FEATURE: Spotlight: The Beaches

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Becca Hamel

  

The Beaches

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MAYBE known to more people…

in North America than the U.K. and Europe, I think that The Beaches would go down a storm here! The Canadian band formed in Toronto in 2013. Comprised of Jordan Miller (lead vocals, bass), Kylie Miller (guitar, backing vocals), Leandra Earl (keyboards, guitar, backing vocals), and Eliza Enman-McDaniel (drums) they released two E.P.s The Beaches (2013), and Heights (2014), before signing to Island Records. Their debut album, Late Show, arrived in 2017 - which led to the band winning the 2018 Juno Award for Breakthrough Group of the Year. Their second album, Blame My Ex, came out last year. I hope that the band come to the U.K. and play here. I love their music and know that this year is going to be where they truly explode and conquer the global. There are a wave of phenomenal women in bands making such fresh and impactful music. I have just finished writing about Australia’s Teen Jesus and the Jean Teasers. I have seen both them and The Beaches tipped for breakthrough this year. Both have been around for years now - though there is a sense that now is a time where their music is really being embraced. I am getting to a few interviews with the extraordinary Canadian quartet. A band that needs to be known to all. Such is the impact and quality of their music!

I am going to start out with an interview from Thomas Bleach. They were eager to know more about a cathartic and honest record in the form of Blame My Ex. A slightly different production sound and lyrical direction to their debut album, the band’s lead vocalist, Jordan Miller, talked more about their wonderful and must-hear new album. One that I would recommend to everyone:

“The Canadian rock darlings have created a beautifully honest and cathartic record that explores what happens on the other side of a break-up. Finding a way to contextualise their feelings that surpassed the dissolution of it, the album reflects on the emotions you face whilst moving on. Through highlights like “Shower Beer”, “What Doesn’t Kill You Makes You Paranoid” and “Me & Me”, they were able to bring listeners perfectly into that world and state of mind.

I recently chatted to lead vocalist Jordan Miller from The Beaches about refraining from relying on the “lol” in her songwriting and finding a more vulnerable tone for this record, explored writing about her and bandmates queer identities, and reflected on the viral success of “Blame Brett”. 

THOMAS BLEACH: Your sophomore album “Blame My Ex” is an empowering, honest, and relatable record that explores grief and finding yourself again following a break-up. It feels very liberating as a whole body of work. Was that specifically important for you to put that feeling out in the world with some honest truths grounded within it?

JORDAN MILLER: I mean, you just said it very well right there. I wasn’t sure what I wanted to make when I started this record initially about a year and a half ago. And then back in August 2022 my relationship ended, and I was like, “Oh, this is gonna be what I’m gonna have to talk about”. There was this never-ending string of feelings, and the only thing that would make me feel better was trying to contextualize it through songwriting. It was sort of like therapy for me.

The more I wrote, the more I realized I didn’t want it to be a record about the dissolution of my relationship. I wanted it to be about what happens to someone after you experience a love that is lost, and what happens to you and like the ebbs and flows of that.

Some days you experience a little bit of catharsis. Like, that’s what “Me & Me” is about. It’s embracing being sort of happy, being alone, and the pleasure of being single and doing things like eating dinner by yourself. And then other times you experience social anxiety, and that’s what “What Doesn’t Kill You Makes You Paranoid” is about. I just thought that was interesting. Breakups and heartbreak is obviously a common theme with a lot of musicians, but I hadn’t ever heard a lot of records just about what happens to you afterwards. And that’s what I wanted this record to be about.

TB: I feel like you’re right there. Like now I’m thinking about all the breakup records I’ve been listening to in my life, and they’re all about the present moment, and not about the next chapter. There really is no rule book for that. There’s so many different explanations about how to get through a breakup, but what do you do when you’re on the other side and how do you restart?

JM: Exactly. What happens? Like, okay, you’re single now and you have to start fresh again, but you’re not over your ex and that makes things difficult. There were so many interesting things to dig through for me. Everyone assumes “Blame Brett” is a breakup song, and it is essentially as it’s about feeling heartbroken, but it’s also a song where I’m apologising to my future partners because I’m not emotionally available for them. Everyone thinks Brett is the bad guy, but I’m actually the bad guy in the song.

TB: There is a polish to this record, while still having a bit of a gritty punch of your debut record “Late Show”. What would you say is the portal track from “Late Show” to “Blame My Ex”?.

JM: I always like to think of our EPs as sort of like the portals in between like two records. I think where you get to start to hear us being a little bit like this record is on a song called “Orpheus” that we put out last year. It’s a song about missing somebody who you used to love in high school. I used the Orpheus legend as a way to play with that idea of long lost love.

I think the earnestness of that track was sort of a portal to this record because I think where this record differs from some of our other stuff is that it’s a lot more earnest and a lot more adult sounding. I’m relying less on my tongue in cheek humor and my jokes, and I dive into pain and grief in a literal way with being less goofy.

TB: How have you found reclaiming your queer experience in music so far?

JM: I actually just had this conversation on a podcast with the girls from The Aces about certain terminology. They’re all lesbians but for a long time they used the word queer to describe themselves because the word “lesbian” was a very loaded word for them. But they’ve started to really embrace it and re-call themselves that. I’ve gone by “queer” a lot because it’s a little easier to just generalise. But other times I’ve said I’m bi or pan. I’ve been publicly out since middle school. Basically, it’s on my Facebook, so it’s always been out there.

Leandra faces a lot more irritating comments because she’s been in a relationship with a woman longer than maybe I have. I’ve only ever been in one proper relationship, and it happened to be with a man”.

I want to move on to an interview from Canadian website, Exclaim.  They chatted with The Beaches about their fantastic new album and path to recognition. There is an interesting background to The Beaches forming and how they got to where they are now. Working through heartache and personal dislocation through catharsis, humour, honesty and inspirational songs, Blame My Ex is understandably an album that connected with a lot of people. The Beaches also discussed how they have worked hard to reach more queer and young women. To people they identify with as young women. A hugely important band whose music is among the most compelling out there:

“That heartbreak is all over the band's new album, Blame My Ex (out September 15), and its laugh-through-the-tears lead single "Blame Brett," which finds Jordan warning future partners, "So sorry in advance / Before you take off your pants / I wouldn't let me near your friends / I wouldn't let me near your dad."

Brett, by the way, is the guy's real name. They experimented with pseudonyms, but "other names just really didn't hit the same way, like Zack," says Enman-McDaniel. "It just didn't work." The percussiveness of "Brett" was glorious.

This meant an awkward phone call was required. "I spoke to him about it when we were writing the song," Jordan says sheepishly. "I said that 'Blame Brett' was just really good alliteration and kind of funny. I asked him if it was okay, and he said, 'I'm a little nervous for the feedback, but it's a really funny idea and go for it.'"

Thank goodness for Brett's blessing, because the song was an instant hit; a bit like Beyoncé's "Becky with the good hair," Brett is becoming a universal symbol for a familiar romantic entanglement. "There are Bretts everywhere," Kylie says.

The writing and recording process was almost self-flagellating for Jordan: "There were moments when I would write 'I still love Brett' on a piece of paper, just to get a really authentic performance," she remembers of going into the vocal booth.

Another single from Blame My Ex, the apathetic anthem, "Everything Is Boring," became what Jordan calls the album's "North Star," guiding them away from the joyous sound of "Grow Up Tomorrow" (which was ultimately left off the full-length) in favour of more breakup songs, with musical influences that veer away from the heavy riffs of the band's early catalogue and in the direction of new wave and sleek power pop.

"Jordan was healing," Kylie says of the therapeutic process. "There's a couple of songs that are hopeful and looking to the future — self-love and self-acceptance and queer relationships; exploring relationships with multiple people. And also just learning to love yourself at the end of the process."

With Jordan having worked through her heartbreak, and with the band having finally found the audience they were looking for, the Beaches have arrived at the destination they've been heading towards for 15 years.

Of course, this is real life, and things are never quite so clear-cut: the increased online visibility led to some pushback on Twitter, when their TikTok videos came under fire. Two of the band members have more recently gone through their own breakups, and the majority of them still live with their parents. The Miller sisters are back in their family home in the Beaches, the neighbourhood they named their band after.

"It was a big problem in my relationship," Earl says of her domestic situation. "We live such a weird life. Why do I want to pay so much rent when we're about to tour for like a ton of months? And my parents are so great. I live downtown and I'm grateful enough to have a house with my family. Eventually, I hope we start making some some nice cash where we can all move out comfortably."

With more than a hint of awkwardness, Jordan leans forward, confessing, "If I'm being candid — and I'm not sure if this is a good idea to admit this, for people who might want to date us who read this article — but it's very tricky to date musicians. It's a very different kind of lifestyle. There's like a lot of there's a lot of people that assume that we're just partying all the time, but it's really just kind of grimy and tiresome”.

Last October, The Line of Best Fit spoke with a group who have gone through reinvention and self-discovery. Signing to a new label and going through transformation. Their unity, focus and passion comes through. It has been a changeable past eight or nine years for The Beaches. It seems like everything is fully in place and formed now. Blame My Ex their truest and most powerful album. I think that this year will be their most successful:

“In 2022, The Beaches parted ways with Universal. Not by choice, though they make sure to clarify that there was no ill will, it’s just how the industry goes sometimes. They wouldn’t be who they are as people or as musicians, they explain, without their time at the label. But when it comes to the changing industry, the band is right. A reliance on digital trends has put a heavy numbers skew on music discovery and label priorities. It’s more common now to see acts signed that already have a following that labels hope to capitalize on rather than the label picking someone out from oblivion and building that following from the ground up. Virality is key and the competition is heavy, but leaving a major label it might now be fair to say, is no longer the career hard-stop it once was. Multiple notable breakouts from the past few years – including Raye and MUNA, to name a few – were released from the major system before finding their footing. Most impressively, these acts have actually used such moments as pivot opportunities and selling points for their future careers. Still, it takes a band with unrelenting grit to press on and make it work. The Beaches, it turns out, are seemingly one of those bands.

“We had a conversation with our agent – we’d been dropped from our labels and had changed managers as well – and he had a very honest discussion with us saying, ‘this next record has to be the thing that takes you over the edge,’” Jordan Miller recalls. “There was a lot riding on us, and it definitely felt scary,” Enman-McDaniel adds. “The numbers matter. But now it’s starting to change, and it’s starting to feel different for the first time in over 10 years. I think we’re all just finally accepting it because it’s hard to let go of being jaded, I guess.” Interjecting, Earl laughs “I’ve never been jaded!”

For the group, the big question was figuring out how to break out of the Canadian hard-rock bubble they’d been bouncing around in for much of their career. The paradox of the Canadian music scene is one familiar to its fans and artists alike. Government grant systems and Canadian content laws provide invaluable support to indie acts looking to get their start. Radio stations, for example, are required to play a minimum percentage of CanCon, a regulation system started in the 70s that tried to give homegrown acts a boost in order to compete with the behemoth industry operating south of the border. But CanCon, a contraction of Canadian Content, can be a double-edged sword. The rules to actually qualify are surprisingly stringent (no, qualification doesn’t just mean the artist whose name is on the byline is born in Canada), often turning accessing that Canadian government infrastructure and tapping into international markets an either-or choice for Canadian talent.

Heading back into the studio, The Beaches teamed up with a new manager, Laurie Lee Boutet, who helped rebuild them from the ground up. “She really helped us facilitate our relationship with different producers in Canada because we did the whole record in Toronto, which is great because you get the funding,” Kylie Miller says. “We went so far as redesigning our logo, redesigning our merch, everything. We really wanted this to be a fresh start and be our best foot forward, because there was a lot that just didn’t feel cool and authentic to us. Like, our logo was this EDM logo for years. It served a purpose and we love it – my mom has it tattooed on her – but, yeah, it was just taking care and paying attention to those details... we had to kind of go through everything with a fine tooth comb."

As for the music itself: “We wanted to create a record thatwe would listen to, that we would be obsessed with,” Jordan Miller expands. This meant that the group took cues from the increasingly popular indie-pop scene as well as the concurrent new wave revival. Their influences, they tell me, were a mix of Willow, The Cure, New Order, and everything in between. Miller, who takes care of most of the songwriting along with Canadian singer-songwriter Lowell, had also just gone through a breakup – with the now famous Brett, but more on that later – and wanted to put out a body of work that reflected the ups and downs of her own emotional journey”.

I can’t wait to see where The Beaches go from here. A stunning band who are busy touring and taking their new album to the masses, I hope they come and play the U.K. at some point. Another wonderful international band who have eager and dedicated fans here who want to see The Beaches in the flesh. Blame My Ex is a remarkable album from a group inspiring so many of their fans. Throw support behind them and connect through social media. It is clear that The Beaches are…

POISED for true greatness.

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Follow The Beaches

FEATURE: Spotlight: Teen Jesus and the Jean Teasers

FEATURE:

 

 

Spotlight

PHOTO CREDIT: James Morris for baked

 

Teen Jesus and the Jean Teasers

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WITH a busy diary…

already in place that involves shows in Europe and the U.K., the Australian band, Teen Jesus and the Jean Teasers, are getting this year off to a flyer. With a seriously cool name – that should be its own Daisy Jones & The Six-style show – and music that is impossible to forget, make sure that you are familiar with this quartet. They formed in Canberra in 2015. Consisting of vocalist Anna Ryan, guitarist Scarlett McKahey, drummer Neve van Boxsel and bass guitarist Jaida Stephenson, Teen Jesus and the Jean Teasers are a brilliant and tight-knit group that I cannot recommend highly enough. I am going to come to a few interviews with the band. Even though they have been on the scene a little while now, I think that this year is the one where they get worldwide recognition. The fact they are playing the U.K. next month means I will get a chance to catch them.

With a growing fanbase over here, I know this love will spread around the world the more music the band put out. One of last year’s most underrated albums came from Teen Jesus and the Jean Teasers. I Love You is a phenomenal release from the Australian four-piece. Talking about their debut album to Sydney Morning Herald, they were preparing to tour with Foo Fighters. A unique, lovable and hugely hard-working band who were embarking on a new stage in their career:

“Australian punk band Teen Jesus and the Jean Teasers have just released their first album and are gearing up to support rock legends Foo Fighters on their upcoming Australian tour. But they’re already learning not to care what people think. And that includes each other.

Their debut album, I Love You, is the culmination of eight years together as a band – and even longer as friends. While they started playing music at 15, while in high school in Canberra, this record is the first time the punk rock band has written songs collaboratively.

“We’re at this point where I know everyone so well, and we’ve been together for so long and touring together for so long that I was like, ‘they’re not gonna think my ideas are shit and even if they do then I don’t really care’,” says Scarlett McKahey, Teen Jesus’ guitarist.

“I’ve pissed myself in front of you guys before, it’s not gonna be that embarrassing if you don’t like one of my melodies.”

Anna Ryan, the band’s singer, adds: “[In the past] if one of us has written a song, there’s been an element of like, ‘I wonder what they think or if it’s good enough’, but when we were writing together, there was no fear with it.”

The pair laugh often and easily as they talk to this masthead just before the album’s release – The band consists of McKahey, Ryan as well as drummer Neve van Boxell and bassist Jaida Stephenson.

Inspired by watching School of Rock at a sleepover at Ryan’s house, Teen Jesus and the Jean Teasers decided to start making music in 2015. It didn’t matter that at the time they didn’t all know how to play their instruments.

The intervening years have seen them do much more than simply learn how to play: they released an EP in May 2022, followed by I Love You this month, and have performed at major festivals at home and abroad, including Groovin the Moo, Laneway and The Great Escape in Brighton.

Currently on tour with DMA’s, they’re about to head out again to celebrate the new record, before a support slot for Foo Fighters in Melbourne in December. Then, in January, they’ll head back to Europe and the UK to support The Vaccines.

That people are finally going to be able to listen to their debut feels surreal to McKahey and Ryan. “Anna can’t stop crying,” says McKahey.

“It’s too much. Everything is setting me off,” Ryan adds with a laugh. “Everything” includes reviews, old photos and band montage TikToks made by van Boxsel. “With cheesy songs over the top,” Ryan explains. “I can’t do them any more. I’m too fragile.”

But the band aren’t worried about what the reviews say, McKahey says. “This is the first time ever that I truly just do not care at all if no one likes it because we love it.”

The album, produced by Oscar Dawson of Holy Holy, features riot grrrl-inspired garage-pop songs that tackle friendship, dysfunctional romantic relationships and sexuality. It drops as women-led punk rock is seemingly having a moment in Australia, with bands like Amyl and the Sniffers and Cable Ties making waves at home and overseas.

McKahey recalls how important it was to meet women that she looked up to when she was starting out, including Courtney Barnett. Now, young people approach her at shows to say they’ve started a band, too. “The more that people see non-male artists on big festival line-ups and being played on the radio, the more non-male bands pop up because they realise, ‘oh, I can actually do it’.”

At the same time as the band aims to encourage more women and non-binary people to enter the industry, they also want to make sure their live shows are safe and welcoming environments.

“I’m really proud that we’ve created that at our shows,” says Ryan. “It’s pretty rare for us to see people being dickheads in the crowd”.

I wonder whether we spotlight enough music coming from Australia. Always a country that produces excellent and original music, I think there is still not enough awareness of the full range of talent in the country. Looking outside of obvious areas like Melbourne and Sydney. The Music spoke with Neve van Boxsel, Anna Ryan and Jaida Stephenson back in October:

“Listening to I Love You, replete with punching conviction, blistering beats, and an exciting post-grunge revival, may render just one pressing question – whom is it Teen Jesus And The Jean Teasers love? “We’ve wanted to do an album forever,” van Boxsel says wistfully, “and I feel like writing it and recording it was overwhelming. So, I feel like this is for each other, but also, everyone that listens, everyone that’s supported us.”

“It felt like a really nice title,” says vocalist Ryan, taking the reins, “because it was a long haul writing the album, but it was also so much fun.” Stephenson says, “I also feel like anyone who contributed to the album, be it us, our fans, our parents or whatever, we genuinely do love them.” Her bandmates agree; so much love went into this album.

Indeed, music such as this doesn’t happen without a massive amount of support, guidance, and rallying from an absolute cohort of people – and that’s a fact Teen Jesus And The Jean Teasers aren’t ashamed to admit.

In fact, it’s those influences that shape the I Love You sound, Stephenson humbly saying, “I guess all the help we’ve had from the industry in general, everyone’s been so kind, loving and supportive. We’ve learnt so much from everyone we can then put it into our music.” Ryan adds, “A lot of it was organic experiences; meeting [album collaborators] The Grogans on The Guts Tour and really getting along with them and then being like, ‘Oh my God, we have this song that you would be really great on.’ It just made a lot of sense as we were working through it.”

It's been said that Teen Jesus And The Jean Teasers – by the band and those in the scene – comprise four very different personalities. That, they say, doesn’t apply to their approaches to the album’s writing, soundscape, and production. “I feel like where it differs is more in our personal lives rather than the band,” says Stephenson. “We all kind of have a similar idea of what we want the band to be like,” van Boxsel says. “Especially because we started it so young, we’ve grown as musicians together,” returns Stephenson.

“It’s a similar vision, and we’re so close that if people do have differences of opinions about how the creative content is going, it’s pretty comfortable talking about it.”

As a band, there are, of course, other areas in which they’ve felt a sense of growth. “Not being as hard on ourselves,” says van Boxsel, to the agreement of her bandmates. “I feel like it’s pretty difficult being a non-male in this industry. You constantly feel like you have to prove yourself.

“This album feels like a breaking point for that – we feel like we don’t have to prove anything; we’re just going to do what we want to do. And we love our album!”

As well as summoning their individuality and personal direction in the music they produce, the outfit, to some extent, they agree, take the opportunity to create music to share their political and sociopolitical leanings to share their views and opinions in the hopes of making a change”.

PHOTO CREDIT: Michelle Pitiris

Before wrapping up with a review of the superb I Love You, Guitar.com chatted with Scarlett McKahey last September. Among other things, she discussed her love of School of Rock, why she had to step back from touring, and the importance of family backing and supporting you:

“McKahey’s fingerprints are all over I Love You. Not only was she elemental in songwriting and the thrilling guitar parts, she also played cello throughout the album.

“I play cello all through the album, there’s so much cello on it! It was really fun, especially on Never Saw It Coming,” she recalls. “We had to hire one for a couple of days to get it all done. It had been a while, I was out of practice, and it was fun getting back into it.”

Unlike van Boxsel who had been playing drums since childhood, McKahey was not a child prodigy on the guitar. In fact, she was actually committed to the cello when Ryan first convinced her cohorts they could form a band during a sleepover in which the teen friends were watching Richard Linklater’s School of Rock. If Jack Black’s band reject Dewey Finn could wrangle a bunch of rowdy fourth-grade kids into a burgeoning rock band, surely four enthusiastic high schoolers in Australia’s capital city could have a hack at it?

PHOTO CREDIT: Harry Chalker

Once the teenage friends had committed to forming a band, transitioning from cello to guitar wasn’t tumultuous at all for McKahey.

“I was so determined [to master it] that I forced guitar to feel natural. I played cello for so long, and it’s all about feeling where the note is because there are no frets, so going to guitar it was like ‘oh my god, this is easy’, and looking at tabs made sense to me because I’d already been reading music for so many years. Tabs were logical to me, it all clicked.”

She laughs as she adds, “I refused to learn anything other than The Strokes or Arctic Monkeys for years. I played the first Arctic Monkeys album start to finish, which drives my boyfriend crazy because I still do it to this day. Plus, I learned The Strokes’ You Only Live Once in my first guitar lesson. They’re still my favourite bands, I love them so much.”

Permission To Land

The melodic, distorted, bittersweet romance of early noughties rock weaves its way through I Love You, amplified by the synth-pop smarts of producer Oscar Dawson (half of Holy Holy and producer for Alex Lahey, amongst others)

“Oscar is one of the best guitarists I’ve ever met. He produced the whole album, so coming up with guitar parts with him was so good, he understood what I wanted,” she explains. “We had the best time. We stayed at his house for months and ate a kilo of smoked salmon every week.”

During the writing and recording of this album, the band moved into Dawson’s home in the Victorian beach town of Rye.

“His wife Ali Barter is also an amazing musician,” adds McKahey. “They have this beautiful big house and a separate studio with enough spare rooms that we can stay there comfortably without being on top of each other.”

For those familiar with Holy Holy, they’ll know that the Australian duo have a distinctive synth-based, electronic sound akin to Rufus Du Sol or The xx rather than obvious roots in indie rock.

McKahey says, “It’s funny because Holy Holy is definitely pop to me, almost synth-pop, but Oscar plays guitar like he’s in a metal band! It’s so intricate, elaborate and that’s what gives the edge to Holy Holy. Guitar like that isn’t normally seen in pop music, and it meant he worked really well for us because he’s able to cross between genres. His solos remind me of The Darkness, sometimes”.

I will finish with a review for the phenomenal I Love You. The Arts Desk shared their opinions about a riotously fun album. Even though they note one or two slightly weaker spots, there is a lot of love for I Love You and the brilliance of Teen Jesus and the Jean Teasers. If you have not connected with the band then you really need to. They are on the road and taking their new album to new faces and places:

“Canberra band Teen Jesus and the Jean Teasers continue the recent tradition of Australian indie bands having unwieldy comedy names. However, their music, as laid out on their debut album, has higher aspirations, bridging their scuzzy punkin’ roots and a larger sound, loosely somewhere between The Breeders and Foo Fighters, yet very much their own thing.

Sometimes they sail too far into mainstream rock for this writer but, overall, they win the day. The best of I Love You tends towards either catchy new wavey power pop guitar or snarling, sneering numbers vehemently raging at mistreatment in love/sex. Often a combination of both. There’s also a sweet sideline in acoustic songs, notably the broken “Never Saw It Coming” (“Since you took a piece of me I haven’t felt good again… I’d leave your bedroom with half of me still left in there”) and the delicious, girl-ish harmonies of “Your House My House”.

Mostly, though, the vocals of frontperson Anna Ryan are all about righteous stridency, as on the whopping singles “AHHHH!” and “Lights Out, and, especially, the closing fury of “Kissy Kissy, which starts, “I know your type, overconfident arsehole…”. While these have snifters of Green Day in their genes, Teen Jesus are also capable of chunky rock riffing, as on the stonkin’ “Treat Me Better”, or toning things to a funkier, less in-your-face groove, as on “I Don’t Want It”.

There are certainly unloveable moments, notably the plodding single “Salt”, featuring Melbourne surf-punks The Grrogans, which comes across as an over-calculated attempt to create a grunge-goes-stadium anthem. But, for the most part, Teen Jesus’ music emanates an unforced exhilaration at singing out their truth, and has the tunes to carry it off. I can also attest to the fact that they’re great live, so catch them if you can, when they come to the UK at the start of next year”.

I am excited to see Teen Jesus and the Jean Teasers in the U.K. There is a lot of love for them here. I know that this year is going to be a very busy one. With fresh singles likely, they will follow up on the amazing I Love You. We very much love this incredible quartet. One of Australia’s finest, make sure you follow Teen Jesus and the Jean Teasers. They are already coming through and tipped for longevity and amazing things. In a few years from now, they will be established…

MUSIC legends.

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Follow Teen Jesus and the Jean Teasers

FEATURE: We Wanna Hold Your Hands: Sixty Years of The Beatles’ First Appearance on The Ed Sullivan Show

FEATURE:

 

 

We Wanna Hold Your Hands

ALL PHOTOS: The Beatles on The Ed Sullivan Show, 9th February, 1964 

 

Sixty Years of The Beatles’ First Appearance on The Ed Sullivan Show

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I have done one or two…

features about The Beatles recently. I wanted to mark an important anniversary that I cannot really let slide. It is soon sixty years since The Beatles first appeared on The Ed Sullivan Show. On 9th February, 1964, the legendary band made their debut on the show. It was the first live performance on U.S. soil. A seismic moment that started this tsunami of love and obsession that the country had with The Beatles! I can imagine it would have been intimidating and nerve-wracking appearing on The Ed Sullivan Show back in 1964. With two albums already out in the U.K. – 1963’s Please Please Me and With The Beatles -, they would release A Hard Day’s Night in July 1964. It was a busy and interesting time for the band. On 1st February, 1964, The Beatles had their first U.S. number one with I Want to Hold Your Hand. With different releases and careers in the U.S. and U.K., there was this divide in terms of what they were promoted and their success. Maybe being taken to the bosom commercially by the U.S. at this point, the fandom there was fervent and different to here in the U.K. Even though the native and homegrown love was very strong and passionate, there was something almost biblical about the U.S. reaction to the band! It is hard to imagine how their U.S. career would have panned out if the first appearance on The Ed Sullivan Show did not go well. Instead, The Beatles stormed it and, with it, won the heart of a nation! I am going to source a couple of features around that iconic and historic appearance. Beatlemania would very much explode soon after. A country already gripped by their music, seeing them on T.V. live took things to a new level.

The website for The Ed Sullivan Show takes us back to 9th February, 1964 and a televisual moment that commanded an enormous audience. Once again, the fact that The Beatles were remarkable and so professional with so many eyes on them is a big reason why they were instantly embraced. Such a slick and tight band at that point, their career would blow up after this performance. Their lives would change forever:

“At 8 o’clock on February 9th 1964, America tuned in to CBS and The Ed Sullivan Show. But this night was different. 73 million people gathered in front their TV sets to see The Beatles’ first live performance on U.S. soil. The television rating was a record-setting 45.3, meaning that 45.3% of households with televisions were watching. That figure reflected a total of 23,240,000 American homes. The show garnered a 60 share, meaning 60% of the television’s turned on were tuned in to Ed Sullivan and The Beatles.

Ed opened the show by briefly mentioning a congratulatory telegram to The Beatles from Elvis and his manager, Colonel Tom Parker and then threw to advertisements for Aero Shave and Griffin Shoe Polish. After the brief commercial interruption, Ed began his memorable introduction:

“Now yesterday and today our theater’s been jammed with newspapermen and hundreds of photographers from all over the nation, and these veterans agreed with me that this city never has witnessed the excitement stirred by these youngsters from Liverpool who call themselves The Beatles. Now tonight, you’re gonna twice be entertained by them. Right now, and again in the second half of our show. Ladies and gentlemen, The Beatles! Let’s bring them on.”

At last, John, Paul, George and Ringo came onto the stage, opening with “All My Loving” to ear-splitting screeches from teenaged girls in the audience. The Beatles followed that hit with Paul McCartney taking the spotlight to sing, “Till There Was You.” During the song, a camera cut to each member of the band and introduced him to the audience by displaying his first name on screen. When the camera cut to John Lennon, the caption below his name also read “SORRY GIRLS, HE’S MARRIED.” The Beatles then wrapped up the first set with “She Loves You,” and the show went to commercial. Upon return, magician Fred Kaps took the stage to perform a set of sleight-of-hand tricks.

Concerned that The Beatles’ shrieking fans would steal attention from the other acts that evening, Ed Sullivan admonished his audience, “If you don’t keep quiet, I’m going to send for a barber.”

As hard as Ed tried to protect them, the other acts that night suffered from the excitement surrounding The Beatles. Numbered among those performers were impressionist Frank Gorshin, acrobats Wells & the Four Fays, the comedy team of McCall & Brill and Broadway star Georgia Brown joined by the cast of “Oliver!”

The hour-long broadcast concluded with The Beatles singing two more of their hits, “I Saw Her Standing There” and “I Want to Hold Your Hand” to the delight of the fans in attendance and those watching at home.

The show was a huge television success. As hard as it is to imagine, over 40% of every man, woman and child living in America had watched The Beatles on Sullivan.

A week later, the February 24th issue of Newsweek magazine’s cover featured a picture of The Beatles with the title, “Bugs About Beatles.” Inside, the review of The Beatles debut on The Ed Sullivan Show began, “Visually, they are a nightmare: tight, dandified, Edwardian/Beatnik suits and great pudding bowls of hair. Musically, they are a near-disaster: guitars and drums slamming out a merciless beat that does away with secondary rhythms, harmony, and melody. Their lyrics (punctuated by nutty shouts of “yeah, yeah, yeah!”) are a catastrophe, a preposterous farrago of Valentine-card romantic sentiments.” The article ended with the following prediction, “…the odds are they will fade away, as most adults confidently predict.”

So much for adult odds makers. But even at that, it was impossible to imagine what a lasting impression the night would leave”.

I wonder whether there has been a documentary made about the lead-up and aftermath of that debut appearance by The Beatles on The Ed Sullivan Show. It was a moment that will forever live in music history. I was interested knowing more about that lead-up and schedule on 9th February, 1964. The Beatles Bible gives us a complete timeline and insight into one of the all-time most important music moments. The fever that greeted The Beatles after that T.V. performance. Maybe more conservative viewers switched off and were offended by this band they felt were unkempt and unruly. It is clear that the energy and sheer electricity around The Beatles seduced and wowed millions:

“9 February 1964 was the date of The Beatles’ record-breaking first live appearance on The Ed Sullivan Show, at Studio 50 in New York City.

Seventy-three million people were reported to have watched the first show. It is still supposed to be one of the largest viewing audiences ever in the States.

It was very important. We came out of nowhere with funny hair, looking like marionettes or something. That was very influential. I think that was really one of the big things that broke us – the hairdo more than the music, originally. A lot of people’s fathers had wanted to turn us off. They told their kids, ‘Don’t be fooled, they’re wearing wigs.’

A lot of fathers did turn it off, but a lot of mothers and children made them keep it on. All these kids are now grown-up, and telling us they remember it. It’s like, ‘Where were you when Kennedy was shot?’ I get people like Dan Aykroyd saying, ‘Oh man, I remember that Sunday night; we didn’t know what had hit us – just sitting there watching Ed Sullivan’s show.’ Up until then there were jugglers and comedians like Jerry Lewis, and then, suddenly, The Beatles!

As with the previous day, in the morning the group rehearsed for the studio cameras. Again, George Harrison was feeling ill, and so his place on stage was taken by road manager Neil Aspinall.

George had tonsillitis and didn’t go to rehearsals for The Ed Sullivan Show. I stood in for him so that they could mark where everyone would stand, and I had a guitar strapped round me. It wasn’t plugged in – nobody was playing anything – and it was amazing to read in a major American magazine a few days later that I ‘played a mean guitar’.

Neil Aspinall
Anthology

 That afternoon The Beatles recorded ‘Twist And Shout’, ‘Please Please Me’, and ‘I Want To Hold Your Hand’, in front of a different audience from the one that saw their live debut that evening. This set was broadcast on 23 February as the group’s third Ed Sullivan appearance, after they had left the US. Before the recording, Sullivan introduced the group thus:

All of us on the show are so darned sorry, and sincerely sorry, that this is the third and thus our last current show with The Beatles, because these youngsters from Liverpool, England, and their conduct over here, not only as fine professional singers but as a group of fine youngsters, will leave an imprint of everyone over here who’s met them.

Ed Sullivan

Other guests on this third-show recording were Gordon and Sheila MacRae, and The Cab Calloway Orchestra.

The main thing I was aware of when we did the first Ed Sullivan Show was that we rehearsed all afternoon. TV had such bad sound equipment – it still has today, usually, but then it was really bad – that we would tape our rehearsals and then go up and mess with the dials in the control booth. We got it all set with the engineer there, and then we went off for a break.

The story has it that while we were out, the cleaner came in to clean the room and the console, thought, ‘What are all these chalk marks?’ and wiped them all off. So our plans just went out the window. We had a real hasty time trying to get the sound right.

Ringo Starr
Anthology

THE LIVE SHOW

The Beatles’ record-breaking live debut, broadcast from 8-9pm, was witnessed by just 728 people in Studio 50, but seen by an estimated 73,700,000 viewers in 23,240,000 homes in the United States. It comfortably smashed the record for television viewing figures up until that point.

We were aware that Ed Sullivan was the big one because we got a telegram from Elvis and the Colonel. And I’ve heard that while the show was on there were no reported crimes, or very few. When The Beatles were on Ed Sullivan, even the criminals had a rest for ten minutes.

George Harrison
Anthology

At the start of the hour-long programme, Sullivan announced that a telegram had been received from Elvis Presley and his manager, Colonel Tom Parker, wishing the group luck. It read:

Congratulations on your appearance on The Ed Sullivan Show and your visit to America. We hope your engagement will be a successful one and your visit pleasant. Give our best to Mr Sullivan. Sincerely, Elvis & The Colonel.

The Beatles had been given the telegram half an hour before their stage appearance. After reading it, George Harrison deadpanned: “Elvis who?”

The Beatles performed five songs on their Ed Sullivan Show live debut. They sang ‘All My Loving’, ‘Till There Was You’, and ‘She Loves You’, in the first half of the programme, followed by an advertisement for Anadin. Ed Sullivan’s other guests – Georgia Brown & Oliver Kidds, Frank Gorshin, Tessie O’Shea – followed, after which The Beatles performed ‘I Saw Her Standing There’ and I Want To Hold Your Hand.

While Paul McCartney sang the ballad ‘Till There Was You’, the cameras panned to each of the Beatles in turn, with their names captioned on the screen. When they got to John Lennon, an additional caption appeared, saying: “Sorry Girls, He’s Married.”

After the show radio DJ Murray The K took John, Paul and Ringo to the Playboy Club. With a police escort they walked several blocks to 59th Street where they were ushered into the club’s Penthouse lounge for dinner.

They later went on to the Peppermint Lounge, where they danced the twist until 4am”.

I am going to end with a feature from GRAMMY. They talked about this Big Bang. A moment that cannot be understated in terms of its impact on popular culture. Sixty years later, we are still feeling the effects of The Beatles’ first appearance on The Ed Sullivan Show. I hope that Paul McCartney and Ringo Starr share their memories of that day when the sixtieth anniversary arrives. It is spine-tingling watching them perform:

“Fifty-eight years after that debut appearance on Feb. 9, 1964, it's difficult to quantify (especially if you weren't born yet) how consequential this moment was. We've all heard the clichés about the hair, the suits, the bows, the "Sorry Girls, He's Married" caption above John Lennon's head. We're familiar with the refrain that the Beatles’ performance healed the nation after JFK’s assassination, and read the opening pages of a million rock bios comparing it to a lightning storm, a hurricane, an earthquake.

But watching the clip today, one notices the little details. A squinting Lennon, blind as a bat without his glasses, letting loose an approving "Yeah!"; Paul McCartney lapping up the female attention; Ringo Starr in his goofy, loveable glory; George Harrison, the youngest, looking a touch removed. Their individual personalities are immediately apparent — as magnetic as Buddy Holly was on "Ed Sullivan" back in 1957, few were compelled to ponder the inner lives of the Crickets.

No, each Beatle was as memorable as any other, telegraphing the role they'd play in our lives forevermore. Paul fully inhabits Meredith Wilson's The Music Man show tune "'Til There Was You," which both foreshadows his music-hall-style gems from "When I'm Sixty-Four" to "Your Mother Should Know" and Lennon's future, withering putdowns of McCartney's "granny-music”

"She Loves You" follows. If you're among those who never need to hear that song again, consider how its all-hook barrage invented entire power-pop, indie rock and boy band lineages — including everyone from the Hollies to Teenage Fanclub and BTS.

And then — good God — imagine being magician Fred Kaps, who had to follow that act with playing card and salt shaker tricks. This isn't the forum to roast him (after all, his performance was pre-taped) but the juxtaposition between the two acts — and the world of kids and adults — is almost unbearable to watch.

The cast of Oliver then arrives to gallivant around and sing "As Long As He Needs Me." Bowtied impressionist Frank Gorshin shows up with over-the-top impersonations of Dean Martin and Anthony Quinn. A feather-boaed Tessie O'Shea tickles banjo strings and chirps a selection from the musical The Girl Who Came to Supper. Mitski McCall and Charli Brill chew the scenery in a dorky comedy skit.

The magic barrels back into the last half of the show, as the Fabs bang out "I Saw Her Standing There" and "I Want to Hold Your Hand." Despite the shoddy video quality — how did this look like it was taped on the moon a mere five years before the events of Get Back? — the lads leap out of your YouTube browser.

"You've been a fine audience," Sullivan says testily at the show's end. "Despite severe provocation." Fifty-eight years later, we are all that audience — and so will our kids, and our kids' kids, and so on.

Whether or not you're a Beatles fan, take their debut Ed Sullivan appearance out of the closet of history and really sit with it — in all its characterizations and juxtapositions and moments of bliss and awkwardness. Try to envisage a world where it never happened. Spoiler alert: it'd be as dull as salt. This Beatles performance kicked off everything”.

On 9th February, it is sixty years since The Beatles debuted on The Ed Sullivan Show. They would appear on the show several times more. It is that debut appearance that stands out. This awakening and explosion! The Beatlemania hysteria of 1964 much have been dizzying for the band. The ecstasy that met them in their live performances. Thousands of fans waiting wherever they went. It was insane! Little did they know that, on 9th February, 1964, they would ignite this fuse. Already loved in the U.S., the appearance on The Ed Sullivan Show took them over the edge. This brilliant Beatles truly…

STORMED America.

FEATURE: Spotlight: Kaeto

FEATURE:

 

 

Spotlight

  

Kaeto

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THE tremendous Kaeto…

is an artist that is going to go a long way this year. A name tipped for recognition and success this year, I wanted to spend some time with her. I am going to come to a new interview from the Scottish-born and London-based visual artist. I am a new fan of her music and feel that she is going to go a long way. I think that I discovered her music back in October when she released her single, No Body. Touring with Lauren Mayberry at the time, there is a wave of new fans coming the way of the amazing Kaeto. Under the Radar highlighted No Body and an artist primed for huge things:

“Scottish-born, London-based artist Kaeto, who is currently on tour with CHVRCHES’ Lauren Mayberry, releases a compelling new single, “No Body.”

It fuses electronic and dance elements and showcases Kaeto’s mesmerizing vocals, whose musical influences include everybody from Prince to Portishead, David Bowie to David Byrne, and the Tom Tom Club.

After her debut single “Good Morning” shed light on imposter syndrome, “No Body” examines vanity and social media through our smartphones, as she explains, “I’m not trying to be preachy. I’m exploring these things because I’m doing them and I can’t stop.”

Kaeto’s early years were spent in Glasgow, before her parents’ careers drew her everywhere from Leeds to Texas, with stints of her early adulthood spent living in Barcelona. This semi-nomadic upbringing compounded her curiosity about the world, psychology and the human condition - one which continues to inform her creative palette. Although self-professing her output as “silly navel gazing”, she is actually using her music to explore themes of “shame, identity and madness”. With her personal interests and pursuits ranging from mathematics to visual arts, a former career as a paralegal under her belt, and an enrolment in Clown School on the horizon, Kaeto is the very definition of a multihyphenate”.

There was a lot of interest around No Body. CLASH also highlighted an amazing song that was among the finest of last year. I do think that there is going to be an E.P. later this year. I am keen to see Kaeto perform live. Last year was a big one for her. If you have not heard of this artist, songs like No Body are a good introduction:

“Kaeto lives and breathes music. It’s her life-force – the reason she gets up in the morning, and the last thing she thinks about at night. Scottish-born and London-based, word is already out on this pop voyager, a daring voice carving out her own niche.

Take new single ‘No Body’. Bruised electronic pop it’s as raw as they come, the club-focussed electronics wrapped around that biting vocal. Relishing every word, Kaeto tears down modern vanity and out smart phone enabled, social media driven addictions.

“I’m not trying to be preachy,” Kaeto says. “I’m exploring these things because I’m doing them and I can’t stop.”

There’s a darkness to ‘No Body’, but also a sense of light – it can be playful, and it moves with alacrity. “I really enjoyed making ‘No Body’ and I love performing it,” she says. “I don’t want to say too much about what it means as it can ruin what other people might interpret and I think that is more interesting and fun! I don’t want to impress my experience onto other people. For me, the music is more fun that the words I can sum up to describe it.”

Brendan Grieve handles production on ‘No Body’, with the searing visuals overseen by German filmmaker Paula Romy. Out now, Kaeto is currently holding down a residency at West London’s intimate art space Laylow, while you can also catch her opening for ELIZA at O2 Forum Kentish Town on November 17th”.

I will finish things off with a new interview and spotlight from The Forty-Five. There are not that many interviews with Kaeto. I hope that this changes soon, as there is a lot to love and highlight about her and the music. One of the most interesting and original artists coming through, Little Me was released in November. The latest single from a tremendous artist who cannot be pinned to genre or style. She is someone who does not want to be put into brackets or easily predicted:

“Are there musical touchstones and influences you draw on in your music? Your sound can be very genre-spanning.

“I love Bjork and Portishead, but I also really love Nick Drake and Pixies and Nina Simone. I love weird voices I think, that’s always been the thing that’s really attracted me to artists… but I also have inspiration outside of music. I take a lot of inspiration from films [and] visual artists. So for this project, Blade Runner was a massive inspiration. Even the score for that is, I think, one of the best things that’s ever written, so it’s definitely not just musical inspiration. But my taste in music is quite broad, so then that’s probably why my genres jump so much.”

You’ve played some massive shows this year, including supporting Lauren Mayberry on tour. What did you learn from these shows?

“It was a reminder that everybody enjoys music differently. Some people do just want to stand and watch and drink it in. I think I’ve got a real thing, like a child pleasing a parent where I’m like: ‘Look at me, like me, like me, dance! Please!’. So I feel like I get a bit desperate sometimes and [when onstage] feel like ‘there’s nobody moving’, but some people just don’t enjoy music like that.”

“At the first show [supporting Lauren] that happened and I came off stage I was like ‘Oh god, everyone hated me’, and then I went in to watch Lauren and everyone was standing like that. It’s a bit arrogant to assume that everyone [will watch in a certain way]. Everyone enjoys music differently.”

What do you want the future to look like you for a musician?

“I’d love to play Glastonbury! I’d really love to travel, but I’d love to find a way to sustainably do the things I’d like to do. Me and my guitarist Jack are hand screen printing all the merch, so I go to charity shops and I find t-shirts and then I print on them, so we’ve got loads of really cool screens. I’d love to be able to find a way of applying that eco-friendly mentality to other parts of music”.

I think that we will be hearing a lot more from Kaeto very soon. There are a load of wonderful artists coming through. I am a recent convert to her music, so I am curious to see where she heads next and what the future holds. Let’s hope that there is more press coming. Maybe not wanting to give too much away, I think there is a lot to uncover regarding Kaeto. If you have not heard about Kaeto and her stunning music, then make sure that it…

IS in your ears.

__________

Follow Kaeto

FEATURE: I’ll Kiss the Ground: The Cinematic Realisation of Kate Bush’s The Ninth Wave

FEATURE:

 

 

I’ll Kiss the Ground

IN THIS PHOTO: Kate Bush shot in 1985 for The Ninth Wave (the conceptual second side to her Hounds of Love album)/PHOTO CREDIT: John Carder Bush

 

The Cinematic Realisation of Kate Bush’s The Ninth Wave

_________

I shall come to the concept and visualisation…

of Kate Bush’s The Ninth Wave very soon. The conceptual side of her fifth studio album, Hounds of Love, there are a few reasons why I think it should be made into a film. Forty years ago this month, Kate Bush recorded demos for Hounds of Love. It was the start of a process that would lead to the release of one of the finest albums ever. Hounds of Love is forty next September. Bringing to life its astonishing and immersive second side would be amazing. People rightly will point out this has been done. In 2014, Bush brought The Ninth Wave to the stage for Before the Dawn (the tenth anniversary of that is crucial and worth noting). The issue is that only those who attended one of the twenty-two nights know what it looked like. No DVD or visual release has come. Also, it was on the stage and not the screen. Rather than it being this filmic standalone, it was part of a larger conceptual stage production. Kate Bush herself, not long after Hounds of Love came out, felt that it would be realised in the form of videos or a film. That never happened. In terms of efforts since, there have not been any. A literary adaptation has been made of The Ninth Wave. In the book a girl, Molly, is adrift in the Atlantic. In Bush’s The Ninth Wave, an unnamed heroine is presumed to have gone overboard on a ship and is alone at sea.

IN THIS PHOTO: Kate Bush was suspended for six hours in a tank of water at Pinewood Studios filming visuals for And Dream of Sheep on The Ninth Wave (photo courtesy of The Independent)

In the end she is rescued, though people wonder whether that is true – or whether the woman drowned early on and everything after that is imagined. One would think that a cinematic interpretation would be the next step. One might say Bush would not allow anyone to do it. That is speculation and based on nothing. The fact Bush herself always wanted to bring it to life means she could be open. A DVD from Before the Dawn will never be released. There is a desire to see The Ninth Wave in its full glory. There is scope for it to be done! I also feel that, as she has given permission for her music to be used in film, she would not instantly shut a project down. If done right and Bush got to have a say, there is nothing to say an adaptation of The Ninth Wave for the screen would be a no-go. Rather than call it The Ninth Wave, I feel I’ll Kiss the Ground is better. It is a line from the final song of The Ninth Wave, The Morning Fog. That promise from the heroine that, when she gets back to land and is safe, she will kiss the ground and tell her relatives how much she loves them. Both sweet and, if you feel she never made it, quite heartbreaking. I wanted to pitch the idea, cast and why, as we mark forty years since Bush started working on demos for Hounds of Love, finally bringing The Ninth Wave to a big (or small) screen in the form of a seventy(or so)-minute adaptation would be welcomed by fans – and, one hopes, Kate Bush herself. Below is modern-day, Dublin-set film where a couple far separated on what was supposed to be a romantic night. From there, it is a fight for survival. The end, with a twist(s) of the tale, will leave viewers…

GUESSING and stunned!

________________

I’ll Kiss the Ground (70 MINUTES)

 

PRELUDE:

Before coming to the plot, it is worth mentioning casting options and a writer. I have worked on the story – and could co-write -, though the first name that spring to mind was Lisa McGee. The creator of the fabulous Derry Girls, a lot of the humour and emotional balance of that series was in my mind. I’ll Kiss the Ground would have a lot of humour throughout. Until the heroine is at sea and waiting to be saved, there is a great deal of humour (which provides necessary balance). I have been drawing and thinking of when it comes to writers like Lisa McGee. I think that McGee is someone who would bring to life an adaptation of Kate Bush’s The Ninth Wave. For the main role, the heroine, the only name that came to mind was Saoirse Ronan. I have always felt this! Her acting skills and look, I feel, would be perfect. It is not a music biopic and Kate Bush, in the original The Ninth Wave, was not portraying the woman. It was a character. Also, Ronan would not sing the songs. They are there to narrate what is happening. A voice from above. The songs come to life through visual techniques and effects. Saoirse Ronan would speak and call out. She does briefly sing along to the songs and say various lines but, for the most part, there is separation between Kate Bush’s original recordings and this heroine being in the water.

IN THIS PHOTO: Saoirse Ronan/PHOTO CREDIT: Getty Images

Also, one of the biggest practical considerations is – apart from maybe a fairly large budget – how to ensure that the water scenes can be filmed realistically…and without Saoirse Ronan suffering hypothermia. When Kate Bush was filming And Dream of Sheep for Before the Dawn, she did contract mild hypothermia - and got a mild telling off from her doctor! The water tank/facility would need to be heated somehow. Even so, being in the water, potentially for weeks, brings about obvious and severe challenges. I am not certain who would play the heroine’s fiancé (the two are to be married). Domhnall Gleeson comes to mind. I love his work and feel the chemistry would be right. The story is set in Dublin, so I want as many Irish actors as possible. Alongside them would be Aisling Bea, Jessie Buckley, Sinéad Cusack, Sarah Bolger, Ruth Negga and Nicola Coughlan. Also, I hope, would be Guy Pearce, Gemma Arterton, Paapa Essiedu, Chiwetel Ejiofor, Lena Heady, Carey Mulligan, Kate Beckinsale, and Naomie Harris. More names will obviously come to light, though these are actors I envisage for particular roles. There would be one or two non-Kate Bush songs in the feature. Some various cultural references. The budget is going to be a consideration, so the wish-list might need to be trimmed. The determination is to have Saoirse Ronan as the lead. Not an ‘understudy’; the brilliant Jessie Buckley would be a worthy second choice.

PRE-CREDITS:

Prior to the credits coming in, there would be a moment of unexpected tension. Our lead couple, Catherine Daly and Paul McIntosh are hiding in the dark. A closet. You think they are in danger. It is very tense. Instead, they are hiding from children playing hide and seek. It is a mislead that then leads to the first act. The children belong to friends of theirs. They are child-minding them but, as they are not used to children, making mistakes!

IN THIS PHOTO: Domhnall Gleeson/PHOTO CREDIT: Getty Images

ACT ONE: BEFORE THE STORM

We star with the soon-to-be-married couple watching T.V. and flicking through the stations. They alight on Grease. Watching the film and noticing how racy and sexual (inappropriate and questionable in many ways), they briefly forget that the kids are still there. They order them away. They notice how many feel that the plot is misleading. Sandy Olsson (Olivia Newton-John) is saved by Danny Zuko (John Travolta) on the beach. He saved her from drowning. Some say that Sandy died and everything after is a dream or her last thoughts. Many explain why the final shots, of Sandy and Danny in a flying car taking off from their friends, is mad and unexpected because it is a dream or dying thought. Catherine mentions this as, in some ways, one can draw parallels between Grease and The Ninth Wave. Maybe Kate Bush’s heroine died at the start and the rescue is in fact something imagined. This is a nod to what is to come and maybe a clue to a potential end twist. Catherine and Paul get some space and, before the morning, share a note of intimacy and reflection.

The next morning, the engaged couple discuss the wedding coming up in a few weeks. In order to enjoy some relaxation and time away from their jobs – Catherine works in a bookshop; Paul is a bartender -, they have a getaway, romantic night trip on a cruise ship. It is called Celtic Deep (this is the name given to the ship mentioned in the live version of Before the Dawn. The start of Act Two is Astronomer’s Call, which is a distress call made saying a woman has fallen from Celtic Deep. The ship is sinking in fact and a woman is in the water).

Catherine and Paul travel from Dublin to Dún Laoghaire to depart. They get onto the ship and try to settle in. With a couple in the room next to them, there is a bit of tension and rivalry. One of the more humorous sections of the film, there are misunderstandings and events that unfold that mean this influence impacts other guests on the ship. Catherine and Paul get to spend time together in the evening and soon get into an argument. With Paul getting some cold feet and doubts around the wedding, they soon fall out. Catherine makes her way to the deck where she meets a man who is drunk and causing a bit of trouble. She warns him that he will fall overboard is he does not go inside. Trying to help him, instead she is accidentally pushed overboard. Crying out, nobody hears her. The drunk man also falls in after her. With Celtic Deep heading away and out of sight – it essentially travels from the East Coast of Ireland to a certain point and then turns back -, Catherine is in peril at sea…

IN THIS PHOTO: A view of Dublin/PHOTO CREDIT: Lukas Kloeppel/Pexels

ACT TWO: THE NINTH WAVE

The drunk man knocked some life jackets overboard when he fell. There is also a small dinghy that came too. Catherine, with only an old-style Walkman and the clothes on her back, tries to climb onto the dinghy. The man says there is not enough room on there for two – a nod to Titanic and Jack and Rose and the infamous door scene -, so there is a struggle. Catherine is injured. The man considers turning around but paddles away. Now on her own, she hears a splash and the man has fallen overboard. We do not see anything, though we hear him shout. Catherine cannot get to him. The dinghy bursts, meaning Catherine is deprived of a life support. She now is panicking and is limited in what she can do. That is when the first music cue, And Dream of Sheep, comes in. The film employs various visual devices to portray the songs and bring them to life. Catherine keeps her Walkman out of the water. She is trying to stay afloat and not go under. The weather is getting wetter. Struggling against the cold already, she dreams of sleep and sheep. Wanting to be back in Dublin. Clinging onto hope.

FLASHBACK: “A WEEK EARLIER…”

In the first flashback, we see wedding preparation taking place. Catherine is with her sisters and parents. They discuss Paul and recall how the two met. Paul saved Catherine from being hit by a car as she left her book store. The two hit it off and started dating soon after. Catherine expressed her nerves about the big fay but has had a rocky past with men. Subjected to some really nasty men who have abused her. She feels safe. The sisters hug her and vow to be by her side.

Cutting back and we see Catherine open her eyes. Whether she drifted off or was fighting tears, there is now a realisation that she is alone. Under Ice plays. There is a part of the dinghy that floats by her. She puts her Walkman on there and says this mantra to herself: “You are better than this. You can survive the storm”. It soon (as the film unfolds) becomes apparent why that is being said. The water is very cold and there is ice in a section of the sea. Getting pulled under, Catherine thinks she is being attacked by fish or a shark. There is this fear as she battles for breath and coming back to the surface. The visuals change against to something more black-and-white and tense. This struggle to get free. She eventually comes out of the ice and back to the surface. Swimming back to the dinghy – which is still intact -, she notices that there is a small wooden raft that is in the distance. Upon reaching it, there is a few clothes, blanket and a dog lead. Realising it might have been a stowaway or someone who got into trouble, she climbs aboard. Looking in every direction, there is no sign of land or any light.

Hypothermia is starting to set in. Catherine is very savvy and, having read books in her job about survival – she says this to herself and narrates -, she manages to stay warm and keep herself awake. There is this mixture of fear and the determination to get back to the ship. Trying to prepare some sort of colourful flag. There is a torch in the boat. It works dimly. She tries to sign it. The Walkman still works as she can faintly hear music. Closing her eyes again, it seems like she may give up.

Waking the Witch plays. On Kate Bush’s version, there are voices of her friends and family asking her/the heroine to wake up. Catherine’s family and loved ones do likewise. We see them visualised through animation. Waves are building and there is a danger that Catherine might be capsized and in peril once more. She is jolted awake by a plane overheard. It is a Boeing-747 that is heading to the U.K. She tries to alert it - but it is in vain.

FLASHBACK: “FOUR DAYS EARLIER…”

We see Catherine and Paul with his mum. She is terminally ill and is in bed. The three are talking and she is looking forward to the wedding. Knowing this might never happen, Paul is a bit emotional. Catherine and his mother speak. Knowing that she has faced trouble in the past, she says to Catherine: “You are better than this. You can survive the storm”. She smiles. As the plot unfolds, she might be saying this about her son  - that she needs to be wary. Catherine takes it as meaning things will get better and she has found safety. It is revealed that Catherine is pregnant and that she is the first person she has told. She did tell Paul but he misunderstood. He was angry at a T.V. show and distracted. She laughs that he will tell him when he has ‘calmed down’. Even so, there is a feeling that something is amiss in the relationship.

Cut to the Celtic Deep. The ship is not in peril at all. It continues on. Paul notices that Catherine is gone and went overboard. He gives an incredible speech to the captain who tells him to calm down. He explains how she is nowhere to be seen. A cryptic text that was sent to him just before she went overboard said: “It doesn’t matter”. A distress call is raised that is similar to Astronomer’s Call from Before the Dawn. The ship cannot turn around yet. There is a storm coming in and they are grounded at the moment. They may have to turn back, though it will not be the same route. Paul paces and is consoled by passengers. The couple he was having trouble with are there. A knowing look between the woman and him suggests that the two might know one another or kissed earlier. Adding new tension. Does Catherine know?

Back to the water and Watching You Without Me plays. This is a song where the heroine imagines being with loved ones and her being late perhaps. An absence. Wondering where she is. As Catherine is fighting the storm, she brings from a coat pocket a photo of her family that she keeps with her. We get a visual of her being with them on a summer’s day as they laugh. It is them at an event in Dublin. There is a mixture of fantasy and hallucination. During the flashback, there are clues or flashes that ask whether Catherine is still alive, whether this is a dream she is having on land – as a nightmare about being married? – or what the chronology is. Whether she is really pregnant. There are twists and doubts that will keep viewers guessing to the end.

Back on the boat, and Catherine is awake. It is silent as the storm has stopped briefly. She is angry and regrets things she never said. A fish hops on board. Thinking of killing it, there is this moment where she watches it struggle. Throwing it back into the water, unfortunately it is then eaten by something. She swears. She can now see a distant light. Something flashing, maybe it is another boat. A glimmer of salvation, she now finds energy but is still delirious. That is when the Walkman seemingly dies. It was a gift from her sisters who knew she liked retro stuff (and they have a shared memory of a Walkman in the 1990s). There is a moment of sadness but Catherine is determined to see them. There is a mixture of animation and various visuals as the song bursts into life. That song is Jig of Life. She is reminded of home and the energy and vitality of Ireland.

FLASHBACK: “TWO DAYS EARLIER…”

Catherine reveals the pregnancy to Paul. He takes it with a mixture of shock and confusion. They remember back to the night of conception. In spite of the levity of the situation and celebration, you feel there is a secret between them. There is a flash to Catherine and Paul at their respective workplaces as they tell colleagues. With the wedding fast approaching, they discuss how they are getting away for a trip and looking forward to a night alone somewhere romantic. Getting out to sea.

Back to the water, and there is a brief cut of Paul on the ship. They say a helicopter will be deployed when the storm passes. In the meantime, he phones Catherine’s relatives and his mum. He reveals that he also has a confession. We do not know what this is and who specifically he is addressing. He goes to the bar and the pressure and gravity of the situation hits him. It is at an unfortunate moment when the onboard musical entertainment strikes up an inappropriate moment.

Catherine now sees the dawn start to break gradually. The light that she saw before was a buoy in the sea. Maybe a hallucination. The moon reflects on the sea as Hello Earth plays. The Walkman she has suddenly has a new burst of life. She plays the tape that is on it. It is an audiobook. It is Let the Great World Spin by Colum McCann. It is her favourite novel. It is one that was originally bought for her by Paul on their first anniversary. This is the first time that Catherine is relaxed and surrenders. Hopeful that the storm passes means that things are better. There is thunder from above as she startles awake. Hello Earth plays as we pan up above her and see nothing around. A view of Catherine alone in the ocean – or is this Catherine looking above at herself?! The emptiness of the sea below is mirrored with a busy scene above. Visions of Catherine and Paul with her family. Them meeting him and sussing him out. Suggesting it was a while ago. There is also a flash of Paul’s mother better and him speaking about Catherine. Showing photos from his phone. Back to Catherine looking up and a cloud going across the moon and it going darker. The natural light starts to come through now.

The Morning Fog starts to come in. It starts and then pauses as there is silence. Rain sounds are heard as is the sound of gulls. Catherine is a bit delirious still and shivering. She whispers the words to The Morning Fog: “The light/Begin to bleed/Begin to breathe/Begin to speak/D'you know what?/I love you better now/I am falling/Like a stone/Like a storm/Being born again/Into the sweet morning fog”. There is thunder and Catherine repeats the mantra Paul’s mum said to her. She thinks about it and realises that there are darker truths in the saying. That it relates to Catherine’s mum. A realisation comes across her. Catherine is confused. She protect her unborn child and covers her stomach with a jumper. Just as she is about to sleep, a helicopter is heard above. She does not hear it at first. The light from above wakes her. She is freed from the sea just as a wave takes out the raft and breaks it. Inside, she is warmed up and told that her fiancé raised the alert and the ship is back towards Dublin now. Catherine asks if this is real. Her hand is held and she says she feels that. Looking out of the window, the raft is not there. All that is left is the Walkman and clothes. In the distance, unseen by Catherine, is a man in the sea. The same man as before feared drowned. He shines a light towards the sky.

ACT THREE: AFTER THE DAWN

FLASHBACK: “A WEEK LATER…”

Catherine and Paul get back to their apartment. They are hosting her family. The wedding has been postponed. Catherine hugs her dogs, Bonnie and Clyde (the name of Kate Bush’s dogs on the cover of Hounds of Love). They talk about what has happened but refer to it as an ‘event’. No specific mention in case it triggers. Or are they referring to something else. A bruise on her wrist and scar suggests maybe there was an accident or fight and not a struggle in the sea. Catherine and Paul look happy enough and pleased to be with each other.

When everyone has gone, they set down to watch a film. It is a slightly inappropriate one – about a boat disaster – and they share a joke. Paul’s mum wants to see them the next day to tell them something. Catherine needs an early night. She goes to her bed and she is wearing white. She sees her wedding dress hanging up. Catherine lies back. She reaches over to the bedroom table and turns the light on, which projects onto the ceiling. There is a pregnancy test that suggests it was very recently taken. Smiling, she lies back, once more, touches her stomach proudly and looks to camera and smiles as the end credits kick in – Kate Bush’s Jig of Life again swings in.

PHOTO CREDIT: John Carder Bush

EPILOGUE:

Of course, Kate Bush would need to sign off on everything.! The fact she no doubt imagined The Ninth Wave as a cinematic piece or visually makes me think that she would not be adverse. It has never come to the screen in terms of a film or one-off comedy-drama. I would love advice and collaboration with a great writer like Lisa McGee. A platform like Amazon or Netflix playing it. Kate Bush does not need to release a Before the Dawn DVD or compromise in that way. She has granted permission for her music to be used in film so, as long as edge had say or could have input, I feel it would be a project she would be invested in. Hounds of Love’s demos started taking shape forty years ago this month. Next September marks forty years of the album – and it would be great to have something in the world by then!

Of course, with recent loss and tragedy – Del Palmer died recently -, projects and work are the last thing on her mind. Kate Bush would not need to appear or do anything else. It is another way to bring Hounds of Love to people. The Ninth Wave is one of her most popular works. People want to see it brought to life. Through I’ll Kiss the Ground, I feel this is a way of doing that.

I have not listed all character names and all the actors desired. Saoirse Ronan is the name in mind that I have always seen as playing the heroine (Catherine). It would be amazing to have a female director helming the film/project, though I am not sure about a name.

The intent of this feature was to give an idea of how it would play out and the pace of it. Running at about seventy minutes (though it may be a tad longer), it is a comedy-drama piece with twists set in Dublin that has Kate Bush’s The Ninth Wave at its heart. The drama of Catherine struggling for safety and being rescued at the end.

Of course, there would be questions about versions of events. Twisted and doubts that mean people would revisit the film. I wonder whether it is possible to, in time, get to Kate Bush or pass the suggestion along. Get a script or outlined worked up. Maybe see if Saoirse Ronan would ever consider it. I think that the magic of Kate Bush’s work and the power of The Ninth Wave would draw people to it. After forty years in the world, it is a moment to realise The Ninth Wave. I think fans would relish an adaptation. Can 2025 be the year when it happens?! I really hope so, as it is something I am very passionate about.

FEATURE: Spotlight: Chy Cartier

FEATURE:

 

 

Spotlight

 

Chy Cartier

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AN artist who I think is going…

to have her best year now, Chy Cartier is a U.K. Drill talent that is getting a lot of buzz. I am going to drop in a few of her songs that demonstrate her incredible talent. Whilst there are not many interviews - properly expansive ones rather than press around BOSSED UP - up about her, that is going to change as she gains more exposure. Perhaps someone who has not been embraced by as many people as she deserves, the North London queen is rising and putting out distinct and unforgettable songs. A singular talent who is among out finest young artists, many eyes will be on her as we pass through this year. The Face recently announced Chy Cartier as an essential voice to look out for:

“Right now, Chy Cartier has the kind of buzz every rising UK rapper dreams of. Before its proper release, a snippet of her recent single Bossed Up (initially known as Van Cleef, due to the jewellery brand being namechecked) blew up on TikTok, causing impressed rap fans to demand an official version. And as soon as Bossed Up was released in November last year, the likes of Little Simz, Central Cee, K‑Trap and Unknown T were quick to cosign. Why does the Tottenham rapper stand out? Aside from her explosive energy, Chy is trying out unique and unusual flows, encouraging a welcome wave of innovation in the UK rap scene. DR”.

One of the best tracks of last year came in the form of Chy Cartier’s BOSSED UP. I am fairly new to her work, though I heard this track and was instantly compelled to discover more. I don’t think U.K. Rap and Drill gets quite the discussion it deserves. Maybe seen as reserved to certain radio stations and audiences, there is a power and relevance in the gene – regarding lyrics and themes discussed – that warrants wider attention. If you have not heard the name Chy Cartier, you need to check out what she is going right now. BOSSED UP announces her as a major name of the future:

“One of the most keenly-awaited UK rap tracks in a long time has finally arrived. About a month ago, Tottenham-hailing rhymer Chy Cartier shared a snippet of “Bossed Up”, a track packed with grit and determination, and it caught an immediate buzz. But it has to be said: the rap newcomer’s previous singles, “Hella Rare”, “Show Me Love” and “Suit That”, have been great launching pads for what is about to be a breakout hit for her.

Produced by GW & RP, the “Bossed Up” clip pulled in praise and co-signs from the likes of Stormzy, Digga D, Potter Payper, Youngs Teflon and Wretch 32. A clip of the accompanying video, directed by Florian Joahn, was previewed earlier this week and took that buzz even further—slick and dramatic, it paints Chy in bold greyscale as she lets rip in front of the concrete city sprawl.

“‘Bossed Up’ is about having solid ambition and despite whatever challenges you may encounter, you should never give up on your dreams,” Chy Cartier tells Complex. “You can achieve anything you put your mind to—so go and get it! The hook looks back to my early years, the quick meals I used to eat before the uptown meals. The track is a self-celebration and affirmation for all my efforts to get to where I want to be”.

It is new days in many ways. Chy Cartier embarking on this new chapter. I cannot find much in the way of personal revelation and discussion. Getting to know more about who she is and where she is from. This is a lot shorter than most of my Spotlight features regarding press and insight. I hope that Chy Cartier does sit down to chat with some websites and publications. New music will be coming this year. There is something especially intriguing when it comes to Chy Cartier. I still think that British Rap is imbalanced when it comes to gender balance. Women not getting as much attention and opportunity as they deserve. I do think that things will change. At the moment, there is this inequality and discrimination that has to shift. Immense talent coming through is pushing back against the male-dominated and focused look. Chy Cartier is someone who is going to leave her mark on British Hip-Hop and Drill. A mixtape or album will give us a greater impression of who she is and what she is about. The inspiring BOSSED UP will give voice and hope to so many people. Reaching for dreams and keeping going on, it is clear that there is no stopping Chy Cartier. Make sure that you follow her on social media. She is going to ascend to new heights this year. Even though there are no interviews I can find, I was keen to spotlight Chy Cartier, as she is getting a lot of love and attention. A name that should be shared far and wide, watch this London artist explode. What she has put out in the world so far proves that we are going to be hearing about Chy Cartier…

FOR a long time to come.

____________

Follow Chy Cartier

FEATURE: After the Retrial… The New Success of Sophie Ellis-Bextor’s Murder on the Dancefloor, and How Early/Mid-2000s Music Still Resonates

FEATURE:

 

 

After the Retrial…

 IN THIS PHOTO: Sophie Ellis-Bextor

 

The New Success of Sophie Ellis-Bextor’s Murder on the Dancefloor, and How Early/Mid-2000s Music Still Resonates

_________

I shall mention another…

great Pop song from a British artist from the earl/mid-2000s that has received some unexpected chart success now. Before that, I wanted to congratulate Sophie Ellis-Bextor’s Murder on the Dancefloor. Released on 3rd December, 2001, it was the second single from her debut album, Read My Lips. Following its amazing first single, Take Me Home, Murder on the Dancefloor confirmed Sophie Ellis-Bextor’s place as an incredible artist with a distinct voice. Hitting number two in the singles chart, it is her best-known song. It has received a new lease of attention and chart success. It is at number two in the U.K. now because of its appearance in the film, Saltburn. Emerald Fennell’s film has given that song a new spotlight. Appearing through TikTok videos and shared on social media, a new generation are discovering this amazing song. There are a few reasons why it is a chart success in 2024. It is a timeless song that is catchy and has an amazing chorus. A song to dance to and feel free, there is also a depth regarding its lyrics. Written by Sophie Ellis-Bextor and Gregg Alexander, there is something magical about the song that crosses music tastes and boundaries. Irresistible and fresh, this is a song that has already inspired a new generation of Pop artists. As they have their songs shared and seen on TikTok, it is only understandable that Ellis -Bextor should get an audience there. Not that Murder on the Dancefloor is a ‘TikTok song’. It has that instant connection and accessibility. Unlike so many other modern Pop songs, this 2001 classic also brings listeners back to a great time for Pop. When we had queens like Ellis-Bextor reigning here and stars like Britney Spears in the U.S., it was a rich and consistently brilliant period where we saw many Pop classics. I discovered Sophie Ellis-Bextor through her 2000 hit with Spiller, Groovejet (If This Ain’t Love). An instantly recognisable and standout voice, I was hooked. Read My Lips is an amazing debut album that is full of brilliant music. In 2022, Kate Bush enjoyed reassurance when her song, Running Up That Hill (A Deal with God), hit the top of the singles chart here. That time, Netflix’s Stranger Things included the track in a powerful moment. I don’t think the Saltburn-Murder on the Dancefloor scenario is the same thing. In any case, it has given a new life and focus on a tremendous song.

I want to come to an article from The Guardian. They interviewed Sophie Ellis-Bextor in light of current success of Murder on the Dancefloor. It is pleasing to hear that, in a full circle moment, she is working on a new album that is more Dance-orientated. Maybe a new album that nods to some of the sounds that were on 2002’s Read My Lips. One of our finest and most celebrated artists is rightfully having one of her songs taken to heart by listeners who might not have caught it the first time around:

“One Saltburn TikTok trend shows rich kids prancing through their own lavish homes to Ellis-Bextor’s song (albeit fully clothed), which provoked commentary that either they had missed the point of the film – or that Fennell’s intended class satire had missed its mark. “Insane,” Ellis-Bextor said of the videos. “So funny.” As her song began rising in popularity, she recorded her own dancing TikTok in a hotel on New Year’s Eve. Far from a country house, “everyone thought I was in a Wetherspoon’s”, she said. Elsewhere, Saltburn star Richard E Grant and Paris Hilton have made videos using the song.

Saltburn has found a widespread audience among Gen Z despite divisive reviews. Critic Simran Hans was one of many to pan the film, and theorised that its brash music-video-style set-pieces, such as Oliver’s naked dance, have a “screen-shottable, meme-able quality, to the point where it actually works better out of context” – to wit, Saltburn-themed videos have accumulated 4bn views on TikTok. “It’s telling that it’s resonated most with a Gen Z audience, many of whom have likely enjoyed a piecemeal version of it online,” said Hans.

This week Murder on the Dancefloor – which began life as a demo by the New Radicals songwriter Gregg Alexander – also made its US Hot 100 debut at No 98. It is the latest catalogue hit to experience a chart spike thanks to a well-placed sync or viral moment. Kate Bush’s Running Up That Hill reached No 1 in 2022 thanks to a spot in Stranger Things, 37 years after its original release. And in 2020, Fleetwood Mac’s Dreams returned to the charts more than 40 years on after it soundtracked a viral skateboarding TikTok.

Tom Gallacher is general manager at Rhino UK, the catalogue label of Warner Music, who worked on both songs’ viral campaigns. Artists must walk a fine line when managing – or capitalising on – these flashpoints, he said, contrivance being anathema to authenticity-obsessed Gen Z. Fleetwood Mac got involved with the meme, while Bush was moved to give a rare interview to BBC Radio 4. Internally, labels might re-top an act’s greatest-hits playlist with the rising song – Universal rushed out a Murder on the Dancefloor remix EP to capitalise on the clamour – or petition Spotify to add the hit track to various themed playlists to further extend its audience. These careful tactics, he said, can create a wider catalogue spike. “You get new fans who keep on coming back.”

On TikTok, the song’s hashtag has more than 92.2m views and has been featured in more than 418,000 videos – a 444% increase over the past week. The oldest members of Gen Z would have been about five years old when Murder on the Dancefloor was first released. Ellis-Bextor said her five sons have grown up with the song, but are now dealing with it moving from being part of their mum’s history to part of their social world: “My 14-year old is seeing it on TikTok, my eldest is seeing his friends play it in clubs in the US,” she said. “My 11-year-old heard it on the radio the other day and said: ‘I think this song’s overrated.’”

While this viral moment will eventually pass, the song has a lasting significance for Ellis-Bextor. In her 2021 memoir Music, Men, Motherhood and Me, she wrote about being in a contemporaneous relationship with an older man whom she characterised as abusive and controlling: at his worst, she said he wouldn’t let her walk down the street alone and once twisted her wrist until it swelled. The original single’s success, she said, took her around the world and opened her eyes to “experiences and listening to people’s stories”, which helped her leave.

“I was working with a lot of women who were older than me, so I’d listen to their wisdom as well,” she said. “Brick by brick, it gave me the tools to be strong enough, when the time came, to get out of this. It was quite a strange juxtaposition but that’s probably not that unusual in some ways – if you’re in a dynamic that’s unhealthy, and suddenly your work is making you more visible, then the flip of that is the person who doesn’t really like that trying to bring you down a bit more when you’re home.” Months after the song’s release, Ellis-Bextor met her husband, Richard Jones, bassist with pop-rock band the Feeling”

Any artist has to “go where the energy and momentum is,” she said. “That’s what creativity absolutely thrives on.” Coincidentally, she said, she had begun work on a more dance-oriented album before Murder on the Dancefloor went viral, writing with Cathy Dennis and Richard X. “It’s definitely made me feel like the stars are aligning.”

Having vanquished Victoria Beckham in 2000, Ellis-Bextor’s current chart rivals are Liam Gallagher and John Squire with their debut collaborative single, Just Another Rainbow. Can she take them? “I’m not falling for that!” she said. “Come on, I had to deal with all that the first time around. Let me off the hook! I think it’s a bit churlish to be stamping my foot: I don’t just want my two-decade hit to come back, I want it to be No 1! Whatever happens, it’s all magic”.

I think that a new generation of social media users and music fans connecting with Pop music of the 2000s. Even though Sophie Ellis-Bextor’s Murder on the Dancefloor is enjoying the headlines and chart success, another interesting talking point comes from another British Pop classic: Natasha Bedingfield’s 2004 single, Unwritten. Taken from the album of the same name, the single originally went to number six in the U.K. Again, its use on screen and momentum from streaming and social media means that a song that some might not have heard is getting some fresh life and discussion. Billboard reveal how Unwritten was used in a key scene in a new film:

“During the holidays (Dec. 22), Anyone But You – which stars Emmy nominee Sydney Sweeney and Glen Powell – delighted rom-com fans across movie theatres. In the Shakespeare-inspired story, Natasha Bedingfield’s pop classic “Unwritten” plays a pivotal role in the narrative of Powell’s character. The song plays and is sung by multiple characters throughout the film, easily making it the defining musical characteristic of the Will Gluck-helmed movie.

According to Luminate, “Unwritten” earned over 1.3 million official on-demand streams during the period of Dec. 29-Jan. 1, marking an eye-popping 156.3% increase from just over 511,000 streams the weekend prior (Dec. 22-25). Since the film hit theatres, TikTok has seen a wave of videos using the official “Unwritten” sound to soundtrack viewers leaving Anyone But You screenings in high spirits. That sound boasts over 39,400 posts on TikTok. Bedingfield has since posted a pair of TikToks celebrating the song’s resurgence. “A rom com has got girls falling out of cinemas singing my song — and now it’s trending!!!” she wrote in an intro to a compilation of post-Anyone But You “Unwritten” TikToks”.

I think that the early and mid-2000s was a fertile time where some of the best tracks ever were released. A wonderful time where Pop and R&B were reigning, I am not surprised that Natasha Bedingfield and Sophie Ellis-Bextor are seeing songs of theirs from that time back at the forefront. The production and sound of the music still is relevant. Artists of now producing music that has a similar sound. Maybe not as strong and distinct as these songs, I feel that Pop music from twenty years ago is very influential today. There is also the power of films and how they use music. Not a new phenomenon, if a song does appear on the big screen and is seen by a lot of people, that then means it can have this fresh wave of acclaim and chart success. I am glad that we get to talk about amazing songs from two of our best artists. Sophie Ellis-Bextor has reacted with amazement that Murder on the Dancefloor is a modern-day smash. Resonating with people and riding high in the charts, this will open doors. I feel more songs from the period – 2001 through to 2004 – will be used in films. More investigation and appreciation of the music scene of that time. Also, it shows the brilliance of pairing great cinema with a perfect song. How one can never write off a song and feel it is of its period. There is something about a great Pop song that means it connects with people right through the decades. As Ellis-Bextor sings in Murder on the Dancefloor: “If you think you're getting away/I will prove you wrong”. When it comes to this golden song and its 2024 success via Saltburn, that is definitely this case. This wonderful gem is…

VERY much here to stay!

FEATURE: The Mysterious Harry Houdini: A Del Palmer Playlist

FEATURE:

 

 

The Mysterious Harry Houdini

  IN THIS PHOTO: The cover of Kate Bush’s fourth studio album, The Dreaming (1982)/PHOTO CREDIT: John Carder Bush

A Del Palmer Playlist

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THIS year started sadly…

 IN THIS PHOTO: Del Palmer and Kate Bush together in London in September 1985 launching her fifth studio album, Hounds of Love/PHOTO CREDIT: Dave Hogan/Getty Images

for Kate Bush fans. Someone who impacted and moulded her career and music more than most people, Del Palmer, died. He had been ill for some time, though it came as a massive shock for everyone. Not only were Palmer and Bush in a relationship for many years and were a rock for one another. He was a member of her band and performed on most of her studio albums. He also became her engineer. His credits include Hounds of Love, The Sensual World and her most recent album, 50 Words for Snow. That 2011 album has special relevance now. The final one he worked on with Kate Bush. He was with her for so long. From friendship in the 1970s through to this wonderful working relationship that blossomed for decades, there were few as important to Kate Bush as Del Palmer. She trusted few others to work with her, such was her attachment and faith in Del Palmer. He in turn could not work with other artists, as Bush’s talent was unique and so powerful. They were really meant for one another! This is what Kate Bush wrote in reaction to the news:

“It’s hard to know what to say… He was a big part of my life and my work for many years.

It’s going to take a long time to come to terms with him not being here with us.

He was incredibly creative – talented in lots of different ways. He was a brilliant musician, bass player, a great artist – he was always drawing. Once he covered a whole recording consul in cartoons. It took him days and it looked absolutely stunning.

He taught himself to be a recording engineer, engineering several of my albums and later releasing his own.

The image above is a mosaic that Del made. He called it Tree of Life.

I’m going to miss him terribly.

Kate”.

Some may not know that Del Palmer is the only other person apart from Kate Bush to appear on an album cover of hers. On 1982’s The Dreaming, the man with his back to camera is Palmer. He was playing the role of Harry Houdini. The is a song on the album, Houdini, that talks about the escapologist and his wife, Bess, kissing him and slipping a key to him that way. A key on her tongue. The cover depicts Kate Bush with a key on her tongue embracing Del Palmer. Palmer played on that album and was a really important part of her music. To honour him, I will end with a playlist featuring songs that he played on. I have also included a few where he engineered too. A mixture of his talents. As a bass player and staple of her creative and musical team, Del Palmer leave this massive void. We will remember him and everything he gave to us. To showcase that, here is a collection of songs where Del Palmer’s magic is…

VERY much in the mix.

FEATURE: Spotlight: ScarLip

FEATURE:

 

 

Spotlight

 

 ScarLip

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TIPPED by Vevo…

as one of their DSCVR Artists to Watch, I wanted to spend some time with the magnificent, empowering and essential ScarLip. I am going to get to some interviews from the New York rapper. One of the finest new voices coming through. Before that, here is some background and biography about the incredible ScarLip:

“With the wave of female rappers entering the game being the strongest it's ever been, the newest leading lady out of New York has everyone asking, “Who is Scar Lip?” With hits like “New York” and her infamous “Glizzy Gobbler,” Scar Lip is making her presence heard with her aggressive delivery and sharp punchlines. Like other artists emerging from Hip Hops modern era, Scar Lip’s social media presence keeps her new fans close to her and gives insight into who she is. With plenty of competition in the form of fellow female artists on the scene, she is looking to stand out with an iron fist. Here is everything you need to know about New York’s own Scar Lip.

Childhood

Growing up in the Bronx, Sierra Lucas, also known as Scar Lip, didn’t have an easy upbringing. In fact, the traumatic events in the rapper’s childhood shaped who she is today. At 12, she lost her mother in a hit-and-run car accident. Her brother caused a traumatic injury as a child, resulting in a trademark scar on her lip. While living with her aunt, Scar Lip also faced alleged abuse from her uncle and aunt as well. Soon, Lucas moved into foster care after leaving the abusive household. This is where the rapper began writing poetry to cope with the events she had experienced. She details these experiences in her songs “Therapy,” “Foster Care,” and “Suicide Awareness.”

Famous Co-Signs

Since emerging on the scene, Scar Lip has received a lot of love from fellow rappers. The latest A-lister to give her praise to Scar Lip is fellow Bronx native Cardi B. When asked if she would consider being featured on the “This Is New York” remix, she enthusiastically replied, “I love that song! My fans keep asking for it." Earlier this month, both artists attended the Met Gala celebrations. On Instagram, Cardi B reposted a pic of Scar Lip in her Met Gala ensemble with the caption, “I love her.” The new upcoming artist also went to Instagram, sharing her excitement at the moment with her fans.

“Cardi B just posted me,” Scar Lip said in a video. “She inspired me. She from The Bronx, bro. I’m from The Bronx. She showed us young girls we could make it, and we could be something, bro. I can’t f**king believe this sh*t. We did it.” In her post, she also got support from other figures as well. Tony Yayo, Wack 100, Lola Brooks, and Latto all joined in showing love in Scar Lip’s comment section. The 22-year-old has also received praise from the likes of Busta Rhymes and Jadakiss. Even NBA legend, Shaquille O’Neal, gave his stamp of approval. On Instagram, the basketball player told the rapper, “It’s time for you to take over New York.” Snoop Dogg gave his praises to the artist as well.

Influences

Being New York to the fullest, Scar Lip's musical style is heavily influenced by legends who are also fellow residents. The rapper has also cited the late DMX as her main influence. Several others have made striking comparisons between the two artists. Scar Lip says well-known other New York artists, including Onyx also influence her. Among fans, she is also often compared to Brooklyn rapper Casanova.

Last May, ScarLip gave her thoughts on the Rap scene in New York to COMPLEX. She was asked about comparisons with other artists, getting advice from Swizz Beatz, and why she leans into her unique and distinct voice. This is an artist who should be on everyone’s mind this year. I am new to her as it turns out, yet I am excited to follow her through this year and see what comes next:

“New York is in the midst of a rap renaissance, with sevral subgenres dominating the city, and Scar Lip is here to restore the gritty gangster rap feeling.

The 22-year-old Bronx rapper embodies her borough and reflects her past experiences. When it comes to her stage name, Scar Lip shares that she landed on it after being assaulted by her brother when she was young; the incident left a gash on the left side of her upper lip. Despite the traumatic experience leaving a permanent mark on her face, Scar embraced it and made it a part of her rap persona.

“I was like, ‘I’m going to own this. I’m going to turn my pain into my power,’” she tells Complex. “If I call myself Scar Lip, anything somebody says about me can’t affect me and they can’t say anything about me because this is who I am. And now it’s my scar. My scar is my brand. I just turned my pain into my glory.”

Beyond her recognizable brand, Scar has a special lyrical ability that reflects the New York legends she’s inspired by, including DMX, 50 Cent, and Busta Rhymes. After getting into spoken word when she was young, Scar Lip eventually picked up rap in 2018 and started taking it seriously, leading up to the release of her 2022 track “Glizzy Gobbler,” which took YouTube by storm. As the name suggests and she made clear to us, Scar isn’t rapping about hot dog lovers, but “dick-eaters.”

“So I’m like, ‘How am I going to catch these people’s attention and spit them hard bars so niggas know I can rap,’” she recalls. “So I just started picking up some items. I started picking up glizzies, I started picking up noodles, and some nuts. I was just like, ‘What could the hood relate to?’ And they were fucking with that shit because it was funny.”

When and how did you get started doing spoken word and slam poetry? 

I’ve been doing poetry since I was a little girl. Poetry is like an expression to me. And I’ve always written raps, but I never actually posted them. My first time ever posting a rap video was in 2018. And it went viral in 2018 or 2019. I did a rap, a regular rap, not even a poem.

I saw your reaction to Cardi B reposting your recent post. What did that mean to you as a Bronx artist, and where do you hope that relationship will go?

It was like my dreams came true, because Cardi B from the Bronx. And I’m from the Bronx and she made it so when you from the Bronx, you are going to look up to her. She made it happen for us. Now she’s opening the door to make it happen for us.

So that shit was crazy. It was really a dream come true. Every day I work, every day I post my events, every day I grind and I finally see some results. For all the upcoming artists, they know how it is when we finally get that little taste of just recognition. Once we get that recognition, we go beast mode.

You have a unique voice too. What makes you lean into it?

I have multiple voices. I’ve always done that. It’s just not released. I have multiple characters, I have multiple personalities, multiple alter egos in my music. It was just like, I don’t drop a lot. I wasn’t dropping a lot of music.

I know you linked up with Busta Rhymes for a “This Is New York” remix. What advice did he give you as an up-and-coming artist?

One thing I can say is Busta is a big help and a big support for me. He’s like a mentor to me. And he always gives me advice to stay who I am, stay authentic, don’t change for nobody, and to be consistent in my music. He always gives me pointers. Like when I first went into the studio with Busta Rhymes, I was very nervous. I was nervous because we were laying down tracks, we got more than one.

And I feel like I was too nervous about, “I got to get them bars right. I gotta make it sound good for him because this is a legend,” you feel me? And he was just like, “Scar, just chill, just vibe. We good. We got this.” But yeah, he’s just a good support for me. I ain’t going to lie.

How would you describe the state of the New York rap scene right now?

We are bringing this shit back. No, I’m joking. I don’t know. There are multiple talents, and multiple genres. Everybody always asks me how I feel about this kind of rap or that type of rap. It’s an expression. These people express themselves. Not everybody’s going to express themselves in an old-school way. Not everybody will go and express themselves in a new school way. Artists bring different vibes to the table, and different flows. That’s why when you see an artist, they stand out because they’re unique, right?”.

In December, Stereogum spoke with the phenomenal ScarLip. It was noted how women are dominating Hip-Hop right now. Certainly when it comes to what is happening in the U.S.. There is also this feeling that Rap is a little too clean or sweet right now. ScarLip is here to mess it up. Bringing something rawer and less apologetic to the plate. Sitting alongside contemporaries like City Girls, ScarLip is offering something fresh and invigorating. A sound that lingers long in the mind:

“I bring authenticity, unapologetic rawness, and aggression. I’m bringing pain back to rap. I’m always gonna bring the ugly side.”

It’s a pretty perfect summary of why 2023 has been such a breakout year for this fast-rising 22-year-old, who passionately raps about unpleasant realities in a hoarse rasp that cuts through the air like an uncoiled spring. Her voice carries the bite of someone – finally – turning the tables on a lifelong enemy.

No other rap song released this year slapped you across the face with the icy chill of ScarLip’s “This Is New York,” with its stomping, warped bassline replicating a motorbike revving up and all the war-ready bars (“Get the fuck out New York/ You ain’t welcome anymore!”) helping resurrect the rebellious spirit of the golden era Ruff Ryders crew doing wheelies in the direction of terrified Shiny Suit rappers. This song had no time for pretty, IG-ready diversions; it’s too gnarly and far too busy aiming for the jugular, forcing fuckboys to run off screaming.

“This is New York, fuck I look like telling a ni*** good morning?” ScarLip spits like a cantankerous hood-rap Larry David, snarling like she’s protecting NYC from an invading army of yuppies and gentrifiers. “Fuck I look like being nice, sweet, charming and warming?”

At a time where there isn’t too much to smile about amid the current neverending abyss of our bloody news cycle, ScarLip’s warrior energy; husky, imperfect vocals; refusal to wear a fake smile; and decision to fully embrace the stereotype that New Yorkers are naturally wry and grouchy is pretty radical stuff. She is a much-needed female voice telling the masses that it’s okay to want to scream into the void and be imperfect, or even long for more mainstream hip-hop that speaks for the poor rather than elevating all the venture capitalists. “This Is New York” is the ugly truth.

Comparisons to DMX carry enormous pressure, but it’s obvious ScarLip shares the late rap legend’s ability to sound simultaneously invincible and vulnerable during her verses. When rapping this pair sounds like they’re purging to a priest and emotion is therefore extracted from every syllable.

“My earliest memory of freaking out to music was hearing DMX on ‘Ruff Ryders Anthem,’” ScarLip recalls while giving me a rowdy rendition of the legendary song’s battle-cry hook: stop, drop, shut ’em down, open up shop, etc. The comparison to X doesn’t seem to phase her, not one bit. He’s practically her spiritual advisor, and her hope is that her major-label debut will continue in 2024 where It’s Dark And Hell Is Hot left things back in 1998.

“That thing, that thingggg, that thiiiiiiing,” she continues, laughing loudly and mischievously as she sings “Doo Wop.” “Lauryn Hill inspired me a lot too! When I saw her on TV it told me it was okay to be dark skinned, have nappy hair, and look like me. You can still go right to the top, as both a singer and rapper.”

On wax, you’ve never shied away from the darkness of your childhood and how you were passed around children’s homes. Was writing poetry an escape?

SCARLIP: Poetry was a way I could express myself and, whenever I was going through things I didn’t feel comfortable speaking to anyone else about, I would just stay in my room, writing. It was a healthier way to let my anger out. I spent a lot of my younger years in the system and care homes, so I would write about how those experiences made me feel. My first three songs were just three poems: my life as a Black girl, me being in the foster care system, and losing my mom. The same way Billie Eilish can make those big songs about overcoming depression? That’s what I am trying to do. Before I even made it, I said I wanted to get so big from music that I could open up homes for children.

I want to talk about the importance of the line, “If you feel like you’re alone, it aint your fault,” on “Therapy.” So often victims of sexual abuse are made to feel like they brought it on themselves, somehow. Why is it so important to change that toxic mentality?

SCARLIP: I believed as a young girl that it was my fault and a lot of the things that happened – my mistreatment, my abuse, losing my mom, the poor treatment from my aunt – were all things I deserved. That’s what they taught me: “Oh it is you! It is on you!” I repeatedly said that lyric, “It ain’t your fault”, so other people wouldn’t be brainwashed into thinking it was their fault either. I want everyone [who has been abused] to know: It isn’t your fault! If you can be in the system and still make something out of yourself, even after the world and everyone else turned their backs on you, then you can make it through anything else in life.

I hate this expectation that we all must be jolly right after waking up. I think “This Is New York” captures that so perfectly when you complain about having to wish people a good morning and instead embrace being cantankerous. The world is fucked up right now, so it’s okay to have an off day, right?

SCARLIP: Yeah! Not everybody wants to be happy every day. Not everyone can be jolly all the time! Sometimes I want to be mad. Sometimes, ni***, I want to curse you out! We gon’ put all the emotions in the music, you feel me? It ain’t gon just be happy go lucky energy, ni***, we about to go do a drill too! Let’s make a song about punching a ni***s in the face. We don’t always need love.

Does it feel like New York rap is re-energized right now? And are a lot of the best rappers from the five boroughs women? I think so.

SCARLIP: I ain’t gonna let you trick me with that question, haha. But I will say this! Women are dominating, you feel me? New York is as grimey as it has ever been! We winning right now. We got people like me, Lola Brooke, Ice Spice; we all turning the city up! And we all got our own edge, and I feel like we’re bringing something new to the game and something new to the city. Especially the legend Cardi B! She is full-on Bronx. Most of the best rappers right now; we from the Bronx! We’re bringing it back to where hip-hop started. We all soldiers out here, you feel me?”.

I will wrap things up soon. I will finish with an interview from Hot New Hip Hop. ScarLip reflected on a busy and memorable 2023. One where she was getting kudos and recognition from some incredible fellows. Artists bowing down to her clear talent and brilliance.! That energy and momentum will carry her through this year. Somebody who is going to put out some amazing music:

“HotNewHipHop: How do you feel about 2023, a year of abundance, lessons, and valuable experiences?

Scar Lip: This year has been a mix of highs and lows, but it brought tremendous growth and invaluable life lessons. I've learned so much about myself and the industry.

What were some of the most memorable moments for you in 2023?

Meeting Busta Rhymes and receiving a diamond chain from him was unforgettable. Also, being in the studio with legends like Cardi B and Mary J Blige, and having Cardi B bring me out on stage in Dubai, were surreal experiences.

How did you establish connections with industry legends like Busta Rhymes, Cardi B, and Mary J Blige? Was it all organic?

Social media played a significant role, but I was also proactive. I reached out through DMs, Instagram Live, and even approached Snoop Dogg. Being a fan of Cardi B, I took the initiative to connect.

Why do you think it's important to be public about your journey and story?

I want people to know that no matter where you come from or what you've been through, you can make it. Sharing my story is a way to inspire others and show them that overcoming challenges is possible.

How do you handle the overwhelming support and love you've received?

I'm incredibly grateful and cheerful about the support. Sometimes, I can't believe how far I've come.

Any surprising moments where someone unexpected showed support?

Definitely, Cardi B and Shaq reaching out were unexpected but amazing moments.

What can we expect from Scar Lip in 2024?

Look forward to new music, new opportunities, and more of me being myself and striving for greatness”.

A name that is going to be among the most talked-about this year, ensure that ScarLip is someone on your radar. With incredible singles like No Statements and Blick arriving last year, eyes are on her to see where she heads. Maybe a mixtape or album is coming along. I hope she gets chance to visit the U.K. at some point. Someone who would be embraced here, this is an artist ready for global success! All the signs look positive. Proclaimed and celebrated by some pretty huge contemporaries, there is no stopping one of the most compelling voices coming from New York. This majestic and mesmeric artist is…

BUILDING her empire.

____________

Follow ScarLip

FEATURE: Don’t Judge Me: Is the Banned FKA twigs Calvin Klein Advert ‘Stereotypical and Exploitative’ – or Was the Ban Misogynistic and Racist?

FEATURE:

 

 

Don’t Judge Me

IN THIS PHOTO: FKA twigs/PHOTO CREDIT: Getty Images

 

Is the Banned FKA twigs Calvin Klein Advert ‘Stereotypical and Exploitative’ – or Was the Ban Misogynistic and Racist?

_________

AS this pertains…

PHOTO CREDIT: Getty Images

to someone in the music industry, I wanted to cover the recent story around a Calvin Klein advert being banned. Featuring FKA twigs, it was an image of her with a shirt draped across her body, revealing part of one breast and the side of her buttocks, along with the caption “Calvins or nothing”. Adverts like this have been printed or shown on the T.V. before. In terms of the actual image itself, it is not all-revealing and profane. It is sexy and eye-catching. It is confident and liberating! An artist who would not let herself be exploited or want to project a false image, there has been division around the ban. Different sides of the debate which raise questions around the fact that she is a woman. That she is a mixed-race woman. An advert for Calvin Klein that is appearing on billboards features The Bear star, Jeremy Allen White. Undoubtably looking good, he has been celebrated. Showing sex appeal and flesh, he has been revered for his physique and the fact he reminds people of the Calvin Klein models of old. A classic star who is a perfect fit. Flip that around to FKA twigs. Someone who perhaps revealed slightly less of herself, she instead has been banned and seen as objectified. People complained because she was deemed this stereotypical sex object. People feeling you see more of her than the clothing. I don’t think it was a case of people concerned about the brand worried that the product was being mis-sold. Concerned that some would be confused. Instead, there is a double standard that did not apply to Jeremy Allen White – who, by the way, was wearing practically nothing! Even though he was selling briefs and a billboard features him in them alone, I think he is still wearing less clothing than FKA twigs. In terms of ‘coverage’, there is not a lot in it. He was not seen as exploited or used as a sex object.

I can understand if people were concerned FKA twigs was being used for her body and this was a case of a woman being misrepresented. All about her body rather than her brain. That is fair enough. What we are talking about is Calvin Klein. A brand that has always had a reputation for its sexier adverts. It is not a situation or area where a more intellectual setting would have been appropriate. FKA twigs would have gone in knowing the brief and been fine with it. A fantastic and arresting image that would definitely get people talking about Calvin Klein, it is revealing without being too explicit or crossing any lines. Questions around discrimination asnd misogyny have come up. A woman being banned. Would even a white singer or figure have received the same backlash?! Here is some background and reaction:

“The two complainants also objected to a pair of Calvin Klein adverts featuring the model Kendall Jenner, but the ASA deemed them acceptable, saying one of her holding her breasts was not done “in a manner that portrayed her as a sexual object”, and the other fell within the bounds of acceptable lingerie advertising.

Calvin Klein has defended the FKA twigs advert, saying: “The images were not vulgar and were of two confident and empowered women who had chosen to identify with the Calvin Klein brand, and the ads contained a progressive and enlightened message.” They argued the poses adopted by both her and Jenner were “natural and neutral”.

They also highlighted that FKA twigs and Jenner collaborated with the company and approved the images, and subsequently told interviewers “they felt a sense of empowerment and confidence from having participated”. Calvin Klein also highlighted that male models featured in the same campaign”.

Without getting too forensic, if there was outrage that FKA twigs has part of her breast exposed in the advert, then is that enough to deem an advert inappropriate or offensive. That line between a confident and empowered woman and one being exploited because of her sexuality. It comes to consent, comparisons and standards. FKA twigs has since reacted and not seen any offence or issue. Male models have been as revealing and are not subjected to complaints and judgement. Also, in terms of whether the partial nudity offends people, I would refer people to Jeremy Allen White – and, in fact, advertising campaigns from Calvin Klein and other brands throughout the decades. It is a body. It is skin. There is nothing being show in the twigs campaign that has not been seen and celebrated from other times. Rather than this being an issue around appropriateness and exploitation of women, it does seem misogynistic and racially-motivated. Dig deeper, and something darker is revealed. Not about this being a woman objectified, instead a brave and confident woman of colour has been banned. Someone who has endured pain and unspeakable horrors in the past, this is an image that needed to be out there. FKA twigs responded to the ban:

“NEARLY A YEAR after a partially nude FKA Twigs starred in a Calvin Klein campaign, the ad was banned in the U.K. as it apparently made the singer a “stereotypical sexual object.”

The artist responded to the ban on Wednesday, taking to social media to share her thought. “I do not see the ‘stereotypical sexual object’ that they have labelled me. i see a beautiful strong woman of colour whose incredible body has overcome more pain than you can imagine,” wrote Twigs on Instagram alongside an image of the ad.

She continued, “In light of reviewing other campaigns past and current of this nature, i can’t help but feel there are some double standards here. so to be clear… i am proud of my physicality and hold the art i create with my vessel to the standards of women like josephine baker, eartha kitt and grace jones who broke down barriers of what it looks like to be empowered and harness a unique embodied sensuality.” Twigs thanked Calvin Klein for giving her “a space to express myself exactly how i wanted to,” adding, “I will not have my narrative changed.”

The Calvins or Nothing ad, which debuted in April 2023, featured Twigs naked, draped only in loosely fitting shirts. The image — which showed the side of Twigs’ buttock and breast — drew complaints to the U.K. Advertising Standards Authority, which ultimately ruled this week that the Twigs ad cannot be displayed or published in its current form again.

“The ad used nudity and [centered] on FKA twigs’ physical features rather than the clothing, to the extent that it presented her as a stereotypical sexual object,” the ASA said in their decision. “We therefore concluded the ad was irresponsible and likely to cause serious [offense].”

However, the ASA also deemed a similar Calvin Klein campaign featuring Kylie Jenner — which also drew complaints — acceptable.

Calvin Klein previously defended the campaign in a statement (via the Guardian), “The images were not vulgar and were of two confident and empowered women who had chosen to identify with the Calvin Klein brand, and the ads contained a progressive and enlightened message.”

In March 2023, Twigs spoke to Rolling Stone about the provocative ad campaign. “You’re literally stripping bare for the public,” Twigs said. “Physicality right now is such a huge point of discussion,” nodding to fashion’s inconsistency to encompass all body types. Though recent years showcased a burgeoning change amongst luxury and retail brands, the last few months have felt like a regression. “We’ve gone from enhanced female body parts to now everyone being obsessed with being so thin”.

It does seem strange that the advert is being banned now. Real name Tahliah Debrett Barnett, the half-Jamaican, part-English and Spanish artist is someone who should be on billboards. Celebrating her heritage. At a time when there is still a preference for white faces and particular body shapes, this ban does feel regressive. An ideal that Calvin Klein want. A brand that has become more inclusive since dark days of fatphobia and the promotion only of thin models, it seems to have taken a step back. Writing for Glamour, Chloe Laws explained how the banned Calvin Klein advert reveals misogyny, racism and double standards:

“In my opinion, the situation is layered in misogyny, racism and double standards. Taking to Instagram, she said: “I do not see the ‘stereotypical sexual object’ that they have labelled me. I see a beautiful strong woman of colour whose incredible body has overcome more pain than you can imagine."

The ASA statement read: “The ad used nudity and centred on FKA twigs’ physical features rather than the clothing, to the extent that it presented her as a stereotypical sexual object, the image’s composition placed viewers’ focus on the model’s body rather than on the clothing being advertised”.

In the full letter, there are some lines that stick out as, I believe, extremely hypocritical and nonsensical, such as: “Her nudity and facial expression, including a direct gaze and open mouth, gave the image an overall sexual overture.” 

In my opinion, Jenner’s image is posed in a very similar same way and is objectively more sexualised. It is extremely problematic that a Black woman’s sexuality would be policed and criticised, while—in the same campaign, no less—the White woman’s is not.

Calvin Klein has defended the FKA twigs advert, saying: “The images were not vulgar and were of two confident and empowered women who had chosen to identify with the Calvin Klein brand, and the ads contained a progressive and enlightened message.” The brand continued to say that the poses adopted by both her and Jenner were “natural and neutral”. It’s a solid response from the brand, albeit slightly missing the point—it is precisely the fact that FKA twigs is empowered and confident that has likely caused the complaints in the first place. This is not a world that responds positively to such traits.

The decision from the ASA shows just how impossible it is for women to 'win'. In one action we are objectified, commodified, liberated or empowered, all depending on who you ask. In this ruling the ASA is taking away a woman’s autonomy—doing the sexualising and objectifying it claims to be ruling against”.

These worrying overtured of bias, misogyny and racism do send a very bad message! Even now, in 2024, we are still having these discussions. To be fair, it is not Calvin Klein’s fault. They commissioned the advert and ran with it. They were keen for FKA twigs to be a face of their campaign. It is the decision of the Advertising Standards Authority to comply with complaints and ban the advert that has caused controversy. It is not about decency and exploitation. If the model herself feels she was not exploited and was simply projecting herself as a brave and sexy woman of colour who had control, then why does anyone else think they can speak for her?! It is a double standard where a man or white woman can be more revealing and sexualised and not subjected to criticism or bans. At a time when we should embrace all cultures, races, body sizes, and sexual orientations and genders, this feels like a very troubling statement. Hiding behind an excuse that FKA twigs was a stereotyped sex object, she has hit back saying that she will not have her narrative changed. She is absolutely right! Nobody has any right to speak for her or…

JUDGE her.

FEATURE: Spotlight: Madi Diaz

FEATURE:

 

 

Spotlight

  

Madi Diaz

_________

WITH a string of dates…

announced across North America, Madi Diaz has a very busy start to this year. The Connecticut-born artist is no newbie to the music scene, though she may be new to some people in the U.K. I do not hear her played as much as she should. I wanted to spotlight this amazing artist who releases her new album, Weird Faith, on 9th February. This is an album that I would urge everyone to check out:

“Madi Diaz has been making records and writing songs professionally since the mid 2000s, but it wasn't until she released 2021's History Of A Feeling that she felt the glare of wider notoriety. It wasn't her debut album, but it certainly felt like it. She made her daytime and night time television debuts, embarked on her first solo tour since 2012, and supported Waxahatchee and Angel Olsen on tour, and also collaborated with them on record. Harry Styles handpicked Diaz to open for him in arenas and stadiums in North America, and was so taken by her captivating live show, he asked her to be a member of his touring band, to sing alongside him all over Europe and the UK, as well as continuing to open the show in various cities. After three months on the road touring internationally, Diaz is back in Nashville, and gearing up to release her new album, Weird Faith, perched on the precipice of her moment. Featuring Kacey Musgraves and produced by Sam Cohen and Konrad Snyder, the album feels expansive and exploratory, showcasing her growth as a songwriter and speaking earnestly about the fears that come from falling in love again”.

I am going to get to a couple of interviews with Madi Diaz. I want to go back to 2021. Give some run-up and context to where she is now. Diaz spoke with SPIN about her album, History of a Feeling, and how it has been a long process and journey. I am fairly new to Madi Diaz’s album, so I am interested looking back and getting a sense of where this amazing artist has come from - and how, with each album, something extraordinary and unique is revealed:

“For Madi Diaz, the journey of History Of A Feeling has been a long one. She can hardly believe it herself. “2014…how is that simultaneously two seconds and like 5 million years ago?” she asks SPIN over Zoom from her Nashville home.

Diaz, who is perched on her red and white couch, glows as the sun pierces through the window behind her. It makes sense that she’s embraced such tranquility, considering she was “white-knuckling a Zen approach” to everything early on in the pandemic. “I didn’t have a publishing or label deal or any sort of foundation there at that point,” she recalls. “So it was tough, and it was scary, but it was also very strange the way that the cards started to just naturally fall.”

And they did. In February, the singer-songwriter signed to ANTI- Records. And seven years since her last full-length album, Phantom, Diaz shared her new LP, History Of A Feeling, on Aug. 27. The folk-pop album, anchored by honky-tonk guitar riffs and wistful lyrics, took shape gradually as Diaz went through her own healing process.

In 2017, Diaz endured a painful breakup. After the split, her partner came out as transgender. “When you’re in a super codependent relationship it’s weird [and it] hurts, and you don’t know how to untangle your feelings from their feelings,” she explains. Just a few months later, she relocated to Nashville for a fresh start, and what followed was a three-year process of compiling upwards of 150 songs. The result, History Of A Feeling, captures the heartbreak and growth Diaz experienced as she rebuilt her life. Whether it’s quiet rage (“I hope you fuck her with your eyes closed and think of me” on “Think of Me”) or the acceptance of a different future (“What used to work doesn’t work anymore” on “New Person, Old Place”), Diaz’s keen sense of self-awareness shines through each track.

Ahead of the LP’s release, Diaz spoke to SPIN about starting over in Nashville, having Kesha sing “Resentment” and still being known as a “new artist” 14 years into her career.

SPIN: When did you start making the record?

Madi Diaz: The first song that I officially wrote for the record was in a non-official sort of way. I wasn’t making the decision to start writing a record. I think as a writer, a creative person, it’s just the thing that I do to get through a day, or an experience, a feeling or a topic. I kind of have to chew on it, talk about it and figure out how to explain it to myself. The first song that ended up on the record dates back to fall of 2017 [in] October, but it was a long process that I wasn’t really aware of going through: just writing, existing and being, and growing day after day, which is kind of why there were 150 songs that were in the running. The accumulation of almost three years of writing and then getting to the point where it’s like, “Okay, now you get to do a thing. What are you going to do?

Which artists were you inspired by for this record?

I was listening to a lot of Patty Griffin’s earliest record, Living With Ghosts, and Joni Mitchell’s Blue is a record that I go back to almost seasonally and ruminate on the rawness of having the opportunity. The label and ANTI- didn’t really enter the conversation until the record was finished, so I really was more giving myself the opportunity to make this body of work and was kind of lucky to just have a production partner in Andrew Sarlo just wanting to make something that sounded like me. But I guess I’ve been through so many different versions of myself that I was really wanting, deeply desiring, something as raw as those records are because they’ve stuck with me for so long. Lori McKenna is another one that I always go back to over and over again.

You put out your last full-length album, Phantom, in 2014 followed by your 2017 EP, Okay to Be Alone. What accounted for the large gap in time between albums?

Life was happening, and Phantom was such a push in a pop direction that at the end of the day it didn’t really resonate with who I am as a person and an artist. [I was] kind of all over the place, pouring my energy into different projects and writing. For better or worse, I definitely love being an escape artist and figuring out how to not sit still, but when I moved back to Nashville there’s so much less going on here. That really forced the issue of “How did you get here, and what’s going on with you?”

Was there ever a point in time that you weren’t sure if you were going to release another record?

100%. I mean, I can’t believe I’m still here. That’s kind of how a lot of this feels. I was sitting with my A&R from the label when I was in L.A. playing shows, and he was like, “As a new artist this, that and the other.” It’s just funny at 35 after having been doing this for 14 years to still carry the torch of the new artist. I also feel really lucky to have some sort of outlet to put these feelings.

What’s the meaning behind the title of your new record?

History Of A Feeling came from retracing my steps and trying to figure out certain patterns that I found myself in and walking it backwards and realizing that on some level, regardless of the thing that I’m going through, my reaction to that doesn’t even necessarily have to do with the thing that’s happening. It has to do with the narrative that I’ve been writing for my life because of that one thing that happened all the way back there.

What made you choose “Man in Me” as the lead single?

I wanted to lead with that one because I had been trying to find more of a production role with myself, especially before I found [writer and producer] Andrew Sarlo, and we started working together. In the spirit of not losing the plot, I wanted to make sure that the recording was as close to a mirror as possible of what I was going through and what I was feeling in the moment. So it felt like leading with that was the best way to rip off the Band-Aid.

“Resentment” is a beautiful song that Kesha also sang on The High Road. What’s the story behind it?

”Resentment” happened early on in the process of writing. It’s just this funny song that you don’t even realize that you’re writing sometimes in your relationship. It’s just all the times that you say, “I don’t need you to talk about that right now.” Or “This just isn’t a good time.” Or “I shouldn’t express this thing that I’m feeling.” It can be the silent third partner in a relationship and can creep up out of nowhere.

Your long-term relationship ended between records. Is this entire album about that relationship?

The relationship is — or was — definitely the catalyst for a lot of change in my life, but most endings inspire beginnings, if not all. So I think 15% of this record [is] a retelling of some stuff after the fact that had to do very closely with the relationship. Really, 85% of that record is what happens when you’re just sitting by yourself after the fact.

How did moving to Nashville help inspire you?

Nashville is just the best. In the groups that I’ve had the fortune to be with, I’m friends with everybody that I wrote my record with, and sometimes we’d get together and just talk and not even write a song. Just having the space and the time gives room to have really honest conversations and allows a really organic process to happen. In L.A., I felt like I was at the point where I was so tired and beat down there. It kind of put this pressure on things in a way that I didn’t really feel super centered in the end of it.

When you were alone and back in Nashville, what did you rediscover about yourself?

It started with lots of margaritas and nachos six days a week for three months. There was a hazy period of whatever and my sweet friends showing up at my house with flowers and bathrobes. I was really lucky, and I am really lucky, to be surrounded just by a fucking incredible community of kind humans that aren’t afraid to hold pain with you, even if they have nothing to say or nothing to add”.

I will bring things up to date. Having supported Harry Styles in 2022, and with high-profile musician fans including Angel Olsen, there is no doubting the fact that Madi Diaz is a musical treasure. One who is much respected by her peers. Perhaps not as played in the U.K. as the U.S., I do hope that changes this year. I will end with an interview from Rolling Stone. They spoke Wirth Madi Diaz earlier this month. She has a lot of dates lined up. As someone used to life on the road, she was looking ahead to a new tour and her forthcoming album:

“Madi has a really pleasing way of keeping everything conversational,” her friend Kacey Musgraves tells Rolling Stone. “My favorite kind of songwriting.” The Nashville musicians have known each other for a long time, but became close in the pandemic — cooking, shopping for antiques, and joking about sharing a house together. “Madi and I will hit the occasional estate sale or go for a long walk and chat,” Musgraves says. “There’s also wine. And horses. We’re both horse girls through and through.”

Musgraves appears on the Weird Faith duet “Don’t Do Me Good,” a dazzling send-off to a lover with a potent chorus about finally throwing in the towel. “There’s something about her voice that just lifts the whole thing,” Diaz says. “I know Kacey’s speaking voice pretty exclusively, so it was fun to be in the studio and put the headphones on and then listen to that voice coming out of her mouth: ‘Oh, right! That’s my friend!’ ”

PHOTO CREDIT: Cheril Sanchez

Co-written with Ed Sheeran collaborator Amy Wadge, “Don’t Do Me Good” is easily one of the strongest songs in Diaz’s catalog. But she was hesitant to ask Musgraves to sing on it. “I was totally terrified to ask her, because that bridge feels comfortable for me and my friendship with, like, Courtney Marie Andrews,” Diaz says, naming an Americana peer. “But Kacey is in a completely different stratosphere. She’s a pop star.” (Hearing this quote, Musgraves laughs: “That’s ridiculous. We’re friends. I was like, ‘Absolutely. Duh. Yes.’ ”)

Many of Diaz’s friends these days are female musicians — something that wasn’t always the case for her. “With our generation, alpha females were taught to avoid each other in our twenties,” Diaz says. “Which is such a goddamn shame. It’s funny how that completely shifted in my thirties.”

Diaz grew up in a musical family in Norwalk, Connecticut (her dad plays in a Zappa cover band), and moved to Pennsylvania when she was seven; later, she studied at Berklee College of Music before dropping out to play gigs at the Bitter End in New York. She moved to Nashville in 2008, grinding it out as a songwriter, then moved to Los Angeles to play in bands, finally returning to Nashville in 2017.

“I did not literally think for two seconds about being a woman in the industry and how that would maybe, eventually, become difficult,” she says, thinking back to her early career. “It’s fucking different for women, and hopefully people will respect that at some point. I honestly don’t think that men do.”

Diaz names several musicians who tour with their children, from Maren Morris to Elle King to Margo Price (“a fucking badass”). “Or my friend Michaela Anne, who has a two-year-old — like, there are women that do tour with kids,” she adds. “Michaela Anne’s situation is very different than Maren Morris’ situation on the road. And they’re both doing it.”

But despite that line about parenthood in “Everything Almost,” she knows it’s not her time yet. She’s learning to live in the present, citing Holocaust survivor Viktor Frankl’s 1946 memoir, Man’s Search for Meaning, as a recent inspiration.

“It’s about listening to what life is asking of you and responding to those questions,” she says. “And, like, life isn’t asking me to be a mother. Right now, it’s asking me to fucking carry my guitar two miles from LaGuardia Airport, and have a rat’s nest of cables in my carry-on bag that weighs 50 pounds. So I’m trying to be there”.

I am going to wrap up now. If you do not have Madi Diaz on your radar then make sure that you check her out. An incredible artist that has a string of wonderful albums under her belt, she releases Weird Faith next month. Shaping up already to be one of the best albums of this year, I am really interesting in listening to it. Although a lot of fresh and rising artists are getting attention as ones to watch in 2024, I do think there are artists who have been around a while not known everywhere. Ones that should be heralded too. Madi Diaz definitely fits into that category. She is truly…

<

A phenomenal artist.

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Follow Madi Diaz

FEATURE: bad reputation: Why a Recent New York Times Article Suggesting Taylor Swift Is Queer Provoked Such Backlash

FEATURE:

 

 

bad reputation

IN THIS PHOTO: Whilst Taylor Swift has shown huge support for the L.G.B.T.Q.I.A.+ community and fought for their rights, a recent feature from The New York Times suggesting she is queer has provoked criticism and accusations of homophobia/PHOTO CREDIT: Luis Sinco

 

Why a Recent New York Times Article Suggesting Taylor Swift Is Queer Provoked Such Backlash

_________

THERE has been a lot of discussion around…

ILLUSTRATION CREDIT: Angie Wang

an article published by The New York Times that borders on the obsessive. One that feels Taylor Swift sends out coded messages through her songs saying that she is queer. A 5,000-word guest edit by Anna Marks entitled “Look What We Made Taylor Swift Do” – Look What You Made Me Do is the title of a track from Swift’s 2017 album, reputation -, it is almost obsessive and forensic in ‘revealing’ or at least strongly suggesting that Taylor Swift is queer. In a tone that suggests she is hiding it. You can read the piece here. Rather than celebrate her success and the fact her Eras Tour has broken records and is the most successful concert film ever, she has been subjected to this ‘exposé’. It would be interesting to see a piece about how Swift’s music resonates with the L.G.B.T.Q.I.A.+ community and how ‘Swifties’ – the name given to her fanbase – find strength and identification through those songs. Instead, this excess and rather needless feature seems to want Taylor Swift to come out. It has prompted an angry response. Is it appropriate for the media to do that?! Not a tabloid feature, it does have that feel of try to out someone or suggesting that they are coding something that should be declared and made public. Here are some segments from that New York Times feature:

“On April 26, Lesbian Visibility Day, Ms. Swift released the album’s lead single, “ME!,” in which she sings about self-love and self-acceptance. She co-directed a campy music video to accompany it, which she would later describe as depicting “everything that makes me, me.” It features Ms. Swift dancing at a pride parade, dripping in rainbow paint and turning down a man’s marriage proposal in exchange for a … pussy cat.

At the end of June, the L.G.B.T.Q. community would celebrate the 50th anniversary of the Stonewall Riots. On June 14, Ms. Swift released the video for her attempt at a pride anthem, “You Need to Calm Down,” in which she and an army of queer celebrities from across generations — the “Queer Eye” hosts, Ellen DeGeneres, Billy Porter, Hayley Kiyoko, to name a few — resist homophobia by living openly. Ms. Swift sings that outrage against queer visibility is a waste of time and energy: “Why are you mad, when you could be GLAAD?”

The video ends with a plea: “Let’s show our pride by demanding that, on a national level, our laws truly treat all of our citizens equally.” Many, in the press and otherwise, saw the video as, at best, a misguided attempt at allyship and, at worst, a straight woman co-opting queer aesthetics and narratives to promote a commercial product.

Ms. Swift’s “Lover” was the first record that she created with nearly unchecked creative freedom. Lacking her old label’s constraints, she specifically chose to feature activism for and the aesthetics of the L.G.B.T.Q. community in her confessional, self-expressive art. Even before the sale of her masters, she appeared to be stepping into a new identity — not just an aesthetic — that was distinct from that associated with her past six albums.

When looking back on the artifacts of the months before that album’s release, any close reader of Ms. Swift has a choice. We can consider the album’s aesthetics and activism as performative allyship, as they were largely considered to be at the time. Or we can ask a question, knowing full well that we may never learn the answer: What if the “Lover Era” was merely Ms. Swift’s attempt to douse her work — and herself — in rainbows, as so many baby queers feel compelled to do as they come out to the world?”.

Once a record of good repute and standing, The New York Times has not covered itself in glory with this feature! Why it was even commissioned to start with seems very odd. Capitalising on Taylor Swift’s success, it does seem a negative reaction to that. Whereas it could have been framed in a more positive way regarding sexuality and themes explored in her songs, it is something rather tawdry and baiting. Whether Swift is queer or not is queer is no business of ours. She has not stated her sexual preference or how she identifies. At a time when L.G.B.T.Q.I.A.+ artists are still not as embraced as they should be, I wonder whether this set things back. Rather than celebrating the community and showing support, there are articles (like the one in The New York Times) that almost force people to come out! Accusatory and needlessly obsessed with something that does not need to be written about. How many artists of Taylor Swift’s standing have similar articles written about them asking if they are straight?! There is a sense of homophobic and prejudice in the article. Many have reacted to it. I want to bring in some reaction and analysis.

PHOTO CREDIT: Kevin Mazur/Getty Images for iHeartMedia

Laura Snapes, writing for The Guardian, felt that the number of mentions in Taylor Swift’s songs suggesting she may be queer are not accidental. That may she has rebuked her L.G.B.T.Q.I.A.+ fans. Why is it impossible to think that the reference that might suggest sexual desire are actual about friendship?! Or, more importantly, why does she have to reveal her sexuality or make her lyrics overtly queer?! What business is it of ours?! She does not owe her fans that announcement. As someone afforded virtually no privacy or part of her life uncovered, is this the final stone that needs to be unturned so that she is completely exposed?!

“The response felt almost as heavy-handed and misguided as the original piece. Male artists including Shawn Mendes and Harry Styles have in fact been the subjects of massive speculation about their sexualities: the NYT writer previously published a similar piece about Styles, while Mendes has spoken of the pressure of the constant discourse about his identity. (“I thought, ‘You fucking guys are so lucky I’m not actually gay and terrified of coming out,’ ” he told Rolling Stone. “That’s something that kills people.”) And there is no way that gimlet-eyed Swift has made the many references listed by accident: if you lead a horse to water, don’t be surprised when it drinks. Dignifying an overblown essay with such a severe response may in turn act as a rebuke to fans who have found identification and solace – or even just benign entertainment – in imagining, say, that Swift’s gaspingly sexy Reputation song Dress may be about her once-prominent friend, the model Karlie Kloss (“I don’t want you like a best friend”!), rather than its more likely subject, her then-boyfriend Joe Alwyn”.

It’s these playful and personal mutations that keep a star like Swift interesting at a time when her carefully managed media omnipresence and tightly plotted breadcrumb trails have started to feel a little tedious, laden with thudding predictability. (Does the snake-green dress she wore to the Golden Globes at the weekend mean that the serpent-referencing Reputation (Taylor’s Version) is coming? Is the pope Catholic?) For many onlookers, that wearying feeling struck again when reading her lone recent interview, for Time’s person of the year cover, which seemed disappointingly uninquiring and intent on validating her version of events – namely that she was “cancelled” in the wake of her feud with Kim Kardashian and Kanye West, when in fact it resulted in one of the most successful albums of her career – rather than pushing deeper into the fertile ground where her self-conception rubs up against public interpretation. The most abiding images of Swift this past year show pop’s biggest outlier standing alone on stage at the Eras tour, bedazzled with sequins. She cuts a formidable figure in her class of one – but it’s in the unruly exquisite corpse of pop fandom and stardom that the most meaningful rewards are found”.

That suggestion that an artist who has become a bit predictable or subjected to little media scrutiny or scandal. Swift is the master of her own narrative. Why should the queer suggestion compete with other interpretations? I think that that assumption somewhat misses the point. Regardless of her fame and perceived lack of revelation regarding her sex life and relationships, The New York Times were analytical in a very intense way. Why should the subject of Taylor Swift’s sexuality compel such obsession?! Again, it comes to the argument or whether it is intrusive and inappropriate or an article that is trying to make her more identifiable to her L.G.B.T.Q.I.A.+ fans. Rather than her songs holding back when they should maybe embrace an important part of her fanbase, it is needless decoding and obtrusion.

In the same way that Taylor Swift loves her L.G.B.T.Q.I.A.+ fans and they are very important to her, she has long been the subject of speculation around her sexuality. Not the first time this has been brought up, Swift has also said how she is not L.G.B.T.Q.I.A.+. Why then, now, curiously timed around the Eras Tour success and this new level of fame, should Anna Marks decide to focus on entirely the wrong thing?! There are a couple of other opinions from The Guardian that I think are interesting. This is what Arwa Mahadawi wrote in her feature as she asked whether it was okay for people to speculate about Taylor Swift’s sexuality:

“Swift, for her part, has said she isn’t part of the LGBTQ+ community and asked people not to sexualise her female friendships. Was the Times unethical to gloss over all of this and give rumours about her sexuality so much airtime? Swift’s inner circle reportedly thinks so. According to CNN, Swift’s associates (a vague term which could mean anyone from Swift’s PR person to someone who once sat in the same restaurant as her) were disgusted by the article, and accused the Times of sexism.

Outing someone against their wishes is clearly morally wrong, but that’s very different from overanalysing a bunch of song lyrics

“Because of her massive success, in this moment there is a Taylor-shaped hole in people’s ethics,” a source told the outlet in response to the Times piece. “This article wouldn’t have been allowed to be written about Shawn Mendes or any male artist whose sexuality has been questioned by fans.”

Let’s not go overboard here, eh? Yes, much of the discourse surrounding Swift is steeped in sexism and double standards. But I’m not sure that charge can be levelled at this particular piece. Marks has, after all, written a similar sort of article (albeit much shorter) about Harry Styles – who has been accused of queerbaiting and whose sexuality is constantly being questioned by fans.

Further, while I think Marks’s piece was highly inadvisable, I wouldn’t go as far as to say it was unethical. Outing someone against their wishes is clearly morally wrong, but that’s very different from overanalysing a bunch of song lyrics. Particularly when those lyrics are set up to be overanalysed in the first place. As Marks notes in her piece, “Swift has explicitly encouraged her fans to read into the coded messages (which she calls ‘Easter eggs’) she leaves in music videos, social media posts and interviews with traditional media outlets.”

PHOTO CREDIT: John Salangsang/Golden Globes 2024/Getty Images

It’s a genius marketing move, encouraging fans to engage deeply with her content and get them speculating about what deeper meaning the megastar might be weaving into her songs. Is it any wonder that some fans go down rabbit holes?

Speculating about a celebrity’s sexuality on online forums is one thing, but there’s a case that speculation in serious media outlets is completely different. Certainly, Chely Wright, a queer country singer whose struggles to come out in the early 2000s kicked off Marks’s piece, thinks so. “I think it was awful of [the New York Times] to publish,” she wrote. “Triggering for me to read – not because the writer mentioned my nearly ending my life – but seeing a public person’s sexuality being discussed is upsetting.”

I can understand why Wright would feel upset about the article, but – and I say this as a gay woman – I take umbrage with the idea that it is upsetting to see a public person’s sexuality being discussed in 2024. I mean, come on now: celebrities have their sexuality discussed all the time. Newsflash: talking about a celebrity dating someone of the opposite sex is discussing a public person’s sexuality.

It is unfortunate, I think, that Wright’s criticism accidentally plays into homophobic ideas that only queer people have sexualities while heterosexual love lives are just the default. And quite a lot of the outrage over the Times piece, I should note, does seem to be tinged with homophobia. Certainly all the outraged op-eds in the likes of the New York Post seem disgusted with the very idea that anyone might suspect Swift to be gay. “What’s so wrong about her being a straight white woman who makes great music?” an irate Post article demanded.

I’m not entirely sure what Marks set out to achieve with her piece (which, again, was ill-advised), but I do think she has achieved something. She has shown us that the entertainment industry is perfectly fine with its biggest stars flirting with LGBTQ+ imagery. It’s fine with its biggest stars draping themselves in rainbow flags and making statements about allyship. Dare to suggest that those stars might actually be gay, though, and you’ll see quite a lot of old-fashioned homophobia coming out”.

Maybe intended to celebrate an artist at the height of her powers that might be this role model and tangible inspiration for other queer people, was the intention to reveal this queer icon – in a music scene where queer artists are perhaps accepted by not spotlighted as they should be. Is the music industry doing enough to show the visibility and enormous importance of L.G.B..Q.I.A.+ artists?! I know there is an irony in me writing a feature that will nearly be 5,000 words angrily reacting to an original 5,000-word feature! Why go to such excessive lengths to pick apart and slam an original piece that, in itself, was strangely over-analytic and needless?! It is not only about Taylor Swift. It is the way the media needs to know private details and people’s sexuality. A feeling that this should be public information. Taylor Swift shrouding something in mystery when she should be honest with her fans. As Swift has made no suggestion she is queer, what The New York Times feature is seems to be muck-racking. When artists are slammed for queer-baiting, isn’t this what The New York Times are doing?! This opinion piece raises some interesting points:

“Swift has embraced the LGBTQ+ community in the past, calling her concerts a “safe space” for LGBTQ+ people and publicly defending them in a 2019 interview with Vogue magazine against a record number of anti-gay bills introduced in states across the country. “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she said. “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” 

But she has not identified as a member of the queer community herself. In the prologue to the re-record of her 1989 album, released in October, Swift said she surrounded herself with female friends at one point in her career to counter ceaseless media speculation on her love life. “If I only hung out with my female friends, people couldn’t sensationalize or sexualize that – right? I would learn later on that people could and people would,” she wrote.

Marks, seemingly aware of the criticism her essay could face, pre-emptively tried to address potential backlash in her piece. “I know that discussing the potential of a star’s queerness before a formal declaration of identity feels, to some, too salacious and gossip-fueled to be worthy of discussion,” she wrote.

“I share many of these reservations. But the stories that dominate our collective imagination shape what our culture permits artists and their audiences to say and be,” she added. “Every time an artist signals queerness and that transmission falls on deaf ears, that signal dies. Recognizing the possibility of queerness – while being conscious of the difference between possibility and certainty – keeps that signal alive”

El Hunt, writing for The Independent, feels that a dangerous line was crossed by The New York Times. Rather than it being a fascinating and important essay on sexuality and artists’ privacy – or whatever the intention was! -, there is this element of homophobia. The feeling that queerness needs to be exposed, rooted out and revealed. It also puts pressure on other queer artists who have not come out that they may be subjected to such prurient obsession from the media. This beautiful community, queerness should not be seen as something dirty or shameful:

“Both of them are right – analysing every last detail of somebody’s existence for hidden clues that they’re harbouring some kind of secret doesn’t just buy into the idea that a queer person looks or acts a certain way, it implies that being LGBTQ+ is still something that needs to be exposed or rooted out. Have none of us learned from the countless tabloid outings, gleefully pasting celebrity’s private lives across their front pages, occasionally with tragic results?

It implies that being LGBTQ+ is still something that needs to be exposed or rooted out

For artists who find themselves embroiled in these seemingly baseless rumours, such as Swift, the whole thing must be deeply infuriating – and beyond that, we all lose out. A world where some straight men  – such as the Puerto Rican rapper Bad Bunny, or the actor  Tyler James Williams – are singled out, their playful fashion senses or affection for their male peers held aloft as ‘evidence’ sounds like an incredibly depressing, two-dimensional one to me.

For an artist who is either straight, or refuses to label their sexuality at all, there is simply no way to win. Those who breezily ignore the rumours and carry on as they are (often while politely refusing to label themselves publicly) are immediately branded as queerbaiters seeking to profit off the so-called pink pound.

It is not enough to show solidarity with a community that forms a beloved chunk of a musician’s fan-base anymore; surely there must be an ulterior motive or PR strategy whirring away behind the scenes. Hit back at speculation too firmly, and you risk being labelled homophobic ‒ so what if you’re gay? What does it matter anyway?! But to flip that same logic in its head, why get so obsessed about it in the first place, then?

Often it’s also implied that artists we suspect of being queer ‒ whether it's Taylor Swift or Billie Eilish, who recently accused Variety of outing her ‒ have some kind of duty to come out in order to bolster representation. “And so just for a little while longer, we need our heroes,” insists the New York Times.

Fame does not form a protective mystical shield from homophobic hate crimes

This isn’t just naïve, it does a huge disservice to the realities of homophobia, and is completely untethered from a period in which hate crimes based on sexual orientation have actually increased by 112 per cent over the last five years. Fame does not form a kind of protective mystical shield, either; actor Jonathan Bailey recently told the Standard about having his life threatened because he was gay. “That is the reality,” he said. “People’s lives are literally at risk.” 

 

Given how much we hear about positive queer representation nowadays ‒ and granted, things are improving ‒ it’s tempting to buy into the incredibly optimistic suggestion that homophobia is mostly a thing of the past (it’s 2024! Love is love!) and the preserve of a few ignorant, poorly educated bigots. This could not be further from the truth.

Look, I love searching through popular culture for ‘gay morsels’ as much as the next bored lesbian. I would be flat-out lying if I denied having watched endless compilations of Rachel Weisz/Cate Blanchett/Kate Winslet waxing lyrical about starring in a film about queer love and sounding amusingly, accidentally, perhaps slightly-knowingly gay in the process; for me, that’s about the art itself, so it’s fair game.

And perhaps this is where the line is. If you ask me, reappraising somebody’s art through an LGBTQ+ lens in the first place is not a problem ‒ it’s so common that there’s an entire branch of academia dedicated to the practice, called queer theory. The analysis that follows can often shed really interesting light: who does a lyric belong to once it has left an artist’s mouth?

It’s an important and valid question that cuts right to the core of the magic of music in the first place; a song’s essence shifts depending on who sings it, or who hears it. When Shania Twain sings Man, I Feel Like A Woman, it’s a defiant expression of female empowerment; but when she performs it as a duet with Harry Styles, it automatically becomes a playful exploration of gender expression instead”.

It is interesting seeing various interpretations and reactions to the feature from The New York Times. Why it was published in the first place…and what message it sends out. I think there is a majority feeling that it is inappropriate and shows The New York Times in a bad light. Doing very little to improve their reputation, it does seem like a misjudged and dangerous write-up! Digging into lyrics to try and make Taylor Swift reveal she is queer – when she has said she isn’t -, it is homophobic and completely unnecessary. That New York Times feature is entitled “Look What We Made Taylor Swift Do”. Nobody made her do anything! Rather than writing nothing or producing a feature celebrating Taylor Swift’s achievements, instead we have this scandalous and obsessive deep-dive that seems completely unnecessary and tasteless. It has provoked huge anger. Look what The New York Times…

MADE us do!

FEATURE: The Digital Mixtape: Harry Styles at Thirty: The Ultimate Playlist

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Harry Styles

 

Harry Styles at Thirty: The Ultimate Playlist

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ON 1st February…

PHOTO CREDIT: Amanda Fordyce for Rolling Stone

a global megastar turns thirty. Harry Styles is one of the most recognised and respected artists in the world. His third studio album, 2022’s Harry’s House, is his best yet. Formerly with boyband One Direction, Styles has really blossomed as a solo artist. Not only establishing himself as a phenomenal songwriter; he is also one of the greatest live performers of his generation. I am going to end this feature with a playlist of his best solo tracks to date. Before that, AllMusic provide detailed biography of the amazing Harry Styles:

“Global pop superstar, songwriter, actor, and social advocate Harry Styles transitioned from boy band fame to massive solo success with his anthemic pop-rock hits, iconic fashion sense, and crossover appeal. As a member of the British boy band One Direction, he topped the charts in the early 2010s, toured the world to play for millions of screaming fans, and sold albums by the bucketload. Branching out on his own in 2016, his solo material took a more rock-influenced approach -- reflecting the influence of childhood favorites Queen, Elton John, and the Beatles -- while still delivering the pop sound his faithful fans desired. His debut set, Harry Styles, reached number one across the globe and he soared to greater heights in 2019 with his multi-platinum follow-up, Fine Line, home to the Grammy- and Brit-winning smash "Watermelon Sugar." More accolades followed for Styles with 2022's Harry's House, another Grammy-winning, worldwide chart-topper that was supported by a record-breaking, two-year tour.

Born in Redditch, England, in 1994, Styles was raised in Holmes Chapel, Cheshire, and he made his first foray into music with a high school band named White Eskimo. In 2010, he left home and joined the seventh season of The X Factor, where fate (and Simon Cowell) would eventually lead him toward a life-changing opportunity with four other young men. As One Direction, Styles and his bandmates Zayn Malik, Louis Tomlinson, Niall Horan, and Liam Payne would release five albums from 2011 to 2015, hitting number one across the globe and selling millions of records to an adoring and rabid fan base that drew comparisons to the fervor at the height of Beatlemania. In early 2016, after Malik had already parted ways with 1D, the remaining foursome announced an indefinite hiatus.

Months later, Styles signed a solo deal with Columbia. Reflecting the influence of childhood favorites like Queen, Elton John, and the Beatles, Styles' solo material took a more serious and rock-based approach, while still delivering the pop sound his faithful 1D fans desired. With the help of Grammy-winning producer Jeff Bhasker (who had worked with Kanye West and Bruno Mars), Styles put together a small band and, after rehearsing the songs, headed to Jamaica for two months to record an album. The plaintive "Sign of the Times" was released as its first single in April 2017 and quickly rose to the top of the charts across Europe. The self-titled full-length followed in May and debuted at the top of the charts in Australia, the U.S., and across Europe. Later that summer, he made his movie debut as a soldier in Christopher Nolan's Oscar-winning epic Dunkirk, which was the top film in the U.S. the week of its release, making Styles the first British artist to secure a number one debut single, album, and film in the same year. He set off on a lengthy worldwide tour that lasted from September 2017 through July 2018, then began recording his second album with producers Kid Harpoon and Tyler Johnson, both of whom worked on his debut.

Taking time off from the sessions -- which took place at various studios in California, England, and Nashville -- in 2019, Styles inducted Stevie Nicks into the Rock and Roll Hall of Fame, co-hosted the Met Gala, and modeled for Gucci. The finished album, Fine Line, was released in December and found the singer adding influences as varied as Childish Gambino-styled funk and Bon Iver-esque Baroque folk to his repertoire. While the hit single "Adore You" made a splash around the world, the multi-platinum, international Top Five smash "Watermelon Sugar" was ubiquitous in 2020, taking home a Grammy Award for Best Pop Solo Performance and winning a Brit Award for British Single of the Year in 2021. He also added additional acting credits to his résumé that year, joining the Marvel Cinematic Universe as Eros in the film Eternals and the casts of Don't Worry Darling and My Policeman.

When his Love on Tour kicked off in late 2021, Styles added a headlining slot at 2022's installment of Coachella to his schedule. He also released the driving synth-forward single "As It Was," which topped charts in over two dozen countries across the globe. That song landed on his third full-length, Harry's House, which arrived in May. Produced yet again by Kid Harpoon and Tyler Johnson, the '70s-inspired pop LP featured guests John Mayer, Pino Palladino, Blood Orange, and Ben Harper. It also topped numerous global charts, including in the U.K. and on the Billboard 200, and took home the Grammy Awards for Album of the Year and Best Pop Vocal Album. In between tour dates, Styles found the time to star in 2022's Don't Worry Darling and My Policeman. In late July 2023, Love on Tour concluded, becoming the tenth highest-grossing tour of all time”.

To nod to a music colossus turning thirty on 1st February, I am have collated a playlist with some of his amazing tracks. There are some deeper cuts alongside the bigger tracks. I hope that those not familiar with Harry Styles’ music will connect and find something they like. He is a remarkable artist. One is going to enjoy a long solo career. An actor too, I am predicting this year will be pretty busy for him. In terms of his fashion, live sets, music and words, there is nobody in music like him. He is an artist…

WE should treasure.

FEATURE: Groovelines: The Kinks – Sunny Afternoon

FEATURE:

 

 

Groovelines

  

The Kinks – Sunny Afternoon

_________

THERE are songs from…

some of music’s queens I will feature in upcoming editions of Groovelines. For this, however, I wanted to dig deep with one of The Kinks’ best-loved songs. Later this year, it will be sixty years since the band released their eponymous album. I was thinking about artists that have this run of golden albums. Where they barely put a note wrong! Who enjoyed the longest golden spell? One could argue Nick Cave and The Bad Seeds perhaps. Maybe Björk. Perhaps not The Beatles or The Rolling Stones. One of their peers, The Kinks, definitely can lay a claim. Even if their 1964 debut was not their best album, they hit their stride on their third studio album, 1965’s The Kink Kontroversy. With only the 1971 soundtrack, Percy, breaking (briefly) that spell, maybe 1973’s Preservation Act 1 was the first creative dip. Count the album up and that is eight albums across eight years where The Kinks were on top huge. The fact that they produced so much material in that time proves why they are among the most influential and respected bands ever. Led by Ray Davies’ wonderful songwriting and his observations on English life and the more eccentric side of things, they were a pleasing alternative to their peers. I think they do not get as much credit as bands like The Beatles – even though one can argue The Kinks were more consistent. Whereas The Kinks’ best albums were not quite as massive as The Beatles’, I feel that Ray Davies’ songwriting and the brilliance of The Kinks in the 1960s should be talked about more. One of the most remarkable periods of creativity and musical genius in history. I wanted to focus on a particularly special song from The Kinks. It would be great to see an animated video for this song at some point.

Appearing on 1966’s Face to Face, this came a year before the Summer of Love. I feel like there are mellow and loving vibes through Sunny Afternoon. A gorgeous and timeless song that was released on 3rd June, 1966, I can only imagine the react people had listening to the song for the first time. Alongside Dave Davies, Pete Quaife and Mick Avory, Ray Davies penned this astonishing song. One that went to the top of the charts in the U.K., the London band released a masterpiece. A song that Ray Davies wrote when he was ill. Before moving onto some features about Sunny Afternoon, this Wikipedia about how the classic came to be:

“Davies explained of the circumstances in which the song was written and recorded:

"Sunny Afternoon" was made very quickly, in the morning, it was one of our most atmospheric sessions. I still like to keep tapes of the few minutes before the final take, things that happen before the session. Maybe it's superstitious, but I believe if I had done things differently—if I had walked around the studio or gone out—it wouldn't have turned out that way. The bass player went off and started playing funny little classical things on the bass, more like a lead guitar: and Nicky Hopkins, who was playing piano on that session, was playing "Liza"—we always used to play that song—little things like that helped us get into the feeling of the song. At the time I wrote "Sunny Afternoon" I couldn't listen to anything. I was only playing the greatest hits of Frank Sinatra and Dylan's "Maggie's Farm"—I just liked its whole presence, I was playing the Bringing It All Back Home LP along with my Frank Sinatra and Glenn Miller and Bach—it was a strange time. I thought they all helped one another, they went into the chromatic part that's in the back of the song. I once made a drawing of my voice on "Sunny Afternoon". It was a leaf with a very thick outline—a big blob in the background—the leaf just cutting through it”.

I do marvel at The Kinks in the 1960s and how many superb albums they released. In 2021, Far Out provided the story behind the majestic Sunny Afternoon. A song, at least in part, inspired by Bob Dylan, I think it is one of the defining songs of the 1960s. Something that instantly connects with everyone. Showcasing Ray Davies’ knack of writing something simply and universal that stands the test of time, I wonder how many songwriters today are influenced by The Kinks and brilliant songs like Sunny Afternoon. I feel that there is a real gap for a modern artist to learn from The Kinks’ songbook:

“Sunny Afternoon’ was written by Ray Davies when he was tired, sick and lonely in London. Given the chance to write some music to express himself, there was only one track that would come out. He once said, “I’d bought a white upright piano. I hadn’t written for a time. I’d been ill. I was living in a very 1960s-decorated house. It had orange walls and green furniture. My one-year-old daughter was crawling on the floor and I wrote the opening riff. I remember it vividly. I was wearing a polo-neck sweater.” The Kinks had been gaining huge success and, while they continued to live in Britain and maintain their citizenship, Davies was not happy about his situation.

The song’s lyrics referred to the high levels of progressive taxes that the British Labour Government of Harold Wilson used to levy on high earners — something The Kinks had just become. While the backstory to the track was more political than it led on, with its breezy music and poppy rhythm, it came out of how poorly Davies felt when he was sick. Davies felt screwed by his government, having worked up the ladder to reach unchartered heights only to have his account ransacked. “The only way I could interpret how I felt was through a dusty, fallen aristocrat who had come from old money as opposed to the wealth I had created for myself.”

It’s not just a track about a rich man becoming slightly poorer, the song also mocked the affluent sections of the society and their lifestyle. This is where the brilliance of the song lies. Davies didn’t want his audience to sympathise with the misfortunes of the protagonist of the story he wanted them to be expressed but, having been a working class lad himself, he knew he’d find no empathy in his audience.

So, he portrayed him as “a scoundrel who fought with his girlfriend after a night of drunkenness and cruelty.” Referring to the line in the song, “I got a big fat mama trying to break me”, Davies said, it “alludes to the government, the British Empire, trying to break people. And they’re still doing it. How are we going to get out of this f—ing mess?” On the contrary, the song may also have hinted to the simpler joys of life, like “lazing on a sunny afternoon in the summertime.”

Ray Davies was always a man who worked far beyond his years and it seemingly drifted into his vocal tone too. “I did it in one take and when I heard it back, I said, ‘No, let me do it properly,’ but the session was out of time. So that was the vocal,” he explained. “I heard it again the other day. I was 22 but I sound like someone about 40 who’s been through the mill. I really hang on some of the notes. A joyous song, though, even if it’s suppressed joy. I had real fun writing that.”

He said, “I once made a drawing of my voice on ‘Sunny Afternoon’. It was a leaf with a very thick outline—a big blob in the background—the leaf just cutting through it.” The song may well have some complex originations but it is also one of the most sincere and authentic cuts from the band. Much of that may be down to the song’s spontaneous recording sessions: “‘Sunny Afternoon’ was made very quickly, in the morning, it was one of our most atmospheric sessions. I still like to keep tapes of the few minutes before the final take, things that happen before the session. Maybe it’s superstitious, but I believe if I had done things differently—if I had walked around the studio or gone out—it wouldn’t have turned out that way.” The singer speaks candidly about the circumstances surrounding the studio at the time.

“The bass player went off and started playing funny little classical things on the bass, more like a lead guitar: and Nicky Hopkins,” continued Davies, “Who was playing piano on that session, was playing ‘Liza’—we always used to play that song—little things like that helped us get into the feeling of the song. At the time I wrote ‘Sunny Afternoon’ I couldn’t listen to anything. I was only playing The Greatest Hits of Frank Sinatra and Dylan’s ‘Maggie’s Farm’—I just liked its whole presence, I was playing the Bringing It All Back Home LP along with my Frank Sinatra and Glenn Miller and Bach—it was a strange time. I thought they all helped one another, they went into the chromatic part that’s in the back of the song.”

‘Sunny Afternoon’, which was released as a single on June 3rd, 1966, was the third and final number one hit for The Kinks in the UK. More than that, it remains one of the go-to songs for any lazy afternoon, sunny or otherwise”.

Produced by Shel Talmy, Sunny Afternoon has been compared to Taxman by The Beatles. That song appeared on 1966’s Revolver. Maybe a fertile time for songwriters feeling exploited by the taxman – and the high level of progressive tax taken by Labour’s Prime Minister Harold Wilson -, there is that balance of romantic summery breeze and something more stifling and anxiety-ridden. Perhaps not as overtly beautiful and care-free as Waterloo Sunset, I have always thought about Sunny Afternoon as being purely care-free. The more you listen and dig, the more other layers and elements come to life:

“The chorus, with its catchy melody, adds a touch of irony to the song. The line “Save me, save me, save me from this squeeze” portrays a plea for help, but it is followed by the humorous image of a “big fat mama tryna break me.” It highlights the absurdity of the situations we sometimes find ourselves in and the need for escapism.

In the second verse, the song takes a more personal turn as the protagonist’s girlfriend leaves him, taking his car with her. He finds solace in simply “lazin’ on a sunny afternoon,” sipping on his ice-cold beer. It reflects the bittersweet nature of life, where even in the face of hardships, we can find moments of peace and contentment.

What makes “Sunny Afternoon” truly special is its relatability. We have all experienced financial struggles or heartbreak at some point in our lives. The Kinks capture these universal emotions through their clever lyrics and catchy melodies, making the song timeless.

Aside from its lyrical depth, the song also showcases The Kinks’ musical talents. The band’s signature sound, with Ray Davies’ distinct vocals and Dave Davies’ skillful guitar playing, shines through in “Sunny Afternoon.” The addition of piano and harmonium, played by Nicky Hopkins, adds an extra layer of richness to the song.

Being a music teacher, I often use “Sunny Afternoon” as a teaching tool. Not only does it provide a great example of songwriting and arrangement, but it also sparks meaningful discussions about the socio-economic themes addressed in the lyrics. My students always enjoy dissecting the meaning behind the song and analyzing its musical elements.

In conclusion, “Sunny Afternoon” by The Kinks is more than just a catchy tune; it is a poignant reflection on the complexities of life. Its timeless appeal lies in its relatability and musical craftsmanship. Whether you’re a fan of The Kinks or discovering the song for the first time, “Sunny Afternoon” is sure to leave a lasting impression”.

A departure in terms of style and a move away from the Rock-driven sound of previous work, Billboard were among those to praise the more offbeat musical style and politically relevant lyrics. Through the lens of an aristocrat who loses a lot because of taxation, it is biting as it is calming and singalong. Ray Davies has expressed his surprise that the song is so popular and has been taken to heart through the years. The classic was featured in and was the title song of West End musical Sunny Afternoon. The year after Sunny Afternoon and Face to Face arrived, The Kinks released Something Else by the Kinks. Maybe sitting alongside 1968’s The Kinks Are the Village Green Preservation Society as their best work, I think that Sunny Afternoon is one of the best things they ever recorded. With a vocal and composition that sounds distinctly '60s in nature, the lyrics and situation of the song can relate to any time period. The brilliance of Ray Davies’ songwriting! Put this magnificent song on and…

SING at the top of your lungs.

FEATURE: Revisiting… YUNGBLUD - YUNGBLUD

FEATURE:

 

 

Revisiting…


YUNGBLUD - YUNGBLUD

_________

EVEN though…

I heard this album when it came out in 2022, it gained new context and insight when I saw the episode of Louis Theroux Interviews with YUNGBLUD. That was such a revealing and interesting episode. We got to know a lot more about Doncaster’s Dominic Harrison. His third studio album might be his best-received yet. Even so, you do not hear it played a whole lot now. It is worth bringing in a couple of reviews for the YUNGBLUD album. I wanted to start out with a snippet of the interview from NPR. They spoke with YUNGBLUD in September 2022 about his eponymous album. The album was released that month. It went to number one in the U.K. and forty-five in the U.S. A big success for an album that clearly connected with a lot of people:

“RASCOE: You know, listening to your album, like, the music is very upbeat. It's very energized.

YUNGBLUD: I wanted to internalize and, like, reflect my personality because I see myself as someone who is confidently insecure. I have a lot of anxiety inside myself. I'm quite bad at communicating, and I'm really insecure. But I'm really loud, and I'm really energetic, and I wanted to kind of reflect that in my music. That's why I self-titled it. I was like, this is Yungblud. This is what it's about.

YUNGBLUD: I needed this defiant yet euphoric sound. I think when you, like, find the sound of what your next album is going to be, it almost has to find you first. You know, I mean, it's like that bit in Harry Potter. It's like, the wand chooses the wizard, Mr. Potter. You know, I mean, it's almost got to fall in your lap.

RASCOE: In this album, you definitely go deep into some very painful things. You have lyrics that deal with thoughts of suicide.

YUNGBLUD: (Singing) Don't leave me alone 'cause I won't survive it.

RASCOE: You've been open in the past about the fact that you've attempted suicide. What do you want people to take from those sorts of lyrics. And are you ever concerned that listeners might misinterpret what you're saying?

YUNGBLUD: People need truth. Music lacks truth at the minute, in my opinion. A lot of people have dark thoughts. And the world tells us to bury them and to not talk about them because, again, it might make you look a bit strange.

YUNGBLUD: (Singing) 'Cause I know I don't want to do what the cruel kids do. I want a better life.

But that's the most dangerous thing in the world. I want to be a vehicle for people's expression, if you are feeling sad or you're feeling dark OR you're having extremely dark thoughts. I spoke about them. I put them in my music. And it suppressed them - allows me to let them go because I let them out.

RASCOE: Let's talk about "I Cry 2." I mean, it's supposed to be, maybe, a critique of mainstream culture as you see it.

YUNGBLUD: What was so beautiful about this song is it started about me looking at my mate. He was finding it really hard to express his emotions, and, like - so there's still a massive stigma in males, you know what I mean? And I sat opposite him. I'm like, listen. It's all right.

YUNGBLUD: (Singing) But I won't tell if you don't want me to. Let's keep it between us, if that's what you want to do. And I know you're hurting, but I know you're getting through. It's all right, mate. I cry, too. It's all right, mate. I cry, too.

And I'm sat there, and I'm like, listen, it's all right. I go through this. I understand where you're coming from. With me, everyone had an opinion on my sexuality and my gender because, again, I tell the truth. Like, I am not going to sit here and dance around or say just about enough that my publicist wants me to. And I found myself get a turning point through this song because I was telling my mate that it's all right to express himself. And I'm like, well, that's me.

RASCOE: When you talk about your truth, I know you've said that you're pansexual. Do you - like, is that part of where you felt like you got pushback?

YUNGBLUD: Yeah. If you go, this is where I'm at, and I'm proud of that, it's like, no, you're not. If someone says that - something and wants to express themselves in a certain way, I think that should be uplifted and celebrated. And that's why I put that lyric in - is that everybody online keeps saying I'm not really gay. Well, I'll start dating men when they go to therapy. You know what I mean? I wanted to take the piss out of it instead of letting it hurt me”.

Named Rolling Stone’s Artist of the Year for 2022, they spent timer with him on the road for an interview. It was a deep and interesting talk with YUNGBLUD. They note how he is the exemplification of a Gen Z Rock artist. A reason why I think that his eponymous album should be played and discussed more:

“To say Yungblud has been a divisive presence in British pop culture over the past five years would be putting it more mildly than anything Harrison has said in his life. For all the hostility, there is the adoration, the fans who run up to him to overshare and worship. “Imagine walking down the street and everyone loves you or thinks you’re a fucking c*nt and hates you,” he says. “There’s hatred for you. You sign up for it and then it happens and you’re like… holy shit.”

To elicit this sort of reaction, you have to be as distinctive and recognisable as the McDonald’s logo. Yungblud looks like Beelzebub cast by Tim Burton, the Joker dressed in Hot Topic or Sid Vicious signed to a modelling agency. He is loud in every way and his messaging is neither subtle nor layered. He always wears pink socks to encourage his fans to do the same and posts black hearts online as a visual sign-off. Where other artists might focus on world-building or Easter eggs for fans, he is direct. If Busted or McFly played Britpop covers, you’d be close to a Yungblud album. As he readily admits, music has not been the most important part of what he does.

Yungblud followed an influencer business model to success. He exemplifies the way in which musicians must increasingly be social media creators before anything else. He had a meeting with Musical.ly before it was TikTok because he thought it was the future of music. “Look how big TikTok became. TikTok is like grunge to me. It’s the same shit as when someone shaved their head for the first time with punk. It’s just expression every time,” he says, adding, “My whole career came from me looking into an iPhone.” He follows TikTok trends online to see if there’s something he can recreate and he does it. For example, he recently saw that the LA Western-themed bar Saddle Ranch was discovered by users of the app, so he went there and did a video on the mechanical bull, screaming at fans to buy tickets to his US tour. He has conversations with people younger than him, like Jxdn Hossler and Travis Barker’s son Landon to understand how to keep growing his audience.

PHOTO CREDIT: Kosmas Pavlos

Not long ago, Harrison would wake up through the night to post on social media. He didn’t trust anyone to care as much about his online engagement as him. “I’m not an industry plant, I’m in Japan, awake at 4am to post this video,” he tells me. “But then I’m vibing — I’m still like: ‘Sick, I’m in Japan. Wow.’” That changed a few months ago because of the global growth in his profile. His team expanded to a 35-strong crew and he has three different managers. His social media is now run in part by Jules, a 19-year-old who created the most followed Yungblud fan account. Finally, he says half-jokingly, someone who would understand the importance of waking up at 4am to post.

The idea of him cancelling a run of shows because he’s exhausted is unthinkable (he sees his diagnosed ADHD as both a disadvantage and a superpower). His day-to-day tour manager explains how, after playing shows in Australia then flying to New York on a 23-hour round trip for pre-album promo, he woke up in the night and threw up from the jetlag. From there, they all went on to LA, then Amsterdam for two days and back to London for 24 hours, before going back to LA for 24 hours and then Japan. Join Harrison’s team and you are told: don’t try to keep up with him — you can’t.

Through sheer force of turning up every day as Yungblud and working in this crazed manner, he proved he can no longer be ignored as a legitimate pop-rock contender. After being initially signed in the US, and feeling snubbed by the UK, Harrison’s luck in his own country recently began to change. The first two albums were criticised for being sonically unremarkable and for clumsy lyrics that covered gender, sexual assault and mental health. But over the past 12 months, he’s achieved ubiquitousness in the British mainstream media and is close to becoming a younger household name like Lewis Capaldi or Rita Ora. In an age where beige homegrown celebrities dominate our attention domestically, Yungblud as an entity is refreshing. That media presence and personality among neutered stars who never say — or embody — much of anything at all (he will take a stab at prejudice against trans people, homelessness, most pertinent issues) is notable.

PHOTO CREDIT: Kosmas Pavlos

His 2022 self-titled third album altered the narrative around him on its own merit — it reached number one in the UK album chart (his second record to reach the top spot) and most reviewers were surprised. The verdict: Yungblud was… all right. He starred in his own episode of Louis Theroux’s new interview-format BBC show (other featured names include British A-listers Stormzy and Judi Dench) and played a primetime slot this year at Glastonbury on the hallowed John Peel stage, which, to him, was evidence of his UK breakthrough.

“No one wanted to admit I was as big as I was and I will admit at times… bruv, it hurt, it got to me,” Harrison says. “Without sounding wanky or self-important, Glasto felt like retribution for me. Two years ago, it felt like exactly the sort of place Yungblud shouldn’t belong, but I so badly wanted to be a part of it.”

Harrison feels extremely Gen Z himself and that’s part of the problem of how he’s perceived by older generations. “When I look at The 1975 and Arctic Monkeys, they’re such a different generation to me,” he says. “When they speak, they’re profound now. I don’t want to be profound yet, I want to be on the fucking tarmac, on the ground. I love Matty [Healy] and I love Alex [Turner] but I don’t relate to them as much as I used to. They’re older and it’s all very serious.” He lurches across the table and back again to demonstrate his comprehension of them. “I’m there and then I’m not. We’re absolutely a generation apart, there’s a big difference between us. Different brains, different way of communicating. Personally, I relate to Mac Miller, Billie Eilish, Lil Peep and Lil Nas X. That’s where my head is at.” 

PHOTO CREDIT: Kosmas Pavlos

Over food, he explains why he’s never proclaimed to be a musical genius. “I wanna be that feeling of throwing paint at the wall and sometimes it’s gonna be a masterpiece and sometimes it’s gonna fucking suck,” he says. “I look at truly great British artists like Amy Winehouse or Arctic Monkeys or Sam Fender, they have their critically acclaimed albums on [album] one or two or three. I am not like them, I will never be like them. My masterpiece is not Back to Black or Whatever People Say I Am, That’s What I’m Not.It’s a 35-year career of making other people feel like they can express themselves. They are about the music; I am about the fucking people.” Harrison’s voice has changed: he is starting to speak in declarations and Yungblud has been switched on.

Can he be brutally honest with me? “I don’t give a fuck what people rate my albums as. It’s not about being critically acclaimed to me, it’s about connecting to people.” To me, a critic, who will not deter him from making more work: “Ultimately, I love you, but I don’t give a fuck. But I like to read [reviews] because it’s fun. I like seeing how people’s minds work.” He goes on to speak about the recent reviews for Yungblud. The long and considered Guardian piece (three stars) he enjoyed but not the snarkier Pitchfork one (four-and-a-half out of a maximum 10). At least the Guardian review interrogated his actual music, he says, and didn’t just feel like a hit piece”.

I shall end with a couple of reviews for YUINGBLUD. Even though they suggest YUNGBLUD is on his way to something great and he will produce his best work down the line, Rolling Stone recognised how there is this singalong quality to the album. Perfect for arena tours. It is also an album that mixes and jumps between genres. A mixture of darker themes and big energy. Something that you do not get from every artist. An ability to deal with some deeper themes and wrap it in something uplifting and energised. Whereas some critics did not feel the lyrics has depth or much clout, others disagreed. Maybe an album that divided people. I feel it is much better than people gave it credit for. One that needs revisiting:

“THE ENGLISH SUPERNOVA Yungblud—real name Dominic Richard Harrison, hailing from South Yorkshire—has been an anti-pop star since his 2018 breakthrough, amassing fans and ink with his insistent hooks, soul-exposing lyrics, and endlessly quotable interviews. His third album is self-titled, which implies a reset—although if anything, Yungblud’s version involves scaling up as much as possible.

Yungblud is a whirlwind listen, fusing together building blocks of various rock subgenres—mostly Britpop’s hip-shaking carnality and emo’s on-the-brink wails—then spit-shining them a bit before adding confessional lyrics. (He’s not baring everything, mind you; the Autotune effect on “I CRY 2,” which gives the titular verb the blurred-face treatment, is a musical signal that keeping his friends’ secrets is just as important as broadcasting his own.) Yungblud has said that he wants to avoid the viral-sensation frenzies that resulted from his earlier singles, which led him to festival stages and collaborations with the likes of Halsey and Machine Gun Kelly. But the brash, guitar-laden hard-candy rockers on Yungblud, which was assembled by the artist alongside producer Chris Greatti (Willow, Poppy) and musician Jordan Gable, are ripe for arena-crowd singalongs and TikTok soundtracks.

The 12-track album opens with “The Funeral,” which channels the gothy flamboyance of My Chemical Romance, Yungblud’s snarl sounding like the British cousin of MCR leader Gerard Way’s wail. “Tissues” plucks the rhythm from The Cure’s bashfully infatuated 1985 cut “Close To Me” and blows it up larger than life, then uses it as a basis for a strenuous, if wary love song: “I’m in love again/ and tomorrow I’ll be sad,” Yungblud howls on the brightly spangled chorus, with extra emphasis on that last word. On “Memories,” a slash-and-burn breakup chronicle that possesses the harried pace of ‘00s electropop sleaze, Willow plays the role of Yungblud’s superego, her spat-out criticisms revealing the wellspring of Yungblud’s overwhelming angst. On Yungblud, the 25-year-old polymath wrestles with sex and death, love and hate, and other seemingly diametrically opposed notions, trying to find salvation in huge riffs and throat-scorching caterwauls. There are lighter moments; “Don’t Feel Like Feelin’ Sad Today” sounds like a road-trip anthem, with sunburst guitars and a galloping bassline, but it’s actually a wish that Yungblud could just stay in bed (and away from the internet) with a close confidant, while “Sweet Heroine” is a gently spectral love song with tender lyrics about how addiction can ruin a relationship. It’s far from the only reflective song on the hyper-stimulated Yungblud, but it’s the one that best shows where he might take his artistry in the years to come”.

I am going to end with a review from NME. Declaring YUNGBLUD to be his most confident and cohesive album yet, the mixture of love, sincerity and vulnerability that goes into the songs will not doubt ruffle feathers with some critics. YUNGBLUD’s response is, as NME say, to kill the critics with kindness:

“Yungblud made a name for himself as a hyperactive punk who doesn’t care about genre. First album ‘21st Century Liability’ pulled from indie and ska as the Doncaster-native raged at a world that wasn’t listening to him or his generation. Brilliant second album ‘Weird!’ was a giddy trip through alt-rock, with Yungblud (aka Dom Harrison) celebrating the like-minded community that had forged him. With breakout collabs with Bring Me The Horizon, Halsey and Machine Gun Kelly, Yungblud was seen as either the saviour of rock or an annoying caricature, copying what had come before.

On social media, he was accused of ‘queer-baiting’, being an ‘industry plant’ and pretending to be working class. Meanwhile, after gigs, Harrison was told countless times how his music had saved lives. His self-titled third album sees him wrestling with that spotlight. Speaking to NME, Harrison said it’s about “reclaiming my name and humanising the caricature”, but rather than fury or cynicism, ‘Yungblud’ is driven by love, sincerity and vulnerability.

It’s a lot more focused than what’s come before; Harrison’s replaced his kid in a candy shop approach to music with a blistering confidence. Perhaps for the first time in his career, he knows exactly what he wants. ‘Yungblud’ is a coming-of-age album but it doesn’t skimp on the excitement either.

‘The Emperor’ is a triumphant explosion of energy that sees Harrison bundle his entire ethos into a joyful three-minutes of carnage. “Not gonna stop someone with no limits,” he sings, before adding “don’t be the same as everyone.” It’s a world away from the brooding emo of opening track ‘The Funeral’, which sees Harrison fearlessly listing all his insecurities in a bid to become “bulletproof”. With the acoustic ‘Die For A Night’, though, he challenges that carefree attitude to his own demise. Clocking in at just 93 seconds, the devastatingly honest, stripped-back track sees Harrison wondering how people would feel if he wasn’t here. “Would anyone mind it / Would everyone like it?” he asks: it’s a gut-punch to the stomach.

There is a lot of bleakness on ‘Yungblud’, with songs about death, depression and toxic masculinity. Sure, tracks such as ‘Die For A Night’ see him wallow in that negativity – but for the most part, all that sorrow just seems to drive Harrison to create positive change. The celebratory ‘Don’t Feel Like Feeling Sad Today’ dismisses all the online criticism as “playground games” and encourages action. “Why are we sitting in silence / Wondering how we can beat all the violence,” starts the thundering track. “The politician ain’t gonna help you,” he sings later.

Elsewhere the funky electro stomp of ‘Sex Not Violence’ touches on trans rights while the glitching beats of ‘I Cry 2’ take influence from Radiohead and The 1975. Lyrically, Harrison offers comfort before poking fun at those queer-baiting rumours: “Everybody online keeps saying I’m not really gay / I’ll start dating men when they go to therapy.”

As you might expect from a self-titled record, there’s a lot of personal stuff on ‘Yungblud’ as well: ‘Tissues’ is a straight up love song. Built around the iconic guitar line from The Cure’s ‘Close To Me’ , it’s a swaying gothic banger that unashamedly wears its heart on its sleeve. In a similar vein, ‘Don’t Go’ is a rumbling percussive track that finds hope on the edge of a breakup, while ‘Sweet Heroine’ is a sparse electro track that lets the poetry of Harrison’s lyrics take the spotlight. Talking about trauma, love and fear, he’s come a long way from his 2019 track ‘Parents’, on which he sang: “I went out to the garden and I fucked my best friend”.

Then there’s the Willow-featuring ‘Memories’, which sees the pair trading in pop-punk revival for gritty alt-rock. Both artists have done their fair share of collaborations in recent years but, full of ambition and wrestling with escapism, this track sees both artists come into their own.

It all leads to ‘Boy In The Black Dress’, a cinematic, goth-infused anthem of self-acceptance, self-discovery and ferocious self-belief. Polished but still with that scrappy edge, it’s perhaps the closest Harrison has come to writing the ultimate Yungblud song. “They hate what he is and they hate what he’s not,” he sings, coming to terms with his divisive position at the forefront of a new generation of guitar heroes. Tying the hate he receives now to the violence he faced as a kid for being different, it explains why Harrison is so determined to keep speaking up for those who resonate with his angsty outsider anthems.

It would have been easy for Yungblud to pull back from the spotlight after getting a battering online. Instead, he’s come back with his most confident, cohesive album, which sees him fighting hate with understanding and love. It’s a battle he knows he can win”.

I think that YUNGBLUD created something decent and important with his third studio album. The 2022 release is one that warrants more acclaim. I do wonder where he heads next and what will come from him. No doubt another album is in his mind and taking shape. A terrific young artist who has a lot of love for his fans and wants to ensure that his music speaks to them, it clear did on YUNGBLUD. Hitting the top spot in the album chart here, it will give him heart that there is a huge amount of support out there for him. Go and spend a bit of time with YUNGBLUD. It is an album that did not quite get…

THE love it deserved.

FEATURE: AC/CD: Given an Unexpected Rise in Compact Disc Sales, How Will the Industry React?

FEATURE:

 

 

AC/CD

  PHOTO CREDIT: cottonbro studio

 

Given an Unexpected Rise in Compact Disc Sales, How Will the Industry React?

_________

WHEN we talk about…

PHOTO CREDIT: Wellington Cunha/Pexels

physical sales increasing, it normally relates to vinyl. It is always great to see. Year after year, the format is reaching more and more people. Ensuring that we keep vinyl sales climbing up. There are other physical alternatives that struggle for the same kind of success and appeal. Cassettes are finding ne3w focus and audience, though they are still quite a niche and lesser-bought format. Compact discs have had mixed fortunes through the decades. When streaming came fully into force, they started to decline more notably than years before. In fact, I think since the start of this century, there has been less attention and desire for CDs. As new technologies came in and people began getting musical digitally, the compact discs seemed more obsolete and less necessary. Happily, we have just heard about a rare success story for CD sales. Music Week reports the statistics and news:

“Digital and entertainment retail association ERA has issued its preliminary numbers for the past year, and they make encouraging reading for the physical music sector following years of overall decline (although vinyl sales alone have soared for the past decade and more).

Overall, UK spending on music streaming subscriptions, vinyl, CDs, downloads and cassettes grew by 9.6% based on value in 2023, nearly twice as fast as 2022 (which saw an increase of 5%). As part of that sales performance, there was a rare increase in CD sales last year – the first in two decades.

 The £2.22 billion total for 2023 was the highest since 2001, the historic peak of the CD era, and just 0.08% short of that record. It was more than double the level of 2013 when music sales were being hammered by internet piracy.

Two years ago, ERA reported a rare increase in overall physical sales (vinyl, CD and cassettes combined) during 2021, although that wasn’t repeated the following year as vinyl sales growth softened a little in 2022 (but still outsold CD for the first time in terms of revenue).

But 2023 was a blockbuster year for physical music sales, delivering growth across the board. A strong release schedule included albums by Taylor Swift, whose 1989 (Taylor’s Version) was the biggest seller on vinyl last year, as well as Take That, the Rolling Stones, Lewis Capaldi, Lana Del Rey, Blur, Olivia Rodrigo, Pink, Kylie Minogue, Foo Fighters, Metallica and Noel Gallagher’s High Flying Birds.

ERA said that overall physical sales increased by 10.9% year-on-year to £311 million, a significant improvement on 2022’s 4% decline. It was also ahead of the 7.3% growth for physical sales in 2021, which was then the first such increase since 2001.

Vinyl album sales grew by 17.8% year-on-year in 2023 to reach £177.3m, while CD recorded its first rise in sales value for 20 years – up 2% to reach £126.2m. Take That’s This Life was the biggest seller in the format last year.

 Vinyl pulled ahead of CD in 2022 in value terms (though not in units), and the older format extended its lead last year.

“The strength of physical sales was all the more remarkable given significant distribution problems which affected much of the industry in late summer 2023,” noted ERA in its end-of-year results for retail. The numbers are based on data from the Official Charts Company and the BPI.

Of course, the main driver of growth in 2023 came from streaming services such as Spotify, YouTube, Amazon and Apple, which grew subscription streaming revenues by 9.8% to £1.866 billion, an all-time-high.

The biggest album of the year across all formats was The Highlights by The Weeknd, while Miley Cyrus had the biggest single with Flowers.

The CD sales increase for 2023 tallies with results from HMV, who have just returned to London’s Oxford Street with a flagship store. The chain’s owner Doug Putman recently told Music Week that it had increased CD sales in terms of both units and revenue.

ERA CEO Kim Bayley said: “With revenues just a fraction away from music’s all-time-high, this is a red letter day for the music industry and is a testament not just to the creativity of artists, but to the entrepreneurial drive of digital services and retailers. A world without streaming now seems unthinkable. Meanwhile the tenacity of physical retailers has driven not just the vinyl revival, but a surprise increase in the value of CD sales. Given all we’ve been through, it really doesn’t get much better than this”.

I do hope that this increase continues. It will never boom and hold like vinyl sales, yet many thought that the CD was declining and would face being phased out. Maybe huge artists account for this increase. Fans wanting to get their albums on CD, or they are also getting it on that format alongside vinyl. I would be interested to see the breakdown in terms of the types of albums bought - whether new or classic albums are bought on CD. I suspect that there is a new attachment to CDs from younger listeners. Maybe those who would otherwise stream albums, they are keener to have something in their hand. There will be some variation and dip in years to come when it comes to physical music sales. Vinyl is steady and doing well. People have turntables to play them on. A format exclusively for listening when stationery, not much needs to be done regarding making it easy for everyone to listen to vinyl. Other than try and keep prices low so fans are not priced out, that idea of vinyl being an investment holds true. People buying albums and keeping them for years. Cassettes might seem the most fragile and least sustainable physical form. I would love to see them embraced more, though I know a lot of people do not like them and have nothing to play them on. This is something that needs addressing. I do know that there are options on the market. The ones that are highlighted are quite expensive. There do need to be cheaper alternatives or greater exposure of the CD players that are out there already. CDs are proving desirable now. At least more than years past. As you can see from that feature, physical sales went up last year. I do feel like it is a sign of things to come. What about CDs and keeping them alive and playable?

ILLUSTRATION CREDIT: Tienda92

There are many advantages of a CD. Aside from the fact the packaging is not environmentally friendly – more artists will need to put them out in card covers and packaging rather than plastic -, they are less expensive than vinyl. I know people my age have CDs from our youth that we collect. You can get a CD wallet and carry your collection around. They are sturdier and less breakable than cassettes. Affordable and portable, there is a lot to recommend about the CDs. Not much needs to be done in terms of improving them. One of the worrying things about the rise in compact disc sales is that people are probably not listening to them on the go. I guess some people play CDs in the car still (as do I) or they have a boombox or Hi-Fi where they can play them. It does seem like CDs are being bought and maybe not played that much. I’d like to think that people are getting them and spending time listening. Compared to vinyl, you are going to have cases of people buying compact discs and not playing them. I have this romantic vision of people walking around with an old-skool Sony Discman with a wallet of compact discs in their bag. Why do we not have a modern equivalent?! With a few selections available, I do think many are beyond the budget of most people. What about reviving older models? Maybe the slightly unstable nature of the Discman is an issue. Less stable than a Walkman, CDs would jerk, skip and stop altogether – the Discman not really built for people moving around! I do think that a new model needs to be introduced that is stronger and more reliable (and one that can be bought for about £50 or so; maybe with in-car compatibility)). If more and more are purchasing CDs, are they even able to listen to them on the move?! There is nothing wrong with returning to the past and repurposing and updating older technology.

I hope that the industry reacts positively to the new desire for compact discs. Ensuring people can play them and, in the process, meaning more will buy them and use them. Vinyl survives and grows because there are record players easily available and they are very study and reliable. Cassettes are enjoying minor success. Perhaps even harder to play then CDs, we do need to ignore good news around sales and assume CDs/cassettes are a new fad and will soon fade out – and therefore do not need to be catered to in terms of how you can play them. I don’t think it would be a hugely risky or expensive process manufacturing more affordable compact disc players so that people can play them portably. The industry also needs to highlight CDs as much as vinyl. It is a format that was once a go-to for music fans. There is no reason why it cannot enjoy a resurgence and new period of growth. It is a shame to think people buying CDs and then putting them aside and not playing them. If the consumers are doing their part, how does the industry react to ensure there is sustained growth? I also think that many record stores and high street chains still massively prioritise vinyl over CDs. I know it makes them more profit, though we don’t want to side-line compact discs in their favour. As we have heard about unexpected and gratifying success for the CD, we need to keep it going and encourage people to keep purchasing them. In order to do so, they need to be playable. I guess there are modern equivalents or Sony Discmans, though I have done a quick scan and there are not as many as you’d hope. Investing in the technology that allows people to play CDs is crucial. Let’s hope this happens this year. Not something we were expecting at the start of 2024, we can raise a glass to CDs…

 PHOTO CREDIT: Wellington Cunha/Pexels

ENJOYING richly-deserved success.

FEATURE: Big Tour Dates: Hopes That the Anniversaries of The Tour of Life and Before the Dawn Will Be Properly Celebrated

FEATURE:

 

 

Big Tour Dates

Hopes That the Annivesaries of The Tour of Life and Before the Dawn Will Be Properly Celebrated

_________

THIS year…

 PHOTO CREDIT: Ken McKay/Rex Features

sees Kate Bush’s two extended live runs celebrate big anniversaries. The Tour of Life started in April 1979. Its forty-fifth anniversary is very soon. On 2nd April, 1979, Kate Bush embarked on the first date of her only tour. I feel that needs marking in some fashion. On 21st March, 2014, Bush announced Before the Dawn. Her only residency, this tenth anniversary is significant. Het two major live commitments have anniversaries very soon. Even though Before the Dawn kicked off in August 2014, the fact that it was announced months early makes me think how that can be marked. Both are magnificent and were distinctly the work of Kate Bush. The former arrived a year before her third studio album, Never for Ever. Bush had recorded two studio albums and they came out in 1978. It was a fantastic year where she was promoting a lot. The Tour of Life was her taking some control. A chance not only to promote her new material on the stage but also to get some time to create something truly in her vision – she felt The Kick Inside and Lionheart were not really her; she did not have enough say in the process -, she threw a lot into it. Creating this distinct and extraordinary live world, critics were bowled over! I am going to come to a feature around The Tour of Life. At the moment, there is not a lot available regarding the tour. No real 4K or HD video of a full set. There are some YouTube videos and attempts, yet nothing official that could be screened at cinemas or shown on T.V. In terms of the live recording, nothing on streaming platforms. There is the On Stage E.P. that contained some songs from the set. No official full album or anything really connected. No book about the tour in terms of its impact, feedback from people there - and its incredible influence. I think it is one of those great overlooked moments in Kate Bush’s career.

This feature was published in 2020. Talking about Bush’s The Tour of Life and the preparation that went into it makes me think that there should be appropriate salute of an event that was like no other. Taking Kate Bush as this studio enigma and fascinating artist into a bona fide live legend, I can only imagine the nerves and excitement she felt forty-five years ago:

“When Kate Bush announced earlier this year that she would be performing 15 dates at London’s Hammersmith Apollo throughout August and September (a figure since bumped up to 22 shows) under the banner Before The Dawn, the reaction was shock and awe. Shock that she was finally following up that original tour, a promise she’d made many times but all but her most optimistic fans had long given up hope on her ever keeping. And awe at the prospect of what a woman who broke so much ground could deliver with 35 years of artistic and technological advancements at her disposal.

But there was also a question of just how she could follow up the original spectacle, retrospectively dubbed The Tour Of Life. 35 years on, that extravaganza has grown to almost mythical status – a strange state of affairs given that it was witnessed by more than 100,000 people at the time.

Footage of an hour or so of the show is freely available to view on YouTube, highlighting a performance that bridged the worlds of music, dance, theatre and art. But there’s even more footage that has never been made public – including that of the magician Simon Drake, who played seven different characters during the show.

But in many other respects, the tour was utterly grounded in reality. The singer spent six months beforehand working herself to the bone as she attempted to forge a brand new model of what a live show could be, then another two months doing the same as she took it around Britain and Europe. And it was hit by tragedy when lighting engineer Bill Duffield was killed in an accident after a warm-up show, his death almost bringing the whole juggernaut to a halt before it had even started.

But all that was in the future when the idea for the tour was conceived. Ironically, Bush herself was the first to admit that there was no need for her to do it. “There’s no pressure,” she said in 1979. “But I do feel that I owe people a chance to see me in the flesh. It’s the only opportunity they have without media obstruction.”

“Kate was never at ease in the public eye,” says Brian Southall, who was Artist Development at Bush’s label, EMI, and had worked with the singer since she was signed. “Whether that was performing on Top Of The Pops or doing interviews. She was very reserved, very wary, I think by nature shy. So this spotlight on her was new.”

The singer was fully aware that anything she did would have to raise the bar on everything that came before. But even then, she was trying to manage expectations – not least her own. “If you look at it, it’s my reputation,” she said 1979. “And yes, I hope that it’ll be something special.”

EMI were unsure what the show would involve, so the costs were reportedly split between the label and Bush herself. In return, they got an artist who threw everything into her biggest endeavour so far.

“She was very determined about how her music was presented and performed – that was pretty obvious from her first album,” says Southall. “So no one saw any reason to step in and stop it. The rock’n’roll story was that you put singles out, you put albums out, you went on Top Of The Pops, you toured. But she wasn’t prepared to do the conventional thing.”

In fact no one realised just how unconventional it would be – with its choreography, dancers, props, multiple costume changes, poetry and in-house magician, there was no precedent with which it could be compared.

Rehearsals began in late 1978. Bush had already trained with experimental dancer/mime artist Lindsay Kemp, one-time mentor of David Bowie. But this tour would entail a new level of aptitude entirely, and the stamina to simultaneously dance and sing for more than two hours every night.

Dance teacher Anthony Van Laast was brought in from the London School Of Contemporary Dance to choreograph the shows and help hone Bush’s abilities. Van Laast brought with him two protégés, dancers Stewart Avon Arnold and Gary Hurst. Van Laast put the singer through the equivalent of boot camp at The Place studio in Euston, working with her for two hours each morning. Bush’s own input was crucial to the developing routines.

“Kate knew what she wanted, she had very specific ideas,” says Stewart Avon Arnold today. “What she wanted was in her head, and she wanted people around her who could help her put it into movement. She had so many hats on at that point – artistic, creative, musical.”

If the mornings were for the dance aspect of the slowly coalescing show, then the afternoons were for the music. As soon as she was done with Van Laast, Bush would make the eight mile journey to Wood Wharf Studio in Greenwich, south London, where she would meet up with a band that included Del Palmer, guitarists Brian Bath and Alan Murphy and her multi-instrumentalist brother, Paddy Bush. Also present was her other brother, John Carder Bush, who would perform poetry (and whose wife would provide vegetarian food for the tour). It was hard work for everyone involved and as the show neared, Bush would work 14 hours a day, six days a week.

“You have to make things more obvious so people can hear them,” she said of the live interpretation of her songs. “Maybe make them faster.”

While Bush was utterly in command, sometimes necessity was the mother of invention. With the singer literally throwing her whole body into her performance, holding a traditional mic would be difficult. So a mic that could be worn around the head was devised.

“I wanted to be able to move around, dance and use my hands,” she said. “The sound engineer came up with the idea of adapting a coat hanger. He opened it out and put it into the shape, so that was the prototype.”

In early spring 1979, the various creative wings finally came together at Shepperton Studios. There was the odd stumbling block. Del Palmer, Bush’s bassist and boyfriend, was less than impressed with some aspects of the choreography when he first saw it.

PHOTO CREDIT: Rock Archive

“In those days, dance wasn’t as popular as it is now, and I don’t think Del was clear on what we were doing,” says Stewart Avon Arnold. “There was a bit where we picked Kate up. I remember him going, ‘What they hell are they doing to Kate! They’re holding her between the legs!’”

In late March, a week before the tour was due to start, the whole production moved to the Rainbow Theatre in Finsbury Park, north London, for dress rehearsals. Like everything over the past six months, the whole endeavour was undertaken in secrecy.

“It’s like a present that shouldn’t be unwrapped until everyone is there,” reasoned the singer. “It’s like hearing about a film. Everybody tells you it’s amazing – and you could end up disappointed. You shouldn’t get people’s expectations up like that.”

By the time the tour was due to start on April 3 in Liverpool, everyone drilled to within an inch of their existence. If Bush was nervous, she wasn’t letting on.

“There was no suggestion that Kate was scared about going on the road,” says Brian Southall. “I certainly never got a sense that she was nervous about the financial aspect of it. If money was her concern, she’d have been out making albums every year rather than every 10 years. It’s not something that crossed her mind. The creativity was all-important”.

Kate Bush, as a studio artist in 1979, could have felt cautious about going on stage. If critics felt she was a bit kooky or weird, would they take to her live shows?! Sell-out shows and success across the U.K. and Europe meant that fans at least were eager to see her. She need not have worried.! The reviews, bar one or two, were wildly positive! Proclaiming her to be a star and a sensation, it seemed that Bush’s instinct about being in control and directing her own music was on the money. She would take this further when she returned to the studio not long after completing The Tour of Life. Producing Never for Ever with Jon Kelly, The Tour of Life as a pivotal moment when it came to her direction, autonomy and desire to produce. Thirty-five years since The Tour of Life started (well, April!), and you can feel its influence in modern Pop. Think about Madonna and her use of the head microphone. That was first used by Kate Bush in 1979 as a way of being able to sing live and dance. That mix of theatre, mime, and various artistic elements into a traditional live show was quite new. At least for female artists. Bush’s 1979 revolution and revelation needs to be archived in a way it has not been done already. Apart from a documentary around it and some live videos, there is not a great deal. Dive deeper into The Tour of Life and how it came together. Podcasts, books, photo collections – though Max Browne’s book is available - and a new album/full set would be welcomed.

Before the Dawn’s tenth anniversary is also a major thing. There is a live album available on physical formats and Apple Music. There is no visual representation of it. Again, podcasts, books and photo collections are absent. Not too much around. I wonder whether Bush would be tempted to release something around its tenth anniversary. There will be articles written about it. I was not lucky enough to get a ticket for Before the Dawn. For those who were not there, we only have the live album. Maybe something in terms of a documentary where we can get exclusive live video from the residency. As it turns ten, it does warrant some form of proper salute and retrospection. I will end with a review. The Standard gave a five-star review to a magnificent and unforgettable night:

“Much has happened in the 35 years since Kate Bush last played a full concert. The fresh-faced girl with a precocious talent is now a matron of 56. That precocious talent has matured and she is British music’s most significant female artist. No wonder then that when she led her backing singers on stage in a slow motion conga, surfing in on a tidal wave of goodwill to open Before the Dawn, her 22-date Hammersmith residency, the ovation was long and standing. Almost three hours later, after the closing Cloudbusting, the ovation was still standing, but much, much longer.

Such was the level of secrecy and anticipation that almost nobody knew what to expect. Just four hits — Running Up That Hill, King of the Mountain, Hounds of Love, Cloudbusting — might seem a skimpy return after all these years, but much as Bush never did things by halves, she never was a crowd-pleaser. All the same, this extraordinary mix of magical ideas, stunning visuals, attention to detail and remarkable music left this crowd well-pleased.

After an opening quip (“Where’ve YOU been?”) and the glistening opener Lily, her stage fright seemed to evaporate and she appeared to actually be enjoying herself. She moved slowly, as did the cast around her including her son Bertie, credited as “Creative Advisor”, but the years have strengthened her voice and Among Angels (the only time she was alone with her piano) was four minutes of aching beauty.

She settled herself and the giddy crowd during a relatively conventional first half hour, before the stage became a sunken ship for The Ninth Wave suite, Bush turned into a fish and a cast of 20 wrapped themselves around The Morning Fog. A Sky Of Honey, the second half of 2005’s Aerial, formed the second half: Bush rocked, turned into a bird and kissed a wooden puppet.

The audience so desperately wanted Bush to be brilliant that by simply turning up, she had triumphed without trying. That she did try so very, very hard and that she was so obviously, so unambiguously brilliant, made last night something to tell the grandchildren about”.

 I do feel it is only right that Kate Bush’s The Tour of Life and Before the Dawn are marked this year. Turning thirty-five and ten respectively, it is a good time to organise adequate and deserved love for this titanic and hugely important events. I know, as I said, articles will be written. March 2014 is when Bush announced her stage return. April 1979 was the start of The Tour of Life. Hearing some special release, programme or podcast about these dates would be wonderful. It is highly unlikely Kate Bush will return to the stage in any form. For that reason, we do need to cherish The Tour of Life and Before the Dawn. I think that we are going to perhaps see an end to Kate Bush’s recording career. With the death of her engineer Del Palmer, it seems unlikely we will record again. Maybe nothing new from Kate Bush. It make it more important that we can still connect with her through her music of the past. That she is happy to engage with that too. The Tour of Life on an album and getting some cleaned-up video or a new documentary. Something more about Before the Dawn would also be embraced. Even though her two enormous live shows were thirty-five years apart, prior to going on stage for the first night of both, Kate Bush must have felt nervous. The roar and anticipation from the audience! It would have been quite magical being in attendance. They have big anniversaries this year. It is only right that we mark them…

WITH as much love as possible!

FEATURE: An Overdue Renaissance: Will the Success of Beyoncé’s Tour Create Better Visibility of Black Female Artists?

FEATURE:

 

 

An Overdue Renaissance

 IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Beyoncé

 

Will the Success of Beyoncé’s Tour Create Better Visibility of Black Female Artists?

_________

MAYBE something that has always existed…

IN THIS PHOTO: Little Simz

in music but needs to change. There is that mainstream and the biggest artists promoted. The ones who are played the most. These that are afforded the most press attention and seen as the leaders of Pop. More often and not, definitely when it comes to women, are white. Not to take anything away from giants like Taylor Swift and her peers. They are tremendous artists who are influencing generations of girls and young women. I still think that the industry and media does not highlight and promote Black women and women of colour as much as they should. Those incredible role models being shone and celebrated. It does raise questions around greater visibility and celebration of Black female artists. Not to say there is a huge shortage. From SZA and Jamila Woods to Mega Thee Stallion and Little Simz, there are amazing queens who are at the top of the game. I still think that the artists who court the most focus and are discussed as much are white. There is a homogenisation still at the very top. When you consider the incredible Black female artists throughout music, I wonder whether they are seen as equal or are seen as ready and natural role models. Is there still a bias happening? Not that the music has a problem with race – though it does in some ways -, although there is something to be said about the fact that there is a bias for sure. It got me thinking about Beyoncé and her recent Renaissance Tour. A global smash and hugely well-received demonstration of her phenomenal live prowess, it will no doubt have connected with so many women around the world. What about fellow Black female artists coming through that will follow behind her? I wonder who her successor will be. This incredibly powerful, important and influential artist who is this immense source of love and wonder. An artist who is touching so many people.

IN THIS PHOTO: Megan Thee Stallion/PHOTO CREDIT: Campbell Addy

We think about Beyoncé and all that she has given. How she has inspired people for years now. Not that she is retiring anytime soon, though who is there being shaped in her image? A young black female artists who is coming through who will have that sort of stature in years to come? No doubt the talent is out there. My worry is that there is not the same opportunities given to and appeal of these artists than a future Taylor Swift or Dua Lipa. Maybe things have changed the last few years but, as you can read in this article, there was a preference for white artists. That dominance that holds back Black women. Think about Normani,. Mega Thee Stallion, Little Simz, Cardi B, SZA and their sisters who are dominating the industry. Whilst recognised and hugely successful, is the industry marketing them as icons and queens? There is a much readier packaging of white artists and their future potential. Not that Beyoncé is the only huge Black female artists at the forefront. She is the name people jump to when asked that question. Compare that to how white artists are marketed and more visible. In 2020, VV Brown wrote for The Guardian about how music’s white infrastructure is holding back Black female artists:

“It was exhausting having to prove to the industry that I wasn’t some sassy, aggressive diva. I was tired of worrying about feeling isolated and ridiculed on photoshoots for having afro hair. I was tired of being stereotyped, I was tired of journalists assuming I was a soul singer and never a producer. I was tired of white so-called feminists playing a huge part in the racism towards black women within my music industry and feeling unable to talk about it.

I would see countless images on social media of “UK women in music” conferences championing the progress on gender within the industry, yet with no black women to be seen. I would notice tight cliquey networks of white women in the industry supporting other white artists but ignoring black artists. It was unconscious, unintentional, packaged politely – and was never done in a way that meant to cause harm. However, it was deeply rooted in the industry.

Black female artists are used, abused, discarded and mistreated. The patterns of disparity are undeniable. Our careers have quicker expiry dates than our white counterparts and we are not promoted or treated with the same intent. There sometimes seems to be a one-in, one-out rule so rampant it can feel like a factory line of disposable blackness.

As I took my headphones off after listening to Laura Mvula’s latest album, Pink Noise, I almost wept because of her brilliance. I was so frustrated that her previous label had treated such a genius with such disrespect and I hope that she will receive the high praise she deserves. I thought about the British black female musicians who have come and gone over the years, and how their talents have never come to light in the same way as their white counterparts.

Artist Raye has spoken out about not being allowed to release her music, and throughout my years in the business there have been countless black artists in exactly the same position. I experienced it myself. For two years I was unable to release music and was completely neglected. I negotiated myself out of my first record deal in a 24-hour web cafe at 1am.

We musicians are trained to be silent about our experiences because there is a heavy stigma that our rebellion will be categorised as aggressive, bitter or ungrateful. We are supposed to accept what we are given because to be black in this industry is thought to be even more of a privilege for us than for white artists.

Why hasn’t the UK music industry produced a black pop star like Rihanna, and why do so many of us instead make our success overseas? I sold more than a million records in the US and had a strong fan base, but my album was derided as music for a children’s party by NME, and it spoke of “sass” as if I was a soul singer who’d just picked up a mic and danced.

Black female artists don’t lack talent, it’s the white infrastructure that stops them from fulfilling their potential. Our careers are in the hands of people who take from our culture and package it for the masses through a white gaze, whereas success stories of black individuals often arise from independent, grassroots, progressive platforms.

The next time you see a white female British artist on television, count the number of black women who stand behind them, supporting the continuation of white female artists singing music from our culture. The next time you see anything to do with championing women in arts, count how many black women are speaking. The next time you see an article in a music magazine, think of how few black women in the industry have the power to make executive creative decisions. The disparity is obvious and it needs to change”.

PHOTO CREDIT: Jennifer Enujiugha/Pexels

You do sense the industry wants to change. Of course, it doesn’t just apply to Black female artists when we think of bias. All Black artists face this struggle. This 2021 article how Black artists were self-releasing music because there was a bias against them. Struggling to get major label attention. The opening words make for shocking reading:

“Racism in the British music industry is "serious, upfront and personal", says the author of a new report about the experiences of black musicians.

"Prejudice is here," says Roger Wilson of the Black Lives in Music initiative. "There's nothing stealthy about it."

The report finds that six in 10 black music creators have experienced racism, while 86% say they have faced barriers to their career because of their race.

They also earn £299 less per month, on average, than their white colleagues.

The report was compiled from the biggest-ever survey of black musicians and music industry professionals in the UK.

In total, 1,718 people responded, describing a range of discriminatory acts and "sometimes hostile working environments".

One reported "having to repeatedly ask other artists to stop using the N-word", while another faced "jokes about [my] skin colour, Africa [and] persistent questioning about where I really come from".

Their testimonies echo recent revelations from stars like Alexandra Burke, who said she was advised to bleach her skin to "look whiter".

The singer, who won the X Factor in 2008, said she was subsequently told she would "have to work 10 times harder than a white artist, because of the colour of [her] skin”.

The ongoing and glaring lack of Black representation at executive level means that there is always going to be a skew against Black artists. With fewer Black artists signed to major labels and having the same opportunities and focus as their white peers, the industry does need to challenge this. Even a recent report like this shows that there is racism throughout the music industry. With this discrimination and prejudice existing at the lowest level, follow it to the top of the mainstream, and it makes sense that there is this pipeline issue when it comes to those amazing Black queens who are as big as Beyoncé. Someone who has that sort of platform who will then influence girls and young women. Whereas there are plenty of amazing Black women throughout music killing it and dominating, the mainstream and those artist who get the most focus are non-Black artists. For Black women who want an identifiable queen who speaks for them at the highest level, how many options and faces are there?! Think about how Taylor Swift’s Eras Tour was a global success. One can easily name a slew of other Pop artists similar to her and can succeed her if she ever steps away from music. When we think about young Black artists coming through years from now, is the industry doing enough to provide balance and quality so that they have role models being seen as equal or superior to other major artists?! It is quite worrying. If the industry is starting to become aware of the racism and bias that needs to be smashed, it will take a long time for things to correct. I am not even sure everything is being done to tackle it. Still this imbalance when it comes to festival line-ups and radio playlists. Black women in the minority there. Again, though things have improved this past few years, it is still not enough. Why are amazing Black women not seen as vital and worthy as their white peers?! A complex question, it is heartbreaking to see the industry still favour white artists.

I am going to finish with a review of Beyoncé’s globe-straddling spectacular. The Renaissance Tour was a phenomenon! Esquire had their say about an event that was truly iconic and unforgettable. Reason why we should be moulding and supporting young Black artists who will inspire the next generation:

“It’s 10:00 P.M. at New Jersey’s MetLife Stadium. We’re nearly two hours into Beyoncé’s marathon-like Renaissance Tour, and she finally pauses to address the crowd. “Thank you for coming,” she says, marveling at the sea of people who, on July 29, trekked to one of the tour's most anticipated stops. “Some of you have been with me for 20 years.”

That's me. I was introduced to Beyoncé at six years old, shortly after the release of her debut album, Dangerously in Love. I still remember holding the CD from my car seat, marveling at a mysterious woman in a glittery top, whose heavenly vocals boomed through our stereo. Twenty years later, Beyoncé is still a mystery to me—maybe even more so, following most recent album, 2022's Renaissance. At 41 years old, Beyoncé has three children and seven albums under her belt, but she can still sing like there’s an angel trapped in her throat. (She hasn’t let go of the sparkly outfits either.)

As Beyoncé finishes her speech, 80,000 fans erupt in a thunderous cheer. The floor shakes. Glitter floats through the air. Looking at the jumbotron, I swear there's tear in her eye. Beyoncé beams back at the audience, and everyone roars again. She doesn’t have to say much else. We get it. Beyoncé is a legend. Now, it's simply time to celebrate Renaissance.

PHOTO CREDIT: Kevin Mazur/Parkwood Entertainment

The Renaissance Tour kicked off on May 10 in Stockholm, Sweden. From there, Beyoncé and co. traveled across Europe before making it to North America. By the time Beyoncé reached New Jersey, clips from her previous shows leaked online. Even a glimpse at the silver-hued concert hinted that the Renaissance Tour may stand as Beyoncé’s best work yet—and her most popular show ever.

Forbes predicts that the Renaissance Tour could earn around $2.1 billion by the time it wraps in September. If Beyoncé pulls it off, that will make her the highest-grossing female act of all time. That title currently belongs to Madonna, who—in July 2022—had earned $1.4 billion from her shows. Taylor Swift is next in line with a projected $1.9 billion in sales from her currently-running Eras Tour. According to Billboard, Beyoncé is well on her way to nabbing the top spot, earning more than $154 million from her European tour dates alone.

Like everyone else in the crowd, I attended the Renaissance Tour as a fan. But I was a fan on a nearly 20-year-long mission. We all know Beyoncé is Beyoncé (you don’t earn $154 million on a whim), but I wondered what I'd learn from seeing her live—dancing and singing along with her, plus, of course, mingling with the Beyhive.

One of the first people I run into is Zahir, who is proudly donning a sequined top. I simply ask why he loves Beyoncé. He says, “Her Blackness. She’s so in tune with her womanhood and voice.” The next person I talk to is Rickey Mile, a self-proclaimed superfan. He gives a dumbfounded look, as if any questions about Beyoncé's greatness go without asking. “She’s timeless,” he explains. According to Mile, it doesn’t matter when you see Beyoncé, what’s going on in her personal life, or which era of her career she’s in—the woman always puts on a good show.

After seeing the Renaissance Tour, I have to agree. The concert (and the album) is a homage to Beyoncé’s uncle, Johnny—a gay man who introduced her to house music. To say Renaissance would make him proud is an understatement. It’s one giant, queer party, filled with references to drag icons Kevin Aviance and Moi Renee, along with a cameo from viral ballroom dancer Honey Balenciaga. The stadium shook for three straight hours, with fans bouncing and rocking along to each song.

Given Beyoncé’s expansive catalog, there is a smattering of oldies woven throughout the show. But don’t be fooled. This isn't anything like Swift's Eras Tour. Instead of selecting songs chronologically, Beyoncé presents a mix of her favorite hits. The show opens with a powerful rendition of “Dangerously in Love,” which bleeds into the yearning ballad “1+1.” Then, just when you’re ready to profess your love to someone in the crowd, Beyoncé switches gears, performing the self-assured Renaissance track, “I’m That Girl.” The whole thing exudes rich aunt energy. Pure fun. No rules. And the atmosphere? Well, it’s like a reunion. After all, the last time the Beyhive convened was during 2016's Formation Tour.

You know that moment at a family party, when you see someone you don’t recognize, but feel an intrinsic connection to? That’s what attending Renaissance is like. Everyone is a stranger, yet also a cousin. I suppose that makes Beyoncé our matriarch. Just ask the troves of fans yelling “Mother!” during her set.

Perhaps that maternal energy stems from Beyoncé’s dedication to lifting others up. Along with the references to the aforementioned queer icons, Beyoncé uses Renaissance to celebrate Black women. During the show, she sings, “Break My Soul (The Queen's Version), featuring Madonna. The remix praises every Black performer who inspired them: Bessie Smith, Lauryn Hill, and Nina Simone, among many others. Later on, Beyoncé brings her daughter, Blue Ivy, on stage to celebrate their heritage, with the songs “My Power” and “Black Parade.” The Renaissance Tour feels like one giant love letter to Beyoncé's community—and because of that, every moment has a purpose”.

2024 needs to be a year when inequalities and biases are properly recognised. The industry fully committed to ending them. I think about the great female artists of our time and who the media is highlighting. The ones seen as most significant, popular and commercial. The landscape is not as balance and diverse as it should be. I think about Beyoncé and how important she is. Now in her Forties, who is there coming behind that is being seen as the successor to Queen Bey?! I hope the success of the Renaissance Tour will change things. Make the industry more aware that there are amazing Black women like Beyoncé who deserve a platform and more opportunities. Not being held back or limited. Whilst there are great Black women in Rap, R&B and beyond, not many are brought to the same level as artists like Taylor Swift, Dua Lipa, Olivia Rodrigo or similar phenomenal artists. This needs to change. The music industry is only at its stronger when it fully embraces…

THE importance of diversity.

FEATURE: Spotlight: NXKXTA

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Olivia Brissett

 

NXKXTA

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HAVING recently heard her…

PHOTO CREDIT: NXKXTA

played on BBC Radio 6 Music, I was instantly hooked and intrigued by NXKXTA. Someone who definitely stands out and is an artist with a long future, she is entering an Alternative Rock scene that, I think, is still not as supportive as women as they should be. Maybe still male-heavy, NXKXTA is definitely paving the way. Maybe it is unfair to categorise her and be so narrow. Her music is cinematic and astraddle genres. I am going to get to some interviews with her. First, here is a bit of background regarding the wonderful and empowering NXKXTA:

“NXKXTA is an alt-rock artist and visual storyteller creating cinematic songs inspired by art rock, post-punk, and indie pop. Originally from Germany and now sometimes based in London, NXKXTA weaves together haunting vocals, textured guitars, and pulsing rhythms as she explores themes of relationships, mental health, sexuality, and societal issues.

NXKXTA is set to release her highly anticipated debut visual album in 2024. Her latest single "The Likes of You" showcases her talent for immersive musical narratives and avant-garde fusion of sound and visuals.

With artistic vision underscored by her experience in fashion and creative direction, NXKXTA aims to spark important conversations and connect deeply with listeners through boldly vulnerable songwriting and vivid imagery”.

An artist who wants the listener to take away a sense of empowerment and inner strength, I want to start with an interview from SPINDLE. They spoke with the trailblazing NXKXTA last year about her music. The important and powerful messages that she is putting out through her music. Striking and unforgettable, this is someone who brings this amazing sense of the visual, visceral and vital into her songs:

“Having originally forged a path as a creative director, NXKXTA (Nikita) has spent most of her life perfecting and authenticating her artistic expression. Growing up in Germany, she moved to the UK tender age of 15, and ended up falling in love with the country’s alternative music scene. It wasn’t until the Covid-19 pandemic that NXKXTA finally embarked on her musical journey, and with new release ’THE LIKES OF YOU’, it sounds as though it was meant to be. Preparing to release her debut visual album, NXKXTA is still vey much enjoying creating captivating visuals, which, similarly to her music, come straight from the human experience, never shying away from difficult topics. NXKXTA is all about creating immersive experiences, with no dramatics spared. We had the opportunity to speak to the multi-talent about her new path as a master in sultry art-rock….

Hey NXKXTA! For anyone new to your music, give us three words to describe it.

Empowering, Seductive, Cinematic.

Congratulations on your new single ‘THE LIKES OF YOU’. The video is stunning. What inspired the song and visuals?

Thank you! The song is based on a Russian saying “suitcase without a handle”, which describes something that is a pain to carry around but a shame to throw away. In this case I use it to narrate a relationship that you know has run its course but feels too hard to let go of. When you still love the person, but you also deep down know it’s over. My concept for the video was to depict a mixture of intimacy and pain between myself and actor Freddie Dadson, who is basically playing the human version of the ‘suitcase without a handle’. Additionally, you see me struggling with an actual broken suitcase while also cradling it and holding on to it for dear life. The video was directed by the wonderful director Kassandra Powell and shot in various locations around London.

You first made a name for yourself as a creative director. What made you want to take a side step into music? Do you feel as though the two go hand-in-hand?

Definitely! I think music combines everything I love to do creatively and offers me so much space for collaboration and exploration.

You’ve also announced that there will be a debut visual album! What can you tell us about it?

The album is titled ‘7’. The number has a special meaning to me, as it’s my Enneagram type and the self-reflection I did around that was a catalyst during the writing process of the album. All of the songs were produced by Steven Graham Ansell (Blood Red Shoes) and one of them was also a collaboration with Will Vaughan (Universal Music). It’s 7 songs and 7 videos that symbiotically come together as a body of work. They are collaborations with different creatives and shot in various countries. I want to take the audience on a visual journey and really dig deep into the cinematic energy of my music.

Who are you most inspired by in terms of musical and creative visionaries?

Every element of my work is inspired by so many artists, so that would be a long list! But to keep it as short as possible: Timber Timbre, Leonard Cohen, Unloved, Nick Cave, Warhaus & The Kills were the music artists that inspired my sound and lyrics the most. Performance wise I’m drawn to artists who put on a show that feels raw, authentic and seductive. The first artist and performer that I looked up to as a kid was Janet Jackson. Other performers whose live shows I have admiration for are Eartha Kitt, The Cramps, Florence + The Machine, Madonna, Aerosmith and FKA twigs. In terms of the visuals, David Lynch was a huge motivating force. I adore his intelligent approach of dark themes and value how he immerses himself into a thoroughgoing idea and vision instead of today’s very popular trend driven approach”.

Men with this behavioral complex desire a sexual partner who has been degraded (the whore) while they cannot desire the respected partner (the Madonna). Being branded as the angel or the temptress plays out in a teenage girl’s life daily, as they are navigating purity culture that’s contrasted by constant public slut shaming.

In movies they see teenage actresses cast as a love interest to adult men. In the media, teenage boys are being explicitly, obscenely and sexually discussed by grown adults. Few people are aware that it’s been scientifically proven that the teenage brain is very mouldable and it inevitably makes them a target. The thing is that now that I know that, I cannot un-see it. I notice it everywhere around me and even recall my own memories through a very different lense.

I remember one night we went to this bar with my fellow classmates and a handsome, but much older guy started chatting to me. He asked my age and upon finding out I had just turned 16 told me that I seemed ‘so mature for my age’ but still had this ‘beautiful Lolita energy’. It was the first but not the last time that a man referenced Novikov’s book to me, fetishising my youth. Fellow millennials will remember how common it was to start frequenting clubs underage, as ID checks were a lot less strict when we were teenagers and how back then a comment like that would have likely not rung any alarm bells for our teenage brains”.

PHOTO CREDIT: Damian Noszkowicz

I want to include quite a large chunk of STRAND and their interview with NXKXTA for the start of this year. As we are heading through 2024, it is clear that this artist is not slowing down when it comes to tackling and speaking about things other might not. Highlighting some ills and dark subjects. Tackling inequality and fighting to make sure women are treated better. An admirable and strong voice in music we need to get behind:

“On the subject of filming, I’m reminded of a previous interview between NXKXTA and Spindle Magazine, where she’d mentioned admiring filmmaker David Lynch for his “thoroughgoing vision” compared to today’s “trend-driven approach” to making art. Given her almost 100-thousand Instagram followers, she’s no doubt an authority on the latter topic herself — so I ask her what she thinks about the current need to churn out social media content as a creative, particularly within the music industry. “For some people social media is an amazing opportunity. For others, it's just an extra level of stress. Right now, artists are just under so much pressure that it's not realistic to handle everything, and there's very little support.

“I honestly think we’ll see real repercussions from it. So far, it's been glamorised too much and regulated too little. Social media as a concept is good, but at the rate it's going right now, it’s a bit like the Wild West. The rules and algorithms could change tomorrow, and we’d just have to deal with that. It’s just not healthy, and it’s not sustainable.”

PHOTO CREDIT: Damian Noszkowicz

The other side of the industry which NXKXTA admirably takes a stand against is its exploitation of young people. A recent piece she penned for Come Play With Me Magazine denounced the “fetishisation of youth” in our society, and how people are quick to take advantage of the vulnerability which comes with it. As the team working on the STRAND X FEMMESTIVAL showcase are all in our early 20s (even if we do feel our bones creaking on the regular), I’m eager to hear her further thoughts on the topic. “Personally, I love working with younger people. It pisses me off that the industry is structured in a way that really doesn't protect people enough. As a young person, you're so dependent on the people you're working for; you often idolise them because you've seen them do great work. The problem is they completely use that.

“They make you work twice as much for as little pay as possible, if any. And then also quite often don't give credit to you, or celebrate you. People need to demand a change, and I think the generation below me actually has the guts to do that, so I'm hoping and praying that things will get better — because they really need to.”

The Come Play With Me piece isn’t the only piece NXKXTA has recently had published, though: readers of the Big Issue will have seen her powerful op-ed on the over-sexualisation of young women. I ask her about the inspiration behind the article, and what she hopes young women and femmes will take from her work, which has no doubt left a big impact on them already.  

PHOTO CREDIT: Damian Noszkowicz

“I think if my message to young women and femmes was to be distilled to one word, it would definitely be empowerment. By that I also mean taking back your power from everything that’s been weighing you down. The biggest lesson for me was that, instead of pretending all the things I went through weren’t affecting me, I’d just lay them all out on the table. I wanted to take my power back and use the darkness, the pain, the frustration, as a way to encourage other people to and to connect with others. My goal is to eliminate the whole idea of competition among women, and instead push the collaborative aspect of things. We need to get together as women and stand up against all the bullshit.

My music is just a constant fight for equality, really. It’s a fight for empowerment and a safe way to be a woman, no matter what that represents. All of us should be able to exist safely in the world.”

The released singles from NXKXTA’s upcoming debut album, ‘7’, all harness these difficult experiences and transform them into a source of empowerment. Gorgeously cinematic visuals and slick instrumentals provide the backdrop for her charged lyrics, packed with Easter eggs, references and multilingual plays-on-words. 

“I would call the album a taster of what I have to offer as an artist,” she explains. “Every song is a different facet of myself. All of them involve quite intense topics, but they're presented in very different ways. For example, there’s ‘VERBAL VENOM’, which is quite mellow, dark and mysterious; it's very cinematic and has a lot of sound effects. Then there’s ‘EPHEBOPHILE’, which is very raw and intense. It’s about spreading the knowledge you have about what someone’s done to you, so they won't have that power over other people either. And then you've got ‘THE LIKES OF YOU’, which is the sweetest and softest song, and it has an intimacy to it.

As for the last two unreleased songs: one of them is about consent, and the other one is about eating disorders. I saved them for last on purpose, because I wanted to have time to put them out there in the way that they need to be presented. I shot two beautiful music videos for them, with actors involved, which were the biggest productions I've done to date. I’ve been approaching the album like a short, informative film, which can connect with the audience and make them feel less alone. We're usually too embarrassed to actually push these topics out there and talk about them, so that’s what I’m trying to do.”

I’m looking forward to hearing her perform her new material live at our showcase, I tell her. Is there anything else we should expect from a NXKXTA live performance, I add? “With my performances, I always wanted to be the freak show, so that everybody else can just be themselves, and think ‘no matter how freaky I get, Nikita's freaky already, so it’s okay’.” She laughs. “I want my performances to be a safe space, and a liberating experience.”

She elaborates: “I remember when I was younger, I used to always go out and dance with friends. I’ve loved dancing since I was a kid, and even when I was underage I started going into nightclubs. I wasn't even drinking, I just wanted to dance. I always felt, though, that you were so objectified as a woman when you were dancing. You’d be constantly treated like it makes you cheap, and undermines your status. At the same time, it’s acceptable for performances like burlesque: when it’s on a stage and when Dita [Von Teese] is doing it. Meanwhile, people criticise strippers, for example, who are technically doing the same thing, just in a slightly different way.

“I always wondered about where we draw the line of what we consider acceptable or unacceptable, and I think in that area, women, non-binary people and femmes always lose out. We're always put into a box, and have to appeal to the male gaze. So what I wanted to explore with my performances was what it meant to be sexy on my own terms. I asked myself, if I was to envision the most confident, exciting and wild version of myself as a persona, what would she be like? What would she do? How would she act on stage? And that's really what it is. It’s an exploration of being seductive but also cheeky, but also having fun with it. And it’s a bit ‘out there’ in a way that as women we’re constantly forced not to be. The stage offers that sense of liberation for me, and my goal is to create that experience for people watching as well. So they feel they can ‘let their freak out’. I want them to have a good time and feel safe within that framework”.

I am new to the sensational and thoroughly arresting NXKXTA. I am compelled to follow her this year and share her music whenever I can. Someone that should really be played and known to all, I think, when an album arrives, more and more will discover her music. Someone I can also being on the screen and being involved with film. The brilliant and essential NXKXTA is one of the most exciting and important names of this year. A wonderful person we all need to embrace. If you have not discovered NXKXTA, then make sure that you…

CHECK her out now.

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Follow NXKXTA

FEATURE: Spotlight: Scene Queen

FEATURE:

 

 

Spotlight

 

Scene Queen

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I am going to spend…

some time with the amazing Scene Queen. Born Hannah Collins, the New York-born artist signed to Hopeless Records. Scene Queen is known for the style ‘Bimbocore’: a subgenre of Metalcore with feminist themes. Scene Queen came to prominence through TikTok, where she has amassed over 626,000 followers. Her amazing debut E.P., Bimbocore, was released in April 2022. Its wonderful follow-up E.P., Bimbocore Vol. 2, was released in November 2022. I think that she is an artist to watch very closely this year. Someone that everyone needs to be tuned into. I am going to come to some interviews from last year. Prior to that, I am heading back to the end of 2022. Scene Queen spoke about her Bimbocore Vol. 2 E.P. Rockin’ Interviews spoke with an amazing rising artist about her captivating music:

“Scene Queen is the emo, glitter-covered heavy metal brainchild of 23-year-old Hannah Collins. After blowing up on TikTok and pioneering a new genre Bimbocore, she released her debut EP early 2022. Following the release, she took Scene Queen to the next level – stages all over the world. Opening for acts such as Palaye Royale and Wargasm in addition to her own headlining shows, Collins has become the epitome of feminism in the heavy music space.

Rockin’ Interviews – How are you?

Scene Queen – I’m back and more Bimbo than ever. (So good)

Rockin’ Interviews – Releasing Bimbocore Vol. 2 only seven months after your debut EP Bimbocore, I was wondering what the writing and recording process was like? Did this follow up EP come together very quickly or was it always the plan to release them so close together? 

Scene Queen – I wanted to write an albums worth of music, but had only put out one song prior to getting signed, so I figured it would be best to get my music out there in segments that way I could grow a fan base and actually have them around by the time all the music was out. So for Vol 1 I wrote 9 songs so I had three ready to go by the time I got around to writing Vol 2.

Rockin’ Interviews – How do you feel you’ve grown as an artist since your debut EP? 

Scene Queen – Honestly, I think my confidence in myself has grown almost as quickly as the project itself. Which is something I never thought would happen. I feel so much more sure of the message I’m bringing and my own writing voice. I mean you can even visually see that in the music videos, the way I carry myself in camera like I’ve been holding my head just a little bit higher and more willing to take risks.

Rockin’ Interviews – What was it like working with MOTHICA on The Rapture (But It’s Pink)? 

Scene Queen – I wrote The Rapture to be on Vol 1 but ended up scrapping it because it just didn’t feel like it fit. I ended up posting the song on TikTok as part of a “songs I cut from the EP” series and fans loved it. I still wasn’t going to put it on the EP though because I just felt like something was missing even though I LOVED the message of the song. Fast forward a few weeks and I get a text from MOTHICA saying she wanted to be on it. It had been so long since I wrote it that I forgot I had sent it to her casually because I was proud of it. MOTHICA brought a whole new life to the song and was 100% the part that was missing all along. So, in hindsight I’m really glad I scrapped it because nobody would’ve gotten to hear her on it

Rockin’ Interviews – How and when did the aesthetic of Scene Queen come to be?

Scene Queen – I grew up around emo music, cut my own side bangs with kitchen scissors, wore rubber bracelets etc. but from college onward as a surprise to no one I dressed pretty feminine. Especially around the time I was in a sorority. Before Scene Queen came to be, I dropped an active rock song and was just my blonde girly looking self. The comments I got were filled with men saying I was too “prissy” to make that sort of music and it sparked a rage in me. I was already switching up my sound at this time, but I made a promise to myself that I would make my branding as overtly feminine and pink as humanly possible because I never want another woman to look at my project and have to wonder if it’s a place where they’re accepted. You can visibly see my message. Also I wear pink quite literally every single day so it’s perfect”.

Fem Metal spoke with Scene Queen early last year about her then-new single, 18+. It is a brilliant song but one that conveys quite a dark and disturbing message. Concerning some heavy themes. To Scene Queen, it is important to convey truth and speak about these things. That idea of predatory men in bands. Women feeling unsafe and open to abuse:

“Great! You are about to release your new single “18+”. What was your inspiration behind the song and what is the message you’d like to convey through it?

I’ve been in the alt scene since I was a kid. I’m almost 26 now and working in the scene finally and realized how much of how I have to carry myself in this scene was affected by the subject matter of 18+. The alternative scene is meant to be a safe space but for the longest time, I’ve felt like as a woman I have to always watch my back, never get too comfortable, and guard myself around men. But so much of that is stemmed by things I experienced as a teen. So this song is my first real criticism on the scene I love so much. And talks about all the trauma I’ve faced in my work life and teen life in the industry.

That’s brilliant. I have a bad habit of reading comments, and I noticed some people commenting on posts by musicians who decided to sound their opinion on political or social issues through social media saying things like “stick to music and stay away from politics”. As an artist whose music is directly connected to a social movement, what is your opinion on the notion that “musicians/celebrities should not sound their political or social opinions”?

I think this is the most outrageous opinion you could have about musicians. I don’t talk about politics in a song and my song is too mainstream sounding and I’m an industry plant. I make a song too political and suddenly I’m disrespectful of the scene. The entire joy of making music is writing how you feel. I will never since a song that’s not how I feel. Whether that be political or if I just feel like making jokes that day. My brain is in the DNA of my songs.

We live in an era where social media has become essential for musicians to reach fans and promote their music. In your opinion, what are the cons and pros of social media having all that power in the music industry?

I think social media is great in the sense that it allows artists to reach all corners of music and the internet so for genre-bending artists like me where it would be harder to grow on tours that focus on one style it’s extremely beneficial. On the other hand, social media is ever-changing so even tho I spend most days glued to my phone I’m still worrying about the next thing. So it’s definitely a bittersweet time for musicians.

Many of our readers face sexism on daily basis. What advice would you give young people around the world who face any kind of discrimination?

Nobody’s opinion of you has any reflection of your abilities. As unfair as the world is to certain groups, I think it’s important to remember that the people telling you no have had to deal with half as many no’s so they have half as thick skin. At the end of the day, your strength is so much greater. And if you have the ability to speak up please remember that your voice always matters even if when the people in your immediate space don’t hear it”.

I want to move on to DORK and their chat with Scene Queen from last August. Reacting to some of the reception of 18+, she noted how anything worth doing is going to come with a degree of backlash and controversy. She is someone delivering such important songs. Rather than shy away, her music does deal with some of the more unsettling themes:

“After releasing two editions of her ‘Bimbocore’ EPs back in 2022, Scene Queen (real name Hannah Collins) established herself as a giddy force that wasn’t to be messed with. 2023 single ‘18+’ only underlined that fearsome attitude. A ferocious call-out of the predatory behaviour of men in bands, the track continues to cause waves.

Her label, Hopeless Records, did warn Hannah that the track was going to cause backlash and people were going to get mean. “Anything worth doing is going to come with controversy,” she explains, with the label backing her whole-heartedly.

Inspired by the awful things she witnessed as a teenager in the Midwest scene, ‘18+’ sees Scene Queen carry out her mission to make any show she plays feel like a safe space. Clocking up over 3 million streams, it’s clearly resonating with people. “I left it broad enough that it could apply to any number of bands,” explains Hannah. “The unfortunate fact it’s connecting is proof there’s clearly an epidemic within the scene.”

The track will feature on Scene Queen’s upcoming debut album, which will be released as soon as she’s able to. “I hate waiting to put out music,” she says. It’s not finished, but she has a vision. “’Bimbocore’ is always going to be the vibe musically,” she explains. “I love the contrast between super girls vocals with heavy guitars or screaming over a twinkling track. My whole thing with the hyper-femininity is to show the strength and power within femininity. It’s also a fuck you to misogynists, so I’m keeping that attitude, but not every song will be called ‘Pink something’. It’s more of a concept album,” she promises, with ‘18+’ fitting into the “theme”.

PHOTO CREDIT: Frances Beach

Hannah goes on to explain that humour is everything when it comes to delivering the message of Scene Queen. “The easiest way for me to digest things and process them is to have them delivered in a jokey way.” It’s why songs like ‘18+’ and ‘Pink Rover’ (“a song written to explain the rage I feel towards a society that allows women to be treated the way that they are”) are full of so many smirking one-liners. “If you come into something too seriously, people will back away and miss the message.”

“When I started this project, I never knew it was going to reach the scale that it’s got to, but I always knew I wanted to shift the scene a little bit,” she continues, with her debut featuring a variety of collabs with female artists. “I just try to be as loud and out of the box as possible because somewhere down the line, there’s going to be a girl that does the type of in-the-box metalcore that people think is acceptable, but it’ll be that much easier for her. I’m cool with taking the hate,” she adds with a smirk.

But more than hate, Scene Queen is inspiring a whole lot of love. “The thing I’m most proud of is feeling like I’ve been able to foster this little community within my music,” she beams, already looking forward to a return to the UK for her biggest-ever headline shows in October. “Every time I come here, I have an exceptional time”.

In October, Metal Core spoke with Scene Queen. A pioneer of Bimbocore, she was also touring the U.K. and getting some first-hand love from fans here. She was asked about being pitted against other women, what fans in the U.K. were like, in addition to the missed opportunity of none of her songs being featured on the Barbie soundtrack:

“What’s your weirdest ambition?

“I want to do a Gathering Of The Juggalos [annual Insane Clown Posse festival] set, so badly! They’re gonna either love me, because they’re gonna get the ridiculousness of it, or they’re gonna throw beer cans at me which, like… I deserve it. You know? I need to be painfully humbled or have the greatest experience of my life.”

Could you walk us through the rules of being a Bimbo metalhead?

“Bimbos do not care about math but they do care a lot about human rights and politics – that’s important. Bimbos dress however the hell they want but, ideally, they dress insanely extra. Bimbo rules are quite literally to do and say anything as long as it’s beneficial to your mental health and the greater good of society. I feel like glitter and rhinestones are extremely necessary to my project.

It’s OK to be materialistic. Honestly, we’re all slaves to capitalism anyway, so you’re allowed to like to spend money egregiously if you feel the need to. Get a sugar daddy if you want one – you can be a girl boss and a sugar baby at the same time.”

It feels strange that we aren’t hearing a Scene Queen song on the Barbie movie soundtrack. If you had written something for that release, who would have featured on it?

“Oh, well, I mean it already happened! They have Nicki Minaj on it [with Barbie World]. You have to have Barbz on the Barbie soundtrack, for sure. Her or Ashnikko, I feel like we could make a very chaotic Barbie song, and also in general that’s just like a dream collab of mine. Probably something about expensive cars and stealing money.”

What’s your favourite memory of touring in the UK?

“I still, to this day, think about this one specific girl. This was the first time I played Reading and Leeds festivals, the first time I got to play Pink G-String to a big crowd. I asked people to open up the Twerkle Pit and immediately this girl kicks her leg and just drops into a split. I was like, ‘Thank God for the people in the United Kingdom, God save the Scene Queen.’ It was honestly so incredible”.

I will end with Kerrang! and their interview with Scene Queen from November. It is not about shock value and being explicit: it is about creating safe spaces for women and community. Making sure her music makes people feel heard and seen. There is also that electricity and sexuality that adds layers and depth to her music. A complete artist who is among the most important out there:

“Country is an extremely gatekept genre in general, and so is metal,” Hannah explains over the phone from her boyfriend’s house in Nashville. “I feel like both have these people that are like, ‘You shouldn’t be doing this, you shouldn’t be [in this genre].’ I was like, ‘This would be the perfect storm of irritating the people that I want to irritate.’

“It’s always been the joke of it all, [being] a conservative person’s worst nightmare. In general, metal, for whatever reason, has shown itself to be very conservative – it’s very not what rock is about, so I don’t really understand it. We were like, ‘Let’s be the antithesis of anything those people want to hear.’”

MILF was one of the first ‘fun’ songs Hannah wrote for the aforementioned debut album, titled Hot Singles In Your Area, which is set to land in spring next year.

PHOTO CREDIT: Megan Winstone

“I kind of forgot I was able to do songs that were meant to just be fun, because I was like, ‘I have all this stuff I need to say’, like with Pink Push-Up Bra,” she explains. “I get a little bit political, some of it’s about yelling at men who treated you poorly, a lot of break-up songs. The album has a lot of hot, sexy singles on it. I wrote it at a time where I was single and kind of reclaiming my sexuality, in a way, exploring sexuality, and knowing that initial timeframe in your life is going to be super-awkward and you’re going to have nightmarish stories, but that’s the whole fun of life – going through things you can make fun of yourself for later.”

Hannah jokes that the title was chosen because the album has “the hottest singles on it possible”, but it’s far more than a wink-nudge reference to the adverts on websites that you definitely don’t visit. It represents various dimensions to her Scene Queen identity – paying homage to Y2K culture, to the online world that launched her career, and also references the fact that her music “wouldn’t exist” without sex workers and how the internet afforded a way for sex work to grow exponentially.

“The twerkle-pit and those dance moves very much came from strip club culture, but now, it’s become so mainstream that women are very able to do sex work on their own terms,” Hannah explains. “I think working as a stripper is kind of how I came into my own in my sexuality. It was the first time I realised, ‘Oh, I’m hot, I can own my body and profit off of it.’ A lot of my fanbase are sex workers, too; some send me videos of them pole dancing to my songs. [The title] pays homage to a lot of people that my project could not exist without.”

Previously released singles 18+ and Pink Push-Up Bra are both set to appear on Hot Singles In Your Area, but fans are yet to pick up on the common thread between those titles and MILF, which runs through the entirety of the album.

“They’re very internet-themed porny titles,” smiles Hannah. “I feel like people will laugh when they read [the song titles] from top to bottom. I also wanted it to be kind of a nightmare for people to search my songs, because with those titles, a million things could come up. But also, you’re accidentally going to find my record 5,000 times because of the song titles. Some man somewhere who is not looking to find my record will accidentally stumble upon it. I want it to be an album that makes people feel empowered in some way to be themselves, or to reclaim themselves or whatever, but have so much fun while listening to it along the way.”

PHOTO CREDIT: Megan Winstone

As she grew up, Hannah would drive many hours to Cleveland every weekend to go to gigs, usually on her own. At those shows, she wasn’t just having the time of her life – she was looking at what she wanted her future to be. If she wasn’t going to be onstage, she’d be backstage, working behind the scenes. She went on to study music business at college in LA but hated it and dropped out halfway through, switching her focus to songwriting, but the call of the stage still proved impossible to resist. “I realised I wanted to stop waiting for other people to make me successful,” she says of posting her early music on TikTok, which almost instantly went viral. “It’s just been a massive climb since then and it freaks me out every day.”

It was the experience of escaping to the big city for shows that inspired Hannah to reach out to her own fans find themselves in the same position, attending gigs alone because there’s nobody else in their hometown who knows about the alternative world they’re so immersed in. She even created her own sorority, Bimbo Beta Pi, and inducts a number of people at each show on the condition they pledge to be a friend to anyone in the crowd who needs some company.

“I was like, ‘As an adult, if I’m going to start this fanbase, the most important thing is going to be the sense of community within it,’” Hannah reasons. “I never want people to deal with the same thing I dealt with, which is feeling like you didn’t fit in anywhere. Now, I’m very thankful that I play shows, people come by themselves, and then the next time I come through town, they’ll be in a group of seven friends that they made at that show. Small towns exist everywhere – going to shows in the city is an escape for so many people. Even if it’s three hours out of their whole week, I just want to make sure that it’s a time they feel completely involved and included in something”.

This year is going to be another exciting one for Scene Queen. A simply incredible artist that everyone should hear about, I am looking forward to seeing where she heads. Which festivals and venues she plays. Among those to look out for an add to your playlist, Scene Queen should be right up there! Hannah Collins’ pioneering of Bimbocore means that others will follow. Many women out there in music who are being influenced by her music. There is no doubt that Scene Queen is…

A huge voice in modern music.

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