INTERVIEW: Lauren Ray

INTERVIEW:

 

Lauren Ray

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FOR my final interview of the year…

I have been speaking with the incredible Lauren Ray. An amazing and multi-talented British singer and songwriter. Following the release of her critically acclaimed second album, Woman in the Arena (released in March 2020), Ray took a pandemic-pause from touring and used that opportunity to build her personal development business, Mind Before Music. Now, we have her wonderful third studio album, Quarter Life Crisis. It is an album I love and feel is her strongest work to date. One of the most engaging and strongest artists in the country, it has been a pleasure speaking with her. Quarter Life Crisis sees Lauren Ray working with producer Kaity Rae on four of the tracks. Ray completed the rest of the album independently whilst splitting her time between Los Angeles, London and Porto this year. By self-producing, this allowed Ray to expand her creative process, bringing in new sounds and choices that really showcases an exciting step forward. If you do not follow Lauren Ray and have not heard Quarter Life Crisis yet, then I would thoroughly recommend that you do! I would also urge people to order a ticket to must-see headline show on 7th February. It has been a real thrill talking with an artist I really admire. Although Quarter Life Crisis suggests an artist looking for direction and focus, it is clear Lauren Ray has…

FOUND purpose and clarity.

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Hi Lauren. How are you? How has your week been?

I am good thank you. My week has been great thank you. I am currently over in L.A. and it’s been a great trip.

Before talking about your upcoming album, can you tell me the artists who inspired your love of music? Were there particular albums of acts from your childhood who have made a special impact?

Ooh, I love this question. When I was growing up, streaming wasn’t around yet, so I was very much influenced by what was on mainstream radio and the people around me. I was always drawn to female voices and in particular those who were incredibly gifted in their lyrics. Artists like Lauryn Hill (The Miseducation of Lauryn Hill), Alanis Morrisette’s (Jagged Little Pill) and early Sia (like her 2004 album, Colour the Small One) were constantly on loop. I was often seeking out artists that could provide evidence that you didn’t need to be a “pop star” like Britney Spears to be a successful musician. Certainly my teenage songwriting was heavily influenced by these artists.

Your previous album, Woman In the Arena, was released in March 2020. Was it strange releasing album at such a strange time? How was it putting an album out into the world and knowing it would make a difference to people when we were all separated?

Thank you for this view point on what the album could do and be for people during that time. It was definitely weird and far from ideal because I hadn’t planned on releasing the album during a global pandemic, but in some ways it was a welcome distraction. I had been on a three-month tour supporting Paul Carrack at the time when the world started to shut down, and when that stopped and we were suddenly all confined to our homes, having to figure out how to promote the album from my bedroom was a fun problem to solve. I was pleasantly surprised by the response, and so I hope that it was a welcome distraction for others too.

I am interested in your personal development business, Mind Before Music. What was the impetus behind starting it up? Mind Before Music is about bringing powerful self-development work to the music industry. That is a very worthy and commendable aim…

Mind Before Music was born out of my two passions: music and personal development. The catalyst for its birth was the pandemic. I had always been super-interested in understanding why humans do what they do - I have a degree in Anthropology. Over the years, I would often have artists come to me for advice, but more and more I realised that 90% of the time it wasn’t information they needed but more confidence, more belief in themselves or to simply see the “problem” completely differently. I knew that how people think and feel is the number one thing that will either propel them forward or keep them stuck and self-sabotaging…so during the pandemic, I took the forced downtime from touring to train in this work. I trained in Life & Success Coaching, Hypnosis, EFT, Timeline Therapy, NLP, Positive Psychology and Human Design (yes, I went all in haha). I felt the industry needed more proactive and preventative support for artists and those in the industry, and I’ve loved being able to provide that and be a force for good

“Ultimately, I realised that whether you’re 20, 30 or 40…societal pressures can really create a feeling of personal crisis”

Can you reveal how Quarter Life Crisis started life? Do you sketch out ideas or song titles or was it a bit more spontaneous for this album?

This album has been the most spontaneous and scattered in its making compared to the first two records. some of the songs on the album were written in 2019, others in 2023, and then some were only written three months ago. The final song appeared when I was in Portugal working remotely in September. During this trip, I ended up in multiple conversations with 28-33 year olds who were feeling a lot of stress and pressure around their age. Some felt they weren’t where they should be. Some were newly-single and this happening in their early 30s. Others were acutely aware of biological clocks. It was interesting to listen to. Ultimately, I realised that whether you’re 20, 30 or 40…societal pressures can really create a feeling of personal crisis. This inspired the title track, Quarter Life Crisis, which is a tongue-in-cheek exploration of this feeling. Once this song arrived, it all felt complete and it changed he album title.

Working alongside Kaity Rae on a few of the album’s tracks must have been a great experience. How did you two link up?

I had become aware of Kaity Rae through some other singer-songwriters I knew and was really impressed with her production choices and strong pop melodies. We wrote the song That Kind of Human together and I asked her to produce this track along with Crying Shame, 24 and Losing Sleep. I was so happy with how we worked together. I was really keen to play with the sounds on this album, and although the piano is present in the album, I was feeling explorative and so I was really happy how Kaity interpreted my ideas and what she brought to the table. What she did with Crying Shame in particular is incredible.

“I’ve had a lot of fun challenging myself in this way”

How important was it to self-produce the album, and what was the experience like of dividing your time between and working in Los Angeles, London and Porto?

Choosing to finish the album (the final five tracks) completely solo and produce myself was a decision I did not see coming at all haha. Before May this year, I had never even attempted to take on this role, so this is a very new skillset for me. Although this wasn’t a conscious decision, it feels like this was important for me to expand my creative skillset. The process of producing for myself allowed me to play in a new way, which brought out different songs in me that wouldn’t have come from sitting at the piano. Quarter Life Crisis is very playful and then Medicine has a completely different energy, so I’ve had a lot of fun challenging myself in this way. Dividing my time between L.A., London and Porto this year definitely added to that creativity. Mixing up my environments, meeting new people and growing as a person through the travel all contributed to this album.

Having listened to the album, I like how it is personal and self-reflecting, but there is also a universality with hope, humour and so many important messages for the listener to consider. What do you want people to take away from Quarter Life Crisis?

I am so happy you felt the hope and humour amongst the deep subject matters - that’s fantastic to hear! I want people to feel seen in some of the topics, to perhaps look at their own circumstances through a new lens and to know that through every challenge in life there is growth, expansion and new beginnings. That’s certainly the energy I was in when I wrote most of these songs.

Before moving on, can you tell me a bit about Crying Shame? My favourite track from the album, what personal significance does that song have?

This is one of my favourite songs too! This one came about in 2019 during a songwriting retreat up in Scotland. It is about holding your boundaries and knowing what you will/won’t tolerate in a relationship…I wanted it to be empowering even through a sad moment of finding out someone has been unfaithful. Although I have luckily never had to have this conversation with anyone, I have always been someone that is clear on my boundaries, and so it was interesting exploring how I might approach this conversation from that position. It was actually originally a more country-dance track that we (the writers) were going to pitch to another artist, but I fell in love with it and asked if I could keep it for myself. I was so happy they agreed, and I took it to Kaity Rae for the new vibe I knew I needed it to be.

You will be showcasing tracks from Quarter Life Crisis at St Pancras Old Church, London on 7th February. What are your thoughts about that venue and show? Are there any other gig plans for next year?

I love the St Pancras Old Church venue. I saw the artist  Emilie Nicolas there years ago when I first discovered her, and I’ve been wanting to play at that venue myself ever since. There’s something about church venues that really have their own unique energy that contributes to the performance. I haven’t done a headline show in years, so I am so excited to put the band together and build out the show. It will be the first time performing these songs live in this way too. There are other gigs in the works but nothing to be formally announced as yet (smiles).

We are almost at the end of the year. Reflecting on 2024 and the highlights, how important has the year been for you as an artist? How are you feeling as we head towards 2025?

This year has been incredibly transformative for me as an artist. I’ve grown a lot as a person and then my decision to produce has opened me up creatively in a whole new way. This feels like just the beginning for me which is a weird feeling to have around my third album. I feel really excited about 2025 and what I will create both professionally, creatively and personally. 2025 feels like a blank slate right now, which is exciting.

Finally, and for being a good sport, you can select any song to play here (other than your own) and we will end with that. What shall we go for?

Thank you for all these great questions! I’m seeing MARO perform in London when I am back from L.A. next week, so let’s play one of her songs, because she is incredible and I have no doubt people will fall in love with her with this song.

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Follow Lauren Ray

INTERVIEW: Leah Kardos (Author of the 33 1/3 Book of Kate Bush’s Hounds of Love)

INTERVIEW:

 

Leah Kardos (Author of the 33 1/3 Book of Kate Bush’s Hounds of Love)

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THROWING ahead to 14th November…

and the release of the 33 1/3 book on Kate Bush’s Hounds of Love. It is going to be so exciting. Bush’s most acclaimed and well-known album is now being brought to the classic series. Short books that are all about terrific albums. I am not sure whether you know about the series but, for years, various albums have been brought to life. Running at 150 pages or so, they are digestible and handy guides that go deep into classics. It has been a pleasure interviewing Leah Karos about her upcoming book on Hounds of Love. The Australian academic, musician and writer resides in London. A clearly massive Kate Bush fan, Kardos “publishes and releases music with Bigo & Twigetti, contributes reviews and criticism to The Wire, and has written a book that critically analyses David Bowie's Last Works, published by Bloomsbury Academic in early 2022”. I was keen to know more about a book that I was engrossed in! Having written about Hounds of Love multiple times through the years, I thought that I knew all there was to know! However, reading through Kardos’s book gave me fresh insights and perspectives. Passionately and beautifully written, it will be a terrific introduction to those new to the album in addition to those who have heard it multiple times. Before coming to the interview, here is some more information about a book every Kate Bush fan needs to pre-order:

“Hounds Of Love invites you to not only listen, but to cross the boundaries of sensory experience into realms of imagination and possibility. Side A spawned four Top 40 hit singles in the UK, 'Running Up That Hill (A Deal with God)', 'Cloudbusting', 'Hounds of Love' and 'The Big Sky', some of the best-loved and most enduring compositions in Bush's catalogue. On side B, a hallucinatory seven-part song cycle called The Ninth Wave broke away from the pop conventions of the era by using strange and vivid production techniques that plunge the listener into the psychological centre of a near-death experience. Poised and accessible, yet still experimental and complex, with Hounds Of Love Bush mastered the art of her studio-based songcraft, finally achieving full control of her creative process. When it came out in 1985, she was only 27 years old.

This book charts the emergence of Kate Bush in the early-to-mid-1980s as a courageous experimentalist, a singularly expressive recording artist and a visionary music producer. Track-by-track commentaries focus on the experience of the album from the listener's point of view, drawing attention to the art and craft of Bush's songwriting, production and sound design. It considers the vast impact and influence that Hounds Of Love has had on music cultures and creative practices through the years, underlining the artist's importance as a barrier-smashing, template-defying, business-smart, record-breaking, never-compromising role model for artists everywhere.

Table of Contents

Track Listing

Acknowledgements

Introduction

1. The first woman

2. Still dreaming

3. I put this moment… here

4. Hounds Of Love

5. The Ninth Wave

6. A ritual in six steps

7. Before The Dawn

8. Blackbirds

9. Wave after wave”.

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Hi Leah. Congratulations on your 33 1/3 book on Hounds of Love! How does it feel that it is completed and out in the world very shortly?

Thanks Sam! I'm really pleased that it will be out soon, despite the usual jitters one feels in these situations. I'm looking forward to there finally being a Kate Bush volume in the 33 1/3 series, and I'm feeling really grateful that I was given the opportunity to contribute this one. The whole experience has been a supreme pleasure, I've got to say.

Before discussing it, tell me when Kate Bush came into your life. What was your introduction to her music?

Like a lot of people in my generation, I had a general awareness because big, early-ish tracks like "Wuthering Heights", "Wow" and "Babooshka" got a lot of airplay in Australia in the 1980s. I definitely recall the videos making a deep impression - I grew up with my eyeballs glued to 'Rage', our down under version of MTV -  I remember feeling kid-affinity for "Peter" in the 'Cloudbusting' video, and attempting the "Wuthering Heights" moves in my bedroom mirror. But the first L.P. that I discovered for myself and loved on my own was Never for Ever. This would have been when I was a student at music college, around the tail end of the '90s.

“I enjoyed the ritualistic and folkloric themes that bubbled and echoed as I went”

Obviously Hounds of Love means a lot to you. How did you tackle writing about the album? What was your writing routine like and how did you approach researching?

Once the commission came through I spent a long time listening to it, thinking about it and collecting notes. The book needed to be 33k words in the end, but I had over 200k notes at one point - lengthy tangents on whaling shanties, oceanic metaphors in literature and myth, the ins and outs of sequencing compositions on the Fairlight CMI and the Linn Drum, Irish diddling, the psychology of stage fright, Arthur's Avalon and loads more besides - and what I had was an incredibly unwieldy pile of ideas, so had to seriously rethink my approach. I needed to strike a balance between the story that I wanted to tell, writing an accessible entry point for new fans, as well as making the book a worthwhile experience for the hardcores that already know everything. The story I really wanted to tell, aside from writing about the music itself, was how Hounds of Love marked her arrival as an artist and music producer of culture-changing influence. Once that was decided, everything else fell into place.

Was there anything new you learned about Hounds of Love or Kate Bush when writing the book?

For me, yes. There were connections between songs, and correspondences and reflections between sides A and B that I hadn't quite seen before. I enjoyed the ritualistic and folkloric themes that bubbled and echoed as I went. Following the story of how it was made, it was clear that Kate's creative process was a very slow and largely solitary one, and not necessarily shared, say, between a bunch of people hanging out in a studio. Like when Del downplayed his involvement in the process in that 1993 interview saying "I don’t really feel that anybody has that much involvement in what she does, it all comes out of her own head." What that meant was I couldn't really get any useful insights from the session musicians or anyone else that was brought in to help here and there, because they didn't have the 'why'. It seems obvious to say it now, but this was an important realisation to have when writing a book about an album and how it was made. It led me to focus less on what Kate might have meant by those choices and more on what the music can do from the listener's point of view.

“For me, the song is empowering; the best articulation of determination and desire ever inscribed in a pop song”

Apart from the genius singles from the first side and the second side, The Ninth Wave, it seems that Mother Stands for Comfort is like an odd one out and never gets talked about. What are your feelings about the song and how do you think it relates to the rest of the album and connects the songs?

I think 'Mother Stands for Comfort' can offer an important perspective that balances and binds the themes of side A and B together: the comfort of family, the primal, unambiguous nature of maternal love, the fierceness of Mother Nature. Beyond the lyric, the music and sound design says so much more; Eberhard Weber's bass is like poetry, right? The emotional juxtaposition between Kate's foreground and background voices, the gentle rocking-chair beat disturbed by violent smashes. High drama minimalism! What an amazing track!

In terms of legacy and reframing Hounds of Love, Running Up That Hill (A Deal with God) springs to mind. It has taken on a new life. What were your reactions when it enjoyed resurgence in 2022 and what does the song mean to you?

I was completely tickled for her, and all of the new, younger listeners who got to discover her and her work because of Stranger Things. The timing of it all was perfect in a way - with everyone feeling so isolated and uncertain about the world coming out of the Covid-19 lockdowns, 'Running Up That Hill' and it's message of radical empathy and connection really felt like a tonic. Nearly 40 years on, the song's power only grows. For me, the song is empowering; the best articulation of determination and desire ever inscribed in a pop song.

I think many people do not discuss Kate Bush as an innovative and incredible producer when they speak of Hounds of Love. Do you feel she is under-appreciated as a producer?

She is absolutely, criminally underrated as a producer. Not only in terms of her technical and aesthetic achievements, and the ground she broke as a mainstream adopter of cutting-edge music technologies, but also in terms of her vast influence in pop music culture. There is a dearth of female producers in pop music, period. Back then and today, the situation hasn't really changed much. As you've seen, I devote quite a chunk of space in my little book to yell about what an elite and historically important producer she is. If I had more space I would have written even MORE about it.

“I hope lots of essays and think pieces get written and people are inspired to find the album again and dig in deep with it”

Hounds of Love turns forty next year. How do you think it should be talked about and marked?

Hmm. The record is already, rightfully considered a masterpiece by critical consensus, and with the Stranger Things synch placement, it feels like it's back at the top of the collective consciousness's record pile. So I don't know how the 40th anniversary should be marked... Being selfish for a second, I wouldn't mind having a deluxe expanded release with all the B-sides, remixes and the Hounds of Love alt-version/demo included, or if I was going to be extra selfish, a Dolby Atmos/surround mix of The Ninth Wave on Blu-ray - imagine how perfect? Aside from my vain wishing, I hope lots of essays and think pieces get written and people are inspired to find the album again and dig in deep with it.

Every Kate Bush fan should go and buy the 33 1/3 Hounds of Love book. What is your biggest takeaway of the album or favourite section of the book?

My favourite sections are the track by track commentaries, when I switch to present tense and focus on purely experiencing the music. Everything up to that point in the book is like elaborate table setting at a banquet, but the commentaries to me feel like the moment when we can eat the music together.

Finally, you can select one song from Hounds of Love and I will include it here. Which shall we go with?

'Jig of Life', so we can put this moment here.

INTERVIEW: Graeme Thomson (Author of Under The Ivy: The Life and Music of Kate Bush)

INTERVIEW:

  

Graeme Thomson (Author of Under The Ivy: The Life and Music of Kate Bush)

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IT has been amazing…

interviewing author and journalist Graeme Thomson about the revised and updated version of his authoritative and magnificent Kate Bush book. The superb Under The Ivy: The Life and Music of Kate Bush is released on 27th June through Omnibus Press. Originally published in 2010, I have learned so much about Kate Bush through his writing and passionate, detailed research. An accessible and beautifully written biography, every Kate Bush fan, whether diehard or casual, needs to order a copy:

“The critically acclaimed definitive biography of Kate Bush, revised and updated for 2024, with a new foreword by Sinéad Gleeson.

Detailing everything from Bush’s upbringing to her early exposition of talent, to her subsequent evolution into a stunningly creative and endlessly fascinating visual and musical artist, Under The Ivy is the story of one woman's life in music. Written with great detail, accuracy and admiration for her work, this is in equal parts an in-depth biography and an immersive analysis of Kate Bush's art.

Focusing on her unique working methods, her studio techniques, her timeless albums and inescapable influence, Under The Ivy is an eminently readable and insightful exploration of one of the world's most unique and gifted artists. The text has been updated to include coverage of Bush’s return to the top of the charts in 2022 following the extraordinary resurgence of ‘Running Up That Hill.’ An eye-opening journey of discovery for anyone unfamiliar with the breadth of Bush’s work, Under The Ivy also rewards the long-term fan with new insights and fresh analysis”.

Given the unexpectedly busy past few years for Kate Bush and her music legacy, it is very apt that Under The Ivy: The Life and Music of Kate Bush has been revised. I have been speaking with Graeme Thomson about why he first decided the write the book, what we might expect from the 2024 edition, when he discovered Kate Bush, how Sinéad Gleeson was selected for the foreword, and which Kate Bush track means the most to him. It has been exciting and informative hearing from Graeme Thomson about a tremendous and endlessly fascinating book that…

EVERY Kate Bush fan should own.

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Hi Graeme. Before talking about Under The Ivy: The Life and Music of Kate Bush, I am interested knowing when Kate Bush came into your life. Do you recall the first time you heard her music and how it made you feel?

I don’t recall a particular lightbulb moment for me regarding Kate Bush. I certainly was aware of Wuthering Heights just being in the cultural DNA for as long as I can remember. I remember Running Up That Hill and Hounds of Love coming out as singles; I would have been 12 when they were released in 1985 and I remember seeing her on TOTP. I was a fan of those songs and, later, The Sensual World. Later still, I bought Hounds of Love on vinyl and The Sensual World and The Whole Story on CD, but otherwise didn’t investigate too deeply. I knew the singles, and odd songs engaged with me through the late '80s and into the '90s. Then, of course, she more or less vanished and I wasn’t really keeping up. My ears were elsewhere – in Athens, Georgia and San Francisco and Minneapolis. I probably laughed along with the Alan Partridge stuff.

I would say that it was Aerial that led me to really delve properly into her back catalogue and to explore the full reach of her work. I was drawn initially, I think, to the otherworldly, occult energy in her music. Now, I oscillate between the harder, more rhythmically driven tracks and the very stark piano-based material. There is a sense of tapping into ancient forces in her music which I still find very attractive. It has always been present. The title track of The Kick Inside has it, and so does Lake Tahoe.

“Ultimately, it’s testament to the fact that Kate Bush’s work is endlessly interesting. There’s so much nourishment to be had from digging into it”

I have more than one copy of the book in the form of previous issues. I am excited for this 2024 edition. Did you think, when Under The Ivy: The Life and Music of Kate Bush initially came out, that we would still be talking about it now? How does it feel knowing it has already reached and connected with so many people?

Well, firstly, thank you! I’m obviously very happy that the book has enjoyed such a long shelf life – literally. All you want as a writer is for your books to reach people and to continue to be available to those who might want to read them. For Under The Ivy to be widely appreciated on top of that is very gratifying, but you can’t really dictate that happening: you just have to write the book you want to write and, afterwards, hope it finds its place and its readers. When I first pitched it back in 2008, I really did feel there was a need for a serious, comprehensive and analytical biography of Kate Bush. I thought that had been lacking – and I understood why it had been lacking: because it’s not an easy thing to do. So I am pleased that my hunch paid off and that the book has been generally well regarded and has proved to have staying power, for which I must thank Omnibus Press for keeping it continually in print. I’ve also been lucky.

In the handful of years after Under The Ivy was first published in 2010, Kate Bush was so incredibly productive: two albums and a live show. That helped. Thank you, Kate! There is also the fact that – and we’ve seen this very much to be the case in recent years – her work is still being discovered anew by different demographics and different audiences in different parts of the world. I think that has helped keep the book ticking over, as well. Ultimately, it’s testament to the fact that Kate Bush’s work is endlessly interesting. There’s so much nourishment to be had from digging into it.

Can you recall why you decided to write Under The Ivy: The Life and Music of Kate Bush to start? How did you approach writing the book, and what was it like interviewing people from her world and diving deep?

When you first entertain the idea of writing a book, it’s a conflation of practical, personal and creative reasons, of timing, and luck, and so many other factors. I said in the last answer that I felt there was a gap in the market, to put it bluntly. That helped solidify the idea, in practical terms. Also, the idea of writing a Kate Bush biography was a challenge, and I like a challenge. I just thought there was so much still to say, so much that would be interesting, so much to get involved in.

My approach initially was, first and foremost, to let her know I was doing it – which I did. I sent a letter explaining what I was up to. Then it was a process of working on a wish list of people I wanted to interview, knowing that it was not always going to be possible for various reasons to speak to them all. You start to contact people and explain what you are doing. Sometimes it’s a straight no; sometimes it’s a maybe; sometimes it’s an enthusiastic yes; sometimes silence. As you might imagine, there are various complications when you’re writing about someone like Kate Bush. I was expecting that. I was expecting more complications, in many ways. I was surprised how many people did talk in the end.

“I’m just delighted that she was able to do it, and she did a great job capturing her very personal relationship with the music of Kate Bush” 

At the same time, I started reading around the subject. I tend not to read everything at the start of a project. I’ll read enough to get a sense of the shape of a life and the important people in it, but you don’t want to be too fixed on your idea of who this person is before you start; you have to allow room for being surprised and for people telling you unexpected information or leading you down different and sometimes contradictory pathways. To not overreach for definitives is an important part of writing biography. In many ways, this part is the most enjoyable part of the process: the process of discovery, of seeing the life open up in front of you and learning new things as you’re listening to the music. I find the music becomes increasingly enriched as I learn more. Ultimately, that’s really what you are trying to pass on to the reader when you end up writing a book like this: you want to enrich their experience of listening to the music.

The wonderful Sinéad Gleeson provides a foreword to this new edition. How did you two meet and what was it about her writing and love of Kate Bush that meant she was the person to write that foreword?

Actually, I only met Sinéad in person very recently, right after she had written and submitted her foreword. We finally caught up briefly at her event in Edinburgh, where I live. We’ve been in contact sporadically for many years. She was a fan of the original edition of Under The Ivy. She wrote some nice things about it, and we’d been in touch about that. We’ve been in contact on social media and via email about various things since then. She lives in Dublin and we had some communication around my Philip Lynott biography, Cowboy Song. I knew she loved Kate Bush. I had read her journalism and I’d read This Woman’s Work, the collection of essays by woman writers that she edited a couple of years ago with Kim Gordon, which obviously takes its name from the Kate Bush song. I knew she had interviewed Kate Bush – lucky her! She had seen Before the Dawn. So I was aware that she really knew her stuff – over and above the fact that she is a fantastic writer who shares with Kate Bush an innate understanding of folklore, of elemental forces and the power of unseen worlds. So she was top of my list. One of the lovely things was that just after she delivered the foreword – during a very, very busy time for her – I was reading Hagstone, her beautiful new novel. That felt like a nice piece of serendipity. I’m just delighted that she was able to do it, and she did a great job capturing her very personal relationship with the music of Kate Bush.

PHOTO CREDIT: Guido Harari

For those who have not already bought Under The Ivy: The Life and Music of Kate Bush, can you give any insight into new additions and what we might expect?

I wouldn’t want to overstate the extent of the revised edition. The Omnibus Remastered series, of which this is a part, is essentially about reissuing books from the publisher’s back-list with new designs and new forewords. That was the impetus behind Under The Ivy coming out again. When Omnibus said they would like Under The Ivy to be one of the first books in the series, I was delighted and flattered, and I asked whether there might be an opportunity to bring it up to date. They said yes, so I did that. But given that Kate Bush hasn’t released any new music, or appeared anywhere in public, or played any shows since I wrote the 2015 edition, I want to manage people’s expectations! The update covers the obvious things: the Stranger Things/Running Up That Hill phenomenon, which has again shifted her place in our culture, the Rock & Roll Hall of Fame, the curation of her back catalogue; there are some new quotes from collaborators. To use a music analogy, it’s essentially a stylish new reissue of a well-thumbed album that has been remastered, polished up and had a couple of bonus tracks added to the tracklisting.

In this case, the ‘bonus tracks’ take the form of a gorgeous new design; a short new preface by me; a beautiful foreword by Sinéad; and then in the final section of the book, the story being brought up to the present. It feels quite satisfying, and gives any new readers or recently engaged Kate Bush fans a pretty complete picture of her career thus far. It is also the first time Under The Ivy has been available in A Format (or mass-market paperback) size, which I’m really delighted about.

PHOTO CREDIT: Brian Aris

There are great quotes in the book from wonderful people like Paddy McAloon and Jude Rogers. How much of a thrill is it knowing that your words have connected with fellow writers and legendary musicians?

It’s hugely flattering. I think it is a testament to Kate Bush as much as anything, people respond to her work in a way that is very generous, and that has perhaps been reflected in how they have responded to my book. With Paddy McAloon, I interviewed him some years ago in a hotel in Durham and he produced two copies of Under The Ivy for me to sign – one to his wife, and one to Wendy Smith – and was very complimentary about it. He’s a lovely man and one of our greatest songwriters, so that meant a lot. So I thought I’d tap him up for a quote! Jude and I both wrote for the much missed Word magazine back in the day. She writes with so much soul; there’s never a false note. Her book, The Sound of Being Human, is original and tremendous, and she’s another writer who really knows her Bushcraft. To receive such lovely words from her, and from Kathryn Williams, Emma Pollock, Rob Young, Laura Barnett and Jim Kerr, all of whom were kind enough to also provide endorsements, is incredibly gratifying.

One of the joys of writing Under The Ivy has been hearing from fellow writers, musicians, artists, whole swathes of people, who have enjoyed it. I was speaking with Chris Bryant, the Labour MP, quite recently, and he told me that his husband loved Kate Bush and that Under The Ivy was a favourite book of his. Little things like that can be very consequential for a writer, whoever it comes from. I get a kick out of any and every person telling me they have enjoyed something I have written.

“East Wickham Farm was a very seductive place to visit in my head – or at least my idea of it was” 

I think you have possibly written more words about Kate Bush than anyone alive now (a guess…but I am pretty sure). Did you learn a lot of new things about Kate Bush when writing the book, and do you have a favourite fact/section of the book that was a particular joy to write?

I’m not sure the first part of that statement is true! It can’t be. I learned innumerable things about Kate Bush while writing the book, because I didn’t start with a deep, fan-level knowledge of her at all. I had pretty limited knowledge at the beginning of the process. The book was really an active journey of discovery. Oftentimes my favourite parts of my books cover the early years, pre-fame: with Under The Ivy, it was about establishing the family dynamic, the family background, the musical, artistic, creative and literary touchstones of her work, and a physical sense of place. That’s always really illuminating, but particularly so for Kate Bush, because I think those elements are very, very instructive in terms of understanding not just elements of her work, but also how she operates, how she lives her life and her values system. I wanted to call these things back regularly throughout the book. I thought if I could establish who she is, and where she comes from, at a fairly early stage, then that would pay off all the way through the book. And I loved living in that world! East Wickham Farm was a very seductive place to visit in my head – or at least my idea of it was. It felt like a very safe and magical and creatively stimulating microworld. I really loved being there and going back there when I was writing.

PHOTO CREDIT: John Carder Bush

Do you have a personal favourite Kate Bush album? Mine is The Kick Inside. Is there one that has a very special meaning to you?

The obvious answer would be Hounds of Love. Sometimes it is just a fact that the most popular album, the bestselling album, the album with the big singles on it, might just be the best album, too. I think it is a monumental and pretty much perfect piece of work encompassing so many aspects of her artistry. I love Aerial. As I said earlier, it kickstarted my deeper interest in Kate Bush and I find that album more and more personally resonant as time goes on. I wrote a piece quite recently for Disco Pogo magazine, and I concluded with the idea that Aerial is a song for a life, not just a song of a day. As we get older we accrue experience and loss, our children grow up, we ache more deeply, and yet we still strive to access joy and find ways to escape our quotidian lives. Aerial seems to me to speak to those struggles and rewards so beautifully. The other album I would mention is The Dreaming. I was putting a playlist together recently and I listened to Suspended in Gaffa for the first time in quite a long time – and I really listened to it; sometimes you just let songs drift by – and I thought, Goodness, what a wonderful song that is. The Dreaming has some amazing work on it. It is such a brave and bold and sometimes silly record, and very significant in her development. I love many things about all her albums, but those three are probably my favourites.

It is a question many Kate Bush fans would ask themselves but, if you were to interview her today, what would be your opening question?

(When) Are you going to release a new album, Kate?

If you found yourself in a Desert Island Discs-style scenario and you could only rescue one of Kate Bush’s tracks - the one that is most special to you -, then which would you save?

Hello Earth. There is something about that song that moves me profoundly. The way it evolves from this very personal, intimate, close-up perspective into a vast macro overview of our world and our tiny place in it and on it. It almost feels as though it contains the whole of Hounds of Love in microcosm: it has got very experimental elements; a choral section which is like the moon being obscured by clouds, so darkly, beautifully atmospheric. But it also has lovely, flowing melody, incredible harmonies, wonderful words. It is the ultimate Kate Bush piece for me. Huge in scale and ambition, and I find it very moving.

Finally, we can end with any Kate Bush song that you like. Which one shall we go with? Thank you, Graeme!

Under the Ivy. What else?! It’s such a beautiful little song and it’s great that it seems to have grown into a real fans’ favourite; a treasured deep cut. People complain that it is not on Spotify or other streaming services, but I kind of love that. You need to dig it out a little bit. It is such a special song, so sad and mysterious, with a touch of the occult in there. I’m very pleased I chose it as my title track…

INTERVIEW: SARA

INTERVIEW:

  

SARA

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IT has been a real thrill…

PHOTO CREDIT: Aury Hernandez

getting to know a terrific and awe-inspiring young artist. London-based, German-born SARA is someone that everyone needs to know! I think that she is a modern-day role model and someone who will quickly become one of our most arresting, intriguing and wonderous talents. I have been chatting with SARA about her stunning and instantly memorable debut single, Runaway. It is such an original and fantastic Pop-Rock anthem that will resonate and connect with so many people. It is inspired by her journey from living a German small-town life to pursuing dreams in creative and buzzing hubs. SARA wrote and recorded the track – and upcoming releases – with GRAMMY award-winning Chris Sclafani (Ed Sheeran, Halsey, Selena Gomez). Jerry Barnes, who has performed for and written with artists such as Roberta Flack, Stevie Wonder, and Nile Rodgers, is a music legend who took an immediate liking to SARA’s huge and unmistakable musical talent. Watching her videos on TikTok, SARA is such a warm and beguiling human! You can feel the passion she has for music and how appreciative she is of the support from fans. Take some time to check out this interview with a phenomenal artist with…

A bright and golden future.

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Hi SARA. How are you? How has your week been?

Hi Sam! I’m doing great. Super excited for the release! Not gonna lie: my week has been quite stressful. It’s really cool to see all work from the last few months slowly coming together though. How are you?

Can you tell me more about Runaway. What was the inspiration behind the lyrics, and what was your reaction hearing it back for the first time?

The lyrics are inspired by my own journey. I grew up in a small German town where I’ve always felt judged and watched. Everyone knows each other there and word travels fast, so if you don’t comply with the small-town culture’s standards, you’re quickly made fun of or treated as an outcast. I spent my childhood and teenage years supressing so much of myself and holding back what I really wanted to put out in the world because I was surrounded by people who thought they had the right to tell me what I should and shouldn’t be doing. The older I got, the more I felt the need to break free and start a new life somewhere where no one knows me. I ended up doing exactly that and it’s the best decision I’ve ever made. I now see the people that used to be mean to me in school and some of those people seem really unhappy with the life they’re living now just because they’ve built it according to other people’s expectations of them. I think a lot of hate is based on jealousy. My theory is that people who try to discourage you from making your dreams come true secretly have the same dreams but they are too scared to take a risk and follow them themselves. So with Runaway, I’m trying to encourage people to go for what they know will make them happy, no matter what others say.

There wasn’t really a ‘first time’ listening back to Runaway, because we built the song and the production gradually. I wrote the first lyrics draft by myself and presented it to Chris (Sclafani), who then came up with some guitar ideas. I wrote a topline on top of those and then we started working on the production together. Chris did all the work in terms of production but he was kind enough to let me give feedback on every step along the way. So with every time I listened to it, the song came more and more together. When we decided the production was finally finished, I had already listened to it so many times that what I mostly felt was relief that we actually managed to get it done after having worked on it for quite a long time, and excitement because it meant it was finally ready to share it with the world.

You wrote the song with Chris Sclafani (who also produced Runaway). What was it like working with him?

A mutual friend of ours, Jerry Barnes, connected us and I remember I was scared shitless the first time I went to Chris’s studio! You’d think given the fact that he’s worked with so many big artists, his ego would be huge, but I quickly got convinced of the opposite. Chris makes it super easy to feel comfortable in a session with him, which is how he managed to really push me out of my comfort zone in terms of songwriting. Before working with him, I had only written ballads because they’re what came easiest to me. One of the first things he said to me is that most of the demos I had sent him sounded the same and that he wants us to explore a genre I’ve never written in before. So we did that and wrote a song in the span of like two days that now ended up being one of my upcoming singles. At first, I didn’t like the song because the lyrics I wrote to it were quite silly and I didn’t take the writing process as serious as I usually would, but now I recognized that exactly that is the beauty of the song. So Chris really helped me to embrace that more and have a bit more fun in the writing process.

“I guess that ended up leading to me wanting to make music that serves as a soundtrack to other people’s lives now and wanting to make them feel like a true main character when they listen to my songs”

I understand there is more to come this year. Can you give a hint as to what we might expect in the way of songs and themes?

Well the song I just talked about is actually the second single! It’s a fun one that encourages to go crazy, let loose and scream along. It’s leaning into a noughties sound. I’d say it has a little bit of a Punk-Rock feel to it. It’s the song I think will be most fun to perform live!

You have got the respect and ear of some music icons and modern legends. How does it feel knowing that your music has resonated with the likes of Harry Styles?

Oh I wish it was my music that he noticed! It was a cover of one of his songs actually. I posted it on Twitter a few years ago and he ended up giving it a like. He doesn’t like tweets often and is rarely active on social media, so it was a huge honor for me! Getting my own original songs noticed by him would be a dream!

Take me back to your earliest years. Can you remember when music first touched you and the sort of artists and sounds you grew up around?

I wish I could say I grew up with really cool music influences, but my parents are quite clueless when it comes to the music world. I recently had to explain to my dad who Ed Sheeran is and my mom still doesn’t know who Fleetwood Mac are haha! The first time I realized how music can make you feel and how powerful it can be was when I was around 14 and started really getting into movie soundtracks. I used to spend hours researching which songs played during my favorite movie and TV show scenes and listening to these songs on repeat while trying to romanticize my life as a form of escapism, because I felt so comfortable in the environment I spent my teenage years in. I guess that ended up leading to me wanting to make music that serves as a soundtrack to other people’s lives now and wanting to make them feel like a true main character when they listen to my songs.

Having spent a lot of time in cities like London, how influential and important are the people and dynamics when it comes to your music?

Quite important I’d say! I’ve definitely been majorly influenced by living in London because the live music scene is so vibrant here and Brit Rock is such a big part of the culture. Apart from my sound, my lyrics are also quite inspired by London life. I love observing people and I find the Brits and their behavior very interesting. There’s quite a few people and groups I’ve watched from afar or have hung out with in London that have served as amazing songwriting material.

“The goal is definitely to put on headline shows in the future, but I’ll have to wait for the demand to build a bit more I’m afraid”

I can see you working on film scores and writing music for big films. Do you see you feel like you will work in other mediums and take your music to new places?

Oh my gosh, thank you so much! That’s a huge compliment; I’ve always dreamt of having my music being used in a movie soundtrack. I don’t have anything else in mind at the moment, but I’m the kind of person that says ‘yes’ to every opportunity that comes her way, so I’m open for anything!

Do you have any gigs coming up? Might we see you on the road later in the year?

Right now I’m still very much in the figuring out phase. I’m hoping my upcoming releases will attract a few listeners that would be happy to see me perform live. The goal is definitely to put on headline shows in the future, but I’ll have to wait for the demand to build a bit more I’m afraid. Until then, it’d be lovely to do a few support slots, but I don’t have anything planned as of right now.

Finally, and for being a good sport, you can choose any song (other than your own) and we’ll end with it. What do you want to go with?

Mhhh… Since I’ve spoken about music that makes you feel like a main character a lot, I’m gonna go with New Shoes by Paolo Nutini. That song was one of the soundtracks to my teenage years and is one of my favorites to listen to on a warm summer day!

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Follow SARA

INTERVIEW: Sarah Close

INTERVIEW:

PHOTOS: Katie Silvester

 

Sarah Close

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I am a big fan…

of the wonderful Sarah Close. The British artist is currently based out in Los Angeles. I have been speaking with her about her musical path and how her career has progressed since her start. She discusses her stunning new single, Justify. The song is the inaugural release in Close's ambitious double E.P. campaign for this year. Building on the narrative established in her previous singles, Forgive or Forget and Liars Like You, this empowering, unforgettable and gorgeous Pop anthem explores and examines themes of heartbreak and self-liberation. Her lyrics poignantly explore the realisation that certain individuals may never change, prompting a transformative journey towards self-empowerment and liberation from toxic relationships, while tapping into a bad bitch energy; that you’re finally done with empty promises; that next time will be different. Close herself produced the track. It is an exciting and happy time for this artist that everyone should know and listen to. A unique and awesome talent who I predict a long and golden future for, Close discusses upcoming gigs and how much input she had into the video for Justify. She also reveals what is coming next. Such an incredible talent, it is amazing hearing Justify. A talent who is going from strength to strength. If you have not heard Sarah Close’s beautiful and memorable music, then make sure that you…

CONNECT with it now.

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Hi Sarah. How are you? How has your week been?

I am doing really well! It’s 8 a.m. in L.A. right now and I’m almost at the end of a long 2-month trip. I’ve been writing music out here with a lot of new collaborators, and yesterday I wrote a song that I am OBSESSED with. I’m listening on repeat! It’s always such an exciting feeling when you get a song like that. In about 2 hours, my friend Raelee is going to pick me up and we are driving to Malibu (my first time going there) for a beach day because it’s 30C today!!! So all in all, it’s been a great week.

I have been a fan of yours for years. How do you feel your music has evolved since the start? Looking back to your earliest release, how do you feel about how far you have come?

Oh myyy!! I mean my music has shifted and changed so so much. When I released the Caught Up E.P. back in 2017, I was a super-young kid who loved (and still loves!) pop music and dreamt only of being a pop star. I still love those songs, but when I listen now, I can hear that girl who was still figuring herself out. After that release, I had a lot of people in the music industry giving me their opinion on what kind of music I should make, and I didn’t realise at the time, but that really influenced me. I wish I had had the guts to stand up to them, but I was a young girl, a people pleaser, and I thought they knew more than me.

The pandemic really gave me a chance to slow down, and I credit that time with truly helping me find myself as an artist and songwriter, away from anyone else’s opinions! I had a lot of emotions to process during that time, and I think my songwriting matured and became more vulnerable. I had more complex things to say and write about.

I really embrace that I’m an artist who has gone through a few different iterations of myself to get to where I am now. I used to feel a little bit bad that I didn’t come straight out the gate with a sound that I consistently stuck to, and then I realised that way of thinking only hurt myself!

I’ve always been someone who loves going to the studio and playing around with different sounds and pushing myself outside of my comfort zone. I love where I’m at right now, and this feel like a very authentic space for me, but hey… I don’t wanna say too much, but I know I have a few songs in the pipeline that are going to really surprise people…

Looking at a recent video from your social media/YouTube, I know you have been spending a lot of time in the U.S. and discussing your life and figuring things out. How important was it to share that video, and how did the positive and supportive fan feedback make you feel?

It was really important. I am definitely in a confusing stage of my life; trying to figure out where I want to live and what I want my life to look like. But I feel like everyone goes through this, and I just wanted to be honest and share what’s going on. As confusing as it is, it’s also really exciting to not know what’s coming next, and my parents constantly encourage me to embrace uncertainty in my life! When I posted that video, I lovedddd reading the comments. There were a lot of people who are going through or who had gone through exactly the same thing, and I just think it’s so helpful to know that you’re not alone in any feeling really.

Talk to me about your new single, Justify. How did that come together in terms of the lyrics and the initial seeds?

Justify is a moment where you really get to celebrate yourself and the love you have for you!!! A few years ago now, I went through a breakup that taught me so much (also made me write a lot of sad songs), but my biggest lesson was that I don’t have to have anyone in my life who makes me feel small, unlovable and bad about myself. I really wanted a song on this record that captured the moment you realise you don’t have to stay and try to justify your behaviour anymore. That you can leave. That moment feels so powerful to me, and it was the first step towards ending a toxic relationship cycle that hurt me so much. So I knew this song was going to be important, even from the initial feeling.

I already had the chords and most of the chorus written when I had a session with Adam Argyle (who I write so much of my music with). He came over one day and helped me finish it. It was a really quick and easy song to write once we perfected the chorus. I think we both really understood what the song was about from our own personal experiences.

“It’s the first time I’ve produced a song by myself that is this big of a production, and I am so proud of it”

I am a big fan of music videos. Did you have a lot of input into the video for Justify? What was it like shooting it?

Huge input! As an indie artist, I really have to get creative when it comes to making visuals, as I don’t have huge budgets to work with. It was a simple shoot just involving me and a friend and my laptop camera. I got him to ask me questions about the song and about the inspiration behind it, and I love the idea that you get to watch me have a conversation about the song, and how the different emotions play out on my face during it.

You produced Justify. How important is for you to produce, and is it something you enjoy? I don’t think artists who produce their own material get enough attention and credit

I did produce it! It’s the first time I’ve produced a song by myself that is this big of a production, and I am so proud of it. I moved back to the island last summer because I wanted to finish the rest of the new music off alone, and being there really gave me a chance to focus. Producing Justify was hard. I knew I wanted it to be upbeat, but everything I was doing didn’t feel right. Then one day (and I kid you not, this is the truth) I had a dream about what it should sound like. I woke up at about 5.30 a.m. and headed straight downstairs to my set up to start making it. Once I had the initial idea down, it was all about fine tuning and from there I really enjoyed it! It’s super special to me as well, because my little brother is playing bass on it. I love that we got to collaborate in that way, and he’s playing bass on a lot of the new songs to come!

Producing my own music has been the biggest thing that’s helped me discover who I want to be in my music. I think an artist having input into the production is so key to creating music that feels really true to them. I don’t think an artist necessarily needs to produce everything, but I think it’s great to be able to sketch out small ideas for another producer to build upon.

You have a lot of new music and two E.P.s planned for this year. What has it been like putting it all together? What is it about 2024 that compelled you to step things up and launch this new phase?

It’s been SO GREAT AND SO EXCITING. I love the world that we have created with this music, and I can’t wait for people to see the visuals and to really be immersed in the sonic world. I feel like my whole career has been building up to this year, and I feel resolute in who I am and the music I want to give to the world. Last year, I took time to really finish everything off, so that in 2024 I could just hit the ‘go’ button and not stop.

I know there are a lot of people who would like to see you perform live. Do you have any U.K. or U.S. dates coming up?

I do! This summer I’m going to be doing a couple of support shows in the U.K. and some of my own headline shows will come later in the year. I am DYING to play some shows overseas in the U.S., and I’m hoping to get some funding this year to help make that happen!

“I’m the happiest I have been in years, which is so so nice to say”

After Justify, when might we see more music? What would you say to the many adoring fans who are pumped for what is coming this year?

Very very soon!!!!! The release of Justify is the first song of many to come this year, and as I said above… once we hit ‘go’ we are not stopping!! I wanna tell them, get ready!!!!

Not necessarily talking about music, how are you feeling about things right now? It has been a very busy and changeable time for you recently. Are you excited about the future? How important is music and putting it out into the world?

I’m the happiest I have been in years, which is so so nice to say. I feel like in 2023 I got to wave goodbye to an era of my life and shut the door on a time that involved a lot of heartache and sadness. With that goodbye, I’m aware that I’ve welcoming in the next phase of my life. There’s a lot of ‘newness’ happening for me right now: new relationships, new music, new friends, new places and cities I’m exploring. I feel excited for it all. I can’t wait to get this next body of music out, and for what I have planned after that, and to eventually put out the songs I am creating every day on this L.A. trip. I just know there are good times ahead.

Finally, and for being a good sport, you can choose any song (other than your own) and we’ll end with it. What do you want to go with?

She’s On My Mind by Romy. Oh my god. I love this song; it’s so joyous. I dance to it in my kitchen every day. It never fails to make me feel good. It feels nostalgic and modern all in one.

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Follow Sarah Close

INTERVIEW: Charley Stone

INTERVIEW:

 

Charley Stone

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IT has been great speaking with….

a bit of a music legend. With an incredible C.V. boasting her name, Charley Stone is someone whose work you will definitely know. Currently a gigging guitarist with the likes of Sleeper and Desperate Journalist, Stone is set to release her own debut solo album. Here Comes the Actual Band is will be released on 29th May. After dropping the incredible single, Free Food - the first from the album -, back in November 2023, Charley Stone has shared A Scream. I have been speaking with Stone about that single, what we can expect from Here Comes the Actual Band, in addition to what she has brought from her band experience to solo work, the music she grew up listening to, plus what comes next. An incredible artist that everyone needs to check out, it has been a thrill getting to know more…

ABOUT the amazing Charley Stone.

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Hey Charley. You have previously played in bands like Salad. How does life as a solo artist differ?

Being in bands is fun! The camaraderie of it, and even the difficult stuff, e.g. when you disagree on how a song or set should go and have to thrash it out until everyone’s happy. In contrast, I really love the freedom of being a solo artist, but it’s also lonelier. And onstage, when playing a totally solo gig without my Actual Band, it’s a lot harder, because you feel a lot more exposed. But then one of the reasons I decided to start doing this was to push myself out of my comfort zone, because I feel totally comfortable onstage as part of a group, but going up there on my own gave me a whole new bunch of nerves to overcome.

Having played in bands, is there any experience or lessons from that time that you bring to your solo career?

I think there’s something really special about working on music collaboratively. So with my solo work, although I might record a song at home with an entirely self-crafted arrangement, I’ll strip it right back to one guitar and vocal when I bring it to the band and see what direction everyone else takes it in. Ultimately I’m the “musical director” and steer it and make the final decisions. But I don’t wanna dictate what everyone should play, because that’s not particularly interesting to me – and from my own experience, I know that you bring much more energy to a part you’ve created yourself than one where you’re trying to replicate someone else’s style.

Another thing is that by the time you’ve played in your tenth or fifteenth band, you have a really good understanding of how different every group dynamic is, and start to enjoy the puzzle of how to work together with different people, getting the best from everyone and giving everyone space. Also, the importance of fairness and transparency when it comes to the financial side of things.

“It was a time when I was pretty much always feeling intensely-intense, full of anxious knots in my heart, and this was the song which emerged”

What is it like playing in touring bands at the moment in terms of how it impacts your songwriting and sound?

I suppose when you’re learning someone else’s songs, esp. if they wrote the guitar parts, you pick up on little tricks and tips you might not have come across before. And seeing how different bands interact (or not) with the audience has probably helped define my own onstage persona. But I don’t think the other bands I’ve played with have influenced my songwriting or sound any more than any of the bands I’ve just watched or listened to. But then I’ve been around a long time. At this point in my life there’s just been layers and layers of sounds and bands and other cultural influences all sort of composting down in my brain and fermenting into my own unique brew, I think.

Take me back to your earliest years. Who were the artists who inspired and motivated you?

Earliest years of life, or of playing guitar? Because when I was a kid it was basically just The Sound of Music. When I started wanting to write songs, it was Duran Duran at first and then early U2, All About Eve, Throwing Muses, The Cure, David Bowie and David Sylvian.

A Scream is your new single. How did that come together? What is the story behind the track?

A Scream is actually the first song I ever wrote on electric guitar, back in the last century! I had a really cheap difficult-to-play guitar, and when I finally mastered barre chords on it I set myself the task of writing a song using them. It was a time when I was pretty much always feeling intensely-intense, full of anxious knots in my heart, and this was the song which emerged. We used to play it in my first band, but it never really had the power I’d envisaged for it.

But I brought it back for a solo gig a couple of years back, and then when I was doing pre-production rehearsals for the album with the Actual Band, Mar (bassist) suggested we try that one. It absolutely sucked the first time we went through it, but then Lily (drums) hit on this really thrashy way of playing it and finally it really gelled. We recorded it all set up in the same room together, but then when they’d gone I added (and mostly deleted) loads of additional layers of guitar and BVs, and fed the lead vocals into an old analogue delay machine and out into a guitar amp and back into the desk… and when I listened back I shouted out “I love it!”, because it was all there, exactly how I think I felt it should be, back when I was 18 or 19.

You work in an industry still male-dominated. How important is it for you to be working alongside other females and queer folk? And do you think attitudes towards female musicians is changing in terms of recognising their importance?

I think most people gravitate towards their own tribe – that’s not so much “important” to me as what feels natural. In a sense it was actually more important to me to at some point break out of that and occasionally play in a band of mostly cis-het men. Because that brought its own challenges and insights. As to changing attitudes: the landscape is completely different now to how it was when I started out. Back when I formed my first band, the only other non-male bands most people had as a reference point were The Bangles or Fuzzbox, and every single gig we played was with all-male bands or very occasionally a group of men fronted by a female singer. But that was a good 30 years ago now, and the fact that this question still comes up is quite telling, isn’t it.

“I’m not sure it will feel real until I actually have a physical copy in my hand”

Your debut solo album, Here Comes the Actual Band, is out in May. How does it feel knowing it is almost out? What kind of themes and stories are explored throughout?

Most of the songs on this album come from a sort of imaginary world. Many of them started as images in my head, and in writing the songs I made stories of them, and so created a parallel, whimsical dream-world. There are characters and places in the songs which relate loosely to places and events in the “real” world. And sometimes they’re more vivid to me than many of my actual memories. There’s a lot of romantic yearning in them and explorations of procrastination in its various forms

And at the moment tbh I’m still procrastinating on all the practical things I do to ensure this album actually comes out. I’m not sure it will feel real until I actually have a physical copy in my hand. And then I’ll be relieved that I can finally start work on the next one.

You now have a live band behind you. How did you meet them…and can we see you on the road later in the year?

I know both Lily and Mar from their other bands where they sing and play guitar. I had long thought both of them were very cool and wanted to hang out with them more. So when I put out the call on social media for band members, I was utterly thrilled to get a message from Mar reminding me that he also plays bass, and a very drunk text from Lily asking “CAN I BE YOUR DRUMMER CAN I PLEASE”.

The Actual Band is intended to be fluid, though, and for the next couple of shows my friend Melissa will be depping on drums as Lily is away.

If I can get some funding I’d love to take us out on the road. Touring is expensive so currently most of the gigs I play outside of London I do totally solo.

What comes next for you? After the album is out, are there seeds for yet more music?

There are always seeds! It’s growing them that takes the time. I’ve currently got about three different unfinished totally solo albums on my hard drive. What I’ll probably do next is finish one of those and sneak it out online, and then start working some of those songs into sets with the Actual Band, along with some totally new ones, and then at some point we’ll record ten of them for another full band album.

As I allow all my interviewees, you can finish with any song you like and I will play it here. What shall we go for?

My favourite band at the moment is Panic Pocket, and they wrote my favourite queer unrequited love song of all time, so let’s go with that. When I first heard this song I was utterly obsessed with it and played it on a loop for hours at a time. More recently I’ve been covering it at gigs. So, this is OK Cupid:

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Follow Charley Stone

INTERVIEW: Carianne Older

INTERVIEW:

 

Carianne Older

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IT has been a real pleasure…

IN THIS PHOTO: The Last Dinner Party

finding out more about the incredible photographer, Carianne Older. The famed L.A.-based photographer and pop culture creative director has shot for some of our favourite celebrities and companies such as, Charlie Puth, SZA, Olivia Rodrigo, Christina Aguilera, P1 Harmony, Jordyn Woods, Keke Palmer, Maggie Lindemann, Tana Mongeau, Olivia O'Brien, Rina Sawayama, Puma, Footlocker, Playboy, Cadillac, Sony Music, Interscope Records, and Universal Music…to name a few! Older not only focuses on film, but also on the importance of building an inclusive industry as she continues to break down gender barriers through sold-out workshops, nationwide speaking engagements, and her mentorship program based in L.A. - where she helps emerging photographers find growth and success. I have been speaking with Carianne Older about her how she got started in photography, what it is like working in a male-dominated industry, the advice she would give to photographers coming through, and, if she got the chance to photograph Lady Gaga, what would her concept/set be. Follow Carianne Older on Instagram. It was a real joy speaking with this…

IN THIS PHOTO: SZA

INCREDIBLE talent.

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 Hey Carianne. How does it feel to be nominated for Tour Photographer of the Year at the iHeart Music Awards?! What was it like to work with Charlie Puth? What does this nomination mean to you?

It doesn’t feel real!! Being nominated for an award for my photography is something that’s always been a bucket list item. There really aren’t that many things you can be nominated for as a photographer, so when I found out about my nomination I was so excited. Working with Charlie was a dream come true. It was always a major goal of mine to tour specifically with an artist whose music I loved. So when the opportunity to tour with Charlie arose, I jumped at it.

Being nominated as a woman in the photography field means the absolute world to me. It means there are people out there who truly believe in me and my work, and for that, I am eternally grateful.

IN THIS PHOTO: Charlie Puth

Can you tell me how you got started in photography? Was music photography the medium you always wanted to work in, or did it evolve through time?

I was working a corporate job up until 2018 in the entertainment sector, and I was so burnt out working for someone else, so I picked up the hobby of photography and started taking photos of my friends for fun. Photography was a hobby until it wasn’t anymore. My early success gave me the backbone to quit my 9-5 and start my own company. Before I could take a breath, I had moved out of my small town in South Florida to start my career in L.A. I always say working for myself is destiny because my initials are CEO. I am so grateful for all of the people in my life who pushed me into my creative career, because without it, I would still be working the same unfulfilling 9-5 in a cubicle the size of a closet.

I was drawn to music and theatre because those are the two things I love the most in life. I feel very lucky that I get to capture photos of some of my all-time favorite artists - I never take a day in this industry for granted.

“I think it’s important to raise up other women. It feels like for every woman in this industry, there are 5 men”

You work in an industry still male-dominated, yet you have an all-female creative team. How important is that, and do you think attitudes towards female photographers are changing in terms of recognising their importance?

I think it’s important to raise up other women. It feels like for every woman in this industry, there are 5 men. Though it feels like things are changing for the better. For example, last night at the Grammys, a female artist won in every single category in the main telecast. Seeing things like that happen gives me such hope as a woman. 

What advice would you give to female photographers coming through who want to make it in the industry?

Treating people well trumps talent any time. The entertainment industry is a marathon, not a sprint. Don’t burn any bridges – you never know when you’ll need to cross that river. 

Are there any other photography queens in the industry we need to follow and check out?

My personal favorite music photographer, and one of my closest friends, is Ashley Osborn.

She never misses; her work is outrageous and she is the kindest soul out there. I am lucky to call her a friend and an inspiration.

“Los Angeles holds so much history...there are so many stories that you can continue to tell here”

Having photographed incredible artists like Olivia Rodrigo, how does the collaborative process go? How do these artists come to your attention, and is there a lot of feedback/input from artists in terms of the shots?

Most artists hire me because my photography has a specific vibe. I feel I am brought onto projects that artists not only want me to shoot, but also creative direct. For the most part, all of my shoots I creative direct or at least have an input in the direction of the shoot. I like to be in controlled  environments when photographing artists. I run a full production company with my cousin Paulina, we produce and direct the majority of our shoots in house together, family style! My background is in producing, as it’s what I studied in college, so I have a really good grip on the business aspect of photography that ensures all of my productions run super smoothly.

IN THIS PHOTO: Daphne Blunt

How important is L.A. and its unique and diverse landscape in terms of inspiration and landscape?

I moved to L.A. because I love the landscape of L.A. Most houses, restaurants and shops are still in their original state, which means they all make fabulous places for photoshoots. My style heavily relies on the vintage aesthetic, so I am thrilled that L.A. has kept so many spots in their original layouts. I am heavily inspired by “Old Hollywood”. I feel I am always somewhere shooting with a 1960s convertible, or just below the iconic Hollywood Sign. Los Angeles holds so much history...there are so many stories that you can continue to tell here.

You have said how Lady Gaga would be your dream as-yet-unsnapped subject. If you were to commission, what would that shoot look like in terms of set and fashion?

I would love to shoot Gaga in a theatre...somewhere like the opera at Lincoln Center's stage. I’d have her in some crazy gown - something super extravagant.

IN THIS PHOTO: Jocelyn Hudson

In terms of all of the artists you have shot, who stands out as your favourite? Any highlights or favourite photos?

Ohh hard question! Probably Charlie Puth. I spent the greater half of last year with him. I shot two single art covers for him, as well as 2 months worth of content of him while we were out on the road together. I’ve shot my fair share of concerts, but to go on tour for the first time with an artist I adore and respect while taking photographs that will live on forever was very special and important to me.

I think a book of your photos would be amazing. Is that something you have considered? Maybe part-biography, part-photobook? What is next for you?

Yes! Lots of logistics go into making a book full of people you’ve photographed, which is why I’ve held off for so long. When I do finally make a book, it will be of all of my clown shoots. I’ve done just shy of 20 clowns, so maybe when I get to 100 it will be time for a proper table book!

As I allow all my interviewees, you can finish with any song you like and I will play it here. What shall we go for?

I love this! Been blasting Suzie Chapstick off the new Green Day record lately...so let’s go with that!

INTERVIEW: Erik Kase Romero

INTERVIEW:

 

Erik Kase Romero

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IT has been great…

finding out more about New Jersey native, Erik Kase Romero. An exceptional and distinct artist who cemented his reputation as one of the state’s best recording engineers and producers, Romero has also made records with some of the most incredible Indie bands to come through in recent years (including Deal Casino). An in-demand and busy talent whose discography and C.V. is one of the strongest and most varied I have seen in years, Romero has been focusing on his most personal work to date. That is his solo project. So much beauty, soul, heart and atmosphere goes into his stunning music. After releasing an E.P. in 2022 – and some well-received singles last year -, Erik Kase Romero unveils his how to be still & still be here album. His most astonishing work yet, it demonstrates phenomenal songwriting from an artist that so many people need to know about. I have been speaking to Romero about the new album, whether he thinks his native New Jersey music scene gets enough love, and what his next steps will be. I would recommend to everyone go and check out Erik Kase Romero’s…

BRILLANT new album.

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Hey Erik. Looking back at last year, what would you say were the high points and memorable moments?

This year was a pretty wild ride. I became a father, released this album that I’m super proud of, and toured the most I have since 2020… to name a few things. I’m so grateful for all of these experiences. I’d have to say the adventure into parenthood has been the most profound of all of them without a doubt.

Some people might not know your background and start. Tell us about the music scene in New Jersey and some of the artists you grew up listening to.

I sound like a broken record, but I’d have to say that I’m super grateful for my experience growing up in NJ and the opportunities the music community offered here. I started playing in bands and going to shows in the early-2000s, and New Jersey really felt like an epicenter for the Pop Punk (and adjacent genres) scene. There were always shows to go to every week, and there were so many kids starting bands in my town and surrounding area. Looking back, I think it was really easy to take for granted, but it was a huge factor in me ending up where I am today. I was also really lucky and privileged to have parents who were incredibly supportive of me following my passion for making and recording music.

“The canon of artists who’ve come out of the Garden State speaks for itself, and I’m very proud to call it my home”

Many know about other U.S. states’ music scene. Do you think New Jersey gets enough focus in terms of its local talent? What is the current scene there like?

It’s the most densely-populated state in the U.S., and it’s mostly suburban. The proximity to NYC and Philly is without a doubt a huge reason for that. So there’s a tremendous amount of people living very close together, and I think the net result as far as music goes is that there’s always a lot of young people trying to create communities and music - which is essential to a music scene in my opinion. In terms of it getting ENOUGH focus, I’m not really sure haha. In my travels, it seems a lot of Americans think of NJ as a state to drive through on the way to a major city, or that the majority of us are caricatures like Jersey Shore stars or Sopranos characters… but I think those who are really music enthusiasts know the deal. The canon of artists who’ve come out of the Garden State speaks for itself, and I’m very proud to call it my home.

At the moment, there’s a huge amount of exciting bands putting in the work here. We’ve lost a lot of venues and D.I.Y. spots over the years and of course because of the pandemic. However, it always seems that demand creates supply and the last year or, so I’ve been happy to see lots of new avenues and spaces for music popping up.

Tell me about your new album, how to be still & still be here. How does it compare to your previous E.P.s? Do you approach writing and recording an album a lot differently to an E.P.?

Being that this is my first attempt at a full album, it definitely felt different in approach than the previous E.P.s and singles I’ve released. I tried to commit to a strategy pretty early on for these songs in the hopes of getting me out of my habitual headspace of producing and recording other artists, as well as to keep myself inspired and creative. In the past, I’ve really gone deep into demoing my songs as I write them;  honestly to the point of overkill. This time, I decided to only ever arrange them as far as an acoustic guitar and vocals prior to the recording process.

Next, I got together four of my best friends/musicians/collaborators and we spent a period of time in the studio coming up with arrangements by playing live and fleshing out the energy of the songs. This part of the process was by far the most revelatory and exciting. I really felt like it brought a lot of collaboration and creativity to the process that made everything feel connected and reflective of a specific period of time.

After that, I spent about a month alone with the recordings getting into some experimental processing, vocal tracking, and small overdubs with the original live takes always living at the core. Then, me and the musicians got together for a day or two just to button everything up.

Do you have a particular favourite song from the album? Maybe one that was especially quick to write or has deep personal meaning?

Oooh, that’s tough. I think as far as songwriting goes I’m the most satisfied and proud of honest. I think it really communicates an authentic set of feelings that are very real and true about who I am. Listening back to the album I think my favorite to listen to is probably lessons, though. I just really like how it came out and how it evolves.

Maria is also a good one to note as far as personal meaning. It’s the last song I wrote for the record. And the recording on the album is a single take of one of the first times I ever played it, just sitting in my studio. I really like that it feels nascent and raw. It’s a song for my daughter.

“Every song on this record had its own unique journey to being completed”

Talk to me more about honest. I believe that is quite an important one to you…

Yea, as I said earlier, I feel like it is probably the most successful attempt I’ve had to date in representing myself. It means a lot to me. It’s not about anything singular or particular; but more about unpacking the ubiquitous struggle for identity and truth. Sometimes, personally, I find it’s the hardest to be ‘honest’ with myself… but beginning that process is the only real way to begin being honest as a practice.

In terms of your songwriting, how much comes together in the studio compared to at home? Do you have a particular routine when it comes to creating tracks?

Most of the lyrics and chord changes I had written before getting into the recording process. As detailed above, the musicians involved and me really took on the role of developing the arrangements, parts, and aesthetics in the studio. I definitely don’t have any routine when it comes to this. On the contrary, as a producer, songwriter and creative, routines and habits often lead me to the most uninspiring places. I like to switch up patterns as often as I can both to challenge myself and just to stay excited and present! Every song on this record had its own unique journey to being completed.

Also, I’m lucky enough that my home and the recording studio is a very blurry distinction. I have a studio at my house and a larger studio that I operate. And both of them are useful tools that I have access to. Most of the songs were written in my home recording studio, so it was very easy to catalog and develop ideas.

“I have more songs that I didn’t include on the album, and I’m sure I’ll write more in the coming months”

I know many in the U.K. would like to see you play live. Might you visit us at some point?

I would love to! I’ve toured a decent amount in the U.K. with other bands, but I hope that I can have an opportunity to get over there and share my own music with yall ASAP!

Maybe premature to ask, but what comes next in terms of music? When how to be still & still be here was completed, were any other songs written after that may go into a future album or E.P.?

As of right now, I’m mostly focused on touring this record and continuing to record albums for other bands and artists! I have more songs that I didn’t include on the album, and I’m sure I’ll write more in the coming months - but for now I’m just focused on this project.

Finally, can you choose any song by another artist that you admire that I can include in the piece?

Sure! I love so many artists, so it’s hard to pick any single one. The last few days, I’ve spent a lot of time listening to Jackson Browne’s Call It a Loan. It’s not one of his more popular songs, but I really love the lyrics - and it’s just been hard to stop listening to it haha. I grew up listening to his music, and it holds a really special place in my heart.

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Follow Erik Kase Romero

INTERVIEW: Anna Howie

INTERVIEW:

 

Anna Howie

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I have been speaking with…

the incredible Anna Howie about her new single, Searching for Christmas. She reveals the background behind it, what it was like recording in Nashville, some of the music and artists who have inspired her, correcting and tackling gender inequality throughout the industry, and what we can expect next. The London-born artist released the terrific album, The Friday Night Club (that title reminds me of Sheryl Crow’s wonderful debut album, Tuesday Night Music Club), and it is one that I would recommend everyone checks out. It is a rich and hugely satisfying and wonderful album that I have been revisiting quite a bit. With a recent single, How to Stop Crying, building on the momentum and brilliance of Friday Night Club, I was excited to hear what Searching for Christmas had to offer. Thanks to the amazing Anna Howie for discussing her latest track with me and revealing more about her musical path and loves. It has been a pleasure speaking with an artist that…

EVERYONE should follow.

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Hi Anna. How are you? How has your week treated you?

Hi, Sam. A good week, thank you. I am currently in a campervan just outside Cardiff.

Before getting into current music, can you take me back to your earliest years. Was there a particular artist that drew you to music, or something in you that you felt needed to come out?

I've always loved stories and writing things down; so before I ever wrote a song, I would write stories about people and places. On the music side, I would have to go first to Dolly Parton as she has been a constant. Many major milestones in my life - first car, first trip away from home, first flat - all feature Dolly as a soundtrack. Allso Whitney Houston, Aretha Franklin, and more recently, I have come to love other really great storytellers: Joni Mitchell, Paul Simon, John Prine.

When did that spark first appear?

At  primary school, I was the only one in my class who would ever sing on their own - so I was always being wheeled out when no one else would do it. But it was when I was at uni that I got to sing backing vocals for a band  for the first time - ad that was it, there was no going back!

Born in London, I can hear a lot of U.S. and Country influences. How did that genre come in your life?

My dad was a Johnny Cash fan. And, for me, it was Dolly. I fell in love with the stories.

“Also, I have so many fantastic women artist friends who should be heard by as much as possible, as often as possible”

Do you think that it is a style of music that is still underrated and underplayed in this country?

Yes! But ever-growing. The festivals popping up all over the U.K. dedicated to Americana and Country music are testimony to that! But we need a new name for it, I think, the U.K. version. Lots of my songs are about London and growing up there, so it always feels strange to call it ‘Americana’.

You have previously recorded in Nashville. What was that experience like?

I really enjoyed it. It’s quick. Very different to here. The structure of the Nashville day is set up around writing and recording sessions, but I was very lucky to work with Bob Britt and a band of fantastic session musicians. It was great.

I believe you have put on all-female showcases/events and are very much about empowering other women. How important is this to you, and what was it that kindled that particular passion and desire?

It’s hard trying to make a career out of music. It’s especially hard if you are a woman. I think the statistic is just 12% of people who play festivals in the U.K. are women. I think it’s really important to try and reset the balance. Also, I have so many fantastic women artist friends who should be heard by as much as possible, as often as possible.

“Just small venues, but it was so great to get out there and meet people and share songs”

You have had big support from various stations and publications. I still think stations struggle to create gender balance and genre balance. Is this an issue you think needs to be a top priority for 2024?

Yes, always. Not just in music - in everything -, I do feel like it is shifting slowly in the right direction. The next generation (I have two daughters) won’t stand for it. Also, I think the role of men plays such an important part in the shift. We all need to work together.

Looking back on this year, what memories stick in the mind? Do you have any particular highlights?

I am really glad that you asked this question because it has made me stop and think about it! And there are lots. I did my first solo tour this year. I was nervous to go to places where people didn't know me. At a time when audiences are down. But I really enjoyed it. Just small venues, but it was so great to get out there and meet people and share songs. Also, The ARC Songwriters Tour, which is myself and Kate Ellis and My Girl the River in a writers round, has been a joy - they are both great artists, and I feel very lucky to get on stage with them, sing on their songs, and have them on mine.  Also, being one of Black Deer Festival’s Emerging Artists was great.

I could go on…but all in all a good year!

Talk to me about your new single, Searching for Christmas. How did that song come together?

I actually wrote it last year, but not in time to release it properly. It’s about a night out in London a few years ago that ended up with me  alone, crying in a well-known church off Trafalgar Square. I recorded it with my fabulous band at Saltwell Studio in Cambridgeshire. And it is produced by my ARC Songwriter Series sister, My Girl the River (a.k.a. Kris Wilkinson Hughes). Yesterday, I filmed the video, in the actual church and all around the streets of London, which was loads of fun to do. I was swigging from a wine bottle at four in the afternoon on the Tube. People kept asking if I was ok. It was only Ribena, but I could tell they weren't convinced when I told them that.

It is almost Christmas now. How will you be spending it this year?

At home and with family and friends and mince pies.

How do you usually unwind at this time of year?

The single comes out on 1st December, so there will be lots of promotion around that over the next few weeks. But when it is time to unwind, dog walks, stupid family games, and time with friends will do it

What does next year hold in store?

I am going to write a new album (there, I've said it out loud as motivation).

Might we see some tour dates or new music in 2024?

Yes. Planning a spring headline tour in March. And we have more ARC dates too.

Finally, and for being a good sport, you can select any song you like (other than your own music) and I will play it here. What shall we go with?

Sheryl Crow has just been announced as a headliner at Black Deer Festival in June, which is great. Can I have Strong Enough, which is one of my favourites of hers?

Thank you, Sam. Big love to you x

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INTERVIEW: Anna Pancaldi

INTERVIEW:

PHOTO CREDIT: Laura Rhodes

 

Anna Pancaldi

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AN artist I have been following for years…

 PHOTO CREDIT: @matghisolff

and really love and respect, the magnificent Anna Pancaldi is someone everyone should check out. I have been talking with her about her amazing new single, Stay This Way. Someone who I have high hopes for in 2024, she has a string of dates coming up. Go and see Pancaldi perform live if you can, as she is a magnificent and singular artist. I am going to quote from her website when it comes to drilling into her successful 2023:

“After a sold-out London headline show at Folklore in May 2023 after the release of her rousing new single, Where Do I Lay All the Love I Have Left, Anna then released her anthemic single, Stay This Way, in September with more songs to follow shortly. Anna embarks on a full headline UK tour, including another sold-out headline show at London’s The Waiting Room on October 20th.

2023 marks a poignant new epoch for Anna having musically remerged from her chrysalis with her most inspired music yet and a pivotal turning point in her career.

With an impressive catalogue of music placements in film and TV including the globally acclaimed Grey's Anatomy trailer, Focus Feature film, Every Body, Pretty Little Liars, Love Is Blind, Famous in Love, Paramount film, The In Between and has featured in and soundtracked an adrenaline filled Levi's campaign.

With three Top Ten's in the singer-songwriter iTunes charts, Anna has gone on to captivate audiences headlining across the UK, Europe and the US. Headlining shows in NYC, LA, Chicago, and Nashville. Anna has captured audiences with TV appearances on CBS LA and London Live and toured the world opening for heavyweight artists such as David Ryan Harris (John Mayer's guitarist), Jake Isaac and Fatai”.

The brilliant Anna Pancaldi has released, what I think is one of her very best songs. She discusses that track, what it was like recently playing The Waiting Room in London, how she is feeling about upcoming tour dates, some new artists we should also investigate, in addition to how she thinks her own music has changed and evolved through the years. Follow Anna Pancaldi (links are at the bottom of this interview), as this is someone who will be producing amazing music for years to come. A truly sensational talent, there is nobody out there…

QUITE like her.

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Hi Anna. How has your week been? Your single, Stay This Way, came out in September. It has been really well received. How does it feel to get that sort of love?

A relief haha. But also truly wonderful because at last I feel comfortable in the skin I’m in. Singing the songs that mean the most to me and to see it connecting is a feeling of sheer delight.

I really love your vocals and the piano on that track. How did it start life? Do you begin with a melody line or chorus, or does it depend on the song?

It’s totally dependent on the song, and this one has a slightly unusual story as I started it at home on my own and there the melody and piano parts were born. I didn’t think the song was for me, and so I took it into a session with another writer in L.A. on Zoom, with sync in mind, and then realised it touched me and wanted to keep it for myself and adapt the lyrics so it could fully be mine.

“To me, touring and being in a room with people is the most impactful way to build connections with your audience”

You recently played The Waiting Room in London. What was it like playing that space?

It sold out. Thank you to my amazing fans. Performing live is where I am most energised, joyous and adrenaline-filled. This year has been the first time I’ve been able to stand on stage and just love being there; normal nerves to keep me in check, but my self-deprecation valve  (as I like to call it) has closed up and I feel so free on stage. You almost have to drag me off I’m enjoying it so much. Haha.

There are quite a few more dates coming before the end of the year. Are there particular towns or venues you are excited about? How does it feel connecting with the audience in such a direct way when on stage?

No favourites. To me, touring and being in a room with people is the most impactful way to build connections with your audience. It’s where I feel most at home and where I can share my music, but also talk with people too. I can’t keep my career alive without them, and I find playing live my most unforgettable of nights.

“But I’m here now and it feels as if the music is connecting more than ever”

I see you have a double header gig with Emma Miller coming up on 7th December. Is she an artist you have been following a while?

Ahh, she’s amazing! She saw me play at a Sofar Sounds many years ago when she was studying in London and then we met properly in WEB3!

I have been following your music now for years. How do you feel you have evolved and changed as an artist since your earliest days?

Thank you for sticking around (smiles). I feel more confident in writing and making the music I want to be creating. Feeling confident in what you’re doing is paramount, but it has taken me many years to get there. But I’m here now and it feels as if the music is connecting more than ever. My songs mostly delve into grief and untimely bereavement, for which I used to worry about it making people uncomfortable or thought it too depressing; now I know that I can’t help the road I am walking on through this life and my songs reflect just that and that’s ok. Not all roads I’ve led down have been something I’ve had choice over, so being honest is all I have.

Briefly take me back to the start. Were there particular artists or albums that sparked your love of music or spoke to you in a powerful way?

I was hardcore obsessed with Barbra Streisand. Not only her voice, but the way she performed. Mariah Carey and countless others. They made me want to sing. My dad is a wonderful singer and performed throughout much of his younger life, so growing up with a house filled with his voice and the sounds of Carly Simon, Marvin Gaye, The Beach Boys and many others laid out a perfect foundation of music.

What comes next in terms of music? Are there further releases planned for next year?

Absolutely. Keeping all the plates spinning! I’m sitting on lots of new music and very much looking forward to sharing it with you all.

IN THIS PHOTO: Victoria Canal

Obviously, there are a lot of great rising artists around right now. Are there any that you would recommend we keep an eye out for?

Ohh. Some I love are Victoria Canal and Humble the Great and Maeta.

Christmas is coming soon. How will you be spending it this year?

Ah, I used to obsess over Christmas. It genuinely filled me with joy, but after losing one of the closest people to me, I’ve always struggled to look forward to it or enjoy it. It’s a day about family and being with loved ones, and when some of those most precious are taken away too soon, it’s hard to bring back the magic. But I am an auntie now and those little cheeky chaps have brought much happiness, so I enjoy it in a new way now; wanting to make sure they have the most joyous day and delight in the enchantment I used to.

Finally, and for being a good sport, you can choose any song you like (from another artist) and I will include it here. What do you want to go for?

Joe Hill by Paul Robeson. I’ll let the song speak for itself.

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Follow Anna Pancaldi

INTERVIEW: Ski Lift

INTERVIEW:

  

Ski Lift

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IT is exciting…

to hear and find out more about a new Ski Lift single. The South London band (Benji Tranter - guitar, lead vocals, Lizzy Walsh - bass, vocals, and Adam Fletcher - drums vocals) are back with the incredible Living the Dream. I have been speaking with Benji of the band about their new release. With their newest song emboldened and heightened by a very catchy '60s-Pop-inspired punch and energy, there are nods to and elements of  the likes of Talking Heads and Deerhoof. I learn more about the track and what sort of music influence the trio. I ask Benji about the current music scene and how tough it is for artists. Ski Lift have been championed by, among others, John Kennedy on Radio X, BBC Radio 1’s Gemma Bradley, and BBC 6Music’s Tom Robinson. They are a name that everyone needs to keep an eye out for! With an awesome new single out and some further new material coming at some point soon enough, I think that Ski Lift will enjoy…

 

AN exciting 2024.

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Hi Benji. How are you? How has Ski Lift’s 2023 been so far?

Benji: Hey there! We’re excited to be releasing music again. We took things easy in early-2023, but since August we’ve been back on the live circuit and have played some of our favourite shows yet.

Your releases so far have seen your fanbase grow and more attention come your way. How does it feel knowing that your music connects with so many people?

It feels good - I’m very wary of taking it for granted. It’s very easy to be always looking on to the next goal, but we’re really lucky to have had some successes along the way so far, and we’re really thankful to all the fans who support us.

“Well, it’s set up to sound like it’s about how well everything’s going, but it’s more like an anxiety dream”

Some pretty big radio stations have played your music. Is it quite a big thrill when you hear a D.J. give your music a shout out?

Oh yeah! I still can’t believe we’ve been played on Radio 1 - that’s actually insane. Never gets old to have anyone care enough to play our music. It’s been wild to see local stations in the U.S. and Netherlands playing our tunes.

Tell me about the new single, Living the Dream. What is the story behind it?

Well, it’s set up to sound like it’s about how well everything’s going, but it’s more like an anxiety dream. It’s about how we have to deal with what's going on inside ourselves, all the problems we’re facing day-to-day, while projecting the version of ourselves we want everyone to see (see social media…)  

In terms of your musical influences, there are elements of bands like Talking Heads. What sort of music inspires Ski Lift?

Musically, this one’s a bit of an outlier for us. Lizzy (who plays bass) says it’s our ‘funky’ track. I was inspired by the song, Criminals of the Dream, by Deerhoof, and also definitely Talking Heads. In general, I am inspired by bands like The Replacements, The Lemonheads and Mystery Jets when writing for Ski Lift.

The modern landscape is hard for artists in terms of earning money and getting gigs. How has it been for Ski Lift? How are things for the band at the moment?

Yeah, not great to be honest - gig fees for support shows are pretty paltry. We can usually cover travel though. I’ve been making some hand-bleached tees, which has really helped to make up the shortfall. And we have CDs too. and we’ve got some exciting Living the Dream merch on the way! Keep an eye out on our socials for more info!

“It’s exciting, but I can’t announce anything else just yet”

Christmas is coming up. A two-part question: How will you be spending Christmas, and what is your favourite Christmas classic?

Last year, my partner and I spent it with my family, so this year we’ll be spending it with her’s, in beautiful Hertfordshire. It’s not as good as Herefordshire, where I’m from, but I’ll be making do ;) Wonderful Christmastime - I love the theory that it’s actually about practising witchcraft. That’s a fun one. If I can choose an album, too, I would go for (Ella Fitzgerald’s) Ella Wishes You a Swinging Christmas.

Is there more music coming in 2024 do you think? Is there an E.P. or album planned?

Definitely - coming soon… It’s exciting, but I can’t announce anything else just yet.

Finally, and for being a good sport, you can choose any song (from another artist) you like and I will play it here.

Hmm, this is the hardest question by far. I’m going to go for Colonial Pop, the latest single by Gold Baby - a band we’ve played with on the London scene (and we just played another show with them on Friday in Oxford). I feel we are kindred spirits of sorts. They’re a great band and should be on more people’s radars.

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INTERVIEW: THE GOA EXPRESS

INTERVIEW:

PHOTO CREDITS: Cal Moore

 

THE GOA EXPRESS

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WHILST most bands…

would be resting or unwinding with less than a couple of months to go until the end of the year, there are definitely thinks to look forward to if you are a fan of THE GOA EXPRESS (James Douglas Clarke (guitar + vocals) and Joe Clarke (keys), along with Joey Stein (lead guitar), Naham Muzaffar (bass) and Sam Launder (drums). Their self-titled album arrives on 1st December. On 27th November, they release their new single, It’s Never Been Better. You can pre-order their album now. The Burnley-formed band will definitely win new fans with their approaching debut. With some December dates in the diary, go and check them out if you can. Prior to the unveiling of a song that is hook-laden and will be a hands-in-the-air anthem, I have been speaking with James from the group about some exciting forthcoming releases. On the debut from THE GOA EXPRESS, songs will document experiences of growing up, their spirit of friendship and dreams of escape. The band summon music that is infectious and relatable, yet fresh and original. I ask about their debut album and new single, whether enough focus is being given to artists from the North, what the rest of the year holds in store, and what it was like working with producers Damon Minchella and Tom Manning. It has been a pleasure discovering more about the mighty THE GOA EXPRESS. They are a band who will have…

A very bright future.

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Hi guys. How are you? How has your week shaped up?

James: We are busy busy busy. Dressed up for a Hallowe’en party on Friday night, spent all day Saturday feeling sorry for ourselves, and then watched the Manchester derby on Sunday at the pub in Hebden. It hasn’t stopped raining for a few days now, so just trying to get things in order while we have the time, keeping warm and staying dry.

You are releasing the new single, It’s Never Been Better, on 27th November. Can you tell us a little something about how the writing of that song?

The song was written many years ago as a demo on GarageBand and is the oldest track on the album and, therefore, weirdly feels right as the single we release before the album. All of the boys loved it from the first listen - and that was the general consensus from the others who also heard it. I guess the track is about how all good things come and go: friends, relationships, the weather…

“There wasn’t a moment wasted, and yet we somehow managed to get everything done”

It precedes your self-titled debut album on 1st December. How excited are you knowing it will soon be in the world? Are there any clues/teasers you can give as to the type of sounds/subjects documented on the album?

We’ve been in a band for a long, long time now, so to be able to have something physical to release to the world and show for it means a huge amount to us all. It’s hard to speak about the specific themes on the album, but I guess it’s largely about growing up, messing around, making some mistakes along the way, and doing your best to make stuff happen.

A lot of bands and artists take a while to record an album and can get into difficulties. What was it like being in the studio recording THE GOA EXPRESS?

We did the album and a few extra bonus songs in three weeks. Being in the studio with The Goa Express is good fun, we think…you would have to ask Damon and Tom. We tend to do most things  together and make sure to not run out of things to do. There wasn’t a moment wasted, and yet we somehow managed to get everything done.

“People have been asking for that song for years now”

I understand you worked with producers Damon Minchella and Tom Manning. What was that experience like?

Working with Damon and Tom was incredible. We have a huge amount of respect for the both of them and we can’t speak any more highly. Initially, we recorded a load of demos at our old studio in Manchester, and therefore knew what we wanted to achieve when we got to the studio. So when we got there, we knew what to do.

Do you have any personal favourite songs from the upcoming album?

It’s hard to say. All of the songs came naturally while writing, and therefore tell personal stories from different parts of our lives over the years. Small Talk has always been a fan favourite, so I guess we are pretty happy that people will be finally able to listen to it properly. People have been asking for that song for years now.

You grew up in Burnley. How important was the community and the spirit of Burnley important regarding your friendship and sound? Do you think that part of the North is still under-exposed and recognised?

I think the North is under-exposed. Of course, there are the big cities that we all know about like, but the smaller places around the edges seem to go unnoticed. Burnley gave us a work-hard-play-hard spirit that has kept us moving throughout the years. We try not to let things get us down and know good things come to those who wait.

“We might even win some awards along the way…”

You must be excited to be touring and performing after the lockdown! Did anything change in regards your dynamic and songwriting approach having gone through lockdown and the pandemic?

Lockdown was a strange time for everyone, but we just kept ticking along, doing our own thing, making our own plans. A lot of our plans and touring schedule got really messed up, but we didn’t let it bother us too much. I guess that’s the way we tend to operate. Just getting on with stuff. Things will work out in the end.

In addition to the album release, what else is in store for the remainder of 2023?

I think the plan for the rest of the year is to release another single some time down along the line and then play some shows for our release. Hopefully, we will be amongst many of the festival line-ups and we can have a good time doing what we do best. We might even win some awards along the way…

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INTERVIEW: Stella Talpo

INTERVIEW:

  

Stella Talpo

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ONE of my favourite artists of the moment…

the phenomenal Stella Talpo discusses her debut album, MEDUSA. Gaining support from the likes of CLASH and BBC Radio 6 Music, this is an artist who everyone should know about! Across eleven wonderful tracks on MEDUSA, Talpo homes in on the importance of discussing the ugly parts of the human experience, normalising conversation about their existence by adopting sometimes primal, gory imagery, which is intertwined with a palette of twisted Alt-R&B and experimental Pop. Co-written with producer Lewis Moody (CHERISE, 30/70), there is no doubt that MEDUSA is an album that needs to be heard and played several times. It hits you immediately, yet there are layers and elements that will come to you when you pass back through it! I have been speaking with Stella Talpo about MEDUSA and her choice tracks from the album, what it was like working alongside Lewis Moody, what music she grew up around, in addition to what the rest of 2023 offers. I know that the divine Stella Talpo has a…

WONDERFUL 2024 in store.

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Hi Stella. How are you doing? How has your week been?

Hello! I’m doing well thank you – been A WEEK, but we move. When it rains, it pours.

Singles this year such as BONES and DUST have received a lot of praise and support. You are on the radar of stations such as BBC Radio 6 Music and support from The Line of Best Fit, CLASH and others. How does it feel know your music is resonating so strongly?

It has honestly been such a good feeling to know that people are enjoying the music. It’s always a great feeling to know something you worked hard on and is a part of you resonates, but in this instance it felt even sweeter because I wasn’t playing it safe with this record and there was an element of not knowing whether it would land or not. Particularly with songs like DUST, which are quite a change in direction and style for me and don’t necessarily have the formulaic catchiness you rely on as a safety net. I wanted to make the record a little disconcerting and chaotic and gave Lewis (producer Lewis Moody) free license to roll with that; that’s what the record’s about in essence: just being my messy, crazy self and not trying to be polite and accommodate anymore. So to have that be received so well is affirming and wonderful.

Before talking about your album, can you tell me when music entered your life? Were there particular artists who inspired your own journey into music?

Music was a big part of my life from a young age. My mum would play music on the speakers in the morning. I often remember waking up to Whitney or Mariah. Like millions of other kids, I was in love with the Spice Girls and Britney and that whole pop world, moving into Christina, Avril and Beyoncé as their albums began to drop - and I’d attribute my passion for performance to those strong female artists. My discovery of artists who inspired me was very gradual and ever-evolving, and hugely influenced by the people around me. My school therapist introduced me to rock n roll and female artists in that sphere like Alanis and Sheryl Crow. Then once LimeWire became a thing, my tastes and interests transitioned into Elvis into Ella into Nirvana and Guns & Roses. When the iPod and iTunes came out, it was like a whole world opened up…and there was no going back. I didn’t really attach myself to one genre or artist: I went through phases and fell in love with albums instead. Then, as I got older and started carving out my sound a bit more, it was clear that some artists I’d listened to on repeat influenced me more than others, Amy being a major one.

“There’s no feeling like it, and I didn’t think that I had it in me to be honest”

Your new album, MEDUSA, is out now. It is a result of years of experimentation and growth. What was it like hearing the album back for the first time?

I cried. I still cry. It really was my Mount Everest. And in many ways, the idea of toiling away at something, pushing through the sweat, blood and tears was far higher on my ‘dream list’ than any external success markers were. To not only complete a project, but to be uncompromising in its creation and in my decisions. Being honest with myself about when I was letting something slide because it was too hard or I couldn’t come up with a better idea in that moment. And being resilient until I got to that ‘aha moment’, where you feel it is exactly right... it was so f***ing hard. Not to take away the painful reality of actually giving birth, but it felt like I was doing something like that and then suddenly you’re staring this project in the face and you’re like ‘holy sh**, I made that’. There’s no feeling like it. And I didn’t think that I had it in me to be honest. We didn’t set out to make an album. It was called EP2 until Feb or March, when I called my manager and Tom at DeepMatter and was like, “But… what if we do an album?”. I had faced a lot of fears in the making of this record, so listening back to it is emotional because only a year ago I truly believed I wouldn’t even be able to write another song, let alone an L.P., and yet here I am, on the other side, listening to 11 songs that I am so proud to have written. Wild (pun intended).

“We followed the feelings, rather than the thoughts”

Among others, you work alongside producer Lewis Moody. How integral has that relationship and collaboration been regarding the range of sounds on MEDUSA?

If it wasn’t for my relationship and collaboration with Lewis, the album wouldn’t exist. But also, I wouldn’t be the artist I am today. He really saw in me the artist I hoped I would be when I didn’t believe in myself. I can’t really describe it, but his faith in me was crucial to any of this coming to fruition. And his faith in my writing and in my ideas that I communicated in nonsensical ways was unwavering. So much so that he took huge risks in this record too, which I think he really enjoyed having the freedom to do. I asked him, let’s not care about what we should be doing and let’s just follow whatever words and sounds light us up in the process of creating each track. We followed the feelings, rather than the thoughts. He also knows when to push me, and we have a very nurturing relationship in that sense. It’s give and take, and we know when to let the other have the win, or when to give some tough love. Bless him, the patience he had to have with me over the recording of GOOD GIRLS… I can be pretty stubborn and I can get myself tied up in knots, and he just doesn’t accept that because he knows I can do what I convince myself I can’t. He’s basically got the perfect balance of nurturer and take no sh**er that I needed.

MEDUSA is a project that challenge societal ideals and oppressive frameworks through the lens of feminist literature and mythology. Was that always in your mind from the start? Can you explain why it was particularly meaningful and important to take that course?

It was definitely not something I planned for, but unravelled synonymously with what I was learning about myself, the world and my place in it. I think it was particularly meaningful and important to follow the themes that were coming up. That ended up being this world of the alienated self, because I was in the process of coming to terms with aspects of myself that I had hidden away like my rage and my passion, because of the way society has judged these things in women. I hadn’t really ever seen it like that. When I started writing the record, I didn’t know what I wanted to say. Much like a sculptor, as I started chipping away, the project began revealing itself to me. Even the title of the album, and the track MEDUSA/HOLLOW, in fact, had been inspired by a script my best friend had written on this theme of Medusa and the female gaze.

“And I think that is the definition of the record”

The record and the tracks in it are in many ways my own consolidation with the different aspects of myself that I hadn’t honoured, pushing them down as many women have been taught to do in history, and in doing so repressing our intuition and gifts. And all this was again revealed to me because of a book, ‘Women Who Run With the Wolves’, which I’d bought after seeing Allysha Joy reading it during a 30/70 music video shoot. All the elements and the inspirations and the words and themes found me somehow, which is something I learnt about creativity through the making of this record.

Do you have a particular standout from the album? A song that is particularly personal or that defines MEDUSA?

The track that is particularly personal is FULL/GROWN for sure. It’s the most honest and authentic song I’ve ever written that wasn’t overshadowed by old narratives, but just was exactly me in that moment. I had had a moment where I was afraid to write it, admitting my fear of ageing and my fear of not feeling like I am where I wish I were. It was a lot to bare but it was real and I wrote it on my own. Following what felt right in the words and the harmony, rather than listening to my head and what it thought would be right. So it’s extremely personal.

However, I think the track that defines the album is MEDUSA/HOLLOW. It is the culmination of all the feeling and rage and desperation that I felt in the industry, in the world, as a woman, as a human, as an artist…and the resolving line at the end “Hollow, until now” is ultimately telling of the transition from being helpless to all these things to owning my power at last. And I think that is the definition of the record.

What does the rest of 2023 hold in store? Will there be any live dates to support MEDUSA?

Yessssssssss. First gig in a year, and the first gig ever playing with Lewis, will be on November 9th @ CLF Art Lounge, Peckham. And then the wonderful Tina Edwards has invited me to play her new curated night at Ninety One Living Room, Brick Lane on December 16th!!! I’m so excited to perform MEDUSA.

Finally, and for being a good sport, you can choose any song you like (from another artist) and I will play it here.

Let’s go with Off the Rails - Shelf Lives xx

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INTERVIEW: Max Tundra

INTERVIEW:

PHOTO CREDIT: Jack Barnes

 

Max Tundra

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THE truly brilliant…

Max Tundra (Ben Jacobs) has recently caught my ear and eye with his unique and fantastic cover of Kate Bush’s This Woman’s Work (from here 1989 album, The Sensual World) – which is his first single in nearly fifteen years. It’s this beautiful very synth-heavy gem filled to the brim with incredible, rich falsetto! Max Tundra is a pioneer and one of the most influential artists of popular music right now. Throughout his career, he has collaborated with the likes of Arca, Daphne & Celeste and A.G. Cook. A born and natural musical predecessor to PC Music, Jacobs also sports a stocked and phenomenal remix roster which includes Pet Shop Boys, The Strokes and Franz Ferdinand! The release of This Woman’s Work follows the reissues of his first three studio albums (his 2000 debut, Some Best Friend You Turned Out to Be, 2002’s breakthrough Mastered by Guy at the Exchange, and 2008’s Parallax Error Beheads You) last year, as well as the must-hear Remixtape E.P. – which featured reinventions from the Max Tundra discography by the likes of Julia Holter, Katie Dey and Kero Kero Bonito. On Max Tundra’s lasting legacy, A. G. Cook commented: “Mastered by Guy at the Exchange’ is a true cult album - a playful monolith that sounds both nothing and everything like the 2000s. Stumbling across it as a teenager, it reinforced a hunch I had: that music is a place where anything could happen, and total chaos could be held together by the lightest of pop hooks. There’s an oddly British quality to Max Tundra’s work, a soft and polite maximalism - pioneering, eccentric and infinitely remixable”. It has been a pleasure speaking with the incredible Max Tundra about his reworking of a Kate Bush classic, why he has reissued his first three albums, and what comes next for him. Take a read below to the answers and thoughts of…

A musical master.

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Hi Ben. How has your week been treating you?

Very nicely thanks, Sam!

You have reissued your first three albums, Some Best Friend You Turned Out to Be (2000), Mastered by Guy at The Exchange (2002) and Parallax Error Beheads You (2008), plus new remix compilation entitled Remixtape featuring A. G. Cook, Julia Holter, Kero Kero Bonito and others. What was the reason behind that? How do you feel now they are out in the world?

It felt as though the time was right/ripe for these records to make their way back out into the world again, as they seemed to bamboozle quite a few people when they were originally released. It had become apparent that these albums has subsequently influenced quite a few people (or so I am told), so here they are again.

I wanted to talk about your cover of Kate Bush’s This Woman’s Work. I know artists like Maxwell have covered it and added a new dimension. Yours does too. What was it about this song that resonated? Is it a favourite Kate Bush song of yours?

I actually chose it because it’s not necessarily one of my favourites of hers - that is to say, it’s still utterly amazing, as are all KB songs, but there are certain of her songs I feel are unimpeachable - but I felt like I could bring something of myself to this one in particular. For one thing, I needed a new track to play at the end of my recent live shows, promoting the reissues - as I hadn’t released any new music in 15 years. So I thought a Max Tundra cover of This Woman’s Work would be a nice surprise at the end of a set of my hectic music.

This is your first single in fifteen years. Obviously, it is quite a big moment. Were you nervous recording the song knowing that, or was it quite freeing and inspiring?

I didn’t originally plan to put it out as a single, but it went down so well at the shows it seemed like a good idea to actually release it. At the time of production all I was thinking of was the live response, and I put it together fairly quickly, which is unusual for me, but maybe that’s something I should try more.

I like the video for the song. It is quite spacey, dayglo, dreamy and cool. What was the concept and direction behind it? What was it like working with James Hankins (director/editor/producer)?

I think this James Hankins quote sums up the whole thing perfectly: "About 10 years ago, I tweeted: 'In 100 years' time, will people look back and realise Max Tundra was actually the ultimate pop star?' I didn't know it then, but it seems like that was the starting point for this video".

“I love it! Always feels great to know I’ve had any impact whatsoever”

You recently spoke with The Quietus and talked about Bush being a hero. You also name-checked songs from The Dreaming. Is this an album of hers that you are especially drawn to and intrigued by?

Yep, that’s my favourite one - her most genre-free exploratory record.

Is there more material coming soon? What does the future hold?

Hopefully. Busy life!

You also mentioned in that Quietus interview that, although you get recognised infrequently, it does make a big impact. You have had a huge effect and influence on artists and fans alike. What is it like knowing your work has touched so many people in different ways?

I love it! Always feels great to know I’ve had any impact whatsoever.

To finish, I will put in here any song from your catalogue that you wish. Which should we go with?

Until We Die, from Parallax Error Beheads You – super proud of this one! Thanks for the chat.

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INTERVIEW: Antony Szmierek

INTERVIEW:

  

Antony Szmierek

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AN incredible artist who I tipped for big success…

it has been a mighty pleasure finding out more about the incredible Antony Szmierek. I think I first heard the Manchester-based artist’s music via Laurene Laverne on BBC Radio 6 Music. She is a champion of his talent - and the station in general have spotlighted and raved about someone with a very long and golden career ahead. His new E.P., Poems to Dance To, I think, is his finest work. Szmierek seems to grow in confidence and wonder with each new pearl he releases! If you are new to this prime talent, then here is some background to a very special and distinct voice in music. Someone who is very much primed and ready for some of the world’s biggest stages:

“Antony Szmierek is a spoken word and indie hip-hop artist making unique moves by blending his poetic, often introspective lyricism with undeniably smooth riffs and nostalgic beats. Hailed by Lauren Laverne as "the best thing I've heard all year" and described as "Mike Skinner spliced with Simon Armitage" - his track 'The Hitchhiker's Guide to the Fallacy' spent 4 weeks on the 6 Music B-list, as well as being featured on Jack Saunders' 'Future Artists' show on Radio 1. The same track also bagged the high score on Steve Lamacq's legendary Round Table. Support continues to pour in from the likes of Craig Charles, Steve Lamacq, Nemone, Mary Anne Hobbs and Chris Hawkins”.

If you are near anywhere Szmierek is playing soon, do make sure you grab a ticket! He is a live performer who has earned big reviews, and he has this very special bond with the audience. In addition to discussing his latest E.P., I ask whether there is more music ahead, who he’d like to collaborate with given the chance, what sort of music he grew up on and around, in addition to what it has been like playing his songs to a loving and receptive crowd. It has been a real treat to interviewing a magnificent artist who…

SHOULD be on everyone’s minds!

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Hi Antony. How are you? How has your week been?

I’m good thank you! In a brief respite between festivals and looking after some kids in a Guide Hut over the holidays. Double life.

Your debut album, Giving Up for Beginners, came out in 2021. Since then, you have released a series of singles and an incredible E.P., Poems to Dance To. Looking back at where you started and where you are now, how do you feel you have evolved and changed as an artist?

Thanks so much! It does all seem to have happened quite quickly. I think even looking back at P2D2, I can hear myself finding my feet as an artist, but I think I’ve landed now. It’s really helped me find the sound I’ve been looking for playing with the band this summer. I’ve been writing a lot, trusting the spaces between my words, and trying to push that honesty further than I have before in the songwriting. The more people trust me, the more I seem to be able to trust myself. It’s a nice feeling.

“I found lockdown very difficult as everybody did, and this was what I needed to do to keep myself afloat”

How strange or difficult was it sort of being a ‘lockdown musician’? At such a strange time, was it quite cathartic being able to put music out?

It wasn’t really a conscious choice; I just had a lot of writing, and music is sort of what I do for a hobby - that being finding new music and experiencing it live. I didn’t overthink it or make it with an audience in mind (I blame this for some very local references and not adopting a pseudonym!) I found lockdown very difficult as everybody did, and this was what I needed to do to keep myself afloat. So, very cathartic indeed.

Take me back to the start – right to the start. What sort of music did you grow up listening to as a child and teen?

My first love was Arctic Monkeys. The lyrics and the storytelling and the identity they gave me as a teen. On the bus, I’d listen to lots of Hip-Hop; some U.K. stuff like Kano, as Grime was taking hold. And loads of unreleased Kanye West demos that my friend and I were convinced was a ‘leak’ of his next album. They were not.

The title of your E.P., Poems to Dance To, seems like apt. The songs do seem like poems with music accompanying them. Do the words come first and the composition builds around that? What is your songwriting process like?

Words first always, but now there’s a feeling as well. When it’s good, the songs - the genre and the mood and even the tempo - come to me all at once. Sometimes I adapt old notes, and sometimes I work on a rough sketch that Robin or Luis send me - those being the producers I’ve had help me along thus far. But I almost always at least have a title. That’s how ‘Hitchhiker’ started.

Your music has received acclaim from websites, and radio stations alike. BBC Radio 6 Music especially have championed your music. I have heard you interviewed by Lauren Laverne. How important and encouraging is it having someone like her recognising your talent and giving your music love?

I’ve said probably dozens of times now that I’m a big Radio Head. I’ve been listening to Lauren for years, alongside Craig (Charles) and Lammo (Steve Lamacq), and just 6 in general. It really is a big club, and on tour I’ve met so many of the ‘6 Music family’. Lauren has been so encouraging and has approached everything as a friend would - she’s so warm, and I feel incredibly lucky to have her in my corner.

“Honestly, I’m so thankful for the difficult lessons I’ve taught over the years!”

In addition to music you are also a teacher. Do you think your training and experience as a teacher goes into your music? What do your students make of your songs?

Performing is so so similar to teaching. You’ve got a group of people watching you who you want to feel safe and welcome and included. Honestly, I’m so thankful for the difficult lessons I’ve taught over the years! And the admin stuff, the social media, the artwork, the press - just prioritising and keeping your head - is something that I wouldn’t have managed without teaching first.

The Words to Auld Lang Syne is your latest track. I especially love the video – which looked very cool to shoot! What was the particular inspiration behind the song?

Everybody starts the year with these resolutions and false promises, and then we all sing this song we barely know the words to kick it all off. We’re all just pretending and mumbling and masking all the time but we rarely admit it. I just loved that metaphor, and I wanted to make a song that felt like New Years’ Eve without actually mentioning it explicitly.

You have some great gigs coming up – including spots at Reading and Leeds! How crazy is it that you are playing such huge festivals, and what has the reaction been like from the crowds you have played to so far?

Yeah, we were really thrown in at the deep end! It’s been the perfect festival season, but it’s been very emotional and overwhelming too. The crowds have recently started singing the words back at me, and as everybody says, there is absolutely nothing like that feeling.

Every artist has a wish list in terms of people they’d like to collaborate with. Who is on your list?

I’d love to work with Jarvis Cocker! I’ve got a song that he’d be great on. I’d also love to do something with Arlo Parks, and maybe a collab with Barry Can’t Swim. Let’s put those out into the ether and see what happens.

Finally, and for being a good sport, you can choose any song you like (from another artist) and I will play it here.

Let’s go with ‘Telephobia’ by Baby Dave and Kate Nash. A bit Spoken Word, lots of longing, and a proper little groove to it.

_____________

Follow Antony Szmierek

INTERVIEW: Margaret Rasberry on Kate Bush’s Lionheart

INTERVIEW:

IN THIS PHOTO: Kate Bush, shot on a Hasselblad 500, in a beautiful outtake from the 1978 Lionheart shoot/PHOTO CREDIT: Gered Mankowitz (concept by John Carder Bush) 

 

Margaret Rasberry on Kate Bush’s Lionheart

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I feel every Kate Bush album…

 PHOTO CREDIT: Margaret Rasberry

is a thing of value, passion, beauty, power and significance. Even if one deems it less than her best, I don’t think that makes it bad. In fact, Kate Bush has never released a bad album. There are those who definitely undervalue albums that are a lot stronger than they get credit for. Unfortunately, when it comes to ranking Bush’s ten studio albums, the same three usually end up in the bottom three: Lionheart, The Red Shoes and Director’s Cut. The former is actually one of my favourite Bush albums – I would put it about fourth or fifth in the rankings. As recording began less than five months after she released her debut, The Kick Inside, it was an impossible task to get something career-best together. Three of the ten songs on the album were newly-written: Symphony in Blue, Full House and Coffee Homeground. I think Coffee Homeground was inspired by a cab driver she might have met when in America that seemed a bit nutty (her word, not mine!). In fact, each of the ten songs has its own skin, identity and strength. Lionheart reached number six in the U.K. (five in the Netherlands, New Zealand and Norway), its second single, Wow, reached fourteen in the U.K. (and it was released off the back of The Tour of Life, 1979).

 IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Gered Mankowitz

As Lionheart was released in November 1978, we celebrate its forty-fifth anniversary very soon. I was thinking how nobody has really done any comprehensive podcast about the album. Not many journalist write about it and show it love – I am in the minority in that respect –, so I wanted to get the ball rolling before November and talk to someone who loves and respects Kate Bush’s second studio album. Discussing Lionheart with me is the amazing Margaret Rasberry. An ardent and passionate Kate Bush devotee, here (in her own words) is what you need to know:

“Margaret Rasberry, MA, MLIS, has been an ardent Kate Bush admirer for over a decade and continues to make new discoveries about her music and artistry. Her main fields of interest are music, film, feminist, critical race, and queer theory. You can find her work on mollywoodwrites@wordpress.com and she has been published in print in Film Matters Magazine and in http://TheFilmStage.com as a contributing writer”.

Someone who probably knows more about Kate Bush’s magnificent and under-valued 1978 gem, it was a pleasure and enriching experiencing discovering what this album means to her. I know that after reading this interview you will think differently about Lionheart. It is such a compelling, important and fantastic album that deserve more love. It is a phenomenal work that…

MAKES you go WOW!

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Hi Margaret! Before we discuss a specific Kate Bush album, when did you first discover her music?

I first discovered Kate’s music in my late-teens; interestingly enough on a comedy website with a listicle called 5 People Cheated Out of The Rock and Roll Hall of Fame, and Kate Bush was number 1 on that list - and the only female artist on that list. The only artist on that list that has still not been inducted is Jethro Tull, so make of that what you will. The article also introduced me to my favorite album of hers, The Dreaming, which I discovered later had a wider, more positive reception in America than the U.K.

What was it about Kate that grabbed your attention and stuck in your heart?

Growing up in the southern part of the United States, I grew up with a sense of having to conform to standards I didn’t agree with. Much like Kate, I didn’t like high school (which is basically secondary schooling in the U.K.). And even growing up with a pretty progressive family to support you, you feel like an outsider if you don’t fit that heteronormative and shallow worldview. And it's reflected in so much of our music - especially in the late-2010s; American Pop/Rock music - during that time, which I did not enjoy - unlike my peers -, especially as a burgeoning bisexual realizing I preferred girls, and receiving some disgust from some of my peers when I came out to them. The first year of college was much better, but still I found myself not really fitting in. I instead found myself diving into books and movies, including the works of Jane Austen, The Brontë Sisters, Virginia Woolf, Thomas Pynchon, and watching the films of David Lean, Jean Cocteau, Michael Powell, and Emeric Pressburger, along with other great directors. So when I first heard Kate, it was like a lightning strike inside my mind.

“That vulnerability and beauty of the storytelling resonated with me, as I felt so alone and isolated away from home for the first time when I first heard her sing”

Here was this woman singing about swapping genders with her presumably male partner, singing about the adverse effects of colonialism in aboriginal tribes in Australia with an Australian accent, going mad after seeing the face of God, performing as the ghost of Catherine Earnshaw, admitting to being afraid in Hounds of Love, which is something you never hear an artist admit. That vulnerability and beauty of the storytelling resonated with me, as I felt so alone and isolated away from home for the first time when I first heard her sing. Her work on trying to comprehend the world around her resonated with me and led to a deeper understanding of how I perceived the world and humanity itself. The modulations, the ontologically strange performances, all of it just mesmerized me. And when I discovered she was a charming and nice person in real life, my love for her work deepened.

We are discussing Lionheart. Bush’s second studio album, it never received the love it deserved. Why do you think this is?!

I think it’s because it was not as fine-tuned as her debut, since The Kick Inside was worked on from the time she was fifteen to the age of nineteen. And I am sure EMI and her sponsor David Gilmour wanted her debut to be something special, and Wuthering Heights was this awe-inspiring debut single that, as you know, she had to fight the producers to have as her first single. I also think with all the promotion such as performing in Japan, on Top of the Pops, Efteling and more, it’s so much to tackle, especially a young woman in her late-teens. And since she wrote hundreds of songs when she was younger and EMI wanted to capitalize on her, I think they pushed her to do push out another album. But to quote one advertisement for Symphony in Blue: “Kate Bush’s B-sides are better than your A-sides!” .

Despite it being rushed in a sense, I think it is an amazing album. Three new songs she wrote, Symphony in Blue, Coffee Homeground and Full House, are among my favourites. Able to create weird and touchingly beautiful songs with that sort of pressure, how do you think Lionheart would have sounded if Bush had been given more space and time?

I agree. Especially for being a sophomore album, it’s a great one. I remember reading a Missy Elliott quote telling young rappers to not slack off on the second album cause that’s when you can experiment more. But Kate unfortunately did not have that option. Though she herself admitted she felt it was more adventurous compared to her debut. I think she would have been allowed to modulate her voice to sound a little deeper cause I feel that EMI wanted her to keep that coquettish way of speaking, especially for the ostensibly male listeners, since I think there was this desire for female singers to be sexy overall and not to negate that factor. And Kate’s performances on Top of the Pops and Saturday Night Live reflect that image. Maybe to some as a detriment, but she still exudes this innocent sensuality that’s so Kate. I think if more time would have been given to her, she could have implemented the Fairlight, cause she was first introduced to it in 1979 I believe when it first came out. It’s fascinating to imagine that album with the Fairlight.

“I also love “Full House” because it heavily reflects anxiety and neurodivergent thinking. And having ADHD, I could really connect with “Imagination sets in, then all the voices begin”

I adore Coffee Homeground where she affects a Lotte Lenya-esque performance that’s hilarious and endearing to listen to. I feel she had to fight for that one since it’s not ‘sexy’. I also love Full House because it heavily reflects anxiety and neurodivergent thinking. And having ADHD, I could really connect with “Imagination sets in, then all the voices begin”. I have a particular fondness for In Search of Peter Pan; a song that Björk has brought up as one of her favorites as well. And it’s look at nostalgia and continuing Kate’s fascination with childhood and how people with that childlike innocence navigate the world and try to comprehend it. Also, the ending with the bit from Pinocchio’s When You Wish Upon a Star is a beautiful end to the piece. And I’m biased, cause Pinocchio is one of my favorite animated films.

Although Bush assisted production on Lionheart, it was Andrew Powell who helmed it. I think Bush could have produced solo. Do you think this frustration was a big reason why she co-produced Never for Ever (with Jon Kelly) and split with Powell?

I think there was that frustration, definitely. Though this is pure conjecture, I believe that Powell never really got the “Kate Factor” as well as he should have. And Kate always exuded this feminine energy in her works, from slyly implying menstruation with the lunar cycle, to performing famous female roles in her songs, to describing sexual relations in such a beautiful way. And that does not even bring in The Ninth Wave or The Sensual World. The queer theorist Dr D-M Withers called this the “Bushian Feminine Subject” in their book, Adventures in Kate Bush and Theory. And there’s a definite shift from Lionheart to Never for Ever. I think Kate felt that the first two albums were not just her albums, but her and Powell’s, and it obscured her true vision of what they should be. Powell preferred this spontaneous approach, which Kate did not approve of. Jon Kelly was one of the first people to come out and tell her that after her first album she was never going to be able to walk down the street without being recognized cause of the fame it was going to bring her, which I’m sure she didn’t believe at first. And that honesty is probably what helped her decide to work with Kelly, after producing The Tour of Life. So yes, I believe that there was frustration with Andrew taking a lot of the roles she wanted to do when making the album, and because of her age and gender her influence was not as strong as it should have been.

IN THIS PHOTO: Kate Bush in 1978 for the ‘Redhead 2’ shot by Gered Mankwoitz

You have noted how Lionheart is a Queer/L.G.B.T.Q.I.A.+-friendly/focused album. Is this an aspect that resonated with you? Do you feel people in 1978 realized how progressive and unconventional this was for an artist?

Besides the obvious inclusion of the line in Wow, “He’s too busy hitting the Vaseline”, while patting her bum…so you know what she’s referring to. And the Queer couple that are central to the narrative she creates in Kashka from Baghdad. I think the performance and the theatricality makes the album more Queer-focused than her others. The podcast, Strange Phenomena, brought up that when Kate performs, she really performs in this camp stylings that she puts her whole heart into, which I like to call ‘sincere camp’. Camp that is imbued with sincerity and love, and not as a form of shade or mockery like a lot of camp is played out. The exaggeration is played very straight. Her shifting in identities and performance also calls to mind drag culture, theatricality and the concept of passing, which with the acceptance of trans and non-binary individuals would resonate with their experiences. Ran Tan Waltz, where she is literally performing in drag - as a drag king in fact - bring this to the forefront. And losing the hat with her long hair flowing muddles the gender line, as well as Stewart Avon-Arnold himself taking his wig off at the end and glancing at the camera.

Even the front cover of Lionheart with the lion costume obscures her gender signifiers with the bulky costume hiding her shapely form, and her hair looking like an exaggerated mane, calling to mind large wigs worn by drag performers. Hammer Horror with the narrative of a stage actor being haunted by the ghost of the lead whose role he took speaks to this theatrical performativity. In Search of Peter Pan sees her use male pronouns: “When I am a man I will be an astronaut and find Peter Pan”. Also, she brings up how she as a man keeps a pin-up of Peter Pan almost, like a homosexual crush.

It resonated with me because I don’t feel particularly feminine most days, and there are some days I dress and try to perform more masculine depending on the circumstances - and it brings a sense of comfort.

I think people did realize in 1978 that this was very progressive. She performed Kashka from Baghdad on the family program, Ask Aspel, a year before Margaret Thatcher and her Conservative faction came to full power with its anti-gay legislation, including the Section 28, which I’m sure you recall. It also calls to mind Thatcher’s opposition to immigration, especially from non-western countries. I had a film professor named Dr. Bose who went to graduate school in England, having immigrated from India…and remembered Thatcher saying, “We are being swamped with immigrants”. And the song speaks to the humanity of not just gay men, but to the humanity of immigrants who are also people of color - which was a needed message, and still needed now, especially in America, where people who come from primarily Islamic nations are heavily discriminated against. It also brings in found families and the communities outsiders feel being disowned for being different, as these two men have found a family together. And Kate as the innocent voyeur wants to be a part of that found family too.

“Andrew Powell’s spontaneity was not conducive to her perfectionistic way of working, so this tour with full control gave her confidence, along with the standing ovations it received”

My top three songs from Lionheart are Symphony in Blue, Wow and Kashka from Baghdad. Do you have favourite songs from the album?

I love Hammer Horror and it was the first song from the album I fell in love with, with her performance echoing Lon Chaney and gothic horror tropes you would see in German expressionist cinema, with the realization that her actor character is murdered within the song is hauntingly beautiful to see and listen too. I also love the aforementioned In Search of Peter Pan and Full House, which hilariously Ron Moy in his book, Kate Bush and the Hounds of Love, brought up was a song he never returns to, which is a shame, cause it really conveys the sense of not only anxiety, but being neurodivergent. It is like this constant reminder of being yourself and not letting the thoughts overcome your judgment or distract you from daily tasks.

In 1979, Bush embarked on her Tour of Life. How instrumental and influential do you feel the experience of recording Lionheart was to her decision to take this creative control and mount a huge tour?

I think The Tour of Life was very influential in how she wanted to have control. And of course since she was footing the bill for most of the production, no thanks to EMI not having as much faith in her as they should have, this gave her a way to leverage her influence to all facets of production. Andrew Powell’s spontaneity was not conducive to her perfectionistic way of working, so this tour with full control gave her confidence, along with the standing ovations it received. Though, I think Kate realizing how much she hated flying, and the untimely death of her lighting tech Bill Duffield, led to her fear of touring and performing live again until 2014. And that does not even scratch the surface on how influential The Tour of Life was for future performers being the first one with a head mic, and with skits and magic tricks; with the indelible opening with Kate emerging from an egg being copied by Lady Gaga decades later.

“I agree that “Lionheart” is significantly overlooked”

I think it is unusual she opted for Hammer Horror as the first single – whereas Wow or Symphony in Blue (which was released as a single in Japan) would have made more sense. Maybe she wanted something very different and weirder to detach herself from The Kick Inside. Are there any songs on the album you think should have been a single?

I am of the opposite opinion, in that I find that Hammer Horror is a remarkable single, cause it already had a story that she could choreograph with Anthony Van Laast. And since Kate loves performing with her songs to match the narrative there was a chance to be very creative, which shows with Gary/Anthony lifting and spinning her around, as a form of interpretative dance conveying a haunting and a murder. And it’s interesting that both Wuthering Heights and Hammer Horror are ghost songs, except with her playing the ghost in Wuthering Heights and then performing the role of the victim in Hammer Horror being haunted by the ghostly spectre.

I think the only two contenders for singles from the album I would promote would be In Search of Peter Pan and Kashka from Baghdad, especially since she only performed In Search of Peter Pan during the Tour of Life…and it’s such an enchanting song.

PHOTO CREDIT: Claude Vanyeye, 1979

Not many place Lionheart as their favourite Kate Bush album. In fact, for most it would be in their bottom three. I think it is hugely underrated. What would you say to people who overlook and dismiss the album?

I agree that Lionheart is significantly overlooked. And even though it’s in my bottom three, but higher than Director’s Cut, I like to tell people that Kate Bush has never released a bad album. With the appreciation from Queer fans such as the podcast Strange Phenomena and Dr D-M Withers, I think it will be looked upon as an essential album that deserves recognition for pushing Kate’s artistry to a whole new level that continued with Never for Ever and The Dreaming. I think people dismiss it because they see it as B-side songs that did not make it onto The Kick Inside - which is a fair point, but it makes the album sound like a throwaway one, instead of an essential part of her discography.

I think all of Kate’s albums deserve their due because Kate is just one of the most essential artists in Pop music history, and every Indie female singer and experimental artist owes her a debt to opening the doors to new possibilities in music, lyrically and compositionally.

IN THIS PHOTO: Kate Bush during an outtake from the ‘Redhead’ shoot in 1978/PHOTO CREDIT: Gered Mankowitz

Lionheart turns forty-five in November. I can’t see any podcasts or features exploring this important and under-appreciated record. (I believe Never for Ever, a song never released, was recorded at this time). What would be the best way to mark its forty-fifth anniversary do you think?

I think Lionheart does deserve praise, and the anniversary should be written about or discussed in a podcast. I know Ann Powers from National Public Radio did a special on the 40th anniversary for her favorite Kate Bush album The Dreaming, which funnily enough she could only do with the BBC because NPR (in our native America) had no interest in a whole hour-long feature on a Kate Bush album that was not Hounds of Love. Lionheart is a special album that found its way to becoming an underrated album that many Queer fans found a special place in their hearts for, and I am so happy she made it.

Finally, and for being a good sport, you can choose one song from Lionheart to end with. What do you want to go with?

The song I am going to pick is probably an obvious choice, but I am going with the first single, Hammer Horror - the unofficial spiritual sequel to Wuthering Heights. It reminds me “to keep the lights on to ease my soul”.

INTERVIEW: Bibi Lucille (Actress, Writer and Co-Creator of Meat Cute)

INTERVIEW:

PHOTO CREDIT: Chiara Fulgoni

Bibi Lucille (Actress, Writer and Co-Creator of Meat Cute)

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BEFORE I get to….

PHOTO CREDIT: Chiara Fulgoni

an amazing and detailed interview with the wonderful and enormously talented Bibi Lucille about her acclaimed play, Meat Cute, I wanted to set the stage as it were. I do not interview too many non-musicians for my site. I am especially interested in Bibi Lucille because, as writer, star, and co-creator of Meat Cute, she has confirmed herself as one of the most innovating, excited, naturally gifted comic/dramatic writers and performers in the country - and someone I can see acting and writing in huge productions for the screen very soon. A brilliant writer who has brought to life a wonderful production with director and producer Anastasia Bunce, this one-woman play is fascinating and very timely. I shall come to some details about it soon. Seriously, everyone who is capable of catching it needs to! I am thinking about how the film world has recently seen a wave of wonderful female directors and writers create films that are fresh, vital, wonderfully funny, emotional, thought-provoking and challenging. From Raine Allen-Miller (director of Rye Lane) to Greta Gerwig (co-writer (with Noah Baumbach) and director of Barbie), Adele Lim, Cherry Chevapravatdumrong and Teresa Hsiao (director Lim alongside screenwriters Chevapravatdumrong and Hsiao of Joy Ride) and Bottoms (Emma Seligman is director and co-writer with Rachel Sennott; Elizabeth Banks is one of the producers on the film), there is this new wave of pioneering and brilliant women. As someone who is obsessed with Barbie now and prostrates at the feet of Greta Gerwig, it has been a delight seeing women dominate big screen comedy in 2023. I think we are seeing this on the stage too – and I could well imagine the charming and utterly entrancing Bibi Lucille having a wider career arc that includes big television and film roles/writing credits. The play-text for Meat Cute was launched at Books on the Rise in Richmond on Tuesday, 24th July. I would urge you to grab your copy. It is an exciting time for a tremendous talent.

PHOTO CREDIT: Chiara Fulgoni

I am going to say a bit more before getting to the interview but, with the help of the excellent Broadway World and Blair Ingenthron, here are some essential details about a play that is headed to the Edinburgh Fringe Festival (at the iconic Gilded Balloon) from 2nd to 27th August. It is a real must-see for everyone. I think it will be one of the picks of the Fringe:

“A one-woman comedy that follows 25-year-old Lena who is on a mission to veganise her tinder dates. The show was a finalist for an Offest Award in 2021 and explores themes of identity, self-realisation, feminism and belonging in today's world.

A woman is on a mission to find the perfect match. Tinder, vegans, apple juice. Will she ever swipe right? 14 days later, a broken family, a Pomeranian named Mozart and an eviction notice, is this rebellion or simply a cry for help?

'Meat Cute' raises questions about identity, activism and the overwhelming responsibility many feel when presented with the state of the world through comedy, farcical use of props and costume, eccentric pop music, and by incorporating Brechtian storytelling devices.

Writing for the BBC on comedy's significance as a genre, Mary O'Hara says "A good joke packs a harder punch than many other forms of dialogue, and it can reach people who would otherwise be unwilling to listen." Although the protagonist's particular path focuses on animal activism, this is intended to reflect on other issues that inspire young people today to be a force for positive change, such as environmental awareness and feminism.

Meat Cute aims to use its platform to invite audiences to find familiarity with the subject matter presented through an entertaining, relevant and comedic lens, and allow them to reflect and digest challenging ideas in a non judgmental space.

Writer and Performer Bibi Lucille thinks "Meat Cute is a huge passion project for me, something that gives a humorous take on what is quite a dark and controversial topic. I aim to not only shed light on veganism, but to give a fresh and relatable voice to young women living in a man's world."

Director Anastasia Bunce said, "Things like empathy, why we maybe shouldn't eat animals, the call to question our own apathy and investigate our pre-judgments of each other- well it's heavy stuff. That's why a highly farcical comedy like Meat Cute that pokes fun at absolutely everything and everyone, is an exciting way to invite audiences to contemplate the important themes that it investigates. Meat Cute is silly, fast-paced, absurd, bright, loud, eccentric, and hopefully, a way to spark conversation about pressing topics. Meat ain't always cute."

Patch Plays, founded in August 2020 by Anastasia Bunce and Maria Majewska, is a company devoted to exploring the role of theatre in addressing issues surrounding animal rights and environmental sustainability. The company is particularly interested in telling personal and engaging stories which explore these themes. Their main goal is to create space for audiences to reflect on their place in our neglected, divided and complicated world and to inspire public discourse on these topics. The company also hopes to provide reassurance and inspiration for a better future ahead”.

I think now is a time when we should be celebrating, embracing and highlighting phenomenal women bringing such interesting and, yes, hugely important work to stage and screen. I know I have used the word ‘important’ before. Even though Meat Cute is incredibly funny, it also has darker elements and real stirring emotion. Its themes and narrative is so important and relevant right now. I am a bit in awe of Bibi Lucille’s passion for the play and how engaging she is as a writer and performer. It has been a pleasure discussing Meat Cute with Bibi Lucille, and finding out about its origins and themes. I ask her what comes next after the Edinburgh Fringe Festival run. Meat Cute is a truly stunning, discussion-worthy, eye-opening, mind-expanding and already-celebrated play that…

PEOPLE need to witness in the flesh!

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Hi Bibi. Tell me more about Meat Cute. Congrats on it being a finalist for an Offest Award in 2021! Where did the original seed of the idea spring from?

Thank you! The original seed grew from 2020, planted in my cousin (and director-to-be, Anastasia Bunce)’s garden during a socially distanced, wine-fuelled evening. She was talking about putting on a climate-themed scratch night when restrictions eased. She asked me if I would write something, to which I replied, ‘what would I even write about?’. Everything I had written up to that point remained in a folder on my laptop, intensely labelled ‘PRIVATE’. Anastasia suggested I write about the way I eventually turn all my boyfriends vegan, after I had given her an update of trying to veganise my latest romance.

That morning, I woke up suddenly at 5 am. My first thought was, ‘I need to stop getting drunk.’ Which I found hilarious at the time, so pulled out the notes app on my phone and started typing. Before I knew it, I had drunkenly written the first ten minutes of the play.

From the satisfying audience reaction during the scratch night, a post-grad producer approached us, suggesting we create a full-length play out of the extract. With plenty of time on my hands during the pandemic, Anastasia and I were keen to take on the challenge. After several re-writes and many zooms, ‘Meat Cute’ was born.

How much of Lena (the protagonist) is in you would you say? Perhaps not literally, but how close to her experiences and worldview can you associate with personally?

They say write what you know, so as this was my first piece of writing, I decided to draw a lot on my own feelings and experience. Lena is an exaggeration of everything I was trying to express; no matter how angry I felt about the meat industry, Lena was angrier. However passionate I felt about animal rights, Lena was more passionate. She was louder, messier and crazier. I can’t say I made it my mission to turn every tinder date vegan, but I would certainly bring it up to the men I was dating.

“The attempt to belittle her, tame her and ultimately turn their back on the cause to get back at her”

That idea of Lena trying to convert her dates to veganism, but things going wrong. The veganism, I guess, is a starting block, but it also relates to empathy and toxic masculinity too? Asking the audience to show empathy and challenge their apathy. By asking men to go vegan, it seems, in addition it being the right thing (morally and health-wise), is a way for them to unlock something inside of them and treat the world around them with more kindness?

Yes, yes, yes. Exactly! You get it. Arguably, the entire thing could be a euphemism for trying to communicate with men, attempting to be heard and having to use sexuality to feel seen. Lena is so desperately trying to make the world a better place but nobody will listen… until she takes out her tits. Women for centuries have felt as though they are unimportant and even invisible if they haven’t sexualised themselves or abided by beauty standards that the patriarchy has set.

Toxic masculinity certainly comes into play too when (slight spoiler) the men she dates feel entitled to more after she has inevitably ignored them post vegan conversion. The attempt to belittle her, tame her and ultimately turn their back on the cause to get back at her.

I have seen a play called I Killed My Ex (written and directed by the sublime and tremendous Emilie Baison) which concerns toxic masculinity and female friendship. It is a two-woman production that is really powerful and brings a lot of the outside world into this small space. As Meat Cute deals with multiple characters and quite strong and contrasting emotional moments, how easy was it to balance and switch?

Firstly, that sounds brilliant and I will definitely be getting tickets! And in terms of balancing the fast turnaround of emotions, there was definitely a lot of rehearsing to get the tone just right. The director, Anastasia Bunce, coached me through all these moments. Meticulously studying where the comedic beats came in and how they complimented the darker, more intense moments.

“There have been many times in my career where I have intensely felt the imbalance of genders and the overwhelming feeling of being outnumbered”

On the subject of brilliant women writing and producing remarkable, timely and hugely memorable work, we see that happening in film, especially with films like Rye Lane, Barbie, Joy Ride and the forthcoming Bottoms. Do you think women as writer, directors, producers and actors are undervalued on stage, film and across the arts? Do you think the narrative is changing in any way?

Yes, I truly believe women have been undervalued and most of all, underestimated across the arts. Male characters appear to be seamlessly written, with rich backstories and complexities. I have always been far more drawn to wanting to play the male characters whenever I’ve read a script; sheerly due to how much more nuanced they are. Women appear to be a vehicle for male stories to be told. Looking behind the camera, film sets are still dominated by men. There have been many times in my career where I have intensely felt the imbalance of genders and the overwhelming feeling of being outnumbered.

There is still a great imbalance, but I do have hope that there is a massive shift happening. Greta Gerwig’s ‘Barbie’ shows that there is a space being carved for women to tell their stories on a massive scale.

There is, unfortunately, no end to toxic masculinity and issues like sexual assault and harassment, not only through acting but music too. How important is it to highlight productions like Meat Cute and sort of challenge and shine a light on more difficult topics?

It is so incredibly important to shine a light on the difficult topics. The arts creates a space for people to empathise and look outside of their own experience of the world. By addressing difficult and often upsetting themes, we are opening the conversation for change and ensuring that these topics are not swept under a rug or forgotten.

 IN THIS PHOTO: Director Anastasia Bunce with Bibi Lucille (and Mozart the dog)/PHOTO CREDIT: Chiara Fulgoni

I understand you first performed this production during the pandemic. Was Meat Cute written around that time, and what has it been like going through that period and now performing it in a different climate two years later?

Yes! We performed the first ten minutes at a socially distanced scratch night when restrictions eased. We then performed the full-length show throughout 2021 when things were slightly going back to normal. Performing it back then was a lot of fun because I think so many people were keen to see live art again and theatres were building themselves back up. Doing the show again two years later has been an even more exciting experience; theatre feels as though it’s fully back to the way it was with packed audiences and festivals in full swing. Being at the VAULT Festival this year was amazing because it really felt everyone was coming back together and theatre was recovering.

You are taking the show to the Edinburgh Festival Fringe. How are you feeling about that? What can audiences expect who might not be familiar to your work or this type of comedy?

I definitely feel a mix of excitement and nervousness. I’ve done the Fringe a couple of times before as a performer, but never with my own show. I feel very lucky to have even had the opportunity and the funds to perform at the greatest fringe festival in the world!

Audiences can expect a fast-paced, quick-witted farce. With constant action throughout the entire hour and multi-rolling 16 characters, ‘Meat Cute’ will have you on the edge of your seat.

“Anastasia Bunce is nothing short of a genius. Her vision and hard work is what brought the text to life”

Apart from the title being awesome and really clever, the promotional images and way Meat Cute is being marketed is innovative, standout and eye-catching. How important, in addition to capturing the imagination, was it to present a strong visual image?

I think the visual aspect of marketing any show is the benchmark for the rest of the production. When a poster is the first thing people see, you need something that’s going to stand out and be bold, different and interesting. We were lucky to have a very talented photographer on board, Chiara Fulgoni, who understood exactly the kind of vision we were after and used her own creative genius to make the image stand out.

I will wrap up in a minute, but I wanted to know what it was like being directed by Anastasia Bunce. What was it like working alongside her, and did any advice/particular note or direction stick in your mind above the rest?

Anastasia Bunce is nothing short of a genius. Her vision and hard work is what brought the text to life. She was able to craft and sculpt the piece into something slick and seamless, with many nuanced moments throughout. A particular note she gave (which I will not be able to articulate as well as she did), was when she told me to really listen to each line as I said them. It was at a point during the 2021 shows when I was stuck on autopilot and couldn’t seem to find fresh moments for myself within the play. When she said that one sentence, my entire performance changed. Really listening to what I was saying, despite having said it a million times, allowed me to find new moments in the play.

IN THIS PHOTO: Megan Thee Stallion photographed for Elle in April 2023/PHOTO CREDIT: Adrienne Raquel

As I run a music website, I wanted to ask about Megan Thee Stallion. Her songs sort of ‘score’ the production. What was it about her music that seemed to be a perfect fit, and do you know if she is coming to see Meat Cute?

What we loved about her music was that it was openly very sexual and sensuous, which creates the tone for the play and alludes to Lena using her sexuality to get what she wants. It also helps that Megan Thee Stallion is a vegan herself! Megan, if you’re out there, please come and see our show, you’d love it!!

What comes next for you? Will Meat Cute go on an extended run - or are you looking to television or film for your next project?

My dream now is for ‘Meat Cute’ to become a television series. We created a short film version recently and watching other actors bring the story to life felt like having a whole new perspective on the tale.

We’d also LOVE to do a run at Soho Theatre, so hopefully we can schmooze them enough during the Ed Fringe!

INTERVIEW: Tally Spear

INTERVIEW:

  

Tally Spear

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I have been following and supporting….

the music of Tally Spear for a few years now. She is a brilliant artist who everyone should have on their radar. She is back with her powerful and instantly memorable track, Imposter. I ask her about the song’s inspiration and what it was like making the video (which she directed and edited). I also ask her about the support her music has been given by the BBC, whether there are going to be tour dates, and who are the artists who have inspired her. It is good to chat with Tally Spear once again as she embarks on the next phase of her career. The London-based artist is one of our very best and brightest. She proves that on Imposter. I think it is her strongest song yet. If you do not know about her at the moment, then make sure that…


YOU correct that.

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Hi Tally. How are you? How has your week been?

Hey! All good so far. I’ve just finished working on my music video which comes out TODAY!

I have been following your music for a few years now. How do you think you have evolved and changed as an artist since your earliest tracks?

I’ve probably changed beyond recognition to be honest, haha. I mean, I have, and I haven’t. I’ve changed and learnt a lot as a person and my music has evolved with me and will continue to evolve. It’s been a process of trying lots of things in my writing, seeing what feels most like me, seeing what I enjoy sharing and performing the most. I feel like I’m only just starting to figure these things out right now…

The brilliant Imposter is your latest track. Can you remember how it started life and what inspired it?

I was laying on my bed, in silence, and just started singing the first line of the song: “I don’t know what I’m doing…”. I put it into a Voice Note on my phone and the rest of the verse just flowed out there and then too. I took it to Jon (Cass), and we started recording it soon after, and I wrote the chorus there in the studio during the recording process. We’d pretty much finished the song by the time I left that evening. The inspiration behind it was really just me saying to myself: Be honest. What are you scared of right now? Put it down and don’t worry about how it sounds, don’t worry about being cringey or cheesy or whether or not people will like the song; just write it as you feel it.

You edited and directed the video. I really love its feel, vibe and colour palette! It really does leave an impression and stays in the mind. What was it like bringing the video together?

Thanks so much! My first job out of uni was a junior video editor in an independent production company, and I’m very grateful for the skills I learnt during the years I spent there. I edited and directed this one in my usual ‘D.I.Y.-just-sort-of-winging-it’ style. I had some concepts and metaphors I wanted to experiment with, but I wanted to keep it all quite simple too. We filmed it in like three hours. Shot by Jessie Rose in a theatre my friend works at… I’d bought some random stuff on the Internet like a roll-up mirror and farming netting, lol, it was fun.

Take me back to your earliest years. I hear elements of ‘90s and ‘00s Indie and Pop in your sound. Which artists did you admire and bond with growing up?

I used to really try and steer clear from any ‘90s or ‘00s references in my music: this is the stuff I grew up listening to and I thought it would be uncool nowadays to reference it. But I’m embracing these original influences now for the first time and it feels really good. I listened to a lot of different music styles growing up – I was obsessed with Avril Lavigne, Hilary Duff, Blink-182 and NOFX. My big brother was in a Punk-Rock band, so I grew up surrounded by a lot of that sort of style. I also loved Bob Dylan and The Beatles (from my dad). I think there’s a real amalgamation of all my influences in my songs today.

“I have a mixtape concept in mind that I’m working towards right now which I’m super excited for! “ 

Might we hear new material or an E.P. later in the year? What are your thoughts and plans regarding next steps?

All I know is I want to keep sharing new songs and not go quiet for too long. I like the feeling of momentum, and I want to be consistent with myself. I have a mixtape concept in mind that I’m working towards right now which I’m super excited for!  

I am sure there are many fans out there who would love to see you on the stage. Are there are plans to tour soon?

No touring plans yet, no. Gigging, yes! I have some exciting London shows lined up for later this year, especially autumn.

Your previous single, alone again, gained support from some incredible radio stations in London. What was it like to get a nod from broadcasters like Jess Iszatt?!

I’m honestly so glad and so grateful that Jess and the BBC Radio 1 presenters have been supportive. Jess said on the show that she felt I’d ‘found my voice’ with alone again, which I really appreciated and resonated with.

I think that music has been dominated and made so much stronger by female artists for years now. Still, the industry is slow to create gender balance and larger opportunities for women. What do you think of this, and do you think the industry needs to do more?

There are and have been some incredibly powerful female, trans and queer artists and producers in the industry that have been really paving the way. I hope that they inspire other new talents to step forward. There’s still a way to go in all of these areas of minority, but I feel hopeful…

Finally, and for being a good sport, you can choose any song you like (from another artist) and I will play it here.

Thanks so much for the interview!

TASH - When the Lights Cut Out.

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Follow Tally Spear

INTERVIEW: Dave Cross

INTERVIEW:

  

Dave Cross

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IT has been a pleasure speaking with someone….

 PHTO CREDIT: Dave Crross

who is very important in the Kate Bush world. Not only is Dave Cross the Events Managers at the Royal Vauxhall Tavern. He is co-editor of the long-running Kate Bush fanzine, Homeground, and someone who helps provide us huge delight and vital updates through Kate Bush News. He is also Patron for Cabaret vs. Cancer (a U.K. charity supporting those affected by cancer). On 20th July, Dave brught This Woman’s Work: A Kate Bush Celebration to the stage at the Royal Vauxhall Tavern. Featuring some incredible talent, a huge £2,595 was raised! It was an exceptional amount for a very worthy charity. I was keen to find out more about This Woman’s Work: A Kate Bush Celebration; how and why it was put together. I also ask Dave about his love of Kate Bush and when he first became a fan. Oner of the leading authorities when it comes to our favourite music queen, it has been a really great experience finding out more from someone who has admired and given so much of his time and passion to Kate Bush. As it her birthday on Sunday (30th), it is a timely and excellent opportunity to speak with the…

 IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Gered Mankowitz

INCREDIBLE Dave Cross.

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Hi Dave. Can you tell us when you first discovered Kate Bush’s music and what you think about her recent so-called ‘resurgence’

I loved Wuthering Heights from when I first heard it, January 1978, and I bought The Kick Inside when I saw it in a local record shop. The whole Stranger Things/RUTH (Running Up That Hill) thing was incredible. It was used with such creativity, and I'm thrilled that so many younger people have now discovered Kate.

People will know you from the Kate Bush fanzine, HomeGround, and the brilliant Kate Bush News wesbite. How did you become involved with both of them?

HomeGround was actually my idea. It was started in May 1982 by myself, Peter, and Mandy, who was later replaced by Krys. We knew Seán Twomey, and when he launched his website, it made perfect sense for us to team up. Three became four.

“The quality has never dropped. She has never released a bad album”

I bet, decades ago, you didn’t think you’d be kept this busy with Bush-related activity! What do you think the reason is behind her longevity and huge acclaim?

The quality of her work, especially her songwriting. Plus, I think the fact that she has always done things her way, only released what she wanted. The quality has never dropped. She has never released a bad album. 

Obviously, Running Up Your Hill (A Deal with God) has taken on a life of its own. How does it make you feel to know that a whole new generation are discovering Kate Bush’s music?

I think it's brilliant. I'm finally cool with the kids in my extended family haha

For someone who is a bit wary of Kate Bush or has only heard RUTH, what would you say is the reason to dive deeper and explore her catalogue?

RUTH or Wuthering Heights are only the tip of the creative iceberg. No other artist has the same breadth of work of musical styles and subject matter as Kate.

“My greatest wish, and I think for most fans, is new music yes please Kate. A brand-new album”

I am interesting in finding out more about the recent event, This Woman's Work: A Kate Bush Celebration for Cabaret vs Cancer. It took place on 20th July at the Royal Vauxhall Tavern. It raised money for families affected by cancer (and child bereavement teams). How did you become involved with this and working with Cabaret vs Cancer?

The event was great. Despite the rail strike, the RVT was packed and we had an incredible show. Plus, we raised just over £2500 for CvC. I first met Rose Thorne, who is the founder of CvC, about 5 years ago, and I wanted to get involved because I lost my mum when I was a kid to cancer. Organising events like this, and the online auctions, means I can use my story and experience to help others.

The line-up was amazing! How did you come to decide and approach who appears on the bill?

They are all big Kate fans. Michael, Sooz and Jonathan I've known for a while, and they all perform Kate songs in their other shows. Ripley too. The others just made themselves known to me. I wanted the line-up to have a variety of styles. Not just singers. Burlesque and lip-sync as well.

It is impossible to predict, but what do you think will Bush’s future hold? A new album perhaps?!

My greatest wish, and I think for most fans, is new music, yes please Kate. A brand-new album.

Finally, and for being a good sport, you can choose any Kate Bush song you like and I will play it here.

That's tricky, but today I pick... Joanni

INTERVIEW: Joan LeMay (Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan)

INTERVIEW:

IMAGE CREDIT: University of Texas Press 

 

Joan LeMay (Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan)

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AN incredible book…

IN THIS PHOTO: Joan LeMay

that every music lover should own, Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan, is out now. You do not need to be a Steely Dan diehard to appreciate this engrossing and beautiful book. The group, led by Donald Fagen and Water Becker, released some of the finest albums of the 1970s (and '80s). Classics like Can’t Buy a Thrill (1972) and Aja (1977) are among my all-time favourite albums. Go and grab a copy of a remarkable and must-read work. With the text written by writer and journalist Alex Pappademas, and the gorgeous, characterful, and unique images by Joan LeMay, it is a wonderous and awe-inspiring book you will not be able to put down! I have been speaking with LeMay about the book. Before getting there, and if further convincing was required, here is what you can expect from the stunning Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan:

“literary and visual exploration of the songs of Steely Dan.

Steely Dan's songs are exercises in fictional world-building. No one else in the classic-rock canon has conjured a more vivid cast of rogues and heroes, creeps and schmucks, lovers and dreamers and cold-blooded operators-or imbued their characters with so much humanity. Pulling from history, lived experience, pulp fiction, the lore of the counterculture, and their own darkly comic imaginations, Donald Fagen and Walter Becker summoned protagonists who seemed like fully formed people with complicated pasts, scars they don't talk about, delusions and desires and memories they can't shake. From Rikki to Dr. Wu, Hoops McCann to Kid Charlemagne, Franny from NYU to the Woolly Man without a Face, every name is a locked-room mystery, beguiling listeners and earning the band an exceptionally passionate and ever-growing cult fandom.

Quantum Criminals presents the world of Steely Dan as it has never been seen, much less heard. Artist Joan LeMay has crafted lively, color-saturated images of her favorite characters from the Daniverse to accompany writer Alex Pappademas's explorations of the famous and obscure songs that inspired each painting, in short essays full of cultural context, wild speculation, inspired dot-connecting, and the occasional conspiracy theory. All of it is refracted through the perspectives of the characters themselves, making for a musical companion unlike any other. Funny, discerning, and visually stunning, Quantum Criminals is a singular celebration of Steely Dan's musical cosmos”.

IN THIS PHOTO: Alex Pappademas

Published through the University of Texas Press, this is the ultimate Steely Dan text. A companion that you will not want to miss out on! The reviews for Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan have been extremely positive. This is what Expanding Dan (who also interviewed Pappademas and LeMay recently about the book) noted:

“Remarkable...we finally have a book about Steely Dan in which the writing and art fully measure up to the sophistication and beauty of Becker and Fagen's music...Pappademas's incisive, elegant prose poetry pairs perfectly with LeMay's colorful hand-painted portraits that offer humorous and empathetic glimpses of the Dan's menagerie of luckless pedestrians”.

To celebrate a book that will please the long-running fans of Steely Dan, and lure and entice forward those who are new to their work, Joan LeMay discusses how the collaboration between her and Alex Pappademas came about (I would also suggest you check out interview they have done together such as this), when she discovered the legendary band, and which illustration of hers from the book is a particular favourite – and best demonstrates her artistic style and voice. It has been a real pleasure speaking with the brilliant and enormously talented Joan LeMay as, together with Alex Pappademas, they have created a Steely Dan vision that is…

IN THIS IMAGE: The Expanding Man from “Deacon Blues”/ART CREDIT: Joan LeMay/University of Texas Press

IN a league of its own!

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Hi Joan. Can you remember how Steely Dan came into your life? Was there a song or album that grabbed you at a young age - or did it take a bit longer for that fuse to be lit?

In my house growing up, there weren’t a lot of records — there was a row about four, five inches thick. It, however, contained the whole Steely Dan catalog (and later, The Nightfly) alongside lots of Linda Rondstadt, Jethro Tull, Best of the Doobie Brothers Vol II, and a few other selections. As a baby, my honest to God first musical memory was being tall enough (I am tall now and was a tall baby then) to plop the platter for Can’t Buy a Thrill onto the turntable. I believe I gravitated towards that over other Steely Dan albums at the time because I was two and a half and the colors on the cover were attractive. The candle has long burned throughout my life as my love for and understanding of Steely Dan has deepened; it is the light that never goes out.

Even though I feel Steely Dan are underrated, now seems like a time when their music is as powerful, affecting, needed and popular as ever. Do you think there is this renaissance happening?

There absolutely is a ‘Danissance’ afoot, and has been for the past few years. Alex writes about the why and how of this beautifully in the book; he and I both agree that when we started this project it was a niche idea for a book, and now that it is out, it is a mainstream idea for a book.

“I definitely escaped into these characters”

Can you tell me how the idea emerged for Quantum Criminals. Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan? How did you and Alex (Pappademas, the book’s author) decide what to focus on and what structure the book would take?

Around 2019/'20, Alex and I had been independently forming Dan-related projects - I had just started making a fanzine called “Danzine”, wherein I planned to draw/paint every named Dan character in the entire oeuvre. Alex had been talking with our mutual friend and the book’s doula, Jessica Hopper, about writing a book for University of Texas Press, where she was in a position to acquire. He pitched her “Bluets, but Steely Dan”, which is obviously brilliant. As they were communicating about this, Hopper saw me post on Instagram about my project, and she texted me “That’s not a zine, Joanie, that’s a book.” She put us together (Alex and I had been in touch with each other on and off over the years because I lived a former 17-year-long life as a music publicist and would send him pitches) and the structure of the book shifted to be what it became.

In terms of focus, we knew we had to implement some constraints so that this thing wasn’t Biblical. Throughout the book’s production, we communicated on Mondays over the phone and looked at a spreadsheet called the MASTER DANIVERSE CHARACTER SHEET - we discussed who I was most excited to paint, which characters would work best as foci through which Alex could write what he wanted to write and went from there.

IN THIS IMAGE: Owsley Stanley from “Kid Charlemagne”/ART CREDIT: Joan LeMay/University of Texas Press

The art and illustrations throughout are amazing, so realistic and utterly unique! Did you produce the art for Quantum Criminals. Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan whilst reading what Alex had written, or by listening to the group’s music? How did the creative juices flow in that respect?

In most cases, I finished my paintings before Alex finished his text because I am a fast worker and needed/wanted/am prone to taking a completely immersive, near manic approach when working on projects in series. So aside from instances in which Alex had fantastic thoughts about particular pieces (for example, it was his idea to paint Rudy as MF Doom), I would whip these things out and send him photos as I produced them. I would sometimes do up to three a day. This was during lockdown, and things were often dark. I definitely escaped into these characters. I was also gifted one of those little Crosley turntables and additional pressings of the canonical LPs by my partner at the time specifically so that they’d live in my studio for this project, so those put gas in the car.

“…and it is luck and kismet that Jessica Hopper, in her infinite wisdom, put us together”

Why was now the right moment for the two of you to create this book?

It was the right moment for both of us as individuals to start our respective projects that then merged and became the book, because we each had time and opportunity to start something we each knew we’d love following through on in a sustaining, sustainable way — and it is luck and kismet that Jessica Hopper, in her infinite wisdom, put us together. It is also luck and kismet that between the time that this thing got cooking and the time that it is coming out of the oven, the cultural landscape changed in such a way that it is being received more enthusiastically and widely than I ever, in my wildest dreams, thought it might be.

Is there a particular piece of art from the book that is your favourite? The one you would highlight as representative of the book and your style…

I am really partial to the Holy Man. There’s something sweet and come-hither on his face; I painted him as an odalisque intentionally, which is a parallel that is an easter egg maybe for me and three other people who are into art history enough to find it funny. One thing that was interesting in the making of this is that I was cognizant of the fact that, when you paint 120 paintings in the same style, you have to work hard to sustain that style because the way you paint — little things about technical technique or gesture or vibe will change between the first piece and the 120th. I am a figurative painter and a portraitist above all, and I work in oils a lot, so there is a fair amount of elasticity in my style depending on medium, subject, scale, the project itself….one commonality is that my work is either very vibrantly colorful or it’s in greyscale. I paint differently now than I did in 2021, which is when all of these pieces were made.

IN THIS IMAGE: Josie from “Josie”/ART CREDIT: Joan LeMay/University of Texas Press

How has your relationship with Steely Dan changed since Quantum Criminals. Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan was completed? Have you come to appreciate them more and discovered elements to their music that you did not see before?

I learned so, so much from all of Alex’s research, and my love for them deepened as one’s love for anything does when you pay a greater, or different, level of sustained attention to it. One of the beautiful things about Steely Dan is that they invite intense attention; they are the onion that never gets peeled all the way.

“I have never read a more loving, playful, thoroughly researched, generous, hilarious, voicey book about any band in my life, and neither will you”

If someone was unaware of Steely Dan or a little cold towards them, what would you say to them when it comes to buying the book? Why should they go and get Quantum Criminals. Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan?

I would tell them to never cheat themselves out of an opportunity to read Alex Pappademas’s writing. He could write a book that was presumably about toilet paper and it would end up saving someone’s life because of its insights about the human condition. I have never read a more loving, playful, thoroughly researched, generous, hilarious, voicey book about any band in my life, and neither will you.

IN THIS IMAGE: Snake Mary from “Rose Darling”/ART CREDIT: Joan LeMay/University of Texas Press

An impossible question, but what would you say is your favourite Steely Dan album and song? Which would you say is the most underrated too? (My answers would be Pretzel Logic, Deacon Blues (from 1977’s Aja), and Daddy Don’t Live in that New York City No More (from 1975’s Katy Lied)…

Great choices - and there are no bad choices, and no right choices. My answer will, of course, change depending on the weather, but from where I sit right now on a Saturday morning at my best friends’ place in Brooklyn, hearing the birds chirp outside and sipping my coffee, I am going to say “The Boston Rag” and Gaucho. I think there is no underrated SD LP — there are ravenous fans of each — but I will say that Walter Becker’s 11 Tracks of Whack has perhaps not yet made the rounds the way that I suspect it will as the Dan fanbase deepens its exploration.

Finally, and for being a good sport, you can select a Steely Dan song and I will include it here…

I’m going to go for “Time Out of Mind”.