the Power Down Playlist.

Before getting to a new interview from Music Week, I do want to take us back to 2023 and interview from NOTION. In this insightful and remarkable chat, Sian Eleri discussed her debut documentary, Paranormal. She also talks about “spooky filming experiences, finding peace in pottery and why everyone should be listening to Elmeine”.

“Around 300 apparent paranormal phenomena have been documented at Penyffordd Farm: The secluded 17th Century house at the centre of Wales’ most chilling ghost stories. Muffled voices, messages carved on walls and a child’s gravestone are just a few eerie examples of creepy activity that the Gower family say they experienced while living there. The tale isn’t for the faint-hearted and many investigators have tried to make sense of it since the late 1990s. Attempting to solve the supernatural puzzle once and for all is Sian Eleri, the BBC Radio 1 broadcaster-turned-documentary-maker who’s filling me in on her TV debut, Paranormal: The Girl, the Ghost and the Gravestone, via Zoom.

Born in Caernarfon, Wales, Sian is no stranger to folklore. Learning The Mabinogion at school, a collection of mythological fables, the 28-year-old is aware of her country’s mystical allure. Penyffordd Farm has been told more as a ghost story, but it’s still widely believed to be the most haunted house in Britain. Being from North Wales, the Flintshire farmhouse has fascinated Sian all her life. Before filming, she was sceptical, but with multiple witnesses and still no rational explanation to be found, the presenter quickly realised that there’s more to the tale than meets the eye.

Before getting the bug for documentary-making, Sian was best known for her multiple shows on Radio 1. Hosting the BBC’s designated channels for soothing and sultry vibes, the 28-year-old hasn’t looked back since cutting her teeth in broadcast journalism at university. The Chillest Show and The Power Down Playlist are some of the station’s most important programs, offering listeners moments of catharsis at a time when almost half of young people experience mental health problems. Now presenting four nights a week, she’s blossomed into one of the BBC’s most respected tastemakers, interviewing artists as disparate as Jorja Smith and Disclosure. It’s this eclecticism she hopes provides listeners with an inclusive community who share her broad taste in music.

PHOTO CREDIT: Jasmine Engel-Malone

Nowadays, Sian can count herself as a true media multi-hyphenate, skilled in both broadcasting and documentary-making; she speaks about each expertise with equal fondness throughout our conversation. Digging deeper into Paranormal: The Girl, the Ghost and the Gravestone, here, the personality talks spooky filming experiences, finding peace in pottery and why everyone should be listening to Elmeine.

Do you want to make more documentaries in the future? Is this the start of something that you’re really interested in doing, aside from radio?

I’ve definitely got the bug for documentary-making. I’ve always had so much respect for documentary makers, having grown up watching Louis Theroux, Stacey Dooley and even David Attenborough. It’s given me such an amazing insight into what it takes to make a documentary compared to a radio show. Having them side by side for six months and seeing the different ways of working has been so insightful. With radio, there’s a week-long cycle of feeling, and I suppose accomplishment at the end of every Sunday night. Documentary making is long and arduous and it takes ages to make something that is visually spectacular but also, a captivating watch. It’s opened up a whole world for me which I can’t wait to dive into more.

Being a radio and now documentary presenter, you’ve got many strings to your bow. But growing up, what did you want to be?

I had no idea what I wanted to be growing up, and I found it really stressful. I never felt like I was particularly talented in one area, so I remember being really stressed as a kid, not knowing what I wanted to do with my life and what future I wanted.

I think what drew me to music journalism was the idea of storytelling. Music can be confessional or conceptual. People are building worlds in front of your eyes, whether it’s their own or one they’ve created. I think radio was almost hiding in plain sight. I’d loved Radio 1 my one my whole life; I was a religious listener of that station. I just realised, that with broadcast journalism, somebody had to do it as a job but I never considered it as possible or achievable.

Your radio shows play a vital role on the BBC network, especially in an age where people are becoming more aware of their mental health. How do you personally wind down and keep on top of your well-being?

I started doing pottery back in February and I love it. I was a big fan of The Great Pottery Throwdown and remember thinking, that looks like fun. I went to one class and I’m now obsessed with pots. I’m basically off grid for a few hours every week because I’ve got clay on my hands and can’t reach my phone. There’s no pressure to be good. I think that’s the main takeaway I get from it. I think we put so much pressure on ourselves to be at our very best all the time but with pottery, especially when I started, it’s okay to be rubbish and make mistakes.

What would you like listeners to take away from your shows?

I would like them to feel like they have a companion and a friend who loves their company just as much as they enjoy the music. It’s such a privilege to play music on a national platform like Radio 1, one of the biggest stations in the country, and to support people on various different levels. Whether it’s an artist trying to break through, or someone who’s really proud of their records, you can support them and then they potentially become someone’s new favourite artist. That’s such a special feeling.

All of the shows are really eclectic. What do you listen out for when curating the various programs? What gets the Sian Eleri seal of approval?

The production has to be top-notch. If something sounds clear, crisp and thoughtful, I think it’s already making its way up the list. Genre-wise, it’s really nonspecific. A big part of me putting the show and tracklist together is making sure that we try and make as many people happy as possible. If I can feel something from the artist, it’s mellow, and I feel a certain way about it, then I will more likely than not play the tune”.

PHOTO CREDIT: John Marshall

I feel there is still this assumption that new music or music in general comes from London. That this is the centre of it all. Artists need to be aware that you do not need to be in London to succeed and be noticed. Things are shifting. Award shows like the Mercury Prize have relocated north and there is this broadening. So many of the greatest and most promising artists around are from outside of London. Last month, this esteemed and respected broadcaster and Mercury Prize judge was in conversation with Music Week. It is a fascinating interview. As they say, Eleri is a “staunch advocate for the industry’s devolution from London, she joins Music Week for a discussion about why emerging talent is in rude health, the impact of social media and swearing on air…”.

“Clearly, the 31-year-old – who starred in our Rising Star column in 2021 – has built a reputation as one of the industry’s most trusted tastemakers. She cemented that status with her appointment to the judging panel of the Mercury Prize, last year presenting Sam Fender with the trophy at the show. Yet while she brings the required gravitas to the prestigious jobs she’s earned, Eleri is also the sort of affable, chatty friend you’d want in your ear every day.

“Considering how much I swear, it’s really lucky that I’ve not slipped up yet, but it’s only a matter of time,” she chuckles, assessing her career to date. “But I did once mispronounce saying that the clocks were turning back... Listeners obviously picked up on that and were like, ‘Oh, something on your mind?’ Gah!”

When Music Week encounters Eleri at 10am on a Monday, she’s enjoying a “slow morning” (“I always try to prioritise slow mornings just because I know the night times are particularly hectic,” she notes), but the rest of the day and week will revolve around extensive prep for all of her shows.

“Honestly, it is one of my favourite parts of the job,” she informs us. “Being able to listen to loads of music, do my own research, curate the shows and have total control is really lovely. I’m sure it’s a rarity in this day and age.”

You took over Future Artists in 2024 – how did it feel to be stepping into Jack Saunders’ shoes and taking on that revered slot?

“It’s such a prestigious slot, so it’s not that I was surprised that I was offered the job, but it was one of those phone calls where you’re like, ‘Oh, now? You want me to have it now?’ It was the phone call that I would maybe have hoped for in three years’ time from that point, so I felt really lucky that the Radio 1 bosses felt like they could see something in me, where I clearly love music and I want to do anything I can to push artists and to promote them. But you get the most amazing people through the door. With someone like Sienna Spiro, I can remember listening to Need Me, her debut single, when she was a complete unknown with a few thousand followers on Instagram and [my producer and I] were sitting in complete silence, stunned, and staring at each other. We knew we needed to have her on the show ASAP because she was obviously next level. She’s one of those artists where you just know. Future Artists gives us the opportunity to introduce brand-new acts that will eventually be household names, and that’s a really nice feeling.”

What can you specifically bring to the show as a tastemaker?

“I remember that Music Week Rising Star interview a few years ago when I said that I wanted to champion international voices and talked about the idea that you don’t have to be able to speak English or be from the UK in order to be a really relevant artist here. I think we’re doing that [on the show]. We’re trying to reflect K-pop bands coming through, and artists that have international widespread appeal. There’s a lot of noise coming from Australia right now; I also really love [New Zealand indie band] Balu Brigada. I think everything sounds amazing from that part of the world.”

How are you feeling about the current state of new music in 2026 generally?

“I’m feeling really optimistic! I’ve noticed more emphasis on fanbases recently. If you look at someone like Alessi Rose, for example, she’s been building an audience for the last few years just by being herself online and making catchy pop songs in the process. You’re also seeing it now with Erin LeCount. About a year-and-a-half ago, she was writing music in her back garden shed studio that she built with her dad, and now she’s the next buzzy person of the moment. It’s really interesting seeing how people are discovering artists that they think are authentic and sincere, especially at a time where the whole AI conversation is looming and changing every day. It scares me a bit because it’s happening so quickly and there aren’t necessarily frameworks in place where we can make sure that we’re supporting real people in the music industry.”

Do you have a message for the business about how it can help new acts?

“I mean, people should be paid fairly for the work that they produce and there’s an imbalance at the moment, but I don’t think that’s a new idea. With the way that people consume music, artists aren’t adequately supported financially. What does that change look like? Massive. As to whether or not it will happen? I don’t know. Once upon a time, I thought I’d quite like to write something and see what that sounds like, and then I’m looking at the costs and, oh my God… It’s miraculous that anyone’s making any music at all. But in terms of how you tackle that in the music industry, it’s just a big beast, isn’t it? I don’t know where you start. But indie record labels are doing their best to uphold and champion these artists and I think we’re trying at Radio 1. We’re really trying.”

Moving back to the subject of radio – what do you think makes a great presenter?

“It’s about making the listeners’ time worthwhile. Ninety-nine per cent of the time, people are doing something else while listening – driving somewhere, cooking, or it’s the background noise when you’ve got a couple of mates around. You also find people in different circumstances in their lives. One of the most profound messages we got on a Sunday night about two years ago was from this young family and they were in an end-of-life care hospice for their daughter. It was the most devastating, heartbreaking message that you could receive, and to know that they were choosing to spend the little time they had left together [with us] was one of those things that I will never forget. On any show, I’m going into it thinking: maybe someone’s just got engaged, or maybe someone’s lost their job today. It could be the best or the worst day of someone’s life and you could be there for it.”

Alongside your radio commitments, you have been a judge on the Mercury Prize panel for three years. How have you found it?

“Oh my God, it’s been the privilege of my life to do it. What I really like is that it’s a space where new artists are on an even playing field with people that have been around for decades. Last year, for example, Jacob Alon’s debut album was there alongside Pulp, and on the same level as Wolf Alice who’ve been nominated every time they’ve released a record. It meant a great deal to me to be able to judge, and I also presented the award, which was crazy – I still can’t believe I did that! I remember being backstage and I’d deliberately gone easy on the table drinks because I was like, ‘You’re going to be on telly. Just keep your head straight.’ It was only just before going on that they were like, ‘The stage is a bit slopey’ and the heels I had on were these enormous platforms. So it was only then that I started getting nervous because I just didn’t want to fall down the stairs and make it about me.”

 

Do you have any predictions for the shortlist this year?

“Probably Olivia Dean. She’s been shortlisted before, so that’s not going to be a surprise, and the album [The Art Of Loving] is so beautiful. If we’re thinking of massive albums, it would be interesting to see where Lily Allen comes in, and Dave as well. Maybe Dove Ellis, too, because I just really loved Blizzard and the musicality in that record is amazing, but it’s hard to tell at this stage.”

The Mercury Prize is returning to Newcastle this year, while the BRITs and the MOBOs are in Manchester. Are you happy with idea that the industry is becoming less London-centric?

“I think the fact that there’s a conscious effort to move huge, televised awards like the BRITs out of London can only really be a good thing. Seeing it in real time at the Mercurys in Newcastle, it was fantastic. Music isn’t just made in London. It’s showing that music-making is accessible in your patch; that you can belong in the music industry, it doesn’t matter where you come from, and there’s no expectation that you move to London. Radio 1 continues to do that with Big Weekend, so if they can go to the trouble of finding the right kind of sites to hold an entire festival in a different city every single year, you can see that it’s possible. If anyone were to backtrack now and say, ‘Oh, I’m just going to do it in London next year,’ I don’t know if that would be a good look, so I’m hoping that things are only going to continue in this direction.”

Finally, now you’re a radio mainstay and a Mercury Prize judge who has also done some work on television, what are your hopes for the next phase of your career?

“I’ve never been someone who has a five-year plan. That question always scares me! Radio has always been my one true love. I listen to it religiously every single day, so to not be a part of it in some capacity in my career going forward is unimaginable. As long as I’m not swearing on air, and not making massive horrible mistakes, I’m really hoping I’ll stand the test of time on radio. I think there’s an amazing future in radio in general, especially at a point in our lives when online slop is kind of scary, and you don’t know what’s real and what’s not and you just want real recommendations from a human being that knows what they’re talking about, or at least tries to. If I can offer that for the rest of my career, then that will be fantastic”.

I will end it there. Go and connect with Sian Eleri on Instagram and listen to her on BBC Radio 1 and Selector Radio. This is one of the most important broadcasters in the world. One of the best too. I have been such a fan of her work for years now and it is wonderful seeing her evolution. I wonder what the coming years hold. I think Eleri will be with BBC Radio 1 for a while and may get to the position where she is hosting the Mercury Prize (BBC Radio 6 Music and BBC Radio 4’s Lauren Laverne is the current host). Truly, the utterly sensational Sian Eleri is one of our strongest…

VOICES in broadcasting.

FEATURE: Spotlight: better joy

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Jessy Keely

 

better joy

__________

THE truly tremendous…

better joy is the moniker of the Manchester-based artist, Bria Keely. I have been instantly struck by her music! I first discovered her very recently after she was shouted out by BBC Radio 6 Music broadcaster, Chris Hawkins. His colleague, Steve Lamacq, spoke with better joy from the SXSW Festival in Austin, Texas recently. On 23rd May, better joy is part of the Viola Beach Stage at the Neighbourhood Weekender in Warrington, which has some very exciting talent. It is the most interesting stage at a festival that is more primed to older, legacy artists. The Viola Beach Stage uncovers and spotlights incredible newer artists. This Chris Hawkins Instagram post is about an event he is hosting at Manchester’s Night & Day, where better joy is on the bill alongside Weston Loney and McGrath on 5th June. It is such a busy time for better joy. I am not sure if you can call someone with this demand and pull a ‘new’ or ‘rising’ artist, though these are still early days for this extraordinary songwriting. It is clear that better joy is on a rise and her best days are still ahead. Even so, this year has and will see better joy perform across the world and play festivals here. From local venues in Manchester to bigger events, so many people will get to see better joy in the flesh. Someone I have instantly connected with. A singular and executional voice that should be played across multiple radio stations! I cant see any 2026 interviews or features, though I am going to bring in some stuff from last year. So that we can learn more about Bria Keely’s extraordinary alter ego. The wonderous better joy is someone everyone should know. I will try and see her live one day if she plays in London again soon.

In terms of her aesthetic, by which I mean her E.P. and single covers, there is something beautiful and distinct regarding better joy’s music. The E.P., at dusk, came out last October. I am curious if there is another E.P. coming along. You can see better joy’s upcoming gigs here. She plays Dublin on 17th April. This is an artist who I feel will release incredible albums, by nominated for big awards and work alongside some major artists and producers. She will be in the industry for decades to come. I want to start by taking things back to March 2025. Leftlion spoke with better joy about the E.P., heading into blue:

“Hi Bria! Your debut EP, heading into blue, is set for release on 28th March 28th. What themes tie the songs together, and what do you hope listeners take from the body of work?

I would say it’s all about love and facing fears. There’s a lightness to them even though they’re from a vulnerable place; the music feels uplifting even yet some of the themes aren’t. I love that juxtaposition within songs. I live for those contrasts so there’s a lot of that. I hope people feel empowered when listening to the songs - there’s a hopefulness to them which I adore.

You’ve worked with producer Mike Hedges on this EP. What was that experience like, and how did it shape the final sound of the record?

It was mega! What an incredible man he is. Just working with someone who has had so much experience with some iconic bands and artists was one thing, but he really made it so collaborative and we just had a right laugh. One thing that really shaped the record was the six-string bass that we used right after he had been telling us about the Fender 6 used all over The Cure records - that was a very cool moment. 

You’re embarking on your first headline UK tour this year. How are you feeling about stepping into
this new chapter, and what can fans expect from your live shows?

Beyond excited. It’s going to be so different! After being lucky enough to support some incredible bands, the fact that people are buying tickets just to come and see us makes it a whole new ball game. There will be lots of unreleased songs, some chin wagging and so much dancing. I want people to come and feel like they get to know me a little more and connect with the music of course.

You’ve played various festivals and supported other artists on tour. How have these experiences influenced your growth as a performer?

Hugely! Experience is everything. I feel so lucky to have had so many fab opportunities with support tours towards the end of last year. You start to just get used to it and start believing in yourself more and more - there’s a comfortability that comes with doing it over and over again. Another thing is learning the signs quickly with an audience that isn’t necessarily there for you, you learn to read the room and make decisions in the moment.

As an artist from Manchester, how has the city’s music scene influenced your sound and artistic journey?

I think it's impossible to be from the north of England and not be inspired by how many iconic bands and artists have come out of here! I’d say my sound’s influenced by Johnny Marr guitar riffs - maybe not quite as complicated but those riffs that really support and guide your melodies. And I mean, a lot of the time when I’m writing a chorus I think “what would Oasis do?”, but what follows is always far from it - their choruses are something special and hard to replicate. Maybe one day!

Looking ahead, what are your hopes and goals beyond this EP and tour? What's next for you, as
you look ahead to the rest of 2025?

Release more music and ideally land some more support tours. On a personal level I just really want to carry on learning and growing. Write, absorb, create, perform is the plan!”.

The wonderful music is the blame. chatted with better joy around the release of at dusk. I really love their interview and what they were asking her. There were some lovely and in-depth interviews last year with a phenomenal young artist who we are going to hear a lot more from:

“Talk to us about your band/artist name - who or what’s to blame for its inception?

It came from someone I was working with at the time, who suggested this name. I view it more as a stage name; a band name, a stage name, so kind of the concept of calling myself something else, I  found it quite odd. When I first heard it, though, I quite liked that one, so I just ran with it for a bit and saw how it made me feel, and then it just stuck. Even now, I feel like I’m embodying it more; it’s been a process, but still I love it, and it feels like it's becoming more and more obvious why that's the name.

Who would you say is to blame for your music career?

This is different from how other people got into music. I basically didn't; it was a passion, it was a hobby. I didn't grow up in bands; that was not my thing. I liked playing piano and singing, and then went to uni, and did something completely different, sang to all my friends when I was out drunk. It just made me realise how much I enjoyed performing to people and they were so encouraging and constantly begged me to sing to them, and I was like, “oh, I really enjoy this”.

After that, I met someone, and  I was showing her my video on YouTube that I had, and she said “you need to learn to write” and I was replied, “I can't write”, and she was like “You don't know”, and I was like “Yeah, that's a good point”.

So I just tried writing, and I mean it was terrible, but I thought there were some nuggets of gold in there - maybe this is something that I could really learn to be good at and enjoy, and thank god, because now it's weird that I didn't even ever consider that.  It just came out of me, and then suddenly I was just doing it, and it just felt like part of the plan that I wasn't aware of. I'm so pleased that I just let myself discover things, and not be afraid of the mid-20s, when I'm discovering things and thinking, "Oh, I like that; I could do that".

Who are the biggest musical inspirations for the sound you’ve curated?

Phoebe Bridgers at the start. She was someone I looked up to in terms of lyrics. I was definitely absorbing a lot of her, the way that she uses metaphors. At the start of my writing, I couldn't even write a metaphor. I was so confused, and so I had to really listen to others. I wouldn't just do it on a sonic level, I would kind of split them in two, I'd study lyrics, and then I'd figure out what sounds I want.

I've loved Olivia Dean from the very start, and  I love the way that she's quite conversational, and I think I brought that into this EP especially. My music's not like Olivia Dean's, but I've been very inspired by her lyric writing and the way that she approaches that.

At that point in my life that was the best that I could have done, the most honest, but it's funny because now the stuff that I'm writing, the stuff I'm listening to and what I'm producing is so much more honest but I thought I was doing as honest as I could then and now I've just kind of tapped into it even more.  I'll constantly be changing, I'll constantly be discovering artists that I like and want to be inspired by. I feel quite inspired by change, I want to make sure I'm always changing and growing because we all are, after all.

What do you hope listeners draw from your upcoming EP ‘At Dusk’? (out 31st October 2025)

A  slice of me, A slice of my inner monologue. Some of the songs kind of touch on darker moments and darker kinds of things that happen to you, and I think hopefully they (listeners) find a little bit of solace in those songs if they've been through stuff that's similar.

What makes the Better Joy fan community so special?

It's a bit of fun, it's playing on the contrast that my music has, it's introspective, but it's fun, and that's quite human; it's the human experience.  I've just got lovely fans and I'm excited to grow with them, they seem to have a good time at the shows, and I think that's my main goal; have fun myself and hopefully that just projects out to them and they have fun listening”.

In November, I Dream of Vinyl chatted with better joy. The celebrated and sublime at dawn E.P. truly cemented her as a very special artist. Someone who has this immense talent. A voice that grabs the senses, mind and heart. This is why I wanted to write about her and see her live one day:

“It’s been a busy year for Bria Keely, the brains behind Manchester-based indie-pop outfit better joy. Having released a debut EP heading into blue back in March and promoted it with a ten city UK/EU headline tour as well as a load of festival dates, she has just followed up with a sister collection of songs. New six-track EP at dusk was produced by Mike Hedges (The Cure, U2, Manic Street Preachers, Travis) and shows a more vulnerable, darker side than previous releases.

I just stopped trying to please anyone or caring whether the music I wrote ‘fit’ a mold. It’s not on anyone else to define what better joy is: it’s on me”.

The bright and bouncy first single “this part of town” leads off the record is about the unknown in relationships and working through challenges together while the introspective “plugged in” reflects on connecting with someone and understanding love for the very first time. Our favorite track on the EP is “steamroller” which builds to a memorable chorus with a catchy riff as Bria sings about biting back after someone took a piece of you with them.

We caught up with Bria as she was getting ready to release the EP as well as preparing to go out on the road for several tours to support at dusk.

Hi Bria! How’s everything going right now?

So good thank you! On tour at the minute with Somebody’s Child, so opening for them every night is truly such a privilege! To be trusted with opening a show is always an honour! AND gearing up for the release of my EP next week too – things are good!!

Congrats on the new EP – really enjoyed listening to the songs. When and where did you write and record the record?

Thank you so much!! I wrote most of these at home. I actually started a couple of them on a solo trip to the Isle of Wight. Took some wine and my recording stuff and tried to just zone in on things! We recorded them in the Isle of Wight in Summer of 2024, so these were written in the year leading up to that.

You released your debut EP heading into blue earlier this year. Did you always see these as 2 separate projects rather than collecting the songs on 1 album?

To begin with, no! They were written and recorded at the same time but I think as time went on it became clear to me that I wanted to split the collection of songs into two. You only get one debut album so I’m so pleased I’ve had more time to develop as an artist and really hone in on what i love.

If you could only listen to one record, what would it be?

Oh no!! I’m so indecisive and to be really honest, these days I tend to listen once and then just listen to my favourite songs!! BUT if I had to choose right now, it would probably be something classic and timeless like Wunderhorse’s Cub. I’d listen to ‘Purple’ and ‘Teal’ over and over and I don’t think I’d get sick of them!

You’ve worked with legendary producer Mike Hedges on both EPs. How did he become involved and how did he help with the process?

We connected through a friend and he ended up coming to see a show and that was it! I loved working with him so much – he really believed in me and my songs. Hearing all of his stories over the recording process was incredible, so many iconic ones too! I would say one of the  best things that came out of working with him was my confidence. He really let me lead it and he believed in my instincts on things so that was a very open, fun and collaborative experience!

Who did you grow up listening to that inspired you to become a musician?

So I know this one is very different to the sort of stuff I am doing myself now, but I was really into singer-songwriters like Adele. My sister had the piano book for 21 at home and when I learnt I could sing AND play the piano at the same time, it was her songs I sang. She got me obsessed with performing!

What’s next for Better Joy in 2026?

Writing my debut album and hopefully recording it at some point! Touring and festivals hopefully!! Hard to top off 2025, but very excited for what’s next.

Manchester-born indie-pop artist better joy (Bria Keely) fuses sparky guitar melodies, pulsating basslines and deeply vulnerable lyrics into a sound that’s both infectious and emotive. After bursting onto the scene with her debut EP heading into blue (2025) and a near sold-out UK/EU headline tour, she returns with at dusk on October 31st – a more contemplative and mature six-track EP exploring growth, self-belief and connection. With a summer packed with festival appearances, support slots confirmed for Somebody’s Child, Amy Macdonald and Bastille this autumn, as well as her own headline shows, better joy is quickly establishing herself as one of the UK’s most exciting new indie voices”.

Prior to getting to that review for the stunning at dusk, there is another interview from November I want to drop in. This When the Horn Blows interview is interesting because we learn that better joy is working on a debut album. I am really excited to hear that, as it is going to be so warmly received. She is one of our best artists right now! I hope that lots of people shout about her talent this year:

“It is called ‘at dusk’ – what is the meaning behind that?

This is a sort of sister EP to my debut EP ‘ heading into blue’. With blue being the colour that represents self expression, my debut EP represented the teetering of heading into that kind of bravery of expressing myself. Whereas these songs are fully accepting myself and being as honest as I can be. Heading into the night time - ‘at dusk’ - that felt more appropriate for these songs; more vulnerable and introspective.

Where was it recorded? Any behind the scenes stories you are willing to share with us?

This was recorded at Chale Abbey studios on the Isle of Wight. It was produced by Mike Hedges who’s produced some very legendary bands. And one thing about him is he only drinks Tequila! When we’d finish recording at night, we would all sit around and chat and drink Tequila. I would say one of the coolest things to happen was just hearing how he recorded so many bands! Especially The Cure. One night he told us Robert Smith wouldn’t record a song without a fender bass and the next day we added fender bass to almost every song!!

If the EP could be a soundtrack to any film – which one and why?

It would have to be one about love, because it definitely explores the complexities that come with being in love, loving someone, relationships in general basically. And maybe it would be good as a coming-of-age film soundtrack, so like, I dunno – Juno?  But then also, I think Steamroller would be good for a film about people being undermined, like the new film about Whitney Wolf – so a film about people rising from a difficult situation and sticking up for themselves.

Now the EP is out there – what next for you?

I’m writing my debut album at the minute, in between touring and gigs. So I'm going to finish writing that and hopefully get it recorded next year. VERY excited with the direction that’s going! So yeah! Hopefully more festivals next summer too - that would be a dream!”.

I’ll do a bit of a round-up before ending. However, I want to come to a review of at dusk from Taped Magazine. They had a lot of positive things to say about the latest E.P. from better joy. Undeniably someone who is going to have an immense and bright future, go and check out her music on Bandcamp (the link is at the bottom of this feature):

“Manchester’s Better Joy has spent the past year building momentum and recognition. Festival appearances at the likes of Y Not and Truck Festival, a recent support slot with Somebody’s and the announcement of her biggest headline tour yet have set the stage for her sophomore EP, ‘at dusk’. The six-track release, described as a sister EP to her 2025 debut Into the Blue, expands her sound while keeping the emotive storytelling that has become her hallmark. Produced by Mike Hedges (The Cure, U2, Manic Street Preachers, Travis), ‘at dusk’ sees Better Joy’s Bria Keely revealing her vulnerability across every track. The result is a sound which feels reflective but never static, demonstrating an artist truly in her prime.

The EP opens with ‘this part of town’, the track released at the time of announcing this musical offering. Through thoughtful guitar and percussion, Keely captures the ache of distance and uncertainty. Layering emotion over a hypnotic, heart-aching melody, it’s impossible to not be immediately drawn in. It’s a quietly compelling start that sets the tone for the rest of the EP.  ‘Steamroller’ introduces a subtly rockier edge while retaining the warm, melodic sensibility that has become Better Joy’s signature. Keely’s confessional lyric, “I never showed you the heavy metals in my bones,” strikes a balance between vulnerability and quiet strength. The track feels like a statement of resilience, a reminder that even in the face of challenges, Keely’s voice remains steady and spellbinding.

On ‘Plugged In’, as Keely navigates the messiness of love with ease. Gentle instrumentation and the consistent melody let her voice take center stage, making it one of the EP’s most relatable and immediate tracks. ‘I’m There’ carries a sense of nostalgia, evoking the glow of early-2000s indie-pop without ever sounding derivative. In this track we see Better Joy’s true resilience, backed by her creative storytelling.

The final two tracks ‘Big Thief’ and ‘So Long’ bring the release to a powerful close. ‘Big Thief’ is the EP’s boldest moment. Urgent rhythms and brighter instrumentation give it a sense of liberation. Keely turns tension and frustration into something empowering, showing how she can translate personal experience into something universal. Closing with ‘So Long,’ the EP gradually swells into a luminous finish. Layers of guitars and harmonies tie together the record’s recurring themes of growth, independence, and self-assurance. It leaves the listener with a sense of closure while hinting at the next stage of Better Joy’s musical journey.

By the time ‘So Long’ fades, ‘at dusk’ has already made its mark. Across six tracks, Better Joy shows vulnerability and grit in equal measure. There’s confidence here, but it never feels forced and Keely’s voice carries a delicacy that makes every track feel lived-in. This EP isn’t just a collection of songs, it’s a clear statement of intent. With at dusk, Bria Keely confirms herself as a rising force in indie-pop, an artist carving out her own space with precision, heart, and undeniable presence”.

I love seeing better joy’s Instagram right now, as Bria Keely is sharing photos of great gigs and sights. She is loving life right now and gearing up for the debut album! Getting kudos from D.J.s, broadcasters and fans, there is rightful excitement about better joy. I am shamefully new to her brilliance, though I feel she can and will soon become one of my favourite new artists. She has a load of followers behind her right now and that will only increase. Exposure in America and love beyond her native Manchester, I can see better joy hooking up with inspirations like Phoebe Bridgers. Last year was a busy and successful one for better joy, but I think he next year or two will be the most exceptional and gilded…

OF her career.

___________

Follow better joy

FEATURE: Beyoncé's Lemonade at Ten: Inside the Singles

FEATURE:

 

 

Beyoncé's Lemonade at Ten

IN THIS PHOTO: Beyoncé for ELLE in April 2016/PHOTO CREDIT: Paola Kudacki

 

Inside the Singles

__________

EVEN though Beyoncé…

has released several solo masterpiece albums, I think that her first huge breakthrough and masterpiece was 2011’s Lemonade. It followed 2013’s Beyoncé. That album was hugely loved and got a lot of love from critics. However, Lemonade took her music and genius to new levels. It created such a reaction when it was released on 23rd April, 2016. Not, of course, that the two are related, but Lemonade came out two days after Prince died. I think so many people were still stunned and numb from that shock news. When Lemonade was released two days after his death, it was perhaps a little hard to take in. I have already written about Lemonade and some of the reaction around it and writing about it. As it turns ten on 23rd April, I want to now look inside its five singles. Each different but all powerful and exceptional, here is a look inside Lemonade’s….

STUNNING singles.

 ____________

Formation

Release Date: 6th February, 2016

Songwriters: Beyoncé Knowles/Khalif Brown/Asheton Hogan/Michael Len Williams II

Producers: Beyoncé/Mike Will Made It

US Billboard Hot 100 Position: 10

Review:

“Fully realising a masterpiece can be a double-edged sword. In the two years since Beyoncé “changed the game with that digital drop”, I’ve frequently wondered just how she could possibly follow it.

If Beyoncé herself has been beset by such concerns, it doesn’t show. On Formation, she doesn’t just answer that question, but savours every delicious moment of making her statement. Just listen to her voice – or rather, voices; hanging out with Nicki Minaj (and indeed co-writer Swae Lee, one half of rap scamps Rae Sremmurd) has clearly had an effect. There’s the amused drawl of “y’all haters corny with that Illuminati mess”, the barely suppressed giggle about keeping hot sauce in her bag, the sudden giddy exclamation as she lands on the word “chaser” in the chorus. It’s one of Beyoncé’s most playful performances to date: she treats the Mike Will Made It-produced beat the same way a cat treats a ball of wool. With its rubbery springing steps giving way to horns, clattering martial tattoos and the kind of heavy bass that goes straight to your hips, there’s plenty for her to toy with; its loose approach to structure makes it more akin to a freeform dance routine than a conventional pop song.

Musically, it transpires that 7/11 – the rowdy bonus track appended to 2014’s re-release of Beyoncé on which she yelled about alcohol over harsh, metallic beats – was less a throwaway leftover and more of a signpost. But where the hood signifiers of that banger seemed designed to demonstrate that the impeccably poised artist could cut loose as messily as anyone, Formation’s declarations of identity are carefully chosen for political weight and layers of meaning. “I like my negro nose with Jackson 5 nostrils,” she declaims in the half-rapped, half-sung cadence that’s served her so well ever since she haughtily flipped In Da Club in 2003. It’s radical self-love, of course, but the metaphor is a flashing reminder of the troubled alternative that has faced black stars before now.

The video, meanwhile, opens with the singer crouched on a New Orleans police car, half-submerged in a flood – and closes with her lying back as the water engulfs both her and the vehicle. In between, footage of the city post-Katrina is interspersed with grainy shots of dancers shot from above, as though from a police helicopter; opulent gothic mansions straight out of the antebellum South, now owned by Beyoncé and her band of black women in vintage lace. Most effective of all is an extended shot of a child dancing in front of a row of riot police, who raise their hands in response to his moves before the camera cuts to graffiti reading “STOP SHOOTING US”.

Between the child dancers and the vintage constumery, there are echoes of Missy Elliott’s classic videos here; overall, it’s a striking way to underline the ways in which southern blackness – the culture and experience of it – is important to Beyoncé in 2016. As with her hyper-specific lyrics, it feels notable that she seems increasingly uninterested in universality; Formation’s references are designed for maximum resonance – or perhaps alienation, depending on where you stand. It’s a song ostensibly about Beyoncé’s identity that forces the listener to acknowledge their own identity – a bold move from the world’s biggest pop star, who over her career has been no stranger to the kind of song written so vaguely as to apply to anyone and anything. The presence of New Orleans bounce rapper Big Freedia works in a similar fashion; Formation may be Beyoncé’s blackest song yet, but thanks to Freedia and a healthy dose of exhortations to slay, it’s also her most gay.

Beyoncé’s abiding interest in money has made for some of her best moments; not in a reductive materialist sense, but because she has a deep understanding of how money informs social and romantic relations. Bills Bills Bills was never a gold-diggers’ anthem but rather a study of the way dating dynamics can turn on finance; on Irreplaceable, what hurt her the most was seeing her boyfriend “rolling her round in the car that I bought you”; on Rocket, Beyoncé even gave a sly wink to this trait of hers, whispering at the carnal climax: “What about that ching-ching-ching?” Here, a particularly terrific stretch sees her troll straight men by flexing her economic muscle over them: she’ll reward a good lover with a fast food meal, and – insert casual shrug – maybe even let him go shopping, too. When Drake, a rapper fêted for his sensitivity, can insult a rival simply for having a more accomplished girlfriend, Beyoncé revelling in her ability to keep her man in fancy treats feels like a much-needed riposte (and, in a way, a flip of the scenario her teenage self described in Bills Bills Bills).

The central tension in Formation is between its playfulness and the anger underpinning it; often, there’s a disconnect between Beyoncé’s carefree voice and the powerful images on screen. As it goes on, though, the significance of the dance becomes clearer. If Beyoncé’s self-titled album was a fundamentally personal statement, the painstaking work of a woman engaged in deep analysis of herself, her desires and her place in the world, Formation finds her turning her attention outwards. Ultimately, it is a rallying cry, and it couldn’t be more timely; when Beyoncé begins to exhort her ladies to get in formation, it’s the sound of a militia being prepared for battles ahead” – The Guardian

Sorry

Release Date: 3rd May, 2016

Songwriters: Beyoncé/Diana Gordon/Sean Rhoden

Producers: Beyoncé/MeLo-X/Diana Gordon

US Billboard Hot 100 Position: 11

Review:

“On April 23, in the year of our Beyoncé 2016, Queen Bey created a cauldron of steaming hot tea and called it “Lemonade”. And it was very, very good. The HBO exclusive shocked the world through 12 songs and a holistic visual experience, complete with gorgeous gowns, celebrity appearances, social justice, spoken word poetry, black girl magic, and a national forest’s worth of shade.

Two months later, Beyoncé has released a standalone clip from “Lemonade” as her video for “Sorry”. While it’s hard to pick a favorite moment from “Lemonade”—it’s a tough call between every time Beyoncé wore vintage lingerie in an abandoned mansion and every time Jay Z had to look really apologetic on camera—“Sorry” is by far the most iconic single.

The song's Warsan Shire-penned intro promises “ashes to ashes, dust to side chicks” and Beyoncé delivers. “Sorry” is a middle finger to cheating husbands and the trifling wannabes who love them. It features an abandoned school bus, about fifteen outfit changes, Beyoncé cussing and Serena Williams twerking. Plus, “Sorry” will always have a special place in the hearts of the Beyhive as the track that introduced the world to Jay Z’s most infamous alleged mistress, “Becky with the good hair.”

Hopefully, in addition to “Sorry” and “Formation,” more bits and pieces of “Lemonade” will hit YouTube in the coming months. So cancel your Tidal subscription—or in my case, stop creating fake Gmail accounts for 30 day free trials—and let this music video usher you into the summer of “boy, bye.” Not you, Becky” – The Daily Beast

Hold Up

Release Date: 27th May, 2016

Songwriters: Thomas Pentz/Ezra Koenig/Beyoncé Knowles/Emile Haynie/Josh Tillman/Uzoechi Emenike/MeLo-X/Doc Pomus/Mort Shuman/DeAndre Way/Antonio Randolph/Kelvin McConnell/Karen Orzolek/Brian Chase/Nick Zinner/Raini Rodriguez

Producers: Diplo/Beyoncé/Ezra Koenig

US Billboard Hot 100 Position: 13

Review:

“This is the liminal moment right after a betrayal but before the consequences. When the freedom of the fall causes a rush. When a head gets light and loopy. When life suddenly seems limitless. When the rules—of gravity, of morality, of empathy—no longer apply. For Beyoncé, this moment means skipping down the street with a baseball bat named Hot Sauce as the world bursts into fireballs behind you.

“Hold Up” is a delirious flight of fancy. The music has no weight, no place, no time—a calypso dream heard through walls and generations. The video lets us peek at this dream without bringing us down to dirt; though the naturalistic soul of New Orleans can be felt throughout much of the Lemonade film, “Hold Up” is pure Hollywood. It is authentically inauthentic, a perfectly lit soundstage in which hydrants pop on cue, billowing fans give lift to hair and dresses, and dudes with “In Memory of When I Gave a Fuck” shirts pop wheelies on the zeitgeist. It is a parody, tribute to, and destruction of what we have come to expect from a Beyoncé video.

But it’s the precise words coming out of a precise mouth that make this hallucination seem real. Fifteen people contributed to the writing of this song, but only one really matters. When Beyoncé works in the pained refrain of Yeah Yeah Yeahs’ “Maps,” she makes it glorious while allowing our memories to hint at the anguish underneath. Soulja Boy’s swag—invoked here as a shoulder-brushing afterthought—has rarely felt so on. There are a few rapped bars that put her rapper husband’s deepest insecurities on display; the quick verse is more incisive than anything Jay-Z has done in years.

Of course, craziness can’t last—eventually, somebody’s going to have to fix all those busted windows. But not here. Not now” – Pitchfork

Freedom

Release Date: 9th September, 2016

Songwriters: Jonny Coffer/Beyoncé/Carla Marie Williams/Dean McIntosh/Kendrick Lamar/Frank Tirado/Alan Lomax/John Lomax, Sr.

Producers: Coffer/Beyoncé/Just Blaze

US Billboard Hot 100 Position: 35

Review:

“If you have not yet heard of the album Lemonade, I kindly ask that you emerge from the rock under which you have been living for the past number of months and familiarise yourself with this collection of songs by Beyonce. It is a conceptual album that pushes the boundaries of music, blurring the lines of genre to create a sublime piece of art, a pinnacle record that will be revisited by music lovers for ages to come. Lemonade is the culmination of the efforts of some of the finest talent in the music industry today, each a master in their field and some even pioneers in new styles and sound. The song Freedom, which features the talent of Kendrick Lamar is one of the masterpieces on Lemonade.

Freedom can be summed up in one word; powerful. This song gives a new lease of life to the R’nB and Hip Hop genre. The production of the track, which was Just Blaze and Jonny Coffer’s domain, has been executed with such skill in the way that samples of many culturally significant songs have been included and the moment in Lamar’s rap where the echo effect gives a scare- I instinctively looked back over my shoulder expecting a haunting figure to be there. This hair raising moment is an exciting theatrical effect in Freedom. Lamar is a huge star in the hip hop universe and his pairing with Beyonce for this track is formidable.

The core message in the song is about breaking away from your own metaphorical chains. The organ wailing while the lyric “cause a winner don’t quit on themselves” is sung in full blown soul mode by Beyonce and is inspiring and makes you feel as if you can take on the world. It is an empowering” – Renowned for Sound

All Night

Release Date: 2nd December, 2016

Songwriters: Thomas Wesley Pentz/Beyoncé/Henry Allen/André Benjamin/Antwan Patton/Patrick Brown/Timothy Thomas/Theron Thomas/Ilsey Juber/Akil King/Jaramye Daniels

Producers: Diplo/Beyoncé

US Billboard Hot 100 Position: 38

Review:

“After all of Lemonade’s turmoil and tragedy, “All Night” uplifts and inspires. Beyoncé has always been an incredible purveyor of love songs, but this is one of the most raw and, perhaps, realistic. There’s no crazed passion, no danger, no balladeering — instead, there is painful imperfection, deep admiration, and most of all, fervent hope. Amid its trepidation, “All Night” sounds triumphant, with a steady groove, warm guitar, and the unforgettable brass line from OutKast’s “SpottieOttieDopaliscious.” The honesty and poetry of its lyrics paired with depth and breadth of its production make “All Night” an incredible entry in Beyoncé’s oeuvre” – Rolling Stone Australia

FEATURE: Groovelines: Lady Gaga - Judas

FEATURE:

 

 

Groovelines

IN THIS PHOTO: Lady Gaga shot for Vogue in 2011 by Mario Testino

 

Lady Gaga - Judas

__________

IT wasn’t that long ago…

when I marked Lady Gaga’s fortieth birthday. She turned forty on 28th March. I wated to revisit this artist because her album, Born This Way, turns fifteen on 23rd May. Her acclaimed second studio album, it contains some of her best-known songs. For this Groovelines, I am concentrating on one in particular. The second single from the album, Judas was released on 15th April, 2011. So I wanted to spotlight this standout Gaga track fifteen years after its release. Often ranked alongside her greatest singles, I am going to explore it a bit further. "The song is about honoring your darkness in order to bring yourself into the light", Lady Gaga told Google. "You have to look into what's haunting you and need to learn to forgive yourself in order to move on". A top ten success in the U.S., U.K. and multiple nations, it was a smash. Critically acclaimed too. The music video ruffled some feathers. The Catholic League's president William Anthony Donohue criticised the music video for its portrayal of Gaga as Mary Magdalene. He called her irrelevant. Madonna probably faced this when she released Like a Prayer in 1989. That single gaining controversy because of its video. In this article from Vibe, we get some insight from Lady Gaga about the provocative video. Labelled ‘controversial’, this is instead an artist pushing boundaries and being bold. Often attacked as being irresponsible or offensive:

“The always controversial Lady Gaga has been spending a lot of time defending her current single “Judas.” With a number of obvious biblical references and depiction in the music video, critics have been coming up with their own rationale behind the pop powerhouse’s lyrics.

E! News sat with Gaga to get the full story.

“It’s essentially about me going back to an ex-boyfriend and still being in love with someone that betrayed me, someone that was bad for me. That’s really what the video is, the video is a metaphor for forgiveness, and for betrayal and darkness being one of the challenges in life as opposed to being a mistake. The name Judas is something that bears such an intense connotation. I often feel misunderstood, and I think my fans do too. I think [the video] liberates the word in a lot of  ways…takes it out of the negative and into the positive.”

“I try to write from a really honest place when I write pop music, and then carry the message of the song into a more deep and more symbolic visual. That’s really what the video is, the video is a metaphor for forgiveness, and for betrayal and darkness being one of the challenges in life as opposed to being a mistake.

“The name Judas is something that bears such an intense connotation. I often feel misunderstood, and I think my fans do. I think [the video] liberates the word in a lot of ways…takes it out of the negative and into the positive.”

“I figured if I’m gonna get stoned for making this video, I’ll stone myself first.”

Interestingly enough, Lady G’s camp dropped another single from her upcoming disc Born This Way. Listen to the difference below”.

When it comes to artists bringing religion into their videos, I tend to find that churches and religious groups are the most serious and least humorous people. Always seeing it as an attack. So it was unsurprising that Judas got some people upset. However, as this article from The Christian Post explores, it is not about being anti-religion. Lady Gaga making a statement. Women in music especially pilloried and attacked if they do anything that is in the least bit challenging and daring. A major Pop artist using Judas and that biblical figure as a metaphor and not directly referencing him:

“I don’t really view the video as a religious statement. I view it as a social statement. I view it as a cultural statement.”

Repeating and reiterating throughout the length of the interview, “the video really is just a metaphor” and “not meant to be an attack on religion,” Gaga specified that she respected and loved everyone’s beliefs. “My fans know that about me.”

Gibson, the creative director, also revealed in The Hollywood Reporter (THR), “We don’t touch on things that we have no right touching upon, but the inspiration and the soul and idea that out of your oppression, your darkness, your Judas, you can come into the marvelous light.”

“So it’s about the inspiration and to never give up... We’ve created a new Jerusalem.”

A believer in the Gospel message herself, she told THR, that the video went through several changes and late-night debates. “At one point, there were two completely different views and I was like, ‘Listen, I don’t want lightning to strike me! I believe in the Gospel and I’m not going there.’”

“It was amazing to have that conversation about salvation, peace and the search for the truth in a room of non-believers and believers,” Gibson mentioned. “To me, that was saying God is active in a big way.”

Like Gaga, who felt her song “Judas” was God-sent, the famous choreographer stated, “I do believe God inspired and worked on everyone’s hearts.”

Though the 25-year-old headliner made plain efforts to emphasize the material had no religious significance, it seemed both she and her “sister” Gibson, were seesawing between the secular and religious connotations themselves.

Author David W. Stowe posited in The New York Times, “Interestingly, it’s Lady Gaga who offers a throwback to the less-segregated pop of the past... While the song is unlikely to herald an end to the religious/secular rift in pop music, maybe it takes someone as genre-bending as Lady Gaga to bring mainstream pop and Christianity back together

In fact, several concert attendees testified that the pop artist spent much time talking about Jesus throughout her show, and not in a “blasphemous way.” Her message was simple: It doesn’t matter who you are or what you do...Jesus loves you.

Critics still are wary of her doctrine and are careful to distinguish between the creed of the Bible – Jesus is the way, the truth, and the life – and her own beliefs, which many believe are dangerously over focused on the self.

Even the main idea behind “Born This Way,” another controversial song on the album, is that “you can be reborn over and over again, as many times as you like in your life, until you feel that you have found the person you can love the most in yourself.”

Nonetheless, Gaga is not out to teach anyone anything, she declared. “I don’t think my fans are stupid. They’re so smart, my fans, which is why I make the videos that I make because I know they understand the imagery.”

“It always means something to me when I can see that the music has affected their life in a positive way. That’s the greatest gift they could give me, is when I see that they’re loving themselves.”

She desired to be a good influence to her fans and “more importantly, reverse pop icon.

“Don’t idolize me, idolize yourself,” the pop singer advised – to the probable angst of many believers.

Whatever message she is spreading, it appears Gaga isn’t through with all the controversy just yet. “I just want to keep pushing forward and making things that are great and thought-provoking.”

Her release of the complete album on May 23rd is sure to draw some flames, with songs like “Black Jesus, Amen Fashion,” which is based on her move to downtown at nineteen.

“It’s like me saying iconic imagery my whole life taught me to look at Jesus and look at religion in a certain way, so I say black Jesus as a representation of an entire new way of thinking... [like] saying [a] new way of thinking is as easy as putting on an outfit.”

Gaga concluded her interview by stressing for the last time, that the video was “just an artistic statement,” not an attack on anyone, and also told Rancic what she felt her purpose was.

“I believe I was put on this earth to cause a ruckus,” she claimed, which indeed she appears to be faithfully and most ostentatiously doing”.

Born This Way was the lead single from the album of the same name. There are some who feel it should have been Judas. Arguably a song with more punch that makes a bigger statement. I do think that Judas is one of Lady Gaga’s defining tracks. This article from The Guardian provided excerpts from an interview that appeared in Saturday's Weekend magazine in May 2011. Simon Hattenstone got this exclusive interview with Lady Gaga:

“Lady Gaga has described her relationship with fans in religious terms, saying: "If I can be a leader, I will."

In an exclusive interview with the Guardian, the singer, whose current single is called Judas, refers to her recent Monster Ball tour as "a religious experience", becoming for many, an alternative to organised faith. But she goes on to clarify, "it's more like a pop cultural church".

The pop star has developed a devoted fanbase over the last two years, and her single Born This Way is being championed as an anthem for the disenfranchised, particularly in America.

Yet she insists: "It's more self-worship, I think, not of me. I'm teaching people to worship themselves."

Gaga gives her own explanation as to why her fans, who she dubs "monsters", have come to look to her for guidance rather than the establishment. She says: "The influence of institutionalised religion on government is vast. So religion then begins to affect social values and that in turn affects self-esteem, bullying in school, teen suicides, all those things.

"It puts me in an interesting position as an artist whose fanbase is commercial and widening. If you were to ask me what I want to do – I don't want to be a celebrity, I want to make a difference."

She continues: "I never wanted to look pretty on stage and sing about something we've all heard about before. I'd much rather write a song called Judas and talk about betrayal and forgiveness and feeling misunderstood, and talk to the fans and figure out what it is society needs. If I can be a leader, I will."

The statement appears to echo John Lennon's 1966 declaration that the Beatles were "bigger than Jesus". But Gaga is at pains to point out that she is not fundamentally against the church. "Don't say I hate institutionalised religion – rather than saying I hate those things, which I do not, what I'm saying is that perhaps there is a way of opening more doors, rather than closing so many”.

I am going to end with a review of Judas from NME. I have seen some reviews trat dismissed the track or felt it did not stand out. Though I would disagree. Judas is one of Lady Gaga’s most distinct and enduring singles. One that I hear widely played to this day:

“Because ‘Judas’ is the song that Lady Gaga should have come back with. You can see why she didn’t, since it is employs so many of the hallmarks that make a Gaga song a Gaga song. It’s typically Gaga, unmistakably in the same lineage as ‘Bad Romance’ and ‘Poker Face’.

It has the opening vocal freeforming ‘ra ra woos’. It has the nursery-rhyme-simple but addictively compelling chorus refrain. It has the techno breakdown and the spoken-word segments. Yet its genius (and we are going to very tentatively use the word ‘genius’, in the sense that we believe pop music at its best is a genius medium) is that it really doesn’t sound like Gaga in her comfort zone at all.

For one, the heavy-metal-techno sonic gymnastics she promised from the album are present in a way they weren’t on ‘Born This Way’. The breakdown has elements of the hardest techno and the boingiest dubstep, yet the chorus is so instantly pure-pop unforgettable that it just might – might – be even better than ‘Bad Romance’.

Lyrically, it doesn’t sound quite so provocative as the pre-hype would suggest, which itself makes it more accessible. ‘Born This Way’ was so heavy-handed in the positioning of her as a leader for the freaks and outsiders that it led to a minor backlash among people who don’t consider themselves to be freaks and outsiders.

Here, the religious iconography is used more as metaphor for an individuals struggle between the dark and the light sides: “I’m just a Holy Fool, oh baby he’s so cruel, but I’m still in love with Judas, baby.”

Or, at least we think that’s what we’re getting from: “In the most Biblical sense, I am beyond repentance. Fame hooker, prostitute wench, vomits her mind. But in the cultural sense I just speak in future tense. Judas kiss me if offenced, or wear an ear condom next time.”

We’re going home to listen to it another seven times. But we at NME happen to believe that Lady Gaga is one of the most amazing things to happen to pop music for a long, long time. And she’s come back with a song that restores our faith that the ‘Born This Way’ album when it comes is only going to boost her amazingness quotient. So all is good with the world”.

On 15th May, Judas turns fifteen. Born This Way was Lady Gaga's first number-one album, and it was the highest first-week total since 50 Cent's The Massacre (2005) sold 1,141,000 in its first week. Gaga was the fifth woman to sell one million copies in a week, after Whitney Houston (The Bodyguard Soundtrack, 1992), Britney Spears (Oops!...I Did It Again, 2000), Norah Jones (Feels Like Home, 2004), and Taylor Swift (Speak Now, 2010). You can read about the album’s immense commercial performance here. It was a huge moment for this still-emerging Pop artist. Judas helped to make Born This Way this titan of an album. Judas scores high when it comes to ranking her songs. In 2020, The Guardian ranked it fifth: “Dismissed at the time as Gaga’s attempt to remake Bad Romance, Judas plays out more like that track’s gloriously unhinged, turbo-charged sequel. Gaga alternates between a robotic half-rap, a strange caterwauling shriek and then, on the Steps-esque chorus, a pure pop vocal perfect for radio ubiquity. Underneath the lyrical blasphemy, RedOne cooks up an industrial-strength soup of house, pummelling electro and, at the 2min 40sec mark, the sound of a synth disintegrating punctured perfectly by a levity-inducing “Eww” from Gaga”. Included in the list of the eleven best Lady Gaga songs (it came in seventh), this is what Ticketmaster said about Judas: “Born This Way saw Gaga embracing her theatrically with open arms, and ‘Judas’ is the perfect blend of her two worlds – a creative piece of electro-pop with an operatic twist. Always inclined towards the darker side of house and electronic music, Gaga references this in the lyrics as well as the production, singing about her love for a man who betrayed her, but also insinuating that she is the one dragging him into the dark. Larger than life in every sense and complete with a Gaga-style chanted bridge, it’s hard not to be seduced by it”. As it turns fifteen on 15th April, I wanted to spend some time with Judas. Perhaps seen as unmemorable or retreading other songs of hers in 2011, Judas has gained better recognition and respect in years since its release. It is among the very best songs from a Pop icon who is still…

BREAKING ground to this day.

FEATURE: Who’s That Girl? The Joy of Seeing Madonna and Julia Garner Together

FEATURE:

 

 

Who’s That Girl?

IN THIS PHOTO: Madonna shot with Julia Garner in Venice/PHOTO CREDIT: Ricardo Gomes

 

The Joy of Seeing Madonna and Julia Garner Together

__________

I have written about…

IN THIS PHOTO: Madonna in 1983/PHOTO CREDIT: Richard Corman

Madonna recently, for a feature I am sharing soon. Her album, True Blue, turns forty on 30th June. It is an underrated album but one of her very best. I know that Madonna will celebrate that album. There is always a lot of Madonna activity, and she is always posting to Instagram. It is great when she posts photos and updates to Instagram. Connecting with her fans and giving us a window into her life. I do think we will received Confessions on a Dance Floor Part 2 soon. It is one of the most anticipated albums of recent years. Also in the mix is the Madonna biopic. A  while ago, this film was being worked on and Julia Garner was cast as Madonna. However, the project then got suspended or cancelled. Madonna to direct the film and co-write it. I am not sure what the dynamic is now, though I feel like Madonna will still be directing and co-writing – though I am not sure who with. As far as we can tell, the biopic will be called Who's That Girl, and it is expected to cover Madonna’s early life, from  on her arrival in New York City during the late-1970s and her huge rise stardom in the 1980s. The film will chronicle her journey from Michigan to the New York underground scene. Looking at Julia Garner, and she reminds me of True Blue-era Madonna. I have said this before. In terms of her hair, I would say she’d play Madonna around 1986. It seems like it is being set earlier and we are going to see those earlier years. It is one of the most anticipated biopics ever. Not only because it is Madonna, but because the woman herself has input and will direct. I do feel that this biopic, if the script has a second pair of eyes on it, will be phenomenal. Madonna is telling her own story and will get the facts straight, but you want someone else who can look at the dialogue and make sure that it is natural and has that blend of emotions. A biopic too that is revealing and honest but there is also some humour.

What is most pleasing about the process is the photos of Madonna and Julia Garner together. I have seen them photographed together in Venice. It might be a bit weird for people seeing Madonna and a famous actor who looks like her walking around together! It is this amazing professional and personal relationship that is incredible witnessing! I am not sure whether they are actually shooting scenes at the moment or this is pre-production. Julia Garner is an incredible actor, and you might know her from Inventing Anna, Ozark, The Fantastic Four: First Steps, and Weapons. The casting was pretty perfect. In terms of the resemblance to Madonna. Garner was born in New York City, so she has that connection with the city that was so important and pivotal when it cam to launching Madonna’s career. This biopic has been on and off and back on again. I was worried that it might not happen, but I think there were perhaps issues with the script. Madonna not happy with her co-writer. Perhaps some studio issues. It is back on now and looks to be progressing well. I am not sure what the shooting locations will be, though you would imagine that New York City is going to provide the main backdrop. Madonna’s story is one of the most compelling and inspiring that we have ever heard. How she came to New York City with barely any money and made a career. It was tough at the start and she faced prejudice and sexism through her career. How she was constantly having to prove herself. Establishing herself as the undeniable Queen of Pop.

The boot camp and training seems quite intense. Madonna making sure that the right actor was cast. In terms of what is required to be Madonna, there is the singing, the dancing and the look. Getting her voice and mannerisms down. It must have been quite intense for those who were auditioning. Julia Garner has side a broad and impressive C.V. that she was ready for whatever was throw at her, though she did say in interviews that it was gruelling and a hard process. Being snapped with Madonna and the two of them together gives you a sense that they will be very close on set and Madonna, as director, has this trust in Julia Garner. We do not have a release date for the film, though you imagine it might be next year. Madonna has an album she is busy with and there may be a tour to go along with it, so not a load of time to write and direct until that is wrapped up. I wonder what the significance of Venice is when we see Julia Garner and Madonna together there. If that is going to play a part in the film or they are in the city taking a break and bonding before shooting begins. A lot of intrigue around the significance of the city and whether they are currently working on the biopic. That Instagram video of the two of them together singing along to Like a Virgin (1984) might provide a clue.

I, like a lot of people my age, grew up listening to Madonna’s music, and seeing her evolve and release all of these incredible albums, you never really imagined that a biopic would be made. You kind of hope that it would be, as time goes on, it becomes more unlikely. Madonna being behind this and wanting it to happen means that it will be authentic and true to her. Julia Garner is this phenomenal actor who will bring Madonna to life and will tell her story well. That early part of her career where she comes to New York and this promising artist makes her start. It will be a massive success I feel. Madonna and Julia Garner appearing really close in these Instagram photos. It sort of bodes well for their working relationship and what is to come. I think the Madonna biopic – if it is confirmed as Who’s That Girl? – will draw in new fans and long-term fans alike. People might wanted to have seen that era where Madonna released Like a Prayer (1989) and taking it into the 1990s and the Blond Ambition World Tour. Yet, those early days are perhaps less visually dynamic, but they are more important when it comes to our understanding of someone who would become the Queen of Pop. There is a degree of responsibility on Julia Garner’s shoulders, though she will nail the role. She very much looks the part, and you can tell Madonna has a lot of respect for her. I cannot wait to see the biopic come to the screen. I think it will be one of the most successful and best biopics…

THAT has ever been made.

FEATURE: Independent Women Pt. II: Destiny's Child's Survivor at Twenty-Five

FEATURE:

 

 

Independent Women Pt. II

 

Destiny's Child's Survivor at Twenty-Five

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ALTHOUGH not my personal…

IN THIS PHOTO: Kelly Rowland, Beyoncé and Michelle Williams sayiong a prayer backstage before a gig/PHOTO CREDIT: Gillian Laub via Vanity Fair

favourite Destiny’s Child album (that would be 1999’s The Writing’s on the Wall), I think that their very best is 2001’s Survivor. This was with the classic and definitive line-up of Beyoncé, Kelly Rowland and Michelle Williams. It was released on 1st May, 2001, so I wanted to mark twenty-five years of this classic. I do think that this is one of the most underrated albums ever. I guess there is a lot of controversy around the album. The departure of Destiny’s Child members, LeToya Luckett and LaTavia Roberson, who had departed from the group in February 2000. A lawsuit that was filed. How was contention around some of the lyrics and song conceptions. Some critics liking the thematic impact but dismissing the lyrics. Some saying how it was a calculated record and Survivor lacks the joy of some of the very best Pop and R&B albums. I would disagree with that. I feel Survivor is an empowering work. Vincent Anthony from The 97 said Survivor was responsible for "unbiasedly [melding] R&B inspirations and hip-hop nuances into an [sic] unique brand of pop that defined the early 2000s”. I am going to come to some features around Survivor. In 2021, Stereogum marked twenty years of Survivor. They talked about the personnel shifts in Destiny’s Child and some of the controversial and, let’s say, classless moments on Survivor. However, there are huge strengths and this legacy that has remained. It is arguable that, without Survivor, Beyoncé would not have become the huge name and icon that she has become:

“First to be eliminated were original members LeToya Luckett and LaTavia Roberson. With lead darling Beyoncé being nudged closer into the spotlight, Luckett and Roberson questioned the disproportionate monetary ethics of Destiny's Child manager and Beyoncé's father Mathew Knowles. Rumors also flew that So So Def Recordings R&B group Jagged Edge were causing a rift between the girls, courting Luckett and Roberson while on tour with Destiny’s Child. After loyally following Mathew's acumen as teenagers, the two were blindsided when they learned they had been replaced upon seeing new members Michelle Williams and Farrah Franklin in the technicolor music video for 2000 hit "Say My Name" -- no matter that Luckett and Roberson’s backing vocals on the song remained unchanged and the two dismissed members were still pictured alongside Beyoncé and Kelly Rowland on The Writing’s On The Wall’s futuristic album artwork.

In a 2001 New York Times article, journalist Diane Card Well scathingly dismissed the banished duo: "But the reality of Destiny's Child is that Beyoncé is the magnet. The band originally had four members, Beyoncé and Kelly and two other girls, but it was always a Knowles-family operation, with the family's fair-haired daughter in the spotlight." Replicating the 1960s-era Motown girl group formula of centering one woman à la the Supremes, Mathew Knowles' strategic ambition made Beyoncé the focal darling of Destiny’s Child.

Having experienced brief success as a medical equipment salesman from shortly before marrying fashion guru and soon-to-be Headliners salon owner Tina Beyoncé, Knowles quit his day job once discovering his first daughter's superstar determination. Upon starting Music World Entertainment in 1992, Knowles primed the teenyboppers, then known as Girls Tyme, with harsh critiques and drill instructor tactics. His wife -- once part of high school harmony group the Veltones -- dutifully assisted in fulfilling his family’s vision as wardrobe designer, styling the group’s hair and allowing them to practice at the Headliners shop. With brewing nepotism, the Knowles family operation seemed to have been planned before Beyoncé and younger sister/polyhistor Solange were even born.

Rowland became an unofficial adopted sister, living with the Knowleses for 11 years when her mother was unable to drive her to frequent rehearsals. After a brief stint studying criminal justice and accounting in college, Williams was working as a backing vocalist for R&B singer Monica when she met Beyoncé and Kelly in an Atlanta hotel in 1999, not long before Destiny’s Child began secretly vetting new candidates for the group. "As the new member, I was being protective over the girls because I was just starting to know them," she told Entertainment Weekly in 2016 while also shrugging off any perceived drama or injustice regarding the lineup switch. "There are member changes in groups all the time," Williams continued. "Things happen. I believe in the journey Destiny’s Child had to take to fulfill the group’s mission: to continue to empower everybody."

The sisterly image of Destiny’s Child was wholesome, but keeping up with Mathew’s regimen was tough. As he authoritatively drove Beyoncé into becoming pop royalty, the remaining members also caught the heat; Franklin abandoned the group just five months after being initiated, citing "dehydration." Knowles, Rowland, and Williams were once again without a fourth member, but the trio decided not to seek wannabe prospects that couldn’t keep up. With Williams' gospel-oriented rasp, Rowland's mezzo-soprano stamina, and Knowles' epic octave range and unparalleled showmanship, Destiny's Child met their full potential.

On their third album Survivor, which turns 20 this Saturday, Destiny's Child had another chance to prove their staying power. The Writing’s On The Wall was largely a flippant kiss-off to male suitors on tracks "Bug A Boo," "Bills, Bills, Bills," and "Jumpin', Jumpin'." Survivor encompassed the maturation of Destiny’s Child through girl power anthems, humbling ex-group members, and pompous body-positive messages, all while trading the '90s hip-hop and R&B tendencies of their first two records for a more tech-y sound in keeping with Fanmail, Aaliyah, and The Heat. It was like Destiny's Child were finally making a statement.

While Destiny’s Child was arguably the most important girl group of the 21st century, they were still victims of racist microaggressions in pop music. Prior to The Writing's On The Wall, in a 1999 issue of Maxim, the group’s forenames were blasted for not being ‘sensible’. Being Black women in a pop lane forced them to take a backseat to white bubblegum acts like *NSYNC, Britney Spears, and Christina Aguilera. During press runs, Destiny’s Child were burdened with discriminatory questions, which Beyoncé rehashed during a 2001 interview with pop culture magazine Interview: “We did an interview yesterday, and a woman asked us, "Where did you meet? In the ‘hood?"

Destiny’s Child made ‘the hood’ their playground on salacious track "Bootylicious," where the group teasingly cooed at suitors who weren’t ready for their "jelly." The track confidently rode a slowed-down guitar riff from Stevie Nicks’ 1981 hit “Edge of Seventeen,” and the former Fleetwood Mac member-turned-rock goddess even made an appearance in the song’s tantalizing visuals. An ode to their voluptuous, Southern-bred curves, “Bootylicious” solidified Destiny’s Child as bolder, more salacious pop artists.

However, Survivor wasn’t without its poor moments. The tone-deaf, Salt-N-Pepa-interpolating “Nasty Girl,” which was released as the album’s fifth single but failed to chart in the US, arrogantly slut shames “classless” women with “booty all out, tongue out her mouth/ Cleavage from here to Mexico.” The hypocritical track arrived over a decade before Yoncé sang about getting “Monica Lewinski'd all on my gown,” but in 2001, Destiny’s Child was a ripe act who weren’t even of the legal drinking age. With appearances at the Nickelodeon Kids Choice Awards and 12-inch Hasbro Barbie Dolls that immortalized their likeness, to maintain their pop star status, Destiny’s Child had to fulfill PG-rated expectations instead of being deemed as raunchy Black women. That strategy also apparently involved appealing to millennial teenagers’ baby boomer parents; during a moment of softness on Survivor, the group covered Samantha Sang's 1978 disco hit "Emotion," penned by the Bee Gees' Barry and Robin Gibb.

Destiny’s Child also took catty jabs at Luckett, Roberson, and Franklin throughout Survivor, including on the snide “Fancy” and the album’s war-ready title track. When a radio DJ jokingly compared membership in Destiny’s Child to the CBS TV series Survivor, the hot new reality show of the moment, the group reframed the comparison as a positive, delivering a battle cry in which they gloated about their ascension despite tension from ex-members. The song also served as a showcase for newcomer Williams, who had an earnest vocal standout over a riveting string section. Although Luckett and Roberson later filed a lawsuit against Beyoncé, Kelly, and Mathew, in the public eye “Survivor” worked as graceful public closure amid the girl group hostility, winning Best R&B Performance by a Duo or Group with Vocals during the 2002 Grammy Awards”.

I acknowledge that there are some problems with Survivors and some weaker tracks. Dogged by some controversy and rifts between the departed members and the remaining trio. It does not take away from the brilliance of the overall album I feel. I will come to Vibe now and their 2011 feature on Survivor. Marking fifteen years of this incredible album:

“While the May 1, 2001 release wasn’t DC’s best album in terms of lyrical content, it was a seminal force in the female empowerment trend of the 21st century, serving as a love letter to body-positive, independent and fierce women all over the globe. Additionally, Survivor serves as the pièce de résistance in the group’s opulent-yet-turbulent few years in the limelight. While the group seemed to finally be set in stone, a brief hiatus soon after the album’s release signaled some major changes to come.

The album’s title track serves as a kiss-off to the group’s former members, La’Tavia Roberson, LeToya Luckett and Farrah Franklin. To critics and fans alike, it seemed as though DC’s ship was sunk after yet another line-up change in 2000. However, the song “Survivor” proved that negative notions and odds stacked against the girls only made the newly-solidified group more secure in their bold sound and look. As sung in the song, the three ladies planned on working harder and making music that could survive the industry and the test of time.

The album’s overall purpose, however, was to do what most girl groups aim for- to empower other women to be confident in their personal independence, individuality and femininity. “Independent Women Part I” celebrates the women who can buy their own diamonds and can pay their own bills sans man. It was so powerful, in fact, that it served as the theme song to the film centered around strong and confident women, Charlie’s Angels. “Fancy” discusses how certain women (who “know who they are”) need to stop swagger jackin’ in order to find their own sense of identity. “Bootylicious” turns the distinct rock riff from Stevie Nicks’ “Edge Of Seventeen” into a call-to-action for women to own their sexuality, curves and jelly.

Aside from the lusty serenades about irresistible men you’ll likely hear from an all-female act, the album also highlights DC3’s flexibility in experimenting with R&B, pop and gospel infused-sounds. The ladies put their spin on the timeless Bee Gees track “Emotion,” while “Gospel Medley,” acts as a modern take on the hymn “Jesus Loves Me.” “Independent Women Part II” is (lyrically) almost the same song as the album opener, however, different background music gives the song a whole new flavor, showing the group’s versatility within the genre.

Although the album was commercially successful (it was certified 5x platinum in the U.S.), there were rumors that things were still not copacetic behind-the-scenes. Beyonce had song-writing credits on almost all of the songs and had many of the lead singing parts, which allegedly led to jealousy among Kelly and Michelle. There was no denying that Bey was the star of the album, so it’s understandable why the group focused on individual music careers before re-uniting for 2004’s Destiny Fulfilled. Although the latter attempted to give each member their shine and was more advanced in terms of production and content, it was inevitable that the trio had to go their own ways in order to truly have their own musical and personal freedom.

Survivor is the kind of album Destiny’s Child needed to produce to catapult them to girl group superstardom. It was the kind of album they needed to produce to change the conversation about feminism in the music industry. It was the kind of album they needed to produce in order to showcase that they were “independent women” capable of being on their own as musicians. All three had different styles as singers and performers, so they needed to capitalize on their strengths in their own ways. It was bittersweet to see Destiny’s Child disband, but we got several solid albums amidst the closeted chaos. If they could survive the tumultuous early years of being in a girl group, they could surely survive the industry, and as time has shown, these ladies are surviving in their own right”.

There are reviews and features that counter Survivor is a messy album. A Pop album. And not a very good one. However, I am going to end with a positive review that states, whilst 1999’s The Writing’s on the Wall was shady and male-bashing (I feel it took scrubs and no-good men to task and was about empowerment), Survivor takes a different – and more positive – direction:

“Long before Kelly aired her “Dirty Laundry,” before Michelle had a Journey to Freedom, and before Beyoncé turned her lemons into Lemonade, Destiny’s Child at just 19 and 20 years old stepped out as voices of empowerment for our generation.

It’s hard to believe two decades have passed since Destiny’s Child released their iconic Survivor album. It is amazing to think back to that time, and that album, as a fan and reflect upon how much has changed since.

When the group released Survivor, they were hot off the success of their biggest hit to date, “Independent Women Part 1” (the soundtrack to the hit movie Charlie’s Angels), the massively successful The Writing’s on the Wall era, and had cemented their second and final lineup: a trio, consisting of Beyoncé, Kelly, and Michelle, rebranded as DC3.

The drama surrounding the group only added to public interest in them, and the Survivor era had a phenomenal start. Prefaced by an 11 week long #1 in “Independent women,” the set was lead off by its title track which hit #1 on Airlay chart and #2 on the Hot 100, fended off by Janet Jackson’s “All For You.” However, redemption came quickly and in competition with yet another diva who inspired the trio: Mariah Carey. The Stevie Nicks sampling “Bootylicious” hit the pole position, edging out Mariah’s “Loverboy” (we won’t go into the nasty details on how Mariah’s ex made this event swing in DC3’s favor). Subsequently, Survivor debuted at number one with over 663,000 copies sold. For its final single in the US, the trio chose a cover of The Bee Gees-penned “Emotion,” which peaked at a modest #10.

While it was a bit of a short-lived era in its present, Survivor has endured as a defining moment in the ladies’ careers. The Writing’s on the Wall opened the door to their “male bashing” songs, Survivor took a turn in a different direction instead. The album was empowering rather than shady like its predecessor. It marked the beginning of a career of empowerment for the ladies of Destiny’s Child.

While the album itself was by no means an innovative artistic masterpiece, it is still a pristine example of pop perfection. It unbiasedly melds R&B inspirations and hip-hop nuances into an unique brand of pop that defined the early 2000s. There was something that set DC3 and Survivor apart from its competition, though: its content and message.

The album deals with a variety of topics: obviously empowerment (specifically female), independence, body image (“Bootylicious”), self esteem (“Happy Face”), hate (“Fancy”), over-sexualization and perception (“Nasty Girl”), sexual abuse (“The Story of Beauty” – written by Beyoncé based on fan mail DC3 received), friendship (“Thank You”) and of course, love – and surviving heartbreak.

It is because of this that Survivor resonated with millions of fans that have stuck by Destiny’s Child ever since – like me. Of all the late 90s, early 2000s Pop groups Destiny’s Child’s legacy is by the far the most long lasting and beloved. If the ladies announced a proper reunion today, undoubtedly it would yield tremendous success. Why? Because fans have such a strong connection to this group. They may have retired, but the love between them has survived. There is no pretense, there is no need for a reunion for the sake of their careers. Of all their Pop group peers, only Destiny’s Child’s members have found notable success with their solo ventures. When they reunite it is out of pure love; and love conquers all.

Their iconic status was cemented with their 2004 comeback, Destiny Fulfilled, but Survivor was really their defining moment. It was the springboard to the success that came for all three of them. The sisterhood that was established with Survivor is perhaps the best aspect of it all. For millions of young girls, Destiny’s Child was the example of a strong sisterhood. For millions of people, period – Destiny’s child is a symbol that no matter what life throws at you, you can survive it: “After all of the darkness and sadness, still comes happiness. If I surround myself with positive things, I’ll gain prosperity.” Indeed, they did, and by doing so, showed millions of people that they can too. This message has endured two decades, and will for sure last for many, many more. So, put your fist up and celebrate that you, too, are a “Survivor” today.

I am going to leave it there. I wonder if Beyoncé, Kelly Rowland and Michelle Williams will say anything about Survivor on 1st May on its twenty-fifth anniversary of whether they do not have particularly fond or lasting memories of that album. There is always this curiosity as to whether they will perform together again or record another album. It would be incredible if they toured or did another show, as they have this incredible bond. That is evident through Survivor. Though not a perfect album or one without flaws or controversy, I think that it is…

WORTHY of more respect than it has received.

FEATURE: Old School Joint: Missy Elliott's Miss E... So Addictive at Twenty-Five

FEATURE:

 

 

Old School Joint

 

Missy Elliott's Miss E... So Addictive at Twenty-Five

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ARGUABLY her finest album…

IN THIS PHOTO: Missy Elliott in 2002/PHOTO CREDIT: Gregory Bojorquez/Getty Images

the all-conquering Miss E... So Addictive turns twenty-five on 15th May. I am going to get to some reviews and features for this incredible album. The third studio album from Missy Elliott, it reached number two in the U.S. and ten in the U.K. Its lead single, Get Ur Freak On, one of the defining songs of the 2000s. It is one of my favourite songs of that decade. I hope that there is new celebration and attention given to Miss E... So Addictive ahead of its twenty-fifth anniversary. I am going to start out with an interview from Vibe that was published in June 2001. We learn how this Rap icon “blasts back onto the scene with her third album, the innovative and sexy Miss E…So Addictive. Marc Weingarten bonds with the reborn, self-aware woman in charge and discovers her new style of sexual healing”:

“Supa Dupa Fly’s platinum success, and Elliott’s songwriting and producing track record for artists like Aaliyah (“One In A Million,” “If Your Girl Only Knew”), 702 (“Steelo”), and SWV (“Can We”) among others, enabled the Portsmouth, Va., native to write her own ticket with Elektra. The company gave her a label imprint, The Gold Mind Inc., with a full roster of handpicked talent. At the time, Missy was seemingly bulletproof. She even managed herself. Who needs to give up 20 percent, for Christ’s sake, when there’s so much money rolling in?

Two years later, Elliott released her follow-up, Da Real World, a darker, less playful album that also sold a million copies, but did so in a much quieter fashion than Supa Dupa Fly (read: negligible media buzz, fewer MTV spins). Gold Mind’s inaugural release, Nicole’s Make It Hot, sold anemically, despite bearing the freakishly imaginative thumbprint of Elliott’s songwriting and production skills.

Suddenly, Elliott found her bountiful cash flow hitting rocky shoals. The Supa Dupa Fly clips with which she had universally raised the standard for video production had cost roughly $2 million a pop, and they sat on Elliott’s balance sheet like two-ton weights, dragging down her bottom line. Despite the success of Da Real World’s “Hot Boyz,” which stayed atop Billboard’s rap chart for 18 straight weeks, the album failed to live up to her sales expectations, and she still harbors some residual bitterness about it.

“I was in ‘prove your point’ mode when I made that album,” says Elliott, before heading into the walk-in closet-sized New York City studio where MTV’s Direct Effect tapes. “You know, like, can she do it again? I was more intense on that album. I honestly think it could have done a lot better, but Elektra cut my singles off after three, and ‘Hot Boyz’ broke a record for staying at number one! How can you cut off an album when the last record has done so well?” Sylvia Rhone, chairman/CEO of Elektra Entertainment Group, explains that they were “still able to recover and maintain the kind of sales we achieved with Supa Dupa Fly, and with the tremendous success of ‘Hot Boyz,’ we thought it was best to end on a high note.”

Da Real World’s failure to live up to Elliott’s expectations has spurred her to be more hands-on with every aspect of Miss E…So Addictive, from marketing to single-street dates. “I’m probably more involved with the business side of things now than I am as an artist,” says Elliott. “I spend a lot more time in meetings with my artists and for my own project. I thought I knew a lot then, and you learn more as time goes on, but two years ago, I don’t think I was educated about the business.” That’s why “Get Ur Freak On” is being released now, a full month and a half before the album’s release, so it can “marinate in the clubs for a while, get a street buzz going.”

Elliott may be more involved with biz than show now, but she isn’t spreading herself as thin as she once did—booking massive gobs of studio time, working 24-7 as if her life depended on it. Two years ago, she hired Mona Scott, a partner in Violator, the powerhouse management firm that also handles Nas, LL Cool J, Busta Rhymes, and Maxwell, among others. If a decision has to be made, it’s done by committee now, not a party of one.

PHOTO CREDIT: Sacha Waldman

“There were situations where I would go into the studio with an artist to lay down a track, and I wouldn’t get a check,” says Elliott. “Mona told me, ‘Look, you’ve gotta get the first half of the check before you do any work.’ The bills were just piling up. A lot of that pressure is off of me now. If there’s a situation where I don’t want to do something, I don’t have to look like the bad guy.”

Elliott was spending too much money and not getting enough back in return. “It was crazy,” she says. “I mean, I’ve got a lot of love for this business, but at the same time, I gotta make sure my mom is taken care of.” Her mother, Pat Elliott, helps Missy manage her money, pay her taxes on time, and invest prudently whenever a $500,000 check rolls in. She’s Missy’s most trusted adviser—the only person, in fact, that she trusts unconditionally. When Pat suffered a massive heart attack in March that required rehabilitative therapy, it cast a black cloud over the prosperous, placid little universe Missy had created for the two of them.

“It really messed with me,” says Elliott. “I’ve always been close to my mother, and it’s hard for me now, knowing I have to go overseas for the album and leave her. She’s all I’ve got. If she was gone, they’d have to put me in a strait-jacket. I’d be messed up for a long, long time. Just seeing her in the intensive care unit, it was so hard.”

When asked how her father—who Pat Elliott divorced when Missy was 14 years old—reacted to her mother’s sickness, Missy says, “I don’t think he knows about it.”

“MAN, I live to take this makeup off!”

Her promotional chores finished at Direct Effect, Elliott leaves MTV’s studios in the Viacom building and hops into a stretch limousine waiting for her on 46th Street by the service entrance. She wipes her glitter mascara off with a box of baby wipes, then fumbles through her pocketbook for a copy of the new album. Popping it into the stereo system, a strident bass thump rattles the limo’s windows, and a strange brew of synth sirens and space-age sound effects begins to cast a spell over Elliott. She’s in a trance state: eyes closed, arms akimbo, mouthing the words like any other fan: “If I give you head, you’ll never leave,” she rhymes on “Lickshots.”

Make no mistake: Elliott’s astonishing new album Miss E… So Addictive is all about sex—how to get it, how to do it, when to spurn it. While she may have touched upon the subject in the past, this represents a subtle shift in Elliott’s persona. Gone are the Supa Dupa Fly days, when Elliott was content to be a jeep-beeping homegirl with a space-age secret identity and leave the heavy breathing to pheromone bombs like Lil’ Kim and Foxy Brown. Missy is tired of being, in her words, “a cartoon.” It was time to peel off the mask, show the world what Missy was really all about. And, as it turns out, she’s all about sex. For virtually any other hip hop performer, this wouldn’t be an unusual development, but for Missy, it’s a stunner.

Consider her background, which was scarred by sexual trauma at a very early age. A teenage relative sexually abused Elliott beginning when she was eight. This went on frequently over the course of a year. Her father also mercilessly beat her mother for years. “Stuff like that never leaves you,” says Elliott. “I’ll never forget walking into the house and seeing my mother crouched in the corner with her arm out of the socket. There isn’t a day that goes by that I don’t think about all of it.”

In high school, Elliott was fast and loose with men. “Did I have relationships? I was bonin’,” she says. “I was going through a time when all that stuff kept playing in my head, and, eventually, you begin to seal yourself off from anything that reminds you of that situation.” Shunning psychiatry, Elliott instead turned to the church for spiritual sustenance and some degree of comfort. “I believe God healed me from a trauma that, for somebody else, would have made them lose their mind.”

As for her attitude toward men today, it’s strictly an arms-length proposition. “I have learned to be happy with myself,” she says. “I’m not saying I’m celibate, but I watch a lot of friends who are unhappy because they feel they have to be with a man, but then they catch them doing whatever. I’m like, I’m happier than ya’ll. I’ve seen so much, that I decided early on that I would never take any sh*t from any man.”

Unlike stars like Madonna, who equate sex with power but really pander to the fantasy life of men, Missy’s new sexual frankness truly is a form of empowerment, because it’s being done on her own terms. When you’re Missy’s kind of beautiful—the kind that doesn’t fit the standard set by mainstream, white America—you can’t be co-opted by a music industry that values the commodification of flesh. When Missy raps “Get Ur Freak On,” it sounds less like an invitation and more like a command, and you’d better obey.

“I don’t trip, because it doesn’t have to be about you getting all butterball naked and singing ‘Oops!…I Did It Again,” says Elliott. “If you’ve got talent, you just have to do you. If they want to take their clothes off and sell those records, fine—just call me to do a song on your album!”

There’s a newfound boldness on Miss E… So Addictive that was only hinted at on Da Real World, a willingness to seize whatever it is that strikes her fancy with blunt bedroom tactics. Check the song titles: “Dog In Heat,” “Ex-sta-sy,” “Get Ur Freak On,” “One Minute Man” (as in “I don’t need no…”).

“As females, we went through our anger moment,” says Elliott. “Then, it was all about ‘Where’s my money? We don’t want no broke dudes.’ Then, before that, it was about love. So for me, it was like, dag, all of the old topics are worn out one way or another! I just wanted to cross the border with this album. When was the last time somebody made records like Prince, or Rick James, or Marvin Gaye’s ‘Sexual Healing?’ I wanted to do what everybody else is scared to do.”

Miss E… So Addictive shifts the paradigm in other ways. With Supa Dupa Fly, Elliott and her childhood friend/partner-in-rhyme Timothy “Timbaland” Mosely introduced a new vocabulary of beats the way Chuck Berry introduced a new way of playing guitar into rock’n’roll’s lexicon 40 years prior. Elliott refers to them as “double beats,” and they do have a kind of double-jointed agility about them. Tim made this bass drum skip and skitter over tracks like a fibrillating heartbeat, liberating hip hop from straitjacketed, four-on-the-floor rhythms.

But admiration soon begat emulation, and countless producers began packing their tracks with rubberband beats. Elliott and Tim started complaining in the press about beat thieves pilfering their stuff and even wrote songs about it (Da Real World’s “Beat Biters”).

Soon, it got to the point where you couldn’t read a Mosely interview without him complaining about being robbed of his rhythms. Those protests quickly grew tiresome. A Spin review of Da Real World began with the pungent line: “Enough about Timbaland’s goddamn beats already”.

I will finish off with a Pitchfork review for the incredible Miss E…So Addictive. Even if many might not view it as being as influential and strong as Supa Dupa Fly, Elliott’s third studio album is seen as one of the most important albums of the 2000s. Rolling Stone voted at seven in their list of the 200 greatest Hip-Hop albums in 2023. Stereogum wrote about Miss E…So Addictive on its twentieth anniversary in 2011:

“There is a particular form of genius involved in producing bugged-out brain-exploding pop music that still functions as pop music -- that elbows its way into radio rotation, sells records, and changes the contours and possibilities of the zeitgeist in real time. It's a rare and difficult thing to accomplish. Throughout history, we've only seen a few producers who can fuck around with the formula while still remaining top of the pops: Joe Meek, Brian Wilson, Lee Hazlewood, Giorgio Moroder, Prince, maybe a few others. In the late '90s, the team of Missy Elliott and Timbaland rose up and took their place within that proud lineage.

In a head-spinning series of records for themselves and for others, Missy and Tim remade rap and R&B as playfully experimental digital cartoon funk, importing ideas and beats from dancehall and house and bhagra and god knows where else, turning those ideas into ecstatic plastic space-pop, reshaping the sound of the radio in the process. By the time Missy and Tim hit their stride in 1997, the same year that Missy released her classic debut Supa Dupa Fly, the rest of rap was scrambling to catch up. Four years later, the duo's evolution was at its peak. They were able to make whatever they wanted, and that's exactly what they did.

By the summer of 2001, Missy and Timbaland were as big as they would ever be. Missy rewrote and co-produced Labelle's disco-funk oldie "Lady Marmalade," turning it into a show-of-force pop posse cut for the movie Moulin Rouge, and it became one of that summer's biggest hits. Timbaland was making hits with people like Jay-Z and Ludacris and Petey Pablo, and he'd helped his young R&B collaborator Aaliyah turn into a dominant crossover pop figure who was already knocking on the door of movie stardom. The Neptunes, another Virginia production team, had risen up with their own spartan take on the Missy/Tim sound. Virtually every song on rap and R&B radio -- and, increasingly, pop radio -- took some element of that vividly warped Virginia sound. Missy and Tim were working with a blank check, and maybe a blank check is how you end up with something like "Get Ur Freak On."

"Get Ur Freak On," the lead single of Missy's third album Miss E... So Addictive, is a deeply strange and sideways anthem. Its six-note riff, played on an Indian instrument called a tumbi, returns again and again, mocking and insistent. Tablas sputter and chatter, surrounding the beat without fully locking into it. Japanese-language exhortations drop in and out. Ominous keyboard drones rise steadily, evoking horror-movie soundtracks. Over all of this, Missy Elliott intones delirious nonsense about spitting in your mouth and the biggie biggie bounce. She plays around with the beat, leaving in long and strange pauses: "Copywritten so... don't copy me!" On the intro, Missy promises "some new shit." For once, that's a crazy understatement.

In its way-out silliness, "Get Ur Freak On" could've lost people. Instead, it was everyone's favorite song to hear while drunk late at night. In 2001, the year of "Get Ur Freak On," I had a short stint as a DJ at a deeply unsuccessful hipster dance night in Syracuse, which is not a place where you should start a hipster dance night. Other than perhaps "Blue Monday," "Get Ur Freak On" was my one great reliable floor-filler. Everyone loved that song.

"Get Ur Freak On" anchored Miss E... So Addictive, which celebrates its 20th anniversary tomorrow. The album went platinum in a couple of months. When the LP came out, club drugs, and ecstasy in particular, had just taken off in the rap world. Giants like Jay-Z and Eminem were rapping about the pill's effects, and fizzy rave textures were appearing in tracks as heavy as Mannie Fresh's Cash Money bounce symphonies. For Miss E... So Addictive, Missy Elliott turned her own name into an MDMA pun, drawing a metaphorical connection between the drug and her own bugged-out and hypnotic sound. Missy and Tim had already been playing around with rave sounds and signifiers for years, and the timing was right for the two of them to take the world on a hallucinatory club odyssey.

Miss E... So Addictive isn't the most revolutionary Missy Elliott album; that's still Supa Dupa Fly. It's not my favorite, either; the old-school double-dutch absurdity of 2002's Under Construction hits me right in all my pleasure centers. But Miss E might be the album where Missy and Tim were most locked-in with the mainstream, ready to push the world in whatever direction they wanted. Miss E is a wild journey of a blockbuster album. Missy and Tim had access to the whole Black-music establishment, and they used it to make some truly new shit.

Casting is important. Superstar guests show up all over Miss E... So Addictive, and they're all deployed to maximum effect. Method Man and Redman huff hungrily on "Dog In Heat." On the monster hip-house jam "4 My People," Eve gives a virtuoso treatise on nightclub etiquette and on what she'll do to the people who violate it. Busta Rhymes appears on one interlude -- not to rap, but to make triumphant declarations. On another, Lil Mo goes into paroxysms of gospel euphoria, just so that Missy can make fun of her: "You singing like you in church, raising money for some new choir robes or something!"

On the delirious smash "One Minute Man," Ludacris gives what might be the single greatest verse of his entire career, surging out of the gate like a greyhound and firing off horny innuendos with dizzy energy. I don't know if I've ever had quite that much fun rapping along with anyone, on anything: "Enough with tips and advice and thangs! I'm big dog, having women seeing stripes and thangs! They go to sleep, start snoring, counting sheep and shit! They so wet that they body started leakin' shit! Just 'cause I'm a all-nighter! Shoot all fire! Ludacris balance and rotate all tires!"

"One Minute Man" would've been a masterpiece of loping computer-funk even without that Ludacris verse. Luda takes it into the stratosphere. In the video, Missy does wire-fu and dances around with her own decapitated head. (Jay-Z's verse on the "One Minute Man" remix is a whiff, a retread of the stuff he'd just been saying on the Tim-produced "Big Pimpin'." It's notable today only for the strange sensation of hearing Jay clown his future wife: "Get ya independent ass out of here, question!" There's a reason why that verse is on a bonus-track remix, not on the song itself.)”.

In 2023, on its twenty-second anniversary, Hot New Hip Hop went inside a Hip-Hop classic. If you have not heard Miss E…So Addictive, then take this opportunity to listen to a phenomenal work from a Hip-Hop pioneer. I heard it when it came out in 2001 and I was struck by it. I knew about Missy Elliott and was not sure what to expect. The album created an instant impression:

“The album Is a fusion of Hip Hop, R&B, and electronic elements. Timbaland's clever beats complement Missy's distinguishable rapping and singing style. It includes hits like "Get Ur Freak On" and "One Minute Man," which became staples on the radio and in clubs worldwide. Other standout tracks include "Lick Shots," "Take Away," and the sensual ballad "X-tasy."

Miss E…So Addictive was met with widespread acclaim from both critics and fans. The album's lead single, "Get Ur Freak On," reached No. 7 on the Billboard Hot 100 and No. 3 on the Hot R&B/Hip-Hop Songs chart. The album itself peaked at No. 2 on the Billboard 200. It was eventually certified Platinum by the Recording Industry Association of America (RIAA).

Miss E…So Addictive remains a seminal work in Elliott's discography, highlighting her fearless creativity and unique artistry. The album's lasting impact is evident in the countless artists who have cited Missy as an inspiration. This includes Rihanna, Lizzo, and Cardi B. By breaking down barriers and pushing the boundaries of what was considered possible in Hip Hop and R&B, Missy Elliott carved out a space for herself and future generations of artists.

Queen Of Innovation

Missy Elliott's innovative impact on music exemplified her experimental approach to songwriting and production. Her often fearless approach to music production paved the way for other women in Hip Hop artists to break into the industry. The inspiration behind Miss E…So Addictive is rooted in Missy's desire to create music that would withstand the tests of time. Drawing on her life experiences and her love for various genres, Missy crafted an album that showcased her versatility as a performer, songwriter, and producer.

In addition to its commercial success, Miss E…So Addictive garnered several award nominations. The album received two Grammy Award nominations, with "Get Ur Freak On" winning Best Rap Solo Performance. Elliott also welcomed several MTV Video Music Awards nominations. She won the Best Hip Hop Video award for "Get Ur Freak On."

Beyond the music itself, Missy Elliott's influence extends to her music videos. These have become an essential part of her artistic legacy. With their futuristic visuals, bold fashion choices, and high-energy choreography, her videos perfectly encapsulate the essence of her music.

A Legend In The Game

Missy career has continued to thrive, with several more albums and countless collaborations with artists from various genres. Additionally, her contributions to the music industry have not gone unnoticed. She was honored with the MTV Video Vanguard Award in 2019 and inducted into the Songwriters Hall of Fame the same year”.

I am ending with a review from Pitchfork. This is a review from 2001. Interesting to see how critics reacted to Miss E…So Addictive when it was released. I think that it is as powerful now as it was in 2001. The songs have not aged at all. Some critics were not sold in 2001. Finding Miss E…So Addictive a little disorientated and Elliott spends too much time dissing detractors. However, with Miss E…So Addictive, Elliott was not playing male rappers at their own game (as The Guardian observed); she was changing the rules and paving the way for other female rappers:

“A lot of albums kick off with the killer track. Some even manage a cool one-two punch. Missy Elliott's third record, on the other hand, opens with a six-track attack that's rare for any genre, especially contemporary R&B.; I find it hard to believe I'm only a third of the way into the record when this first-rate succession ends. But even with this initial run of excellence, So Addictive has much more in store.

Elliott makes good on her intro's promise of "some shit that you never heard before." A range of beats-- from the minimal funk of "Dog in Heat" to the demented tabla of the single, "Get Ur Freak On"-- are punctuated by wild vocal pyrotechnics and tempered by soulful crooning. In fact, there's more singing on this record than rapping. Elliott's low, throaty moans, aerial cooing, and delicious screams demonstrate tremendous restraint and control. In "I've Changed (Interlude)", she rightly berates Lil' Mo for suggesting she sings like "she's in church trying to raise money for choir robes."

"Dog in Heat" starts as a simple lowdown funk track, building gradually upon a simple bass riff and drum thunk. Elliott piles layers of vocals atop Timbaland's multiplying strings and rattles, and eventually veers off into an entirely new direction at the song's end. Redman and Method Man also provide raps, adding comic relief and charisma. Elsewhere, Missy harmonizes with herself on "One Minute Man", again keeping the beat simple under a squeaking synthesizer hook, and this time allowing Ludacris to reprise the record's freak-getting-on theme by promising not a mere pit stop, but a full night's stay at Casa de Intercourse.

Missy finally breaks out the rap on "Lick Shots", twisting her voice around a Southern/Martian accent. "Y'all don't HEAR me/ You've got your guns but you don't SCEEER me/ BRRRRAAGHH!" The crazy phrasings and vocal eruptions that dominate this album are introduced here, and then let loose in the anthemic "Get Ur Freak On", where they halt beats and maneuver labyrinthine rhythm structures like "Lexus Jeeps". Its hook features the sort of Eastern percussion that runs rampant on Top 40 radio, but rarely is it used so effectively. Timbaland's technique is undeniably masterful, too, as he plays with meter, dynamics and expectations, allowing Missy to stop and spit "HOLLA!" and "Shhh..." over surreal stillness and silence.

"Scream (aka Itchin')" shakes its maraca under some prickles of shrill synths while Elliott details a sexual encounter. Rapid-fire rhyme quatrains and triplets spew forth, punctuated by screams like something the Bomb Squad used to blast for Public Enemy. "Old School Joint" comes along to "flip the beat", keeping So Addictive stylistically varied while pushing dance music to euphoric heights. Its "flashlight" and "neon light" references pay homage to P-Funk, but rather than mimicking the seminal funkateers, Missy integrates a heavier disco sound, creating something fresh out of an otherwise tired influence. "Take Away", though, attempts to update early Prince ballads, and instead reveals how those slow R&B; jams depended on The Artist's histrionics to carry the song. And despite having already proven herself more than capable of similar theatricalities, she relies on played-out vocoder, and irrationally allows Ginuwine to dumb things down with "sensitive" crooning.

So Addictive is further held back by sporadic low points during its second half. Not even reversed cymbals, snazzy rim shots and processed soul-girl harmonies can distract from the fact that neither "Step Off" nor "X-tasy" actually go anywhere. Also guilty are the superfluous remix of "One Minute Man", featuring Jay-Z, and a religious bonus track that has its mind, and length, set on eternity.

Still, there are three absolutely killer songs on So Addictive's second half. "4 My People" features Missy at her most sincere, begging, "Put the needle on the track/ Skip that, flip that, bring the beat back." "Slap Slap Slap" is both ferocious and psychedelic, with a backwards guitar and some fierce guest turns by Da Brat and Jade. And, after a pointless but impressive Busta Rhymes interlude, "Whatcha Gon' Do" rolls through with Timbaland's guttural rap and a rumbling beat that loops around itself like a perpetual motion machine set on accelerate. Synthesizers hiss like hydraulic pistons and hover like boomerangs while background guitar sounds wail like ghost cats in heat.

Of course, to say Miss E is addictive is pushing it. Sure, I'm having a great time experimenting with this stuff right now. But I can stop any time I want”.

15th May is when we celebrate twenty-five years of Miss E…So Addictive. It is one of the defining Hip-Hop albums ever. On 18th July, 2001, the album was certified platinum by the Recording Industry Association of America (RIAA). It has influenced scores of other artists and will continue to do so. A truly spellbinding and towering work from…

A queen of Hip-Hop.

FEATURE: Kate Bush: Them Heavy People: The Extraordinary Characters in Her Song: Sailors, Life-savers, Cruisers, Fishermen (Hello Earth)/Little Shrew (Little Shrew (Snowflake)

FEATURE:

 

 

Kate Bush: Them Heavy People: The Extraordinary Characters in Her Songs

IN THIS PHOTO: Kate Bush photographed during the shoot for Hounds of Love’s conceptual second side, The Ninth Wave/PHOTO CREDIT: John Carder Bush

 

Sailors, Life-savers, Cruisers, Fishermen (Hello Earth)/Little Shrew (Little Shrew (Snowflake)

__________

IN this edition…

IN THIS ARTWORK: Kate Bush’s Little Shrew/CONCEPT ARTWORK: Jim Kay

of this feature that discusses characters in Kate Bush’s songs, I am bringing things right up to date in the second half. The first half looks less at named characters but ones that are less identifiable. What I mean is that Bush refers to groups of people rather than particular characters. Hounds of Love has quite a few characters for me left to explore. Songs such as The Morning Fog, Hounds of Love and Cloudbusting in my sights. I am going to talk about Hello Earth and some sea-faring characters that Bush warns to get out of the water. I will continue in a second. Kate Bush’s most recent single is in my thoughts too. An animal character that was transplanted into a song that originally appeared on 50 Words for Snow. I am grouping together Sailors, Life-savers, Cruisers, Fishermen now. Many might not be aware of them or have missed them. For this first half, I want to discuss, among other things, Bush creating this ambitious concept for Hounds of Love. The subject of water (again) and Bush’s fascination with it. Also, the fact that this suite has yet to come to the screen. I will start by discussing the atmospheric and epic in her music and the detail in her work. I did write a series of features around Hounds of Love last year when it turns forty. I did spotlight every song and went inside them. In doing so, I drew heavily from Leah Kardos’s 33 1/3 Hounds of Love book. Even though there were plenty of grand moments in Kate Bush’s music, I don’t feel it was highlighted enough. Hounds of Love was the finest example to that point. Think about some moments on Never for Ever like Breathing. That is an epic and heavy song. So too is Get Out of My House from The Dreaming. On Aerial, for the A Sky of Honey suite, there was this sense of gliding into the sky and being above the world.

What I love about Hounds of Love is the balance of the more conventional and the fantastical. What I mean is The Ninth Wave, the second side of Hounds of Love, has this mix of the cinematic and fantasy. A woman that is stranded in the water after going overboard. She does get rescued in the world, but there are moments where visions and voices come to her. It moves through various genres and phases. In terms of her production work on that album and her career in general, there is not enough written about Kate Bush. I feel people see a producer as someone who has general views on an album and inputs ideas here and there. That might be the case with some producers, though Kate Bush is someone who was involved in every aspect of album-making. As a producer, she took a load of notes and had so many ideas. Hello Earth is a long song (6:13: the longest song on Hounds of Love) and one that builds and moves like a cinematic scene. A Classical piece. I want to bring in what I wrote last year and what Leah Kardos notes about Hello Earth. Analysing it in a fascinating way:

“We have “drummer Stuart Elliott, guitarist Brian Bath, bassist Eberhard Weber, pipes by O’Flynn and bouzouki by Lunny, in addition to a choir (by Richard Hickox Singers), orchestral strings, horns and percussion, arranged again by Kamen”. Michael Kamen and his orchestral arrangements is crucial to the swell and epic nature of Hello Earth. As Bush’s heroine looks down on the seas from way above, she is “helpless to stop a destructive storm she sees forming over America and moving out to sea (‘Can’t do anything…’)”. Leah Kardos observes how “Bush calls back to ‘Hounds of Love’ (the declarative ‘Here I go, don’t let me go! becomes a regretful ‘Why did I go?’), ‘Waking the Witch’ (‘Get out of the waves, get out of the water’), with keyword nods to ‘Mother Stands for Comfort’ (‘Murderer!’) and ‘Cloudbusting (‘Out of the cloudburst’)”. It is, as Kardos writes, like a Broadway musical. Bringing all the themes that have gone before into this big number. All coming to the surface of the narrative. All the pieces fit together. The only problem is the gaps. Where the chorus should be, there was the decision as to what would be there.  Composer Michael Berkeley transcribed and arranged a Georgian folk song, Zinzkaro – for the Richard Hickox Singers –, which needed to be similar to the Werner Herzog/Nosferatu piece that Bush had heard and wanted to use. Michael Berkley “characterized Bush’s creative approach as ‘zany (and) ambitious’, later recalling how he was sent a cassette with copious colourful notes, adding ‘she talked of the sound quality in the most graphic terms … indeed, she was thrilled when I suggested we create our own new language for this chorus of the spheres”. “With the lowest strings oozing down from F to C# and the highest strings inching upwards from high C to C#, is a spine-tingling musical manoeuvre, a panoramic aspect radio shift”.

There is a slow-motion portamento that slides to this widescreen drone. There are moments of whale song and sonic blips. Suggestions that the heroine could be sinking. Bush whispers in German “Tiefer, Tiefer, irgendwo in der tiefe gibt es ein licht”. This translates to “Deeper, deeper, somewhere in the depths there is a light”. Maybe this is the moment of death where Bush’s stranded woman – whether she truly casts herself in this role or someone else – or a psychological awakening. It almost comes full circle. And Dream of Sheep was when she wanted to sleep and drift to rest after being lost at sea. Kardos notes how Hello Earth “fulfils the promise of ‘And Dream of Sheep’, with Bush finally  soothing the ‘little earth’ to sleep after the long struggle to stay alert”.

What makes a song like Hello Earth so impressive is how hard it was to come together. Bush struggled to make it work, yet you listen to the finished version on Hounds of Love and it sounds natural. When speaking with Richard Skinner in 1992 for Classic Albums, this is what she said about Hello Earth:

“‘Hello Earth’ was a very difficult track to write, as well, because it was… in some ways it was too big for me. [Laughs] And I ended up with this song that had two huge great holes in the choruses, where the drums stopped, and everything stopped, and people would say to me, “what’s going to happen in these choruses,” and I hadn’t got a clue.

We had the whole song, it was all there, but these huge, great holes in the choruses. And I knew I wanted to put something in there, and I’d had this idea to put a vocal piece in there, that was like this traditional tune I’d heard used in the film Nosferatu. And really everything I came up with, it with was rubbish really compared to what this piece was saying. So we did some research to find out if it was possible to use it. And it was, so that’s what we did, we re-recorded the piece and I kind of made up words that sounded like what I could hear was happening on the original. And suddenly there was these beautiful voices in these chorus that had just been like two black holes”.

You might ask where our characters fit in. It is these lines: “All you sailors, (“Get out of the waves! Get out of the water!”/All life-savers, (“Get out of the waves! Get out of the water!”) All you cruisers, (“Get out of the waves! Get out of the water!”)/All you fishermen, Head for home”. You feel Kate Bush, as the ill-fated heroine, floating above the water and seeing rescue boats, fishermen, sailors and cruisers all in peril.

Are these actual people in the water or those in her mind? I think that there are sailors at night and life-savers maybe out looking for the heroine. Fishermen trying to get a catch whilst it is dark. Cruise ships. The storm is coming and the waves are churning. Whilst many assume Bush was alone in the water for The Ninth Wave, there are others with her that might not know what dangers are around them. I did wonder whether those life-savers she sings about are there for her, or they are rescuing someone else. Obviously, The Ninth Wave is about water and a woman being stranded at sea. Bush always intrigued by water, The Ninth Wave is the concentration and expansion of her fascination and fears. Hello Earth might be the most majestic and dangerous example of Bush bringing music and water together. We see the full expanse of the ocean. Bush does not state which ocean it is, though it may be the Irish Sea or the Atlantic Ocean. When The Ninth Wave was staged for her 2014 residency, Before the Dawn, she is in the water because the ship, the Celtic Deep, sinks. Suggesting we are in the Irish Sea. Rather than repeat what I have written about Kate Bush and her association with water, I want to focus on Hello Earth. It is the danger of the water. This cast of fishermen, life-savers, cruisers and sailors who are out on the water as the storm brews. How many artists write about the peril of the water? Here, we learn about a storm and weather turning. Elsewhere, Bush’s heroine sinks beneath the water and is trapped under ice. At all points is this issue of what lies beneath. How there are things that could kill her. The cold of the water too. How we need to respect the water. People have written about The Ninth Wave. I don’t know if they have discussed the threat of the water and how it is this survival piece. When I think about Kate Bush and the sea, I feel like she has this curiosity with it. However, it is the fear of what lies beneath. The Ninth Wave could be viewed as this complete story and plight of a woman who gets rescued. I focus on the fact that it is about the darkness and danger of the sea. How you never know what is beneath and it is so hard to avoid.

IN THIS PHOTO: Kate Bush in a promotional photo for Hounds of Love

Saying that, I have also argued before how The Ninth Wave has never been visualised fully. It did get staged in Hammersmith in 2014. However, as of now, there have been no plans for The Ninth Wave to take on any other form, sadly. I have said how this conceptual suite would be great as a standalone piece. It is a very ambitious suite. The first time Kate Bush attempted this, it makes me think how few Pop albums of the 1980s were conventional. Not conceptual at all. Few attempted anything like The Ninth Wave. In terms of conceptual albums, you have Marillion's Misplaced Childhood (1985), Queensrÿche's Operation: Mindcrime (1988), and Pink Floyd's The Wall (1979/1980). I do think that it was a major step forward for Kate Bush to record The Ninth Wave. I refer to it as cinematic, but that is what it is. I yearn for it to come to the screen. Either as an animated short or a filmed piece that features an actor at the centre. What amazes me is how bold it was for Bush to release Hounds of Love. She could have carried on the first half with its most conventional songs and repeated that for the second half. Instead, she divided the album into a half of regular songs and one half that had this suite. How many of her peers were doing this? It is maybe a little more common now, though I don’t feel that there are many artists doing this. Could we do this in a streaming age where people handpick songs? I am breaking up The Ninth Wave and isolating Hello Earth, though I would urge people to listen to The Ninth Wave in full. In 1985, it was so rare for a major artist to do anything as ambitious as The Ninth Wave. Bush, as a female artist, would be expected to probably temporise any ambitions and to follow the herd. I do think that The Ninth Wave has so many incredible layers and details you will miss. When listening to Hello Earth, I did not even notice Bush calling out to sailors, life-savers, cruisers and fishermen down there. They need to get out of the water but, with no land in sight, their fates seemed sealed. Did they ever get rescued?! That is why I want to see The Ninth Wave brought to the screen. Those characters in the action and we get to know what happened. At the start of Hello Earth, we hear a helicopter overhead: “Columbia now nine times the speed of sound.”/“Roger that, Dan, I’ve got a solid TACAN locked on, uh, TACAN twenty-three”/“The, uh, tracking data, map data and pre-planned trajectory are all one line on the block”/“Roger your block decoded”. I do love this song and think it is one of Kate Bush’s greatest achievements as a songwriter and producer. I love how the choral section, performed by the Richard Hickox Singers, is taken from a Georgian folk song called, Tsintskaro, which Kate Bush heard performed by the Vocal Ensemble Gordela on the soundtrack of Werner Herzog’s 1979 film, Nosferatu the Vampyre.

I am changing lanes and coming to the second side of this feature. Kate Bush’s most recent single is Little Shrew (Snowflake). I am going to discuss Kate Bush’s most recent interview, how this song is more necessary now as it was in 2024, and Bush as this humanitarian. I am also thinking about how she re-versioned this song, or she just used it in a different context. I want to start out by mentioning her son, Bertie. I am going to focus on him when I discuss Bertie from Aerial. However, Little Shrew (Snowflake) is an example of Bertie’s voice being heard in 2024. I should call him Albert, as that is his full name. Snowflake is from 2011’s 50 Words for Snow, and he would have been eleven or twelve when he recorded his vocal for that. His voice is the first one we hear on the album. Maybe strange to hear this vocal thirteen years later. Albert is now in his twenties, but he is captured in this song that is very powerful and timely. I do wonder if Little Shrew could have been used in an original song. It is curious. Kate Bush did want to release a single and an animated video that raised funds for War Child. She could have written an original song and tailored it to the cause. Made it more about warfare and children being killed and affected. I wonder what the selection process was when Bush created this Little Shrew character. I think her young son was in her mind, so Snowflake did suggest itself. Its lyrics do seem relevant when it comes to warfare and genocide around the globe. Though affected in Ukraine and Gaza. On 25th October, 2024, this is what Bush posted to her website: “Although I’d initially thought to make the character a human child – a little girl – I settled on the idea of a Caucasian pygmy shrew (Ukrainian shrew): a tiny, fragile little creature. I felt that people might have more empathy for a vulnerable little animal than a human…”. The animation for the Little Shrew was by Nicolette Van Gendt. Inkubus as the animation company. I wonder if Bush will collaborate with them in the future? Concept artwork was by Jim Kay. I would love to see them collaborate.

ILLUSTRATION CREDIT: Kate Bush

In 2011, the lyrics had a different resonance than they did in 2024. These words more powerful in Little Shrew (Snowflake): “Look up, and you'll see me, you know you can hear me/The world is so loud, keep falling, I'll find you”.  This is not simply the same song that appeared on 50 Words for Snow. It would not fit if it was the same version, so certain words and lines remained. Bertie sings “I am ice and dust and light/I am sky and here”, whilst his mother sings “The world is so loud, keep falling, I'll find you” after Bertie sings/speaks “I want you to catch me/Look up, and you'll see me, you know you can hear me”. The song becomes something different. More sparse in terms of its lyrics, it is a more direct dialogue between a mother and child. By keeping the most moving lyrics of Snowflake, this song is reimagined and has new light. I have not dissected this song enough. The fact that Kate Bush chose a shrew as the central character rather than a child. She said, in an interview with Emma Barnett, that people would feel more sympathy with a shrew than a child. That we emphasise more with animals than people. That is quite telling. A single that is raising money for children affected by war. Sahe did not include a child as the video’s lead. Instead, this displaced and scared shrew that is perfects trying to find it smother. Whilst Kate Bush and her son have this dialogue. I am going to drop that Emma Barnett interview in here. What isa so pleasing about it is that it is a chance to hear Kate Bush speak. She created this single piece of work that is a standalone single. She did also announce that she is thinking of a new album. What I love about the interview is that Bush was so excited about this project. How she wrote and directed this video. How long it took. It was almost like a labour of love it seems. However, the results are startling. Kate Bush this genius and visionary still. It bodes well for a future album and whatever comes. The plight of Little Shrew definitely resonated. I want to bring in The Guardian’s review of the extraordinary Little Shrew (Snowflake) video:

“All of Kate Bush’s sense of wonder, and how she tempers it with not just melancholy but outright sorrow, is threaded through her devastatingly moving new animated short film, Little Shrew.

Bush hasn’t performed live in a decade, or released new music since 2011 – and there’s an initial twinge of disappointment on discovering that this film isn’t built around a piece of new music. (In a BBC Radio 4 interview promoting it, she hinted that she will begin writing new material again soon.) Instead, it’s soundtracked by an edit of Snowflake, the opening song from that 2011 album 50 Words for Snow – a duet between Bush and her son Bertie.

Bush has long wrung stunning material out of family dynamics. Cloudbusting is full of the boyish admiration sons have for their fathers long after we become men; This Woman’s Work, about a crisis amid childbirth, is so stricken with awe at new life; Aerial was full of this material, from the maternal study of A Coral Room to a wonderfully guileless song about Bertie himself.

CONCEPT ARTWORK: Jim Kay

Snowflake continues that tradition, as Bertie takes the form of a snowflake, whirling in the night, and Bush hopes to catch him: “The world is so loud / Keep falling / I’ll find you.” Once again it gets to the heart of parenthood: its bewilderment, and how desperate it makes us to shelter our children in the world’s blizzard, snowblinded by love. There is perhaps a hidden wisdom, too, unspoken in the song – if we grip our children too hard, they could melt away from us.

It always felt bigger than Kate and Bertie, but Bush adds a terrifically powerful new dimension by making it, in Little Shrew, a lament for children affected by war, particularly in Ukraine (the film was made in collaboration with the charity War Child). As Bush says of Bertie in an accompanying essay: “I think his performance is extremely moving and although I’d originally written the song to capture his beautiful descant voice before he entered adolescence, it has taken on a haunting new meaning within the context of this animation.”

Bush writes and directs the film, storyboarded from her own sketches. These were drawn up by Jim Kay, the illustrator best known for Patrick Ness’s A Monster Calls (which inspired Bush) and pictorial editions of the Harry Potter series, and then animated with the studio Inkubus.

Little Shrew follows a Ukrainian pygmy shrew, captivated by a ball of cosmic light emanating from deep in the solar system. The creature scurries out of its cosy spot in the top pocket of a coat – and the animation coolly pans back to show that this is the corpse of a soldier sitting against a tree. The shrew makes its way through a war-torn landscape, and into the melee of Russian strikes, fired from under the chillingly blank face of an unmanned drone. Bush dwells on the gaping maw of a bombed building, animated from a photo by Maksim Levin, a Ukrainian photographer killed in the conflict.

Bush writes that she originally considered a child as the protagonist, and some might find this exquisitely adorable mammal, nose twitching with worry, to be a sentimental and even nauseatingly cutesy choice. But for me it allows Bush to actually intensify the horror. Watching its sinewy little body, twisting in fear and rent by the force of an exploding bomb, is close to unbearable; a similar sequence of a child could have felt exploitative or overdone.

And as a symbol for children caught in the conflict, the shrew has such potency: children move through wars with the confusion and vulnerability of animals, often without even having language to give shape to the trauma of hearing explosions or seeing corpses. They are as innocent as shrews, too – and, as both Ukraine and Gaza have shown, as unheeded by the aggressors.

Bush undermines the sentimentality all the more by writing an ambiguous ending. She herself is perhaps that orb of light, asserting once more: “The world is so loud / Keep falling / I’ll find you” – a moving reminder to the children of Ukraine that they are not forgotten, intensified by this song suffused with such ardent, active love for her own son. But the shrew is seen tumbling through blackening space, never landing. Bush underlines there is no end in sight for children affected by war, except for an ending forced on them. This film made me weep for every one”.

A about a year and a half since that video came out, I do feel like it is as relevant now as ever. Little Shrew one of Kate Bush’s most important characters. I wonder whether there is a way to get this song back into the public consciousness. It is Kate Bush’s latest work and one of her most affecting. You are completely invested in the video and the Little Shrew. You could listen to the single on its own, but it is the video that gives it context and flesh. For her 2025 Christmas message, Bush reflected on the continued impact and success of this phenomenal and vital film/single: “Little Shrew continues to take part in international film festivals, and has been reaching out to different audiences. Thank you to everyone who has responded to the animation by making a donation to War Child or other charities involved in helping children caught up in wars”. You can donate still, and I do think that there needs to be this renewed campaign. It did make an impact through 2024 and 2025. Rather than discuss Bush’s humanitarian aspect – which I have done a few times before -, I actually want to talk about animation. Bush has directed film before, but her most recent directional outings have been animated. In terms of what she could do as a director of animation, I feel Little Shrew (Snowflake) had to be in this format. That black-and-white animation too. Like an old film. War film. Bush has referenced animated films in her music before. Pinocchio on more than one occasion., The cover for The Kick Inside and Get Out of My House from The Dreaming. I was interested in her association with animation. I want to turn to Animation Magazine and their 2025 interview with Kate Bush:

“You have experimented with animation before (Elder Falls at Lake Tahoe, Wild Man) What do you love about creating art in this medium?

I’ve really loved animation ever since I saw my first Disney animation in the cinema. When I was a little girl that was the only way to see a Disney Film. They were never shown on TV and you could only see whichever film was doing the ’rounds’. This had the effect of making them very special. Something precious. I guess that feeling of them being special has stuck. In the context of Little Shrew, animation was the perfect medium – allowing us to create a tiny little creature who could travel through exactly the environment I imagined. It would never have had the same hit in live action. That’s the beauty of animation…anything and everything is possible.

What are some of your favorite animated shorts and movies, the ones that left a deep impression on you?

Like I said, the magic of those early Disney movies never really goes away. Snow White, Dumbo, The Jungle Book have especially stayed with me. I’d have to add Pixar’s Ratatouille and Monsters Inc. to the list. I also love Allegro non Troppo and Belleville Rendez-Vous (The Triplets of Belleville).

CONCEPT ARTWORK: Jim Kay

How did you decide which song to accompany the anti-war message of the short and why?

When I was trying to think of what the music would be, “Snowflake” just popped into my head and I thought – yeah, that could work. I knew we’d have to edit it down. The original track ran at over seven minutes and as animation is a very expensive medium, I knew it would need to be no more than three or four minutes long. I think the main reason I thought of that track is because the lead vocal was sung by my son when he was a little boy, so the presence of a little child is already center stage.

I felt the vulnerability of a young boy’s descant voice could work very well as the companion to the poor little shrew. They both have a tenderness about them.

As you set out to realize your vision for the short, what was your biggest challenge?

Trying to achieve an emotional hit. You’re never really sure until the piece is finished. I hope the audience feels moved when they see it.

I believe you used actual photographs by a Ukrainian war photographer as background for the short?

Absolutely! Maksim Levin’s photo was there right from the very beginning in my original storyboard. I was looking for a photo that could ’step out’ of the animation and show, just for a moment, what the real war was like. The idea was that up until that moment, we wouldn’t really know where we were. All the environments were from the shrew’s POV –  like she was moving through a land of the giants. We know it’s a devastated place, but we never see the scale of it until the photo is revealed. I hoped that would add drama to the level of destruction of the war-torn city.

I found the photo online and thought it was incredibly powerful. I didn’t know anything at all about the photographer until we applied for clearance to use the photo in the film. Then we found out that Maksim had actually died just a couple of months after taking the photo. He’d been shot by Russian soldiers. It was such a shock. It really brought home the reality of the horror the Ukrainians are going through. It gave the use of the photo even more meaning.  It’s such an important part of ‘Little Shrew’. It’s the centerpiece, really. I hope that he would’ve been happy for his incredibly powerful photo to be used by us”.

Let’s ends things here. Another animal character pairing with a flock of characters from The Ninth Wave. In future pieces, I am going to go back around all the studio albums, as I have included her nine studio albums (excluding 2011’s Director’s Cut) three times. I might have to pair The Dreaming and Aerial for the next feature. The more I continue this feature run, the more I learn about Kate Bush. The characters in her songs takes my mind in different directions, and I discover new depths, not only in her work, but her as a songwriter and visionary. That has definitely…

BEEN the case here.

FEATURE: Towing the Line? The Risk for Artists Speaking Out

FEATURE:

 

 

Towing the Line?

PHOTO CREDIT: Efrem Efre/Pexels

 

The Risk for Artists Speaking Out

__________

THIS is a time when…

IN THIS PHOTO: Actor Melissa Barrera was fired from Scream 7 in 2023 by Spyglass Media Group for described the situation in Gaza as "genocide and ethnic cleansing"/PHOTO CREDIT: Jonny Marlow for Vogue

there is so much conflict and destruction around the world. In terms of the U.S. alone, under President Donald Trump, there is this sense of him trying to destroy the country and divide people. His anti-immigration stance, anti-trans bills, illegalisation of abortion and his waging war in Iran and everything else he is doing, there is this time when people need to speak out. That is happening, though there is always a risk. Look beyond the U.S., and we have genocide in Gaza and there is this thing where children are being murdered and people speak out and are punished. It is considered a crime in the U.K. for supporting pro-Palestine groups. There have been arrests of those who are protesting against Israel’s genocide. We have seen photos of elderly people and those with disabilities being dragged away by police! Seen as terrorists and a threat, we are in an absurd time when the government clearly is trying to neutralise anyone who protests against Israel. They may claim that it is because they feel pro-Palestine protestors are terrorists. It is insane to think that. Instead, they are very much siding with Israel and they are afraid of upsetting them. There is this bias that spread through the media too. Rather than call out the media for being so pro-Israel, it is clear that they are siding with the country. Anyone calling out genocide and calling for peace is seen as a danger. It is the same in the U.S. Trump as this dictator who does not want to hear from anyone who is against anything he stands for. There have been protests in music. However, most of the major artists are fearful of speaking out.

In terms of those who have called out genocide and rallied against Israel, there have been few cases. Kneecap, CMAT, Nadine Shah and Billie Eilish among the artists who have shown their support for Palestine. However, there has been this absence of protest of condemnation from many major artists. Perhaps it is the case that they do not want to get political. However, this is about humanity and morals and not politics at all. I think one of the big reasons for staying silent on the issue is being dropped by their label. The same with really criticising Trump and going on the attack. Even calling out the very obvious can provide huge ramifications for artists. Look to Hollywood and the fact that high-profile actors have faced huge loss and sacrifice for daring to call out evil in the world. Melissa Barrera is a phenomenal actor who I first saw in Scream V (or, annoyingly, Scream). Admittedly late to her work, I have followed her since. She featured in Scream VI but was fired from the franchise  Melissa Barrera was fired from Scream 7 in November 2023 by production company Spyglass Media Group over social media posts regarding the Israel-Gaza conflict that they deemed anti-Semitic. Barrera’s posts described the situation in Gaza as "genocide and ethnic cleansing". Following this, director Christopher Landon and co-star Jenna Ortega departed the project. Barrera was factually correct. However, there is this bias and leaning towards Israel and not wanting to piss them off. This pathetic thing of someone being labelled as antisemitic. Antisemitic is defined as “prejudice, hatred, or discrimination directed against Jewish people”. Barrera and countless others literally say nothing about Jewish people and Judaism. People thinking calling out Israel is attacking Jewish people. There is this stranglehold on free speech and anyone who wants peace in the world. Actors such as Mark Ruffalo continue to speak out. One reason for returning to this subject is a story that Kate Beckinsale was dropped by her agent for discussing genocide and doing the same as Mark Ruffalo has. Even though they are under the same agent, Ruffalo was not dropped and she was. Hard enough being a woman in Hollywood anyway – in terms of lack of exposure, not being as visible and offered important roles and helming films, equal pay and facing misogyny and sexual abuse -, if they get involved with something like speaking out against genocide, then there is this risk that men might not face.

IN THIS PHOTO: Kate Beckinsale/PHOTO CREDIT: Randy Holmes

Kate Beckinsale, like Melissa Barrera, is someone I hugely admire. Both tremendous actors, I have loved Beckinsale’s work for decades and she is an actor and human I have a lot of love for. Someone who deserves incredible roles and a lot more than she has been offered in her career. It is nothing to do with the severity of the action or what they are saying. Literally, Beckinsale has not been as vocal as Mark Ruffalo yet has faced punishment – and he has not. NME report the story:

“Kate Beckinsale has claimed that she lost her agent over social media support for Gaza, and was ignored by Mark Ruffalo when she reached out to him about it.

Beckinsale took to Instagram on Friday (April 3) and alleged that she was dropped by her talent agent after simply liking a social media post about a ceasefire in Gaza. The comments, which have now been deleted but have since been widely circulated on social media, were left under a post by Ruffalo promoting his new film ‘Palestine 36’.

“Gosh, it must be so nice not to be fired by your Agent for liking a post about a ceasefire and not supporting the murdering of children,” Beckinsale wrote (via Entertainment Weekly).

“I guess having a penis in Hollywood really counts for a lot because you’ve not been fired by the same Agent that I had, and she sent me a gift the week before so we didn’t have any beef,” she alleged, going on to reference the Screen Actors Guild strike that lasted from July to November 2023.

“But I liked a post about a ceasefire and I’ve got fired on the same day as Susan Sarandon was fired, two days after the end of the strike after nine months of none of us being able to work at all.”

The Underworld actor said the timing made everything worse, given that at the time, her mother, Judy Loe, had been given six weeks to live, and her stepfather had just suffered a catastrophic stroke.

“I was fired in two sentences after 12 years of friendship with my Agent,” she wrote, adding that her agent “definitely knew what I was dealing with, alone”.

She also revealed she had previously tried to address the situation privately with Ruffalo. “DMd you about this months ago but you ignored me,” she told him directly. However, she went on to clarify that she wasn’t blaming Ruffalo personally, and supports his activism.

“I applaud your voice and your activism but the price you pay for having a vagina while even remotely liking a post that was as un political as it could possibly be,” she said, but pointed to his silence on the issue as an example of “male privilege, even in the good guys”.

The stakes might be higher in Hollywood. In terms of the revenue actors can bring in and how ‘costly’ it might be to be associated with actors who are deemed to be controversial. It does seem like there is sexism and misogyny when it comes to taking actions against those who speak out against genocide. Terrible that Hollywood wants to silence those who call out dictatorships and evil regimes. Women seem to bare the brunt more than men. Another obstacle that women have to face. I forgot mention Angelina Jolie. She is planning to leave Los Angeles and the U.S. in July, once her twins Knox and Vivienne turn eighteen, ending her need to remain for custody arrangements. She has expressed a desire to move to Europe or Cambodia for more privacy and because she no longer ‘recognises’ the U.S. She has posted about the destruction and loss of life in Gaza. Someone leaving her country of birth because of the evil of the government there. Speaking out about how the state of American free speech under his administration is at risk. Though major Pop artists like Sabrina Carpenter and Taylor Swift have either been involved with fundraisers to raise money for humanitarian aid going to Gaza and they have shown their concern for what is happening, there is this absence of protestation and disgust from many artists. I do also feel like there is this gender issue too. Kneecap are a male trio from Ireland who were actually taken to court, so that is an example of men in the industry being punished. They were not charged or face any further action. However, the music industry is still so skewed towards men. They are given a slide if they do something bad or they  do not face the same backlash and loss as women. However, I do feel like, apart from CMAT, Nadine Shah, Billie Eilish and a few others, many artists are keeping quiet. Also, very few artists are actually being vociferous and getting angry. So many statements are quite collected and seem to tow a line. Like there is this boundary and border they cannot cross when it comes to their language. Think about what Kate Beckinsale and Melissa Barrera said, and there was nothing inflammatory or antisemitic. Instead, it was them just calling it how it is. The same in music. Bob Vylan and Kneecap condemned for their rhetoric and words, yet both groups continue to record and are being booked for gigs (though they both faced losing bookings in the aftermath of their comments). Think about the risk for high-profile women if they become ‘too loud’ or ‘aggrieve’.

The same with male artists. Harry Styles might feel he is not qualified or best placed to speak against genocide, yet it is not him getting political or choosing a side. It is a humanitarian issue and every artist should so something. I have written about this before, and I mused how artists might lose sponsorship deals, being dropped by their label and dividing fans. However, there is nothing controversial about them stepping in and getting upset and angry about Israel or the U.S. and what they are doing. I am looking to Hollywood and the ramifications for successful actors. How must they risk losing. Major-label artists might look at all they have and what they can lose and think twice about posting anything that could get them dropped or cancelled. Kate Beckinsale’s case affected me and highlights how there are greater risks for women if they speak out. Even though Mark Ruffalo is a great guy and had a good heart, the fact he is a man in Hollywood meant he did not get dropped by his agency. Women in music must look at this and know the dangers that threaten them. Over 1,000 artists, including Lorde, IDLES, and Björk, have signed on to remove their music from Israeli streaming platforms, as stated on nomusicforgenocide.net. There have been some cases of women in music being vocal and not facing cancellation. Dua Lipa strongly condemned Israel's military actions in Gaza. She called out their genocide and called for a humanitarian ceasefire and an end to the "slaughter" of civilians. It is a risky time for anyone in the music industry. Brian Eno and Massive Attack have faced censorship. Nick Cave and Radiohead attacked for their silence. Radiohead sort of backtracking and being inconsistent. Nick Cave saying he will not boycott Israel and he does not want to punish the Israel people. He has been accused of supporting Israel and being neutral when it comes to genocide committed. It does seem in Hollywood, especially for women, is worse. There have been high-profile musicians who have been vocal, though there have been notable silences. I guess it is the same for anyone who attacks Donald Trump or calls out what he is doing. This real risk of censorship and losing fans and labels. Every artist in the industry should be able to voice their opinions and not face punishment. However, I wonder if artists will truly…

HAVE that freedom?

FEATURE: Kate Bush’s Director’s Cut at Fifteen: How to Follow the Majestic Aerial

FEATURE:

 

 

Kate Bush’s Director’s Cut at Fifteen

 IN THIS PHOTO: Kate Bush in a promotional photo for 2011’s Director’s Cut/PHOTO CREDIT: John Carder Bush

 

How to Follow the Majestic Aerial

__________

AFTER Aerial came out…

in November 2005, there perhaps was an expectation that Kate Bush would release another album sooner. Aerial followed a twelve-year period with no new album. The Red Shoes came out in 1993, and you feel that there wads this sense of dissatisfaction with the album at the time. Kate Bush did the best she could ta the time, though you can feel that the album is a bit dated and not as warm and rich as it could have been. I never got that with The Sensual World in 1989. It does sound tremendous and I love Bush’s production on it. That said, there were some songs on the album that maybe did not come out quite how she envisaged. Aerial was the first album since Hounds of Love that did seem to be complete and one Bush was happy with. In interview since its release, she has named it as her favourite. Many might assume Hounds of Love would be her favourite. That was a happy record, yet Aerial has significant meaning. Personal resonance because her son, Bertite, was born in 1998. Even if she wrote material before his birth, most of the creation, recording and completion of Aerial happened when he was very young. It was a double album that took a long time to get complete, though it remains this masterpiece. The reviews were glowing and there was this celebration about Kate Bush being ‘back’ – though she had never gone anywhere! Bush did need a bit of time to rest after making Aerial. It was a bit of a balance being a new mother and making this ambitious album. The promotion around Aerial was interesting. Although not too many interviews were given, the ones we do have are longer. Somew radio interviews that are de tailed and fascinating. Bush opening her home – though I think one interview may have taken place at Abbey Road Studios -, and letting journalists and broadcasters in. The interviews I associate with Aerial are the chats she had with Mark Radcliffe and John Wilson.

The way she was talking about Aerial, you feel that there was this new inspiration and lease of life. I feel it was the case that Bush had spent all this time on Aerial and she needed proper time out. However, it was almost six years since Aerial came out before Director’s Cut arrived. On 16th May, 2011, Director’s Cut came out. It was hard following Aerial. In some ways, Director’s Cut can be seen as a revision or retrospect rather than a new album. Though it is not a remix album, Director’s Cut does not feature new songs as such. Taking tracks from The Sensual World and The Red Shoes, Bus re-recorded or rearranged those originals. It depends on the song, but they were either stripped and re-recorded completely or there were some big changes. Flower of the Mountain can be viewed as the only new song on it. It is essentially The Sensual World’s title track, yet it was Kate Bush using text from James Joyce’s Ulyesses that she wanted to for The Sensual World. Molly Bloom’s soliloquy. Many argue that the original – with Bush’s lyrics – is better and more powerful than Joyce’s text. Getting to use those words for a major drive for Kate Bush embarking on Director’s Cut. It is quite jarring seeing the difference between Director’s Cut and Aerial. I guess Bush was not looking to make a natural follow-up in terms of sound and tone. There is also a startling difference between Director’s Cut and 50 Words for Snow, even though they were released six month apart. It was quite a challenge releasing an album after six years that would be as good and impactful as Aerial. Perhaps why some critics were quite middling and not sold. Director’s Cut struggles to match what you might call ‘original’ studio albums from Kate Bush. People had this knowledge of and relationship with The Sensual World and The Red Shoes. As such, the new versions of these songs has this generational divide. People who remember the originals and adapt to the new versions and those hearing these songs for the first time. I do like Director’s Cut and feel like it was a good move from Kate Bush. If you do not like the album, then the two albums that the songs were taken from are still available.

There are two particular interesting reasons why Director’s Cut should be talked about. It was the first album that we get to hear Kate Bush in her fifties. An older artist now, there is this new maturity and nuance to many of the songs. The Sensual World came out when Kate Bush was thirty-one. The Red Shoes when she was thirty-five. Bush was this young woman and you hear the songs in that mindset. Now, with a lower voice and this natural ageing coming into the songs, they do seem completely new. Particular tracks sound more powerful than the originals. I am thinking about This Woman’s Work and Never Be Mine. Also, you get a glimpse into how Kate Bush viewed The Sensual World and The Red Shoes. Why she chose the tracks she did. People have argued why she wanted to reproach Moments of Pleasure from The Red Shoes. Whether it works. Rubberband Girl given this alternative take. Bush not a fan of her version of it and she considered taking it off of Director’s Cut. Also, why did some songs from The Sensual World and The Red Shoes not appear? It was such a hard task to follow Aerial and wow critics. To make fans happy and almost justify its existence. I will drop in a couple of reviews for Director’s Cut. Not that this was Bush releasing an album and then leaving it there. It was only six months before this further left-turn with the extraordinary 50 Words for Snow. Bush needing to clearing a path and look at older material and make some corrections before putting out a new album. Even so, there is this feeling around Director’s Cut that it is not a full or truly original album. I will defend it, because it is unique for Bush. The first time she had done this much retrospection. Nice to hear songs from previous albums given this updated sound and feel. I love Kate Bush’s voice through the album, and you do get some truly revelatory moments. If some songs do not work and a few of the originals did not need to be touched, it was a brave and impressive decision. However, there is always that shadow of Aerial. By 2011, many getting restless for a new Kate Bush album. Aerial widely celebrated and seen as one of Kate Bush’s best albums. Director’s Cut arriving and perhaps not quite the album they thought it would be.

In spite of those reservations, Bush did continue her incredibly hot commercial run. All of her studio albums – and her greatest hits album, The Whole Story -, reached the top ten in the U.K. Director’s Cut went to number two in the U.K. and was a major success in many countries. Six in the Netherlands and eight in Finland, it also reaching number two in Norway. Its packaging and formats is incredible too: “The album was originally released on a double LP, a CD in a case-bound book and a deluxe version consisting of three discs: Director’s Cut plus The Sensual World and The Red Shoes. The latter was re-mastered from digital to analogue. Bush stated in an interview for BBC radio that she never liked the “hard-edged sound” of the digitally recorded The Red Shoes and feels both the new recordings of the songs from this album and the re-mastered version of The Red Shoes have a “warmer, fuller sound. In 2023, a hazy red colour vinyl 2LP was released”. Kate Bush did want to breathe new life into these songs. At the time they were recorded, she was trying to make them expectational but, with passing time, this dissatisfaction came in. Even if some of the new versions did not connect with fans, it was important for Bush to do this. If it was not as good and grand as Aerial, what Director’s Cut showed is that she was always surprising and never repeated herself. 50 Words for Snow dramatically different to Aerial.

It is interesting what Pitchfork said in their review of Director’s Cut. They note how this album is Kate Bush “offering a rethink of a somewhat controversial period in her career”. Would you say The Sensual World and The Red Shoes were ‘controversial’ times? I feel maybe there were personal struggles and unhappiness that affected Kate Bush. Now, happier and more stable, she did want to look at these albums and reapproach some songs with new eyes and a fuller heart:

“What Bush has done on Director's Cut, put simply, is to strip the 80s from these songs. (That goes for the Red Shoes material, too, even though the album was released in the 90s.) The gigantic drums and digital polish, what both dated the music instantly and gave it that stark contrast between accessibility and the deeply personal, have been replaced with less showy rhythm tracks, and a warmer, more intimate atmosphere. On the original "The Sensual World", the elements drawn from Celtic folk felt like striking intrusions in an all-digital world. Renamed "Flower of the Mountain" here, those rustic elements no longer feel quite so out of place, whether you found the original an intriguing hybrid or an awkward merger of old and new. The songs still don't have the feel of a band playing together, but they have a new unity, even the synthetic elements part of a lovingly handcrafted sound. "The Red Shoes", another Celtic-inflected standout, with one of Bush's wildest performances, gains a new intensity precisely because the instruments no longer feel so sterile. But not every element of this patchwork has been pieced together perfectly. The eerie keyboard textures on "And So Love Is", the kind of sour 80s kitsch beloved by Gang Gang Dance, seem surprisingly natural in this new environment. But Eric Clapton's bluesy wanking sounds even more out of place now, stadium pop bluster in a homemade world. It produces tension for sure, but the wrong sort.

It's the singing that just as often startles, though. Bush is less show-offy on Director's Cut than any of her pre-hiatus albums. For a woman known for her range, and her fearlessness at using that range, her performances are always tempered and often low-key here. As with so many songs on Director's Cut, "This Woman's Work" becomes almost shocking in its difference, not least because it's transformed from one of Bush's biggest showstoppers into something far more mournful, the singer restraining herself as if almost but not quite broken by love. The backing track is just as minimal, but deeper, the instrumental textures less brittle. A hushed, lonely Bush sounds as if she's drifting through a vast, lonely space. But instead of the original's childlike verses surging to grown-ass-woman longing on the choruses, Bush is more evenly paced here, communicating deep regret more through a bereft tone than diva theatrics. It's desolate and intimate, like much of Director's Cut, where the original's bravura made it feel both tender and defiant, like much of Bush's early work.

Even with an older and more reserved Bush occasionally putting the brakes on that melodrama, these reworked songs don't totally relinquish that unashamed grandiosity that makes Bush such a love-hate proposition. Director's Cut provides a unique opportunity to do an A/B comparison between a late-career artist and her younger self. But which you'll prefer likely depends on whether you favor a more assured artist working within her strengths, or a brash younger artist delighting in the defying of pop conventions”.

I feel a lot of critics saw Director’s Cut as a remake or covers album rather than a new work. They were comparing the songs on Director’s Cut to their originals, as opposed just seeing them all as part of this complete album. AllMusic made some interesting observations when they reviewed Director’s Cut. I do think that we should be kinder to this album:

“During her early career, Kate Bush released albums regularly despite her reputation as a perfectionist in the studio. Her first five were released within seven years. After The Hounds of Love in 1985, however, the breaks between got longer: The Sensual World appeared in 1989 and The Red Shoes in 1993. Then, nothing before Aerial, a double album issued in 2005. It's taken six more years to get The Director's Cut, an album whose material isn't new, though its presentation is. Four of this set's 11 tracks first appeared on The Sensual World, while the other seven come from The Red Shoes. Bush's reasons for re-recording these songs is a mystery. She does have her own world-class recording studio, and given the sounds here, she's kept up with technology. Some of these songs are merely tweaked, and pleasantly so, while others are radically altered. The two most glaring examples are "Flower of the Mountain" (previously known as "The Sensual World") and "This Woman's Work." The former intended to use Molly Bloom's soliloquy from James Joyce's novel Ulysses as its lyric; Bush was refused permission by his estate. That decision was eventually reversed; hence she re-recorded the originally intended lyrics. And while the arrangement is similar, there are added layers of synth and percussion. Her voice is absent the wails and hiccupy gasps of her youthful incarnation. These have been replaced by somewhat huskier, even more luxuriant and elegant tones. On the latter song, the arrangement of a full band and Michael Nyman's strings are replaced by a sparse, reverbed electric piano which pans between speakers. This skeletal arrangement frames Bush's more prominent vocal which has grown into these lyrics and inhabits them in full: their regrets, disappointments, and heartbreaks with real acceptance. She lets that voice rip on "Lilly," supported by a tougher, punchier bassline, skittering guitar efx, and a hypnotic drum loop. Bush's son Bertie makes an appearance as the voice of the computer (with Auto-Tune) on "Deeper Understanding." On "RubberBand Girl," Bush pays homage to the Rolling Stones' opening riff from "Street Fighting Man" in all its garagey glory (which one suspects was always there and has now been uncovered). The experience of The Director's Cut, encountering all this familiar material in its new dressing, is more than occasionally unsettling, but simultaneously, it is deeply engaging and satisfying”.

Interview spoke with Kate Bush in 2011. I think all that matters is why she wanted to make this album. If you like it or not, it was something that Bush had to do. For that reason, we should show some love and respect to Director’s Cut:

“EHRLICH: Why did you decide to re-record existing material rather than do something new, or just release the old versions remixed, or whatever?

BUSH: Well, I really didn’t see it as a substitute for a greatest hits package, but it was something I’d wanted to do for a few years. I guess I just kind of felt like there were songs on those two albums [The Sensual World and The Red Shoes (1993)] that were quite interesting but that they could really benefit from having new life breathed into them. I don’t really listen to my old stuff, but on occasion, I would either hear a track on the radio or a friend might play me one, and there was generally a bit of an edgy sound to it, which was mainly due to the digital equipment that we were using, which was state of the art at the time—and I think everyone felt pressured to be working that way. But I still remain a huge fan of analog. So there were elements of the production that I felt were either a little bit dated or a bit cluttered. So what I wanted to do was empty them out and let the songs breathe more”.

As Director’s Cut turns fifteen on 16th May, I did want to revisit it. It had this daunting task of having to come six years after a colossus of an album. The first of two albums from Kate Bush in 2011, it was a busy and productive time for her. Since 2011, we have not received another studio album. Though that might change in the next year or two. If some of the new versions on Director’s Cut do not gel or sound as strong as the originals, I feel that there are some real gems to be found…

THAT we need to acknowledge.

FEATURE: Spotlight: Revisited: Maya Hawke

FEATURE:

 

 

Spotlight: Revisited

IN THIS PHOTO: Maya Hawke at the Rolling Stone studios, live at SXSW/PHOTO CREDIT: Pooneh Ghana

 

Maya Hawke

__________

PERHAPS best known as an actor…

Maya Hawke is an incredible artist who I wanted to revisit. I spotlighted her in 2024, not long before the release of her previous album, Chaos Angel. I love everything about her music. The brilliant album covers, the aesthetics, her distinct videos, lyric-writing and vocals. She is a unique artist that will release her fourth album, MAITREYA CORSO, on 1st May. With tour dates taking her around North America, I do hope that she comes to the U.K. at some point. Many might associate Hawke with her role in Stranger Things. She played Robin Buckley. I will include a recent interview where she discussed that character and her time on Stranger Things. You can pre-order MAITREYA CORSO, as I feel it is going to be among the best albums of this year. The Line of Best Fit were among those to announce news of this incredible new album earlier in the year:

“The record is her fourth album and the follow-up to last year’s Chaos Angel. Written. It was recorded with her regular collaborators Christian Lee Hutson – who Hawke recently married – and Benjamin Lazar Davis, it was tracked over the autumn and winter of 2025 in Woodstock and New York City, with contributions from bandmates Will Graefe, Odessa Jorgensen and Michael Riddleberger.

Hawke has explained that the album is built around a central persona named Maitreya Corso. Described as a “magical misfit”, the character serves as a conduit for exploring themes of ego and creation. “Devil You Know”, written in part between New York and Los Angeles, is about "trying to keep ambition and greed out of the creative process," says Hawke.

Maitreya Corso "is generally is about learning to protect the precious from the poisonous. Protect creation from pride. Protect love from control. Protect collaboration from jealousy.”

The release date for the album coincides with the announcement of Hawke’s first US tour in three years. She's also set to appear alongside Philip Glass, Laurie Anderson and Debbie Harry at the Tibet House US Benefit Concert at Carnegie Hall in Manhattan on 3 March”.

Before I bring things up to date, I want to include an interview from 2024 I did not use in my previous feature. The Talks chatted with Maya Hawke about Chaos Angel and her career. The daughter of Ethan Hawke and Uma Thurman, this is definitely not a case of a daughter of famous actors getting any sort of leg-up. In addition to be an amazing actor who has carved her own path, she is this artist who peruses this passion that her parents are not associated with. I actually think that her music is her greatest talent, though she is a tremendous and versatile actor:

“Maya, would you say your creative work as a songwriter gets easier as you get older and more experienced?

It’s definitely not easier! If anything, the more I do it, the harder it gets. Because with each album, I feel like I’m raising the bar of what I can do. Have you ever heard about that psychological test where they have people take a math test, but first they rate how well they think they’re going to do. And the people who rate themselves the best, do the worst. And the people who think they’re going to do the worst, do the best. What they say about that is that the more you know about something, you more you know you don’t know. When I was younger and I was writing songs, I thought, “Wow, this song is amazing. I’ve just rhymed love and above!” (Laughs) And then you learn more, your bar gets a lot higher, your expectation for yourself gets higher. So the process only gets more difficult — but in a good way.

Apparently something that brings you comfort is craftsmanship — the idea of knowing how to do something well enough that you can do it even when you’ve had a bad day…

I think when I said that I was talking about acting, because I’ve spent so much of my life acting and learning about acting in school, and I feel like I have some level of craftsmanship with it. I can do it on a bad day. I can do it with a broken heart.

After you put out your sophomore album, you said that your only hope from it was just to have the privilege to make a third.

Yeah, and I mean, that has been a really helpful way to think about it, because you can get so caught up in the game of the arts industry. For me, I think working in the arts is like having a bus pass; it can be hard, people have to trust you enough to give you money to make something, but if you can get a bus pass, all you really need is to get it renewed. And sometimes it can be renewed with a demotion, you can make another record, but you have to make it for less money, and that’s okay, too. All that matters is that you can get on the bus, and that you can contribute, you can express yourself. I’m a lifelong learner, and I’m just hoping for the next opportunity to learn something. I see that as a much better God to worship than reviews or popularity or awards. Although, maybe if I started winning some, I would start to see that as a better gauge? (Laughs)

Were you ever worried about crossing into different fields in the way that you have? I think often people can be judgmental about actors who want to start making music, or singers who want to act.

I think that was very true in the nineties, that was the era for that kind of judgment. But I feel like we are in kind of a new era, I hope so anyway. I think the world is in so much chaos and in so much pain, that actually now enthusiasm is the move! It’s way cooler to see a movie and love it. It is stupid to hate things! There’s not enough good stuff anymore to really be that judgey. There are so many things that I feel make me like an unlikable cultural character, that singing to the mix… Whatever! People are going to say shit. But it makes me happy, so whatever.

I think that full-on belief in what you’re doing is how the best musicians think about their work, though. Do you also think that way when you’re working on a film where the dream is not entirely yours?

I’ve done parts in movies where I didn’t believe in the dream. I have! It’s not fun, I hate it. But I’ve done it. It’s usually more about me than it is about the project. So with my music, I try to facilitate a space where other people feel like they can believe in the dream. I want everyone working with me to feel a sense of ownership over the record as a whole. Because as an actor when I’m on set, I’m saying the words that the writer wrote, I am being directed in the vision of the director. But it’s my song too, I am putting huge parts of myself into the characters that I play. And I wanted to facilitate a space for that in the record making process so that the instrumentalists who came in were actors in the play called Chaos Angel”.

PHOTO CREDIT: Greg Swales

I do love where MAITREYA CORSO stems from and what inspired it. The Buddhist concept of a future, compassionate teacher. Spirituality and self-discovery. Chaos Angel also has spiritual connotations, though something a little more disordered. The title suggests movement and a voyage, but something more centred and calm. Maybe reflecting Maya Hawke’s life and career. The New York-born multi-talented recently wed musician Christian Lee Hutson. Detouring slightly, I feel that it is important to also discuss Maya Hawke’s acting. It feeds into her music and I feel the disciplines are interlinked. I do want to draw from a recent interview with Vogue Hong Kong. Maya Hawke discussed her role in Stranger Things and the affect it has had on her:

“In a world where everyone is constantly told to “just be yourself,” Hawke finds freedom in the opposite. That willingness to stretch and reshape herself has shaped her acting journey, including her breakout role as Robin Buckley in Stranger Things.

Introduced in Season 3, Robin quickly became a fan favourite for her wit, humour, and unflinching honesty. “I had a great acting teacher at drama school who gave me this piece of advice: don’t let your habit be your only choice,” Hawke says. “I think, a lot of the time, the Duffers wrote Robin inspired by my most nervous version of myself, which was, you know, the young woman who was on the show for the first time joining in Season 3. I was so nervous around them, and then I think they really wrote Robin inspired by that nervousness.”

But instead of feeling boxed in, Hawke saw it as a chance to grow. “I think it really allowed me to learn how I was coming off to people, and reflect on my desire to come off as less nervous. I tend to have more options in my bag of tricks than sort of just buoyant enthusiasm; I wanted to have a more grounded sense of myself and my behaviour at work, and a more diverse bag of tricks as an actor, and I really learned that through the way the Duffer brothers’ writing style works.”

As Robin evolved on screen, so did Hawke, who wasn’t afraid to throw out the script when inspiration struck. Her willingness to embrace the weird and unexpected gave Robin a life of her own, often resulting in some of the show’s most delightfully offbeat moments. One of her favourite unscripted bits came during Season 5.

“My favourite [improvised moment] that made it into the show was in Episode 5. I’m sitting in the kind of lobby area of the radio station with an ice pack over my eye. And I’m trying to explain something to Brett Gellman, his character, and in the middle of my sentence, I just stop and go hi to him,” she recalls. “I remember that on the day, I was really just trying weird stuff […] Thank you to Frank Darabont for keeping it in.”

When asked about a potential Stranger Things spinoff for Robin, Hawke’s imagination runs wild. “I’ve always thought a really fun spinoff would be her having to come back to Hawkins and become a low-level traffic officer under David Harbour. Robin and Hopper, as a duo that should never be, would be the most fun, weird duo option of different vibes,” she quips. I would love to watch Hopper be really annoyed by Robin all the time. I think they would play off each other nicely.”

This philosophy of creative play extends beyond the screen. In 2025, Hawke took a leap by making her off-Broadway debut in a revival of Sarah Ruhl’s Eurydice at the Signature Theatre. “I had never done a professional play before and was extremely intimidated by the task,” she admits. “I never could have imagined what a rewarding, educational, and community-building experience that would be and feel like. It’s paid off in dividends that I never would have expected.”

Now, Hawke is set to venture into The Hunger Games universe as young Wiress in the prequel The Hunger Games: Sunrise on the Reaping. The character, introduced in the original trilogy as a highly intelligent yet mentally fragile District 3 victor, required Hawke to thread a delicate needle.

“The most difficult thing about playing Wiress is that the only Wiress we see in the movies is a Wiress in the aftermath of a massive plot point from Sunrise on the Reaping,” Hawke explains. “This experience during this book informs when you meet Wiress in the later films and books, and she, you know, is pretty nonverbal and really struggles to communicate—that’s the trauma response to her having been tortured at the end of Sunrise on the Reaping.”

For Hawke, the challenge lay in balancing hints of Wiress’ eventual breakdown with the woman she was before surviving the Games. “Mags and Beedee are also tortured, but don’t become nonverbal, so there has to be something about Wiress that is already dancing on the edge of the line of her mental health, where she could have such a stark, different, stronger reaction to the same experience that her friends and coworkers have,” she explains. “So, figuring out how not to foreshadow what happens to her too much, while also indicating“You’re a clown.” For Maya Hawke, those three words from director Jennifer Kaytin Robinson on the set of Do Revenge opened the door to a new dimension of her craft. why it might have happened to her in a more extreme way than her friends, was definitely the most difficult needle to thread”.

A couple of things to wrap up with. Speaking with Rolling Stone last month, she chatted about singing with Sadie Sink (her Stranger Things co-star), that celebrated show, and her new work. Rolling Stone state how “Hawke goes deep on her fantastic new album, May 1’s Maitreya Corso, her grief over the end of Stranger Things, her new movie, Wishful Thinking, and much more in our deep-dive new interview”:

“As Stranger Things came to a close, Maya Hawke says she was flat-out “scared” about the future of her career. But it’s already clear that she couldn’t have had less to worry about. Her fantastic fourth album, Maitreya Corso, due on May 1, is a major step forward, a quirky, cozily organic, unceasingly melodic collection of Aimee Mann-worthy pop. She also stars alongside Lewis Pullman in the high-concept romantic comedy Wishful Thinking, which just premiered to critical praise at SXSW, and already moved into a new franchise, filming next year’s Hunger Games: Sunrise on the Reaping.

When Hawke sat down at the Rolling Stone Studio, live at SXSW, she went deep on all of it, plus ambition, creative anxiety, Taylor Swift’s influence, and the voice in her head that’s never satisfied. Some highlights follow; to watch the whole interview, press play above, or go to Rolling Stone’s YouTube channel.

The album’s title comes from two very different sources — the Beat poet Gregory Corso and the Buddhist concept of Maitreya. “This is the first time I’ve ever spoken about this record to anyone, and I really probably should have made up my mind about what I was gonna say,” she says. “But I come from a lot of different worlds and philosophies. Corso is a reference to Gregory Corso, and Maitreya is a reference to the Bodhisattva — this idea of new beginnings, this combination of the divine spirit and the human spirit. I was looking for a name of a fantasy heroine to go on this journey that I felt like the record was, and that felt right.”

Hawke doesn’t hesitate to cite Taylor Swift as an influence. “I think she inspired a generation. She made a generation of young people listen to music and think, ‘Oh, wow, my life could matter. My feelings could matter. The details of it could matter.’ And of course it’s a Blakean thing, the minute particulars — the more specific you make something, the more relatable it actually is. But I was hugely influenced by her. I’ve been listening to her music my entire life. You could start any song from any word and I would be able to know where you were and finish it, probably.”

On the new song “Lioness,” Hawke sings about watching “Sadie talk to God through the lav mic,” and she confirms it’s about her costar Sadie Sink. “I was actually talking about working on Stranger Things,” she reveals. “There was a day where I was really grumpy and not feeling inspired. And I came into set as a background player in a scene she was in, and I remembered how magical acting is. I just watched her pick a spirit out of the universe and make the whole room quiet and speak truth and turn something from a game of playing pretend into something extremely authentic. It was a kick in my butt — bring it every time, every second. Don’t get lazy for one second. When I was at drama school, I used to complain — 80 percent of the day is magic, but 20 percent is total bull honky. And then I started working, and I was like, ‘Oh, whoa, 80-20 is a high percentage of magic.’ And that was a moment where I was like, ‘You are shrinking the ratio. You are losing touch with the magic. It’s not the art that’s depressed. You are.’ I think she’s the greatest actress of our generation.”

Hawke got permission from Sink before putting her name in the song — and says she sometimes asks permission even when she doesn’t name-drop. “It’s a weird feeling to be written about,” she says. “I’ve had it in my own life from people that I love, who didn’t name-drop me but wrote about me. It can feel exposing and vulnerable. And also, Miley Cyrus said this — feelings enter your body and that’s not who you are. To write a great song, sometimes you wanna zero in on a singular feeling. And really, that’s just a moment. If you write a really angry song about somebody you love, you wanna be like, ‘Hey, just so you know — I’m not angry at you. I was angry at you on a day that was really inspiring and created this thing. Do you feel OK about me sharing that with the world?'”

The first single, “The Devil You Know,” is about the “gremlin” of ambition, and a wake-up call Hawke got when someone asked when success would ever be “enough.” “The only time it would ever feel like enough is if it was too much,” she says. “If it started to impede my ability to be anonymous, to be free. And I don’t want that. The only thing that would satisfy the gremlin in me is the ruination of my freedom. So I’ve gotta go talk to the gremlin and figure out a way to make a deal. That’s the devil in the song. The gremlin who’s like, ‘More. You must do better. This person is more successful than you.’ You’ve gotta talk to that guy and be like, ‘OK, how can we work something out?’ This jealousy isn’t helping me. It’s not making me a better artist.”

Hawke started as a lyricist and was initially afraid to get into the music side of songwriting, in part because she was intimidated by the extraordinary musicians around her. “I just didn’t think I was any good,” she says. “And this is where great fortune meets its own complications. If I hadn’t met people like that, I probably would’ve made demos in my room and put them on YouTube. But that wasn’t the hand I was dealt. I was dealt a hand where it was like, ‘Hey, come over, I’ve got the greatest guitar player in the world here who wants to write a song with you.’ That’s a really intimidating environment to be like, ‘But maybe what about this?’ It took a while and a lot of encouragement to think my idea was worthwhile — not because it was better, but because it was mine”.

I am going to wrap up with an article from People. They got an exclusive, as Maya Hawke teased some plans for her summer. I do wonder if she will extend her tour run and visit the U.K. and Europe. No doubt there will be new acting projects. I am curious if we will get surprises relating to MAITREYA CORSO and any surprise appearances and collaborations:

“Speaking with PEOPLE in an exclusive interview at the premiere of her latest film project, the sci-fi rom-com Wishful Thinking, at SXSW on March 12, the 27-year-old Stranger Things actress teased her summer plans.

"I wish I could tell you, but I can't," Hawke explained. "But right now, I'm really looking forward to putting my record out and doing a little tour, but that's more spring. I'm really looking forward to this movie.”

“For the full summer, I wish I could tell you, but I can't," she reiterated.

Asked if she just didn't know what her plans were yet or if she had something top secret in store, Hawke said simply responded, “Secret.”

In Wishful Thinking, Hawke stars alongside Lewis Pullman as a couple who go to therapy together, only to find that their relationship is affecting the world around them.

The cast also includes Randall Park, Jake Shane and Amita Rao.

Before SXWS, Hawke tied the knot with Christian Lee Hutson on Feb. 14.

She has been with the musician since 2023, and a few of her Stranger Things costars attended the wedding, including Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Sadie Sink, Natalia Dyer, Charlie Heaton and Joe Keery.

Hawke's parents, Uma Thurman and Ethan Hawke, were also present at her surprise New York City nuptials. The Inside Out 2 voice actress and Hutson, 35, both wore Prada outfits for the ceremony.

"It's awesome. I cannot recommend highly enough dating your friends. It's the best. They know you, and as a human being who has dated other people," she said about her relationship during an appearance on the Zach Sang Show.

She also has some additional projects on the horizon, including playing Wiress in Hunger Games: Sunrise on the Reaping and a starring in a leading role in a psychological drama film called Lucia, but it's unclear if her summer secret ties into either of these”.

A hugely talented and wonderful artist whose voice I absolutely adore, her lyrics and what she puts into her songs is so powerful and potent. She is a wonderful songwriter and someone who I hope releases a lot more albums. Two years after I previously spotlighted Maya Hawake, I wanted to revisit ahead of the release of MAITREYA CORSO on 1st May. I feel that her fourth album will be one of 2026’s absolute best. This is an artist that I hope to…

SEE live one day soon.

______________

Follow Maya Hawke

FEATURE: The Great American Songbook: Nina Simone

FEATURE:

 

 

The Great American Songbook

PHOTO CREDIT: Getty Images/David Redfern

 

Nina Simone

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ONE of the greatest voices…

IN THIS PHOTO: Nina Simone in 1968/PHOTO CREDIT: Getty Images

that we have heard in music history, I wanted to recognise Nina Simone for this The Great American Songbook. The Carolina=born artist released her debut album, Little Girl Blue: Jazz as Played in an Exclusive Side Street Club, in 1959. She died in 2003. In 1991, Simone published her autobiography, I Put a Spell on You, and she continued to perform and attract audiences until her death. I am going to end this feature with a twenty-song mixtape featuring some of Nina Simone’s greatest songs. So many to choose from, so it has been a hard choice! In 2022, Vanity Fair published a feature regarding Nina Simone’s “Tortured Talent”. As they write: “Together, Simone’s autobiography I Put a Spell on You and Alan Light’s biography What Happened, Miss Simone? elucidate an anguished genius”. It is fascinating learning about her beginnings and everything that she achieved. Her successes as well as failings and harder moments paint this compelling and complete portrait of one of the greatest artists who has ever lived:

“When I used to get blue years ago, James Baldwin would say the same thing to me each time: ‘This is the world you have made for yourself, Nina, now you have to live in it,’” the trailblazing musician and civil rights activist Nina Simone muses in the opening lines of her 1992 autobiography, I Put a Spell on You.

Throughout this slight, remarkably placid autobiography (co-written with Stephen Cleary), one sometimes wonders—almost with relief—whether these words are actually the voice of Nina Simone. Could this possibly be the same tortured musical prodigy whose mental illness and irrational actions are brutally and heartbreakingly documented in Alan Light’s 2016 biography What Happened, Miss Simone?—a book inspired by the harrowing 2015 documentary of the same name?

But then, like flashes of lightning, Simone reveals her aching loneliness—her insecurities, her rage, her passion, and her inability to explain her oftentimes hurtful actions. A classically trained pianist who begrudgingly became “the high priestess of soul,” Simone knew people thought she was strange. Still, she found a way to connect and inspire through her extraordinary gifts, leaving behind a body of work which reveals unflinching, universal truths.

“When a person moves to their own kind of clock, spirit, flow, you’re always in congress with yourself. The challenge is, how does the congress around you accept you?” her friend Attallah Shabazz asked Light. “How does royalty stomp around in the mud and still walk with grace? Most people are afraid to be as honest as she lived.”

Carolina Girl

Nina Simone was born Eunice Kathleen Waymon in 1933, in the small resort town of Tryon, North Carolina. Her mother, Mary Kate, was a pious and renowned preacher, while her jaunty father, John Divine Waymon, was an entertainer turned entrepreneur who had fallen on hard times due to the Depression.

Simone recounts her family life and the relatively integrated, bucolic Tryon in the most sentimental, emotional, and clear-headed portion of I Put a Spell on You. As Simone recalls, her parents and siblings were considered “exceptional” in both the Black and white communities. Little Eunice became the Waymons’ brightest star at two and a half, when she taught herself to play the family organ. “Momma came into the living room and heard me playing one of her favorite hymns, ’God Be with You Till We Meet Again’ in the key of F. She was so surprised she almost died on the spot,” Simone writes.

Simone shared a special bond with John Divine.One gets the sense her entire life was spent trying to recapture the security she felt with her father, who made her laugh and loved to watch her perform. “Daddy’s favorite was ‘The Darktown Strutters’ Ball,’ and he’d sneak up in the day when Momma was out and get me to play it,” she writes. “He’d sit by the window or outside on the porch, and if he saw Momma coming down the road he’d whistle—the signal for me to switch to a more righteous tune.”

The Prodigy

Simone’s obvious gifts would soon become serious business. Her mother’s employer recognized Simone’s genius and paid for her to take piano lessons with Muriel Mazzanovich, an affectionate, tactile woman whom Simone came to see as her “white momma.” After hours spent practicing Bach in Mazzanovich’s airy, elegant studio, the two would play duets—“bright funny pieces that came as a welcome relief.”

Simone is at her most relatable describing the loneliness and isolation of a dutiful child prodigy: the punishing hours practicing, the lack of formative friendships, and the pressure of representing her race. To further her protégé’s education, “Miz Mazzy” started the Eunice Waymon Fund, and the entire community of Tryon—Black and white—chipped in. “The direction of my life was determined by their ambitions and their money, and I was promised a future I had no part in choosing,” Simone writes. This direction would include boarding school (where she was valedictorian), Julliard, and then, it was hoped, a spot at the renowned Curtis Institute of Music in Philadelphia.

But the sheltered Simone occasionally, spectacularly found her own voice. In I Put a Spell on You, she recounts a solo recital for her backers at the age of eleven. She was all set to play when she saw her parents being removed from their seats so a white family could take their place. “I …stood up in my starched dress and said if anyone expected to hear me play, they’d better make sure that my family was sitting right there in the front row where I could see them, and to hell with poise and elegance,” she writes. “The day after the recital I walked around feeling as if I had been flayed and every slight, real or imagined, cut me raw. But the skin grew back again a little tougher, a little less innocent, and a little more black.”

An Education

By 1950, Simone was studying at Julliard, and admittedly feeling awkward and out of tune with the glamorous and sophisticated women of Harlem and Brooklyn. She was further alienated when she was rejected by Curtis, which she believed was because of her race (though Light notes there are differing opinions on the reason).

While teaching piano in Philadelphia, Simone learned that her much less talented students were getting summer gigs in Atlantic City. To evade her religious mother’s wrath, the stage name “Nina Simone” was born. Her first residency was at an Atlantic City dive called Midtown Bar and Grill, where the innocent Simone ordered a glass of milk and only started singing when her employer insisted.

She quickly developed a following, with a group she refers to imperiously as “my students.” Painfully insecure offstage, she relished being in complete control over a ragtag audience far from her dreams of concert pianist stardom. “I would get through it by closing my eyes and pretending I was somewhere else, like Carnegie Hall or the Metropolitan Opera,” she writes.

Simone was soon a nightclub sensation, especially in vibrant, intellectually and musically stimulating Greenwich Village. She had a hit record with her 1957 version of “I Loves You, Porgy.” She was married to a beatnik named Don Ross, during which time her sister Francis recalled, per Light, she was drinking heavily and experimenting with drugs.

“Life blazed, and for a moment I thought I had everything I wanted,” Simone writes of these heady times. “After shows people would crowd my dressing room, leave flowers, kiss me and say they loved me. Men I had never met before, handsome men, said they loved me and I almost believed them—I wanted it to be true.”

Revolution

Simone’ s career would really take off after she married a tough, business-savvy, and abusive ex-policeman named Andy Stroud in 1961. “The way I looked at it, if I married Andy, he would be able to protect me from everything but himself,” she writes.

With Stroud managing her career, Simone became increasingly involved in the fight for civil rights, counting among her mentors James Baldwin, Odetta, Langston Hughes, and her dear friend Lorraine Hansberry, with whom “it was always Marx, Lenin and revolution—real girls talk.”

With songs like “Mississippi Goddam” and “Young, Gifted, and Black,” Simone earned the moniker bestowed on her by Stokely Carmichael: “the only singer of the civil rights movement.”

“People who lived through those times doing the same things I did, living and breathing the revolution, will tell you the same stories of how their private lives faded away for years at a time,” she writes. “The first thing I saw in the morning when I woke up was my black face in the bathroom mirror, and that fixed what I felt about myself for the rest of the day—that I was a black-skinned woman in a country where you could be killed because of that one fact.”

While recounting her involvement in the movement, one can feel Simone loosening up, relishing the human connections she made during the 1960s. With dark, twisted humor, she jokes about performing on a stage made of coffins in Alabama and attempting to seduce Louis Farrakhan after becoming obsessed with his tiny feet. She was especially amused when singer Johnny Mathis, who always bragged of having been a high school track star, sprinted off a stage when it collapsed, thinking (understandably) it had been bombed by racist agitators.

Yet Simone, whose vulnerability and fickle nature are evident in numerous contradictory passages throughout I Put a Spell on You, also admits to feeling like an outsider within a movement to which she gave so much. “I was lonely in the movement like I had been lonely everywhere else. Sometimes I think the whole of my life has been a search to find the one place I truly belong.”

The Betrayal

As Light notes, this alienation was undoubtedly not helped by Simone’s increasingly debilitating mental illness. She was later diagnosed as bipolar.

Though Simone is sparing when discussing her mental instability, she does describe her first real breakdown during a tour with Bill Cosby in 1967. “Andy walked into my dressing room and found me staring into the mirror putting make-up in my hair, brown make-up, because I wanted to be the same color all over,” she writes. ”He tried to get me to talk sense, but I said things like…I was Grandma Moses…I had visions of laser beams and heaven, with skin—always skin—involved in there somewhere.”

By the late 1960s, Simone was lashing out, heartbroken in part by the stagnant struggle for civil rights. “America betrayed me, betrayed my people and stamped on our hopes. Andy had betrayed me too,” she writes. “I felt like I was being attacked on all sides: the whole world was ganging up on Nina Simone.”

Simone retreated to Barbados in 1969, leaving behind Andy and their daughter, Lisa (who asserts she was physically abused by Simone). Even more inexplicably, she abandoned her beloved father after overhearing him brag that he had supported her family growing up, though it was her mother who had really kept them afloat. “I walked into the kitchen and told him he wasn’t my daddy anymore because I disowned him. From that moment I had no father,” she writes.

She held true to her vow. While her father was dying, Simone recalls staying in Tryon with Mazzanovich. Despite her family’s constant appeals, she refused to visit him on his deathbed. The day he was buried in North Carolina, Simone was performing in D.C., singing a song she just written about him which ended with these cryptic last lines: “When he passed away, I smoked and drank all day. Alone. Again. Naturally.”

Exile

“I had done things I could not explain to people I loved most…I couldn’t go home without explaining myself, and I didn’t know how,” Simone writes. “The truth was I had no home anymore.”

After recounting the death of her father, I Put a Spell on You becomes increasingly erratic and disjointed, mirroring the chaos of Simone’s life during the 1970s and 1980s. As Light notes, much of the book is dedicated to men Simone believes could have saved her, although she does not mention the many affairs with women her family and friends claim she enjoyed.

For a time, she was the mistress of Barbados Prime Minister Earl Barrow. “I was his courtesan and he was my pasha,” she recalls. She then moved with Lisa to Liberia, where she felt a wild sense of freedom and descended into hedonism and divadom At one party, which inspired her joyful song “African Calypso,” she stripped naked and danced for two hours, fueled by champagne.

But according to guitarist Al Shackman not everyone was thrilled to have Nina in Liberia. “They couldn’t stand her in Africa,” he told Light. “Her maids—oh, she was just awful. If she were a queen, the streets would rumble.”

During these tumultuous years, Simone became increasingly hostile towards her audiences, once chasing a fan in Casablanca out of a show with a knife. She found occasional solace and compassion with other bright lights—an understanding, reverential David Bowie and her old friend James Baldwin, who touchingly helped her during a show in New York.

“Song after song collapsed midway through, with Simone complaining about the microphones and the lights, until eventually Baldwin came out and sat with her onstage,” guitarist Al Schackman recalled, per Light. “He said, ‘Nina, I think you should sing,’ and she replied, ’James, yes, of course—I like you, I know you like me, so if you think I should sing, I will sing.’”

To The Bitter End

By the early 1980s, Simone was down and out in Paris. “Living in a tiny apartment, Simone would stand on the sidewalk in front of various Latin Quarter nightclubs and invite passersby to come in and see her perform,” Light writes.

Eventually Simone rebuilt her career and began taking medicine to treat her mental illness. But she remained volatile and reactive, aware that her emotions were often out of control.

Despite the turmoil, Simone claims in her autobiography to have had no regrets.

“I know she felt like she was alone, and she was still fighting while everybody else was happy that they had gotten their certificate,” Lisa told Light. “She never stopped speaking out against injustice. I think that Mom’s anger is what sustained her, really what kept her going. It just became who she was.”

Nina Simone died at her home in the French seaside town of Carry-le-Rouet on April 21, 2003. At last, she was at peace”.

With one of the absolute best songbooks in music history, artists influenced by Nina Simone include Jeff Buckley, Alicia Keys, Lauryn Hill, Erykah Badu, Tracy Chapman, and Meshell Ndegeocello. Zoe Saldaña was cast as Nina Simone in the 2016 biopic, Simone, but that drew criticism for the casting of a light-skinned Black woman. She had her skin darkened and a prophetic nose for the role. The actress did apologise and said she should never have stepped into Simone’s shoes (the film was widely panned). I do think Nina Simone deserves another biopic, but have a different actor – one endorsed by Simone’s estate – playing her. You feel Viola Davis would be a good choice. Maybe an artist playing Simone. Would casting Doechii be a good fit? Or casting an unknown actor or artist? In any case, this musical goddess warrants…

FAR better.

FEATURE: Cher at Eighty: Love and Understanding: Celebrating the Icon’s Career-Spanning L.G.B.T.Q.I.A.+ Advocacy

FEATURE:

 

 

Cher at Eighty

PHOTO CREDIT: Swan Gallet for WWD

 

Love and Understanding: Celebrating the Icon’s Career-Spanning L.G.B.T.Q.I.A.+ Advocacy

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I did recently…

feature Cher as part of my The Great American Songbook series, so I won’t repeat that and do another mixtape. However, I do have to write about her again, as she turns eighty on 23rd May. I was thinking about what defines Cher. It is her endurance and consistency. How she has helped shape music and changed it too. However, one of the most notable and best aspects of her as a human and artist is her advocacy for the L.G.B.T.Q.I.A.+ community. An icon and trailblazer, she is revered and seen as one of their most staunch and unwavering allies. That is needed in music now arguably as much as ever. I am going to drop in examples where Cher has either defended L.G.B.T.Q.I.A.+ people or shown her support. I am going to include some songs along the way, not necessarily gay anthems or those that are especially resonant to the L.G.B.T.Q.I.A.+ community. I will start out with an article from Advocate, which was published in 2024. Admitting that she had been obsessed with gay men since she was nine, Cher “reflected on her relationship with the LGBTQ+ community during a surprise appearance at the Abbey in West Hollywood”:

“Meeting gay men for the first time was “love at first sight” for Cher when she was only 9 years old, the iconic entertainer said during a surprise appearance Thursday at the Abbey, the famous LGBTQ+ bar in West Hollywood.

“The first gay guys I ever met, I was 9 years old,” she said at an event for the Abbey’s new owner, Tristan Schukraft, who bought the bar from David Cooley last year; video was posted online by Marc Malkin of Variety and others. “I walked into my house and there were these two guys there and they started talking to my mom and mom’s best friend. I was thinking, Where have they been hiding these guys? I’m 9, but I thought, Wait a minute … why aren’t the other guys as funny as these guys? It was really love at first sight.”

Cher also gave a shout-out to her LGBTQ+ fans. “One thing I have to say that is serious, that is from the heart, is that I’ve had really ups and downs in my career — I mean, really! — and you guys never left me,” she said. “So thank you.” She had entered the bar singing “Song for the Lonely.” She is a longtime ally to the community and mother of a transgender son, Chaz Bono”

There is a lot of articles and different pieces I could bring together, and the timeline is slightly all over the place here. However, as a performer, Cher is someone who will not perform in a nation who has is anti-gay/trans and does not support the L.G.B.T.Q.I.A.+ community. Unfortunately, that maybe includes America now under President Trump. In 2013, Cher refused to play in Russia for the Winter Olympics:

“Cher claims to have rejected an invitation to perform at the Sochi Winter Olympics. Although she was asked to participate in February's official opening ceremonies, the singer said she "immediately" refused out of solidarity with Russia's gay community.

Speaking with the Canadian magazine Maclean's, Cher recounted receiving a call from a friend "who is a big [Russian oligarch]". "[He] asked me if I'd like to be an ambassador for the Olympics and open the show," she said. "I immediately said no. I want to know why all of this gay hate just exploded over there. He said the Russian people don't feel the way the government does”.

Cher is no stranger to Russia: she has performed there twice in the past year. And while she said she "can't name names" when it comes to her friend the oligarch, both of her recent gigs were at the invitation of billionaire businessman/politician Suleyman Kerimov. Kerimov is the world's 162nd-richest man, according to Forbes; he is also a huge Cher fan. He brought the Believe singer to Moscow for a private party in December 2012, and then to his home province of Dagestan this July for the opening of a new football stadium. "Russia is Great … COLD BUT GREAT!" Cher tweeted at the time of the December show. "Here is pic of me wearing my friend's [giant, fur] hat!"

Cher is a longtime advocate of LGBT rights, spurred by events "in the early days" of Sonny and Cher, as well as her experiences as mother to a transgender child. "People hated Sonny and I ... because we looked and acted so different," she told Maclean's. "Sonny was always getting into fights – people would called him 'fag' and he'd get his nose broken – only because we were dressing different … You can't forget that”.

There are a couple of other articles I will get to before wrapping this up. Which artist would you say is the greatest and most prolific gay rights activist and ally ever? Many might jump to Madonna. That would be a good shout. Though think about Cher and all the times she has stood up for gay rights and supported the L.G.B .T.Q.I.A.+ community. This article from The Blunt Post argues Cher is the greatest gay icon of all time. This was published in 2018, so it might need updating:

“1983: She played a lesbian opposite Meryl Streep in the film, Silkwood, and was nominated for her first Academy Award.

1989: She released the smash hit If I could turn back time, with a groundbreaking video and reinvented herself once again. The video was filmed on The Queen Mary with hundreds of US Navy sailors. She wore a sexy see-through outfit that vowed the public and redefined what a woman in her forties can do.

1995: Cher’s then daughter, Chastity Bono, came out as a lesbian and went on to be the President of GLAAD (Gay and Lesbian Alliance against Defamation).

1997: Recognized as one of the LGBT community’s most vocals advocates, Cher was invited as the keynote speaker for the 1997 national Parents, Families, & Friends of Lesbians and Gays (PFLAG) convention.

1998: Cher reached a new commercial peak with the album Believe, whose title track became the biggest-selling single of all time by a female artist in the UK. It featured the pioneering use of Auto-Tune, also known as the “Cher effect”. It played at clubs across the globe and Cher reached a whole new generation of fans.

1998: Cher was honored with a GLAAD Media Award (Gay and Lesbian Alliance Against Defamation) Vanguard Award.  The honor is presented to a member of the entertainment or media community who has made a significant difference in promoting equal rights for the LGBT community.

2000 & 2002: The NBC sitcom Will & Grace acknowledged her status by making her the idol of gay character Jack McFarland. In 2000, Cher made a cameo on the show, in which Jack believed her to be a drag queen and said he could “do” a better Cher himself. In 2002, she portrayed God in Jack’s imagined version of Heaven.

008-2010: Chaz Bono underwent female-to-male gender transition. In May 2010, he legally changed his gender and name, a decision Cher supported wholeheartedly and publicly.

2012: Cher attended the GLAAD Media Awards and presented Chaz with GLAAD’s Stephen F. Kolzak Award, which is presented annually to an openly lesbian, gay, bisexual or transgender media professional who has made a significant difference in promoting equality. Cher was joined on stage by Rep. Mary Bono Mack (Sonny Bono’s second wife and widow).

2018: Cher starred in Mamma Mia! Here We Go Again, arguably one of the gayest films in recent years and reunites her with her good friend, Meryl Streep”.

There is a remarkable article from Pride Source that is also from 2018. It was timely, as Cher, in their words, “did her gay-icon due diligence by helicoptering onto the set of "Mamma Mia 2! Here We Go Again". I hope that, as she turns eighty soon, there are new interviews where we get to see how she continues to champion, defend and speak for the L.G.B.T.Q.I.A.+ community:

“In July, she did her gay-icon due diligence by helicoptering onto the set of "Mamma Mia 2! Here We Go Again" to play the role she'd been playing in front of the world, most discernibly to generations of baby-gays and grown-up gays: maternal pillar. When I met Cher in 2016 on Halloween at a fundraiser stop for Hillary Clinton in the suburbs of Michigan, I was struck by her Cher-ness, the glitzy legend momentarily eclipsed by her warm, inviting humanness.

Armed with a cannon of glittery ABBA bops, Cher has come to our rescue once again with an ode to the Swedish disco-pop supergroup titled – what else? – "Dancing Queen," her 26th album and first since 2013's "Closer to the Truth." In December, "The Cher Show," the musical about her life, which she is co-producing, officially opens on Broadway. And next year, because she just can't help herself, she will embark on a tour appropriately titled "Here We Go Again."

The night we spoke, Cher was laid-back, reflective and full of hearty chuckles as she talked about that Walgreens detour, kissing "Silkwood" co-star Meryl Streep, the wedding dress she'd wear to Trump's impeachment party, the "breadcrumbs" of her legacy, Twitter, the devil, jumping out of a window – and not only her long-standing influence on the LGBTQ community, but our influence on her.

You could've easily found enough inspiration in the world's current plight for another album like your 2000 indie album "Not Commercial," which was dark.

But we don't need that right now! We need ABBA right now! If anything, we need to not be brought down because everything is so terrible. I was just talking to this one boy who came in and he was asking me what did I really think and I said, "Babe, I think the picture's bleak. I think everyone's gotta vote."

Thankfully, "Dancing Queen" is a slice of gay heaven in hell.

Well, look, I wasn't doing it for that, but I'm happy if it can make people happier than they were before they heard it.

When were you first aware that the LGBTQ community identified you as a gay icon?

I don't think I was when I was with Sonny. I think it happened on "The Sonny and Cher Show" (which ran from 1976-1977), somehow. I don't know – I don't know how that happens. I mean, how does it happen? I have no idea! It's just like, we made a pact and we're a group and that's it.

But you were seeing more of the LGBTQ community come out at some point? There was a switch?

Yeah, there was a change, there was definitely a change. And I think it was when I was not with Sonny anymore, and then somehow it all started to click. But I always had gay friends. I actually almost got arrested at a party with my best friend at school. He was gay but he couldn't let anybody know, and he wanted me to go with him to a party and the party got raided. And we jumped out the bathroom window! It was high. We had to go over the bathtub into the window and jump out.

Do you recall the moment that galvanized you to stand up as an ally for the LGBTQ community?

I really don't know if there was a moment. I'm not sure there was a moment; I'm not sure what it was. I just feel that, probably, there was a moment where guys thought I was just one of you. It's like, there's a moment where you're either part of the group and you're absorbed into the group and people love you as part of the group, or they don't even know you're alive, you know? Gay men are very loyal.

Look, I have a friend (makeup artist) Kevyn Aucoin – he's dead now – but he told me when he was young, he was growing up in some place in Louisiana and said how horrible it was to have to hide and be frightened, and he said he loved listening to Cher records. I think that's a dead giveaway! Haha! If you want to hide being gay, do not buy Cher records!

And I had another friend who had a Cher poster on his wall. I don't remember where he came from – some small town too – and his dad ripped it off the wall and he bought another one, put it inside his closet and said it was a way to really be who he was in spite of who his dad wanted him to be.

When in your life have you felt like the LGBTQ community was on your side when the rest of the world maybe was not?

Always. I remember when I was doing (the play) "Come Back to the Five and Dime" (in 1976) and we had standing room only before we got reviewed, and after we got reviewed nobody came except the community – the community, and little grey-haired old women who came to matinees. We managed to stay open until we could build back up the following. Also, the gay community, they just don't leave you, they stay with you; that's one thing that always keeps you going.

What does that loyalty mean to you?

There's been sometimes where I was just, you know, heartbroken about things, but it always gives you hope when there are people who think that you're cute and worthwhile and an artist. It's a great thing to have in your back pocket.

How do you hope your role as the mother of a trans son, Chaz Bono, has influenced other parents of LGBTQ kids?

This is what I think, and this is what I would hope: I would hope that, look, I didn't go through it that easily. Both times. When I found out Chaz was gay, I didn't go through it that easily; when I found out Chaz was (transitioning) … except we talked about it a lot, actually. But then Chaz didn't mention it anymore, so I kind of forgot. And what I think is, there's such a fear of losing the child you love, and what will replace that child.

I think it's about the fear, mostly. I felt, who will this new person be? Because I know who the person is now, but who will the new person be and how will it work and will I have lost somebody? And then I thought of something else: I thought, my god, if I woke up tomorrow and I was a man, I would be gouging my eyes out. And so I know that if that's what you feel then that must be so painful that it doesn't make any difference what anyone else feels or what anyone else thinks. Chaz is so happy now and we get along better than ever”.

It is a very bleak time in America. For so many reasons. When it comes to women’s rights and body autonomy. Abortion being criminalised and President Trump, a known abuser and misogynist, making sure women have fewer rights and less freedom than any time in recent history. In terms of rights of the trans community, they are more vulnerable and less heard than ever before. In 2023, Cher spoke out for trans rights. How we all need to stand together at a moment when trans people are being demonised and seen by some governments, including Trump’s, as almost sub-human. Their safety as in jeopardy as it has been ever arguably. A powerful and consistent ally such as Cher is definitely not wavering:

“Cher is sounding the alarm about the unprecedented number of anti-trans bills that have been introduced by Republicans in state houses across the U.S. this year.

While promoting her first-ever holiday album, Christmas, out this Friday, the “Believe” singer seemed aghast when asked about the GOP’s anti-trans crusade ahead of the 2024 election.

“It’s something like 500 bills they’re trying to pass,” she told The Guardian.Bottom of Form

In fact, the American Civil Liberties Union is currently tracking 501 anti-LGBTQ+ bills that have been introduced, and in some cases passed into law, across the country during the 2023 legislative session. Those include bans on gender-affirming care for trans young people and laws restricting which bathrooms trans people can use and the sports teams on which they can compete.

“I was with two trans girls the other night – and of course my own child,” Cher continued, referring to her son, Chaz Bono, who is trans. “I was saying, ‘We’ve got to stand together.’ I don’t know what their eventual plan is for trans people. I don’t put anything past them.”

A long-time LGBTQ+ ally—not to mention a gay icon—Cher has spoken candidly about her struggle to come to terms with Bono coming out as trans.

“I think it’s about the fear, mostly. I felt, who will this new person be? Because I know who the person is now, but who will the new person be and how will it work and will I have lost somebody?” she told PrideSource in 2018.

In the years since Bono began transitioning in 2008, however, Cher has been a tireless defender of her son, blasting transphobic critics on the Ellen DeGeneres Show in 2011. “If you got that excess time and that amount of hostility, I’m not so sure that I can say anything to you that would make you change your feelings,” she said. “Those are such feelings of hostility and fear, that I don’t know that I would have any magic words to make you feel more comfortable and to soothe you into not being terrified of my child dancing on ‘Dancing With the F–king Stars.’”

Following the 2016 election, she told LGBTQ Nation “I shudder to think” what Donald Trump’s presidency might mean for transgender Americans.

“I almost got an ulcer the last time,” Cher told The Guardian of a potential second Trump victory. “If he gets in, who knows? This time I will leave [the country]”.

You knew Cher has a nasty and cold feeling. That Trump would roll back trans rights and block any pro-trans bills and orders within hours of coming back into The White House. This 2025 article provided some sobering and awful truths about Trump and his attitudes towards the trans community:

“Within hours of returning to power Monday, United States President Donald Trump issued a stunningly broad executive order that seeks to dismantle crucial protections for transgender people and denies the validity of gender identity itself.

The new order withdraws a range of executive orders issued by former President Joe Biden, including those allowing transgender people to serve in the military, advancing the health and well-being of lesbian, gay, bisexual, and transgender (LGBT) youth, and interpreting federal sex discrimination protections in domains like education, housing, and immigration to prohibit discrimination based on sexual orientation or gender identity.

The order states that the US government will recognize only two sexes, male and female, that are fixed at birth, and orders government agencies to end all reference to and consideration of a person’s gender identity. This sweeping redefinition threatens federal programs used by transgender people and impacts federal documentation such as passports, which can currently reflect the gender identity of transgender and nonbinary people.

The order also pledges to withhold federal funding from any programs that promote “gender ideology,” echoing language used by right-wing movements across Europe and Latin America to oppose not only recognition of transgender people but broader sexual and reproductive rights.

Worryingly, it instructs agencies to house transgender people in detention according to their sex assigned at birth, putting them at extreme risk of physical and sexual violence, and to withhold gender-affirming care in prisons, which can amount to cruel, inhuman, and degrading treatment or punishment under international law. The order further instructs the Department of Justice to help agencies reinforce sex-segregated spaces that exclude transgender people, potentially excluding transgender individuals from everyday facilities like bathrooms but also from crucial services like shelters for those facing homelessness and intimate partner violence”.

Transgender rights in the US are currently heavily contested, with a stark divide between states passing restrictive legislation and others expanding protections. As of 2025–2026, over twenty-five states have restricted gender-affirming care for minors, while federal protections are fluctuating. Major debates centre on healthcare access, bathroom usage, and sports participation. This anti-trans bill tracker gives us real-time information about the bills passed and where in the U.S. At the time of writing this (5th April), there have been 755 bills across forty-two states. Twenty-six passed, 666 active and sixty-three have failed. Texas has passed the most anti-trans bills. Missouri, Oklahoma, and West Virginia are not far behind. Other high-impact states for passing restrictive laws include Idaho, Arkansas, and Wyoming. Cher was born in California. California has passed zero anti-transgender bills in recent years, as the state actively pursues pro-equality legislation and serves as a ‘shield’ state for gender-affirming care. Conversely, California is a leader in passing pro-transgender legislation, with over 200 LGBTQ+ bills enacted as of September 2025. Governor Gavin Newsom has signed numerous bills strengthening protections for transgender and nonbinary people regarding privacy, healthcare, and identification. This is heartening to see. Civility and humanity in one of the biggest and most important states in the U.S. As this revered icon and fearless, consistent and committed champion for the L.G.B.T.Q.I.A.+ community enters her ninth decade on 23rd May, I wanted to highlight some of her important words, advocacy and great work here – whilst peppering in some Cher classics! I am not sure what her position is about remain in the U.S. Cher still live in the U.S. but I feel that she might relocate if President Trump doubles-down his anti-trans hatred. Trying to almost eradicate or neutralise the community. This incredible advocate for communities still attacked, vilified and seen as immoral by so many nations and states of the U.S. has Cher in their corner. It might be a long road (especially in the UJ.S.) before there is equity, freedom and acceptance but, with women like Cher standing firm and not budging, this is a huge reason…

TO believe.

FEATURE: The Great American Songbook: Miles Davis

FEATURE:

 

 

The Great American Songbook

IN THIS PHOTO: Miles Davis in New York, March/April, 1959/PHOTO CREDIT: Don Hunstein

 

Miles Davis

__________

THERE is no denying how Miles Davis…

PHOTO CREDIT: Horace/ZumaPress

is one of the greatest and most influential Jazz musicians ever. In terms of his style and his legacy, there are few that match his heights. He would have turned one-hundred on 26th May. He died in 1991 aged only sixty-five. However, in his lifetime, he released scores of albums and claimed so many honours. He lived this incredible life. I am going to end this feature with a twenty-song mixtape featuring some of his finest work. That is a hard job considering his phenomenal and epic catalogue! Before getting there, below is some biography about the master:

“A monumental innovator, icon, and maverick, trumpeter Miles Davis helped define the course of jazz as well as popular culture in the 20th century, bridging the gap between bebop, modal music, funk, and fusion. Throughout most of his 50-year career, Davis played the trumpet in a lyrical, introspective style, often employing a stemless Harmon mute to make his sound more personal and intimate. It was a style that, along with his brooding stage persona, earned him the nickname "Prince of Darkness." However, Davis proved to be a dazzlingly protean artist, moving into fiery modal jazz in the '60s and electrified funk and fusion in the '70s, drenching his trumpet in wah-wah pedal effects along the way. More than any other figure in jazz, Davis helped establish the direction of the genre with a steady stream of boundary-pushing recordings, among them 1957's chamber jazz album Birth of the Cool (which collected recordings from 1949-1950), 1959's modal masterpiece Kind of Blue, 1960's orchestral album Sketches of Spain, and 1970's landmark fusion recording Bitches Brew. Davis' own playing was obviously at the forefront of those changes, but he also distinguished himself as a bandleader, regularly surrounding himself with sidemen and collaborators who likewise moved in new directions, including the luminaries John Coltrane, Herbie Hancock, Bill Evans, Wayne Shorter, Chick Corea, and many more. While he remains one of the most referenced figures in jazz, a major touchstone for generations of trumpeters (including Wynton Marsalis, Chris Botti, and Nicholas Payton), his music reaches far beyond the jazz tradition, and can be heard in the genre-bending approach of performers across the musical spectrum, ranging from funk and pop to rock, electronica, hip-hop, and more.

Born in 1926, Davis was the son of dental surgeon, Dr. Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis, and grew up in the Black middle class of East St. Louis after the family moved there shortly after his birth. He became interested in music during his childhood and by the age of 12 began taking trumpet lessons. While still in high school, he got jobs playing in local bars and at 16 was playing gigs out of town on weekends. At 17, he joined Eddie Randle's Blue Devils, a territory band based in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine's big band, which was playing in St. Louis. The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterized by fast, inventive soloing and dynamic rhythm variations.

It is striking that Davis fell so completely under Gillespie and Parker's spell, since his own slower and less flashy style never really compared to theirs. But bebop was the new sound of the day, and the young trumpeter was bound to follow it. He did so by leaving the Midwest to attend the Institute of Musical Art in New York City (renamed Juilliard) in September 1944. Shortly after his arrival in Manhattan, he was playing in clubs with Parker, and by 1945 he had abandoned his academic studies for a full-time career as a jazz musician, initially joining Benny Carter's band and making his first recordings as a sideman. He played with Eckstine in 1946-1947 and was a member of Parker's group in 1947-1948, making his recording debut as a leader on a 1947 session that featured Parker, pianist John Lewis, bassist Nelson Boyd, and drummer Max Roach. This was an isolated date, however, and Davis spent most of his time playing and recording behind Parker. But in the summer of 1948, he organized a nine-piece band with an unusual horn section. In addition to himself, it featured an alto saxophone, a baritone saxophone, a trombone, a French horn, and a tuba. This nonet, employing arrangements by Gil Evans and others, played for two weeks at the Royal Roost in New York in September. Earning a contract with Capitol Records, the band went into the studio in January 1949 for the first of three sessions and produced 12 tracks that attracted little attention at first. The band's relaxed sound, however, affected the musicians who played it, among them Kai Winding, Lee Konitz, Gerry Mulligan, John Lewis, J.J. Johnson, and Kenny Clarke, and it had a profound influence on the development of the cool jazz style on the West Coast. (In February 1957, Capitol finally issued the tracks together on an LP called Birth of the Cool.)

Davis, meanwhile, had moved on to co-leading a band with pianist Tadd Dameron in 1949, and the group took him out of the country for an appearance at the Paris Jazz Festival in May. But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s. His performances and recordings became more haphazard, but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years. He managed to kick his habit by the middle of the decade, and he made a strong impression playing "'Round Midnight" at the Newport Jazz Festival in July 1955, a performance that led major-label Columbia to sign him. The prestigious contract allowed him to put together a permanent band, and he organized a quintet featuring saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, who began recording his Columbia debut, 'Round About Midnight, in October.

As it happened, however, he had a remaining five albums on his Prestige contract, and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment. The latter resulted in the Prestige albums The New Miles Davis Quintet, Cookin', Workin', Relaxin', and Steamin', making Davis' first quintet one of his better-documented outfits. In May 1957, just three months after Capitol released the Birth of the Cool LP, Davis again teamed with arranger Gil Evans for his second Columbia LP, Miles Ahead. Playing flügelhorn, Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones. Released in 1958, the album was later inducted into the Grammy Hall of Fame, intended to honor recordings made before the Grammy Awards were instituted in 1959.

In December 1957, Davis returned to Paris, where he improvised the background music for the film L'Ascenseur pour l'Echafaud. Jazz Track, an album containing this music, earned him a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group. He added saxophonist Cannonball Adderley to his group, creating the Miles Davis Sextet, which recorded Milestones in April 1958. Shortly after this recording, Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums. In July, Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess. Back in the sextet, Davis began to experiment with modal playing, basing his improvisations on scales rather than chord changes.

This led to his next band recording, Kind of Blue, in March and April 1959, an album that became a landmark in modern jazz and the most popular album of Davis' career, eventually selling over two million copies, a phenomenal success for a jazz record. In sessions held in November 1959 and March 1960, Davis again followed his pattern of alternating band releases and collaborations with Gil Evans, recording Sketches of Spain, containing traditional Spanish music and original compositions in that style. The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance, Large Group, and Best Jazz Composition, More Than 5 Minutes; they won in the latter category.

By the time Davis returned to the studio to make his next band album in March 1961, Adderley had departed, Wynton Kelly had replaced Bill Evans at the piano, and John Coltrane had left to begin his successful solo career, being replaced by saxophonist Hank Mobley (following the brief tenure of Sonny Stitt). Nevertheless, Coltrane guested on a couple of tracks of the album, called Someday My Prince Will Come. The record made the pop charts in March 1962, but it was preceded into the best-seller lists by the Davis quintet's next recording, the two-LP set Miles Davis in Person (Friday & Saturday Nights at the Blackhawk, San Fr…, recorded in April. The following month, Davis recorded another live show, as he and his band were joined by an orchestra led by Gil Evans at Carnegie Hall in May. The resulting Miles Davis at Carnegie Hall was his third LP to reach the pop charts, and it earned Davis and Evans a 1962 Grammy nomination for Best Jazz Performance by a Large Group, Instrumental. Davis and Evans teamed up again in 1962 for what became their final collaboration, Quiet Nights. The album was not issued until 1964, when it reached the charts and earned a Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group.

In 1996, Columbia Records released a six-CD box set, Miles Davis & Gil Evans: The Complete Columbia Studio Recordings, that won the Grammy for Best Historical Album. Quiet Nights was preceded into the marketplace by Davis' next band effort, Seven Steps to Heaven, recorded in the spring of 1963 with an entirely new lineup consisting of saxophonist George Coleman, pianist Victor Feldman, bassist Ron Carter, and drummer Frank Butler. During the sessions, Feldman was replaced by Herbie Hancock and Butler by Tony Williams. The album found Davis making a transition to his next great group, of which Carter, Hancock, and Williams would be members. It was another pop chart entry that earned 1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist or Small Group and Best Instrumental Jazz Performance by a Large Group. The quintet followed with two live albums, Miles Davis in Europe, recorded in July 1963, which made the pop charts and earned a 1964 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group, and My Funny Valentine, recorded in February 1964 and released in 1965, when it reached the pop charts.

By September 1964, the final member of the classic Miles Davis Quintet of the '60s was in place with the addition of saxophonist Wayne Shorter to the team of Davis, Carter, Hancock, and Williams. While continuing to play standards in concert, this unit embarked on a series of albums of original compositions contributed by the bandmembers themselves, starting in January 1965 with E.S.P., followed by Miles Smiles (1967 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group [7 or Fewer]), Sorcerer, Nefertiti, Miles in the Sky (1968 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group), and Filles de Kilimanjaro. By the time of Miles in the Sky, the group had begun to turn to electric instruments, presaging Davis' next stylistic turn. By the final sessions for Filles de Kilimanjaro in September 1968, Hancock had been replaced by Chick Corea and Carter by Dave Holland. But Hancock, along with pianist Joe Zawinul and guitarist John McLaughlin, participated on Davis' next album, In a Silent Way (1969), which returned the trumpeter to the pop charts for the first time in four years and earned him another small-group jazz performance Grammy nomination. With his next album, Bitches Brew, Davis turned more overtly to a jazz-rock style. Though certainly not conventional rock music, Davis' electrified sound attracted a young, non-jazz audience while putting off traditional jazz fans.

Bitches Brew, released in March 1970, reached the pop Top 40 and became Davis' first album to be certified gold. It also earned a Grammy nomination for Best Instrumental Arrangement and won the Grammy for large-group jazz performance. He followed it with such similar efforts as Miles Davis at Fillmore East (1971 Grammy nomination for Best Jazz Performance by a Group), A Tribute to Jack Johnson, Live-Evil, On the Corner, and In Concert, all of which reached the pop charts. Meanwhile, Davis' former sidemen became his disciples in a series of fusion groups: Corea formed Return to Forever, Shorter and Zawinul led Weather Report, and McLaughlin and former Davis drummer Billy Cobham organized the Mahavishnu Orchestra. Starting in October 1972, when he broke his ankles in a car accident, Davis became less active in the early '70s, and in 1975 he gave up recording entirely due to illness, undergoing surgery for hip replacement later in the year. Five years passed before he returned to action by recording The Man with the Horn in 1980 and going back to touring in 1981.

By now, he was an elder statesman of jazz, and his innovations had been incorporated into the music, at least by those who supported his eclectic approach. He was also a celebrity whose appeal extended far beyond the basic jazz audience. He performed on the worldwide jazz festival circuit and recorded a series of albums that made the pop charts, including We Want Miles (1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist), Star People, Decoy, and You're Under Arrest. In 1986, after 30 years with Columbia, he switched to Warner Bros. and released Tutu, which won him his fourth Grammy for Best Jazz Instrumental Performance.

Aura, an album he had recorded in 1984, was released by Columbia in 1989 and brought him his fifth Grammy for Best Jazz Instrumental Performance by a Soloist (on a Jazz Recording). Davis surprised jazz fans when, on July 8, 1991, he joined an orchestra led by Quincy Jones at the Montreux Jazz Festival to perform some of the arrangements written for him in the late '50s by Gil Evans; he had never previously looked back at an aspect of his career. He died of pneumonia, respiratory failure, and a stroke within months. Doo-Bop, his last studio album, appeared in 1992. It was a collaboration with rapper Easy Mo Bee, and it won a Grammy for Best Rhythm & Blues Instrumental Performance, with the track "Fantasy" nominated for Best Jazz Instrumental Solo. Released in 1993, Miles & Quincy Live at Montreux won Davis his seventh Grammy for Best Large Jazz Ensemble Performance.Miles Davis took an all-inclusive, constantly restless approach to jazz that won him accolades and earned him controversy during his lifetime. It was hard to recognize the bebop acolyte of Charlie Parker in the flamboyantly dressed leader who seemed to keep one foot on a wah-wah pedal and one hand on an electric keyboard in his later years. But he did much to popularize jazz, reversing the trend away from commercial appeal that bebop started. And whatever the fripperies and explorations, he retained an ability to play moving solos that endeared him to audiences and demonstrated his affinity with tradition. He is a reminder of the music's essential quality of boundless invention, using all available means. Twenty-four years after Davis' death, he was the subject of Miles Ahead, a biopic co-written and directed by Don Cheadle, who also portrayed him. Its soundtrack functioned as a career overview with additional music provided by pianist Robert Glasper and associates. Additionally, Glasper enlisted many of his collaborators to help record Everything's Beautiful, a separate release that incorporated Davis' master recordings and outtakes into new compositions. In 2020, the trumpeter was also the focus of director Stanley Nelson's documentary Miles Davis: Birth of the Cool, which showcased music from throughout Davis' career. Also included on the documentary's soundtrack was a newly produced track, "Hail to the Real Chief," constructed out of previously unreleased Davis recordings by the trumpeter's fusion-era bandmates drummer Lenny White and drummer (and nephew) Vince Wilburn, Jr”.

There are so many books and articles about Miles Davis you should investigate. Such a genius musician whose innovation and originality is among the most notable in all of music history. You can learn more of his legacy here, but his impact has spread far beyond the realm of Jazz. There will be celebrations and a lot written around the one-hundredth birthday of Miles Davis on 26th May. This is my salute in The Great American Songbook. Twenty amazing cuts from…

THE peerless Miles Davis.

FEATURE: Oh Yeah: Ash’s 1977 at Thirty

FEATURE:

 

 

Oh Yeah

 

Ash’s 1977 at Thirty

__________

ONE of the biggest albums…

IN THIS PHOTO: Ash circa 1996

of the mid-1990s turns thirty on 6th May. Ash’s debut album, 1977, contains huge songs like Girl from Mars and Oh Yeah. I remember it coming out and the buzz around this terrific new band. Led by Tim Wheeler, the Northern Ireland trio put out one of the best debuts of the ‘90s. With critics comparting 1977 to the best work from bands like Sonic Youth and Buzzcocks, I want to shine a light on the album ahead of its anniversary. I am going to lead in with a feature from Guitar.com that was published around the thirty-fifth anniversary of 1977 in 2021. Mere months after leaving school, “Ash released a classic power-pop debut teeming with naive teenage romanticism and soaring guitar moments”:

“There were better, more complete and certainly more sophisticated records made in the mid-90s, but few if any of the albums that arose from the height of the frequently daft Britpop boom evoke a more complete sense of misty-eyed nostalgia for the era than 1977. It feels scarcely believable that it’s already a quarter of a century old.

Ash formed in 1989 at school in Downpatrick, Northern Ireland, initially as Iron Maiden covers band Vietnam. Singer and guitarist Tim Wheeler, drummer Rick McMurray and Hamilton followed the breathless grunge-pop promise of 1994 mini-album Trailer by heading into the studio with Oasis producer Owen Morris early in 1995. They emerged with Kung Fu, written in five minutes at Belfast Airport on the way to the sessions, Girl From Mars, penned by Wheeler at the age of 16, and Angel Interceptor. The latter was recorded using The Verve’s equipment, including a drumkit once belonging to John Bonham, with Morris still in the middle of producing A Northern Soul.

A gradual introduction

Suitably impressed by three storming singles lit up by Wheeler’s swashbuckling lead playing, the band’s label, Infectious Records, packed Ash off to Rockfield Studios in South Wales to record the rest of what would become 1977. Kicking off on New Year’s Day 1996, there was one slight problem. The band arrived without nearly enough material and were forced to write the remaining songs in the studio, where Morris was “gradually introducing us to drugs,” recalls Wheeler.

“I wasn’t really ready for it, although it was all I’d ever wanted,” the singer and guitarist told this writer years later. “It was a mad time, those whole couple of years. We meant to finish it in six weeks, but it ended up taking us about two and a half months.”

With the clock ticking and pressure from the label building, work continued as the band enjoyed snowball fights with the Boo Radleys, who were recording C’Mon Kids next door. Morris, meanwhile, was becoming increasingly hedonistic, taking acid, “throwing fire extinguishers through the studio glass and dancing on top of this £500,000 console,” according to Wheeler. On one particularly extra-curricular day, the producer sent the easily-led teenagers to a provincial village charity shop to buy women’s dresses to record in.

“Technically it was our first job out of school, but it didn’t feel like a job at all,” Wheeler told Vice. “It felt more like all of our dreams coming true at once.”

A punch in the face

While the three slightly gawky looking teenagers were becoming unlikely Britpop poster boys, they didn’t subscribe to the prevailing atmosphere of Beatles, Stones and Kinks reverence. Named partly in reference to punk’s landmark year (thankfully drunken working titles Look Girls, Cut The Shit And Suck My Dick and Women & Tits were quickly rejected), 1977 betrays Ash’s love of bands such as Buzzcocks, Ramones and The Undertones. It’s hard, too, to listen to the album without hearing the influence of Dinosaur Jr’s 1988 cult classic Bug and the romantic melodicism of Teenage Fanclub’s Bandwagonesque.

While he would go on to indulge his dual-guitar Thin Lizzy fantasies when Charlotte Hatherley joined the band in 1997 (check out their cover of Weezer’s Only In Dreams for the high point of that partnership), the playing on 1977 is all Wheeler’s. First picking up the instrument at 12, he left behind initial metal tendencies when he was seduced by the quiet-loud dynamics of Nirvana, Pixies and Sonic Youth. Ash’s frontman is a self-confessed Les Paul addict, with a 1960s Les Paul Custom Black Beauty his main studio guitar these days, and his favourite live instrument an early-80s Korina Flying V, but 1977 was surprisingly recorded using a 1995 Grestch Silver Jet bought on the band’s first US tour.

Wheeler doesn’t waste a second once the TIE has disappeared into the distance on opening “punch in the face” Lose Control before unleashing the Jet. He launches into a breakneck tremolo-picked ascending octave riff and returns for a frantic solo soaked in wah and dominated by huge string bends. There’s barely a pause for breath before arguably the best song the band have written – Goldfinger. It’s a universal story of teenage romance, the bittersweet grungey chorus built around the simplest of chord structures (B♭/G♯/B/F♯/B). Wheeler delivers another corking solo, overtaken by the soaring jet engine sound of a dimed phaser, as the rain lashes down outside and he waits for his love to arrive. We never find out whether she does”.

Before moving to some reviews of the magnificent 1977, I am highlighting an interview from 1996. Tim Wheeler in Chicago speaking with Olaf Tyaransen. It must have been an exciting time for Ash, but also one that was quite scary. Going to America and promoting their music must have been quite intense for such a young band:

“Tim's here to discuss the band's current American jaunt. This is their third time touring in rock & roll's spiritual home and although their debut album 1977 (the year of Tim's birth) has now shifted nearly three quarters of a million copies worldwide, they're still far from being household names over here at the moment. If their fame could be graded like their O-Levels then they'd probably get a D. Constant touring is the key to cracking the mainstream and Ash have been doing quite a lot of it in recent months. In fact, they've only managed to spend four days at home in Northern Ireland so far this year, having spent most of '96 living on a tourbus.

"We started touring last spring with a tour of the UK," he recounts wearily, "then we did Europe and then a few Irish dates. After that we spent almost all the summer in America. Then we came back and did a few European festivals like Reading and stuff. We got a few weeks off and then we started this big tour where we did Thailand, Japan, Australia and New Zealand. Then we came straight out here again."

Ash are now five weeks into an exhaustive two-and-a-half month tour of the States. They're not actually playing many headline gigs themselves, sensibly choosing to ride the slipstream of more established bands instead. Next month they're playing a few dates with Weezer and a support slot with Bush is also on the cards for next year. At the moment, however, they're playing with Chicago techno-punksters Stabbing Westward, whose homecoming gig it is tomorrow night.

"They're really cool," says Tim. "They're a band that's really on the up over here. They're pretty big on MTV and stuff so it makes a big difference touring with someone who's really drawing in big crowds and stuff. Like, it's much better than playing our own little club shows.

"The last time we were here was good as well, but we were playing to much smaller audiences. We were sorta selling out really small clubs and getting a really good reaction from everybody who saw us but still it wasn't an awful lot of people, so I think it just takes a lot of time here, touring and building up a fanbase. Once this tour is over we probably won't come back until after the next album's released. And then we'll probably spend a lot of time here."

Have you begun working on the next album yet?

"No, I haven't done anything," he says, shaking his head ruefully. "I haven't written any new stuff because it's just been so hectic with all the touring we've done so far this year. I don't really wanna rush the next record because it's really important. So we'll just take it easy and wait till we've some time off before we start getting into it."

Any ideas about how it'll sound?

"I'd say the music will be pretty different," he avers. "It'll be better, stronger. I think the best thing we've ever done was the 'Goldfinger' song. It's quite different from all our other stuff and I think we'd like to go more in that direction. More dark and mysterious. Not so poppy but still very melodic. I've actually just been asked to write a song for the new film by the guys who made Trainspotting. It's gonna star Ewan McGregor and Cameron Diaz and I'd say it's gonna be huge in America. It's actually set here - it's a gangster movie, a kind of romantic comedy. But it's being made by British people so it'll probably take the piss a bit. It should be pretty cool. So we're gonna write a new song in January for it. We're gonna do a brilliant job on it as well."

Although Ash are a three-piece, Wheeler is still very much the band-leader and driving creative force behind them. "I wrote most of the last album myself but Mark sometimes writes new tunes as well. He's not as into it as me but he's got some good ideas. Rick doesn't bother too much really."

Despite the fact that he hasn't actually written any new material yet, Tim's already moved on from his earlier lyrical concerns. In theory at least.

"I look back on some of the lyrics from the album and they now just seem a little too sickly sweet for me," he admits. "You know, I won't do them like that again. But that was what I was into at the time, I was really into Phil Spector pop songs and Beach Boys kinda stuff. So yeah, it's very important to me that we move on and just get better. But I think that will come naturally anyway. My understanding of music has increased more. I should have kept writing though. I think I was getting really efficient at it by the time we finished the album. But I had to take a break. It was all getting too heavy.

"Songwriting is one thing that I know I can do a lot better than a lot of people. It is my skill really. I don't find anything more rewarding than just finishing a song. I'm so proud of 'Goldfinger', I think it's really good."

Seeing as you're from the North, would you ever think of writing a song about the political situation there?

"No, not really," he says. "None of us ever gave a shit about it while we were there. I mean, we were aware of it but we didn't really care about all of that shit. Really it's such a shame what's going on there because when you get out and see a bit of the world, you realise just how irrelevant it all is. And we've seen some really scummy places while we've been out on tour that just make you realise how much Northern Ireland has got going for it. It just needs people to wise up.

"Some of the things we've done have been pretty cool though. That show we did in Belfast - 2,500 people, kids of both religions and sides just out enjoying themselves together. I know I've said this before but that's more than a lot of politicians have done. At least we're bringing people together. And look at our road crew. We're a Proddy band and all of our crew are Fenians! So I reckon we do enough already without writing a song about the whole thing"

The songwriters Wheeler admires include Van Morrisson, Lennon, McCartney, Bowie and, of course, the late Kurt Cobain. In fact, he reckons that things just haven't been the same Stateside since Kurt killed himself.

"I think most American music these days is just really bland," he opines. "It's all very commercial. There hasn't really been anyone much good since Nirvana."

How about British bands? What do you think of Oasis?

"I think Oasis are amazing," he grins. "They're really entertaining. You know, they're proper rock stars - they get busted for drugs and stuff like that."

Speaking of proper rock stars and their lovable antics, over the last two years Ash have garnered a bit of a reputation for themselves as decadent, hotel trashing, full on rock & roll hooligans. It's not something that Wheeler denies (though I've yet to see any evidence of it with my own eyes).

"Well I suppose we are still quite reckless sometimes," he grins, "but really a lot of that stems from the excitement of being in all of these new places for the first time. Sometimes the urge just takes us."

And when was the last time you gave into these, em, urges?

"Nothing too serious has happened since Australia," he admits. "You know, the odd champagne bottle has been thrown across a hotel lobby and some furniture has gone out of hotel windows into swimming pools and that kind of thing."

Do you get billed for those kind of shenanigans?

"Yeah," he laughs. "The first time we were in Japan it cost a fortune. Whatever anything cost the hotel management multiplied it by 4 or 5 times when they were getting us to pay for it. One paper lampshade that we trashed cost about #200! At least that's what they charged us - it probably only actually cost about #40. They just rip you off all the time. So we don't trash things in Japan anymore."

Although Ash have a reputation for wanton destruction and excess, Tim insists that they're not really into drugs in a big way. They might smoke a bit of dope and Mark Hamilton's past problems with acid have been widely reported (he was hospitalised for a short period last year when he failed to come down from a particularly nasty trip), but at the end of the day, alcohol is what floats their collective boats.

Is honesty important to the band?

"Yeah," he nods. "We're real about everything."

A rare breeze of cold sobriety passes through the room and the three old schoolmates look at each other seriously for a moment. "Christ, we've really been through a lot in the last two years," mutters Tim and the other two nod their heads smiling. They appreciate how lucky they've been. And still are. Flying nonstop around the world playing music. And getting very well paid for it as well.

Back when you were just a Downpatrick schoolkid, did you ever think you'd be sitting in an American hotel room midway through an extensive tour discussing your band and their antics with a music magazine?

"Yeah, I did," he affirms. "We kinda had this vision which we followed blindly for some reason and it has all gone pretty much according to plan. It feels like fate or something. We didn't know how to get a record deal, we didn't even know how we were ever gonna get out of Downpatrick. But somehow everything just fell into place."

"I think we're pretty realistic about what we have to do now anyway," adds Mark. "Particularly over here. We're starting to understand America a bit more now. Like, everybody's saying that Oasis are huge in America but they're not. They're pretty big but they're not gigantic. Bands like Bush are much bigger.

"So we're aware that we're probably gonna have to tour our asses off over here. If you look at the English bands that come over here, most of them play a couple of short tours and then realise how much hard work it's gonna take so they give up and come home. Suede, Blur, Manic Street Preachers, Pulp - none of them have really tried hard to establish themselves. The only British band really pushing themselves are Radiohead. They're getting pretty big over here as well. So our plan is to really tour our asses off next year when we've done the second album."

Of course, not everything always goes according to plan. One thing that isn't helping the band in their efforts to conquer America is MTV's reluctance to air any of their videos. Truth be told, though, they've really only got themselves to blame”.

I do want to round things off with some reviews. Drowned in Sound provided their thoughts on an album which I think should be talked about alongside the best of the 1990s. Although some feel there were better albums than 1977, there is no denying that Ash’s debut made an impact and is important. Reaching number one in the U.K. upon its release, it was a huge moment for the Downpatrick three-piece:

“And it starts well. Very well. Lose Control's rawkus, quiet/loud punk action almost smells of packed out youth clubs with Tim Wheeler at the mic, losing his heart to teenage love and its naïve charm. He even then, in a whirl of sexual frustration, gives us sensational wanky-lead and wah pedal action to volcanic effect. Put up the parasol...I'm in heaven...

Oh but there's more...Goldfinger's majestic and almost Stone Roses (well...the beginning reminds me of them...) like pop swagger jumps into your arms like the lovely 16 year old damsel you always dreamed of. The sappy imagery of "Listening to the rain" is just fantastic. Never has music sounded so damn young and with the prospect of sex always looming. When Girl From Mars comes in, the question must be; Could these boys ever survive out of the sixth form college? Could their little hearts really handle it? Angel Interceptor is the icing on the already heavily tiered cake. Sweet and seducing cute-punk as only Ash seem to deliver. Teenage girls everywhere are swooning to the pop screwing sensitive types and the boys are just rocking along with their invisible low slung Flying-V's (especially to Kung Fu).

This album still does have its faults. For a man who lusts after The Pixies sometimes the album just is too... soft. "Always on my mind" totting Lost In You is like a tear stained Shed 7 in slow motion. Gone The Dream's polite indie is just a space filler along with Let It Flow's samey pop rotation and Innocent Smile's slow build-up frankly is too slow for me. Harder tracks like Darkside Lightside and I'd Give You Anything are fine but are not what Ash do so well.

This album is an album by the young for the young. And as that it is almost out on its own. Though it is by no means perfect or complete, the severe hooks of the best of the Brut smothered tunes will always get 1977's name mentioned. This the perfect album to bring back all those memories of early Moshing experience, crop tops and countless cold showers”.

I am going to end with the BBC and their review of 1977. Eventually being certified Platinum in the U.K., many publications – including Kerrang! and NME – included NME on their best-of-the—year lists for 1996. I do hope that something is done to mark thirty years of Ash’s debut, as it is a remarkable album:

“There are albums that define generations, and then there are those that will forever soundtrack a flash rather than a lingering resonance heard across the years. Ash’s debut LP, named in honour of the year Star Wars hit cinema screens and "opened" by the scream of a TIE Fighter (unless you had a CD copy with two hidden tracks at the beginning – this writer did), falls face-first into the latter category, sauce from last night’s takeaway still sticky on its chin and with a less-than-faint whiff of booze about it.

1977 is perhaps best remembered by those who shared in its sentiments – written by a trio of teenagers, for an audience of the same, it preoccupied itself with chugging alcohol, chasing after girls and messing about with martial arts. Frontman Tim Wheeler was just 19 at the time of its release and, like most 19-year-olds, was likely enjoying legal drinking age status; but his songs recall a time just previous to chucking away the fake ID, where park benches were bar stools and a bottle of flavoured wine drink was the choice of the get-drunk-quick teen on their way to a parents-away party.

For this writer, who sold a games console to pick up this record (amongst others, in a since-closed-down-local-indie-shop binge), singles like Angel Interceptor, Girl From Mars and Kung Fu will forever soundtrack foggy memories of spilling out of houses that weren’t home, at a time when bed should have been reached some hours earlier. And this writer is certain he’s not alone in feeling that way.

But listening today, almost 16 years after its release, 1977 isn’t all pop-punk knock-abouts in the vein of its mini-LP predecessor Trailer (one of its tracks, Jack Names the Planets, is one of the pre-Lose Control hidden gems). Goldfinger has stood up to the test of time mightily well, roaring into life with a maturity that wouldn’t fully compose itself until Ash’s third album, 2001’s Free All Angels. Here, bespectacled drummer Rick McMurray sounds as if he’s pounding mountains while lanky bassist Mark Hamilton’s pulling off Jedi mind tracks with his four-string; at the time of writing, the toes can’t help but tap along to something of a Britpop-period classic.

Hamilton’s sole solo composition, Innocent Smile, is amongst the simpler arrangements, in debt to stateside grunge bands and replete with delinquent lyrics – but its raw energy remains as infectious in 2012 as it’s ever been. Best-known cut Oh Yeah helped shift its share of albums, peaking at 6 on the singles chart in the June of 1996, and Wheeler’s imperfect vocal makes its tale of teenage infatuation all the more believable. He’d become a better singer, but has never quite conveyed emotion as perfectly as he did so here. And to the ears of a 16-year-old, his words were gospel: this was the way to rule.

And rule Ash certainly did: every single from 1977, 95's Girl From Mars onwards, went top 20, and their between-LPs effort A Life Less Ordinary (from the film of the same name) was also a top 10 hit. Their stock may have fallen in recent years, but to listeners of a certain vintage Ash will forever be summer holidays and half-inched hooch, stained into the grey like a spilled alcopop”.

For anyone who might be unfamiliar with Ash’s 1977, go and play the album. You will be familiar with a few of the songs at least. Turning thirty on 6th May, I wanted to spend some time with 1977. It is an album that makes an impact and elicits reactions…

TO this day.

FEATURE: “You Guys Just Hate Women, Actually” A Misogynistic Double Standard Applied to Women in the Music Industry

FEATURE:

 

 

“You Guys Just Hate Women, Actually”

IN THIS PHOTO: Zara Larsson

 

A Misogynistic Double Standard Applied to Women in the Music Industry

__________

THAT quote at the top…

IN THIS PHOTO: Chappell Roan

of this feature was actually said by Zara Larsson. She is one of the biggest artists in the world, and someone who I will be writing about soon for a separate feature. The Swedish-born artist released the acclaimed album, Midnight Sun, last year. She was speaking with The Guardian about that album and reacting to its success. An artist overdue the sort of recognition that, she is perhaps best known for the 2015 single, Lush Life, which has passed two billions Spotify streams. The article writes how “Part of what has made Midnight Sun so irresistible to fans – who call themselves Larssonists – is its genuine youthfulness: it is ultra-fun, uber-femme and whip-smart, evoking tan lines on chests, handprints on butts and skinny-dipping in the dark, all delivered in Larsson’s bright, startlingly powerful three-octave singing voice”. At a time when women in Pop are dominating and creating some of the most powerful, uplifting and unifying music, Zara Larsson does not get talked about in the same way some of her peers do – and what should change. I shall expand on that further in another feature. However, she did react to the recent criticism and controversy around Chappell Roan – something I also wrote about – and the incident of a girl fan who wanted to approach Roan but a security guard stepped in and there was this awkwardness. Turning out that the security guard did not work for Roan or the hotel she was staying at, Roan also didn’t witness the incident but is getting blamed and dragged none the less. Chappell Roan is an extraordinary artist but probably not someone who thrives on fame and attention. She has had boundary issues with fans, many of whom have been unsettling and far too forceful and inappropriate, so it is understandable that she would want her privacy. Zara Larsson is also an extraordinary artist, but someone who knows the press and that side of things is a game.

She thrives on attentions of all forms and is similar to U.S. artist Addison Rae in that sense. Larsson also talked about ageism and sexism in the industry and how women over forty, if they look forty, are seen as past it and on the shelf. Robyn’s new album, SEXISTENTIAL, has been widely praised. It is a very charged, extraordinary and sexually open album. Artists like Robyn (who is over forty) often have been dismissed or seen as impropriate if they talk about sex at that age. Something that only seems to apply to women. Larsson is this young artist who is standing up for other women in the industry, collaborating with them and raising them and also being a great role model. That idea of knowing the paparazzi’s game and playing it might seem unwise and a bad example, but it subverts expectations and means that, if the artist is playing the game, it is not as alluring and interesting for the press. They are being played so what they thrive on, invading privacy and these unwarranted harassments, sort of don’t apply. A powerful and strong artist like Zara Larsson very much on control. She did say something about the treatment of Chappell Roan and what happened to her recently:

“Sometimes fame can feel like a Faustian bargain, with scrutiny, sexism and presidential subtweets coming as part of the package. As her star has kept rising, Larsson has been wondering if there are limits to how much fame she can take. Could she handle it if she was as famous as, say, Chappell Roan, now in regular standoffs with the paparazzi? “The more people hate her, the more I love her,” says Larsson. “I don’t like how she’s being treated at all. When a woman has boundaries, I think people freak out. Men can do violent criminal things and people applaud them, but when a woman says, ‘Stop following me,’ it’s controversial? It’s like: you guys just hate women, actually”.

It is quite telling. There are plenty of men in the music industry who, far from being cancelled, are enjoying the freedom to play gigs. Sure, a few have been jailed for crimes and you hope that when they are released their careers will be over, though there are so many men in the music industry who have done awful things and are reprehensible, and yet rules and laws do not apply to them. There are very few cases of women doing violent or criminal things. When they do something wrong or say something that is misjudged, then they are called out and often torn apart in a way men aren’t. There is also the misogyny and violence aimed at them. I think there is that expectation that women in music should always be available and there should really be no boundaries. If women are confident, make music that is seen as provocative or just simple true to them and has that a sense of power or confidence or whatever, then that is an invite to break boundaries or do anything. If men snap or react violently and are obnoxious then there is very little furore and they continue on. However, if any artist like Chappell Roan dares to want some space and not be approached by fans, then there is that misogyny and double standard. The fact that the recent case of a young fan being upset by a security guard after not doing anything wrong is not Chappell Roan’s fault. Some random security guard took it upon himself to be an idiot and, whereas he should have been criticised and taken to task across social media, so many of the posts were disrespectful to Chappell Roan and really offensive. If the roles switches and Roan was the security guard and the guard – whose name I can’t be bothered to look up – was the ‘artist’, then Roan would still get sh*t. Zara Larsson is not suggesting that all journalists and fans out there have this double standard and go after women more than men. Though I do feel like there are a lot of journalists and people in the industry who do hate women. Anything that is perceived being even slightly wrong, then they are there pouncing and ready to attack them. You can dress it up anyway you want, though it this continuing misogyny that is rampant through music. I keep writing about this because, more and more, there are stories of female artists and women in music who have received such hatred and vitriol for either not doing anything wrong or something minor.

Take men and the fact that nearly everything controversial, criminal or worse is because of them, and how often do they face serious repercussions or are even properly called out and criticised? The freedom they are allowed is staggering. If the male artist is profitable enough then rules and morals don’t apply to them. Chris Brown assaulting Rihanna, he is someone who has also been accused by other women of being violent, yet he has not only been allowed to continue his career and collaborate with other arrests – who really need to check their sanity, moral compass and soul before doing this! -, but he has headlined festivals and is getting booking and selling out shows (the fans, likewise, need to check their brain cell count and see if they have reflections at all!). Kanye West is abusive, racist, antisemitic and a repulsive human. Men like him are not held accountable. In his case, using the pathetic accuse of having mental health struggles – people who suffer from mental health issues can do so without being racist and offensive! -, and that lets him off the hook. Kiana Fitzgerald reacted to this in her recent feature:

“Despite what he emoted in the much-discussed Wall Street Journal apology ad from January, Kanye West has done pretty much none of the moral soul-searching or action that many, including me, called for. “It’s not easy to lead the discussion when you’re fighting for your life against mental illness,” I wrote in an open letter on January 27th. “But some of us have taken up the task, regardless of the state of our health. You weren’t ready to put the bipolar conversation on your back then. I wonder if you’re finally ready now.”

For some, including mental health experts, the apology represented authenticity and progress. “When I read it, I honestly felt sad about it,” Houston-based licensed psychologist Dr. Bianca Jones told me last month. “It seemed sincere.” As someone who lives with bipolar type 1, like Ye, I agree with Dr. Jones. The ad was a major first step in making amends for his actions. But sincerity without follow-through is just optics — something West has long understood how to weaponize.

In February 2025, West started selling T-shirts with a swastika emblazoned on them. This came less than two years after he apologized to the Jewish community for previous transgressions. Within months of selling the shirts, Ye released a song called “Heil Hitler,” which praised and sampled a speech by the Nazi leader. While the song was banned in Germany, it went viral online and inspired dickhead influencers like Andrew Tate and Nick Fuentes.

With regards to the Black community, Ye has famously made jaw-dropping comments like slavery was “a choice,” and worn a T-shirt that bore the slogan “white lives matter.” West has also appropriated the Confederate flag, a symbol recognized for its deep anti-Blackness. In 2024, one of his former employees filed a lawsuit that alleged West often treated Black employees worse than white ones, berating them on several occasions. And to be clear, these are just a few of his many transgressions over the last two decades.

In the two full months since the ad was published, Kanye has not come forward with any tangible ideas to unburden the bipolar, Jewish, or Black communities. Instead, he reminded us that he doesn’t need to apologize to be a top artist; he’s Kanye fucking West. “It’s my understanding that I was in the top 10 most listened-to artists overall in the US on Spotify in 2025, and last week and most days as well,” West told Vanity Fair on January 27th. “My upcoming album, Bully, is currently one of the most anticipated pre-saves of any album on Spotify, too.”

Most of us with good sense noticed that Bully was initially set to be released the week of the apology ad. Ye insisted that this was unintentional (how could we be so stupid to assume?) and coincidentally pushed the album back to March 28th. Between the ad and the release date, Ye has been extraordinarily busy making plans and making moves. He can’t do that alone.

On March 9th, Ye announced a one-night concert at SoFi Stadium in Los Angeles, set for April 3rd. When artist pre-sale tickets went live on Ticketmaster the following day, over one million people were in the queue, leading Ye to announce a second show for April 1st. Tickets to Ye’s first US show in five years ranged from $125 for the cheapest seats to $595 for floor.

Beyond L.A., Ye will bring his performances to numerous countries: He played Mexico City on January 30th and 31st, and will play New Delhi on May 23rd, and Arnhem, Netherlands on June 6th and 8th. (For both Mexico City and Arnhem, tickets for the initial date sold out so quickly that they added a second.)

This is all on top of a three-night Wireless Festival headlining takeover in London from July 10th through 12th, and a 103,000-capacity show in Reggio Emilia, Italy on July 18th. It’s obvious that not booking Ye means leaving money on the table — but these shows prove his past actions may as well mean squat. The venues he’s booking are massive, often requiring multiple show dates. Promoters may have empathy for the communities impacted by Ye’s rants, but they see green, and green only.

Bully itself is currently projected to move about 117,000 first-week units, on track to debut at No. 2 on the Billboard 200, behind BTS’s ARIRANG. For context, Vultures 1 sold 148,000 first-week units and debuted at No. 1. Vultures 2 moved 107,000 first-week units and debuted at No. 2, where it peaked. After everything Ye has put the world through, a relatively flat commercial performance could be seen as a success.

Ye’s fans aren’t the only ones tuning in. Sites like Pitchfork, Complex, and Rolling Stone reviewed Bully, while Variety, Billboard and The Hollywood Reporter covered Ye’s first night at SoFi. It’s not even as simple as wanting to contribute to the record of criticism. (There are such things as retrospective reviews.) At certain sites, the clicks are worth the coverage.

Most, if not all, of these publications claim the moral high ground in other instances, from coverage of music to show business. For a time, they even drew a line in the sand with Kanye — but then everyone shrugged their shoulders and went back to covering him immediately. These outlets are essentially riding the wave of the Trump effect: platforming to platform. And Kanye West will almost always put numbers on the board. He’s been telling us this for decades. But in order for these sites to collect their coins, event promoters have to pull the trigger and book Ye in the first place.

Bookers hold more power than any individual news outlet. If anything, everyone in the orbit of bookers ends up downstream of demand. These promoters are effectively bringing Ye’s visions to life and paying him millions, while also ensuring their pockets are fattened in the process. The venues and their proprietors also have a hell of lot to gain, much to the dismay of people in the communities that have been impacted by Ye’s rhetoric. “If he remains on the right path and makes more effort to make amends, that is well and good, but if he returns to his old ways these venues will have much to answer for,” the charity Campaign Against Antisemitism told the BBC on March 31st”.

Circling back to Zara Larsson and what she said about how there are those in the industry that hate women. More than that, they hate women and will open doors for men. We see it time and time again. How can Chappell Roan, an artist who has simply dared to speak out and say she wants boundaries and for intrusive fans to leave alone, gets all this flack and misogyny because of that. Look at someone like Kanye West and countless men in music who are genuinely awful and should been given a global cancellation, and yet they can flourish and get a free pass. In spite of female dominance in music and the unquestionable superiority they have over men in music – not that we should pit them against one another, but the fact is women in music are releasing the best albums and on the most successful tours right now -, it is still a patriarchy. That fear that powerful male artists being punished, imprisoned and cancelled would be an awful thing. Yet, if a women does anything slight or innocuous then they are piled on. Nothing will change – because, when it comes to misogyny, saying there have been baby steps towards improvement is an overstatement -, yet it is high time that it should! Zara Larsson’s comments for The Guardian are timely and strike a chord. The only upside is that Chappell Roan will have a long career, release award-winning albums and hopefully live a happy life where fans can respect her but know their place and give her the space and privacy she deserves. There does need to be a shift and the double standard and toxic culture that has been allowed to fester does need to be challenged. You have to ask, as misogyny and men getting to slide happens time and time again…

WILL it ever change?!