FEATURE: 2024: Year of the Queens: The Continued Dominance of Women in Music

FEATURE:

 

 

2024: Year of the Queens

IN THIS PHOTO: Billie Eilish photographed for Vogue November 2024/PHOTO CREDIT: Mikael Jansson

The Continued Dominance of Women in Music

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IT seems that…

PHOTO CREDIT: Ahmed ツ/Pexels

every year brings about this shift and obvious change. Where once men were the critical favourites and the best song/album of the year lists were dominated by male artists, that has changed in recent years. In fact, the past five to ten years has seen this change. Even if this has happened, I still feel that misogyny and sexism within the industry is slow to change. I am thrilled that this year has been another one dominated by women. Even though single and album rankings are subjective, there is a consensus that the best of the best has come from women. This feature from The Guardian lists the best songs of 2024. The top five are from women. Some big-hitting queens getting some kudos. Few can deny that there is something shifting. The dominance of women is not instantly being reflected in terms of festival headline opportunities and playlists. I say this every year. I don’t think we are in a position when women’s quality and brilliance is being rewarded. I don’t know what needs to happen for that to change. If you think about the best singles of the year, even if they are by mainstream artists for the most part, the rest of the best has a lot of female artists in contention. Again, think about a feature like this. If there are male artists in the high positions of the singles/song rankings, it is mostly women who are higher in the mix. That is also mirrored in album rankings. Consider this one from Billboard. Also, this one from Rolling Stone recognises the dominance of women and the fact 2024 has been another one where women have been producing the best music. Most of the top ten of NME’s list see women taking charge. Of course, other sites put male artists higher up. MOJO had Jack White’s NO NAME at the number one spot. However, looking at all the rankings and counting the women included in the top ten/twenty and they are in the commanding position. As we see more rankings coming out, it is going to emphasis the brilliant women who have defined music this year. From Pop elite Charli xcx, Sabrina Carpenter and Chappell Roan through to newer acts, this year has been made so brilliant and reliably strong by women! There are a smattering of features that highlight artists to look out for in 2025. Again, women are very much dominating things. I don’t think that this is a spell that will end. A period where women are on top and that will change. I predict that women are going to be the industry standard for many years to come.

It has been fascinating seeing this shift. I don’t think it was a case of the past few years seeing women rise to the challenge. I always think women have been making the best music but have not been given the recognition and opportunities they deserve. Also, how will this change the industry going forward? I think we have to acknowledge that women are the absolute best of the best. In terms of the music and even live music. Most of the most captivating live sets and tours are from female artists. In 2025, we need to be aware of the gulf between the music being put out by women and the way they are treated by the industry. Earlier this year, reports came out that outlines how there is still massive discrimination and sexism. I don’t think that has radically changed since then. There has been small changes and steps forward, yet women are still undervalued and subjected to abuse and fewer opportunities. Festivals, the major ones at least, are still slow to balance their bills and book headline acts. With so many women in music facing discrimination, next year needs to be one for huge and lasting change. Understanding that sexism, discrimination and misogyny in music is still very much present and a massive problem. Sexism is rife through the industry. I wonder what it will take for things to improve. After such a fantastic year for music, where women have been high in the mix, this needs to lead to change. How they need to be respected. More than that, they need to feel safe and seen.

It is hard to see reports and testimony from women who say how hard it is for them. I understand that a lot of the best albums/songs you see ranked are from major artists. However, if you think about this year in music and look at it more widely, women from all layers and levels have been contributing. Will this lead to changes in terms of discrimination? How about festivals and where women are placed on bills? I would like to think things will instantly tip in their favour next year. However, in reality, it will take years. The industry need to be accountable and do better! Also, when I listen to radio stations, women are still very much an afterthought for many. What is obvious this year is how it has been another phenomenal one for women. They have been at the forefront. I think next year will see this emphasised even more. There are not many articles out there saluting women and given them props. I hope that this also changes. Whilst they do not want special treatment or to be seen as charity cases in a sense, I don’t think it would be that. Instead, it shines a light on the importance of women through music. How they need to properly valued. Many would argue that things are a lot better. I don’t think that they are. Things are still massively skewed towards men. There is still a huge issue with misogyny and sexism. Women will back that up. As will research. Also, when you think about all they give to music, why should they still have to be seen as inferior? It leaves me to salute the women of music. For all the tremendous work they have put out this year. It is going to be really exciting to see what queens of the industry give us...

NEXT year.

FEATURE: I Just Took a Trip on My Love for Him: The Beauty and Orchestration on The Man with the Child in His Eyes

FEATURE:

 

 

I  Just Took a Trip on My Love for Him

IN THIS PHOTO: Kate Bush in Tokyo in June 1978/PHOTO CREDIT: Koh Hasebe (Shinko Music/Getty Images)

The Beauty and Orchestration on The Man with the Child in His Eyes

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ONCE more…

I am turning to the pages from a recent edition of PROG. It went deep with Kate Bush’s debut album, The Kick Inside. Released in 1978 when Bush was nineteen, we get insights and perspectives on an incredible introduction. For this feature, I want to highlight one of the standout songs from The Kick Inside. The Man with the Child in His Eyes was the second U.K. single from the album. It reached six in the U.K. and three in Ireland. Bush wrote the song when she was thirteen and it was recorded in June 1975 when she was sixteen. An astonishingly mature and accomplished song, I am going to go into more depth about it for a future feature. Prior to dissecting some words from PROG, here is Kate Bush discussing the story behind one of her most loved songs:

“The inspiration for ‘The Man With the Child in His Eyes’ was really just a particular thing that happened when I went to the piano. The piano just started speaking to me. It was a theory that I had had for a while that I just observed in most of the men that I know: the fact that they just are little boys inside and how wonderful it is that they manage to retain this magic. I, myself, am attracted to older men, I guess, but I think that’s the same with every female. I think it’s a very natural, basic instinct that you look continually for your father for the rest of your life, as do men continually look for their mother in the women that they meet. I don’t think we’re all aware of it, but I think it is basically true. You look for that security that the opposite sex in your parenthood gave you as a child.

Self Portrait, 1978”.

Producer Andrew Powell spoke with PROG about his experiences producing The Kick Inside. I am really interesting reading what Powell thinks of Kate Bush now. His recollections from 1977 when her debut album was being recorded. He notes how Bush’s lyrical and melody work is incredibly sophisticated. Considering The Man with the Child in His Eyes was written when she was a schoolgirl. How Bush knew what she wanted from production. Many might think that Kate Bush was this inexperienced artist who was very young and was being guided by men in the studio and did not have too much say. Even though she did not produce The Kick Inside, she was very present and involved. Intuitive when it came to her music and what she wanted it to sound like. Bush pushed for The Man with the Child in His Eyes to be the second single. I think EMI were pushing more for Them Heavy People (which was released in Japan under the title, Rolling the Ball, and reached number three there). Not about The Man with the Child in His Eyes, but Andrew Powell recalled how she came in the studio for the first day of a session and played the first track to the band and personnel. They were all mesmerised. She had this instant and profound impact. When it came to The Man with the Child in His Eyes, Bush spoke with Andrew Powell about some of her influences. She was very keen to have a lovely and affecting orchestral part on the track. One of the most potent and memorable aspects of the song is the strings. In June 1975, Bush recorded at AIR studios – situated above the crossroads by Oxford Street and Regent Street, London – and one of the songs laid down was The Man with the Child in His Eyes. David Gilmour put up the money for everything and was mentoring Kate Bush. Making sure she got a professional recording and this early exposure to a studio. The version of The Man with the Child in His Eyes on The Kick Inside is what was recorded in June 1975.

Geoff Emerick was a big factor when it came to the orchestration on The Man with the Child in His Eyes. Perhaps best know for his engineering work with The Beatles, he did a wonderful job with the rhythm section and orchestra. I know Bush was nervous being backed by strings and it was this big occasion for a teenager. Something she had not done before, she rose to the occasion and delivered a spine-tingling vocal! Powell remembers how they did one or two sessions. He had a day between them to write the orchestral parts and do some overdubs. Bush did her part in one take it was all recorded live. You do get this feeling when listening to the track that you are in the studio with her. It is such an intimate and evocative performance. Bush was not phased working with someone as reputable and legendary as Geoff Emerick. In July (1975), David Gilmour took Bush’s tape to a listening session at Abbey Road with EMI’s General Manager, Bob Mercer. Even though Mercer was rightly impressed with such a determined, precocious and original talent, he was also a little wary of having such a young (potentially vulnerable) artist launch a career at that point. He did offer a deal: £3,000 and a four-year contract. The caveat – and thanks to PROG for their words; of which I am almost quoting verbatim – was that Bush would continue her studies and gain real-world experience for two years.

That took her to June/July 1977, which is just before Bush stepped back into AIR studios to begin recording the remaining eleven tracks on The Kick Inside (the album has thirteen tracks; The Saxophone Song was also recorded in June 1975 alongside The Man with the Child in His Eyes). I did not know that Mercer recommended Pink Floyd manager Steve O’Rourke to the Bush family, paid for piano lessons so she could refine her technique and, crucially, accompanied her to see a performance by Lindsay Kemp (who enjoyed a long friendship and creative partnership with Bush), who inspired and taught David Bowie. I am going to explore more of the PROG issue, because there is a lot of great detail about Kate Bush in 1977. Her performing with the KT Bush Band. A look at the very hot summer of 1976, where Bush would stay up to the early hours and play piano and sing – to the annoyance of one or two of the neighbours (as she kept her window open and her voice carried down the street). I wanted to spotlight The Man with the Child in His Eyes and the orchestration. The beauty of the song. Andrew Powell’s recollections all these years later. Such a remarkable song that still sounds utterly entrancing and overwhelming to this day. Did she know in 1975, when she stepped into AIR studios, that this song would take on a new life?! It would have been brilliant without orchestration, though it is the strings that really add something. They compliment her voice and piano. Such a gorgeous song that still moves me every time I listen to it. When I think about The Man with the Child in His Eyes, I imagine Kate Bush in a studio performing backed by an orchestra, one wonderful day…

IN June 1975.

FEATURE: From East Wickham Farm to the Far East: Inside the Cover Shoot for Kate Bush’s Debut Album, The Kick Inside

FEATURE:

 

 

From East Wickham Farm to the Far East

Inside the Cover Shoot for Kate Bush’s Debut Album, The Kick Inside

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THIS is this the first time…

IN THIS PHOTO: Kate Bush in an outtake from The Kick Inside’s cover shoot showing the metal bar and ropes that were constructed for the shot

I will dip into a recent edition of PROG that features on its cover the central image from Kate Bush’s debut studio album, The Kick Inside. Even if many consider the cover to be less impactful than future albums, one cannot deny it is intriguing and eye-catching. I shall come to a section in that PROG edition where we dive inside The Kick Inside. Words from the man who was responsible for photographing Kate Bush for the cover of The Kick Inside. To me, a debut album from Kate Bush should have her front and centre. Her face very much visible. Also, I wonder why there are suggestions of Asia and the Far East in the cover. Sure, Kate Bush did visit Japan in June 1978. She had an audience there, yet there is little within her debut that suggests relations and correlation with Asia. A dragon image on a kite. Bush hanging from some bars. It is definitely an alluring and unique image. I wonder how many people discuss the cover for The Kick Inside when they think of the album. One can objectively say there are finer covers on Never for Ever (1980), The Dreaming (1982), Hounds of Love (1985) and even 1978’s Lionheart. Standout because they either feature Bush in this image that reflects something within the album or on a theme. Maybe because there is this composition that tells you what the album is about. If you think about the album cover of The Kick Inside, does it really indicate what it on the album in terms of themes and sounds?! Perhaps the kite is a direct reference to a song from the album called Kite. There is a fierceness, confidence and sense of command on the album cover. The suggestion Bush is hanging from a kite from far above. This warrior or strong women commanding the sky.

I am going to highlight an article from page thirty of PROG where photographer Jay Myrdal discusses working with Kate Bush. It is interesting that there is another Jay in Bush’s life. Her brother John shortens his name to Jay. He was also photographing his sister in 1978, so it is cool she had two Jays working with her! Although Jay Myrdal’s association with Bush was temporary. Though it would have been a treasured time. If you think about Kate Bush’s other album covers, when it came to shots of her, it was mainly her brother photographing. Even if Gered Mankowitz photographed the cover for Lionheart, John Carder Bush took the cover shots for The Dreaming, Hounds of Love and The Sensual World. Never for Ever features artwork from Nick Price. You know the background of these talents. Jay Myrdal’s background is interesting to say the least! He arrived in England from the U.S. army in 1965. Always wanting to be a photographer, he started to make money ion 1968 where he was taking shots of naked women for men’s magazines of the day. By 1977/1978, Myrdal was transitioning into advertising. The cover shoot for The Kick Inside in 1977 (I am not sure of the exact date but, as the album was released on 17th February, 1978, I assume the cover was shot a little while before that) was an interesting time. Despite Myrdal’s background, the cover for The Kick Inside is very tasteful and restrained. Despite Bush sort of being buried a bit, I think the composition and design is good. Rather than Myrdal’s kite photographer being centre right, it would have been better focusing in on that image and making it much more central. The cover compromises Jay Myrdal’s photo right of centre. Flashes of red and black on a cover that is mostly orange and yellow. A big eye on the left-hand side of the cover that reaches to the centre. On the top-right is ‘Kate Bush’ and ‘The Kick Inside’ in a font that suggests Asian influence. I do like the colours of the album but I contest Myrdal’s photo concept should have been given more weight and prominence.

IN THIS IMAGE: Del Palmer’s original concept sketches for his flying man kite illustration

It does seem like this slightly random pairing. Jay Myrdal was recommended by EMI art director Steve Ridgeway. Myrdal was sent a tape of Bush’s music before the shoot. Whilst he feels it is accomplished, he did also feel it was shrill. A case of an American being very slow to connect. The country in general took so long to ‘get’ Kate Bush! Whilst it is a bit insulting he was not keen on her music but got to photograph her, he did at least get some inspiration and feel from the music when it came to his concept. As Bush was relatively unknown and a teenager, there were no real expectations when it came to cover. No other albums to reference. Jay Myrdal’s studio was in Paddington, London, and he got a visit from Kate’s father Robert the day before the cover shoot. Dr. Bush constructed a small kite using sticks and paper to give an impression of what was required for the cover photo concept. Jay Myrdal working off a rudimentary and lo-tech model and imagining something bigger and more real. The initial kite concept art by her then-boyfriend, Del Palmer. I never knew that the giant eye on the album cover was a reference to Pinocchio where Jiminy Cricket floated pasted a giant whale’s eye (looking for a swallowed friend). Bush referenced Pinocchio at other times in her career. The Dreaming’s Get Out of My House nods to it when Bush and Paul Hardiman donkey-bray (or ‘Eeyore’). It is a reference to Pinocchio (from the 1940 Disney film of the same name) and Lampwick being turned into a donkeys. Myrdal told EMI he was shooting the photo on a black background but didn’t know the final image would be a yellow/red backdrop. As such, Bush’s legs look a bit dirty.

 IN THIS IMAGE: A still from Walt Disney’s Pinocchio (1940)

When it came to the day of the shoot, Bush was very hands-on. Polaroids were taken. Bush was taken into makeup and gold paint was applied to her skin. Very involved with the cover shoot and its look, it showed how keen she was to be involved with the entire album process. A very visual artist, Bush was then posed hanging from a silver bar in front of one of the black struts on the kite. It was easy for the EMI art department to comp out the bar so that it would not be visible and look like Bush was hanging from one of the black struts. When the shoot was done, Jay Myrdal went to his next job. Thought quite a quick process, it does seem like fantastic experience. I would be really interesting knowing about other album covers and what the creative process was. What it was like putting everything together! Jay Myrdal told PROG how Kate Bush visited his studio a few other times. One when she was visiting Syco Systems – which was across the road in London Mews – with an eager and excited eye on their synthesisers. Later, she would acquire a Fairlight CMI. The seeds and fascination planted years earlier. Bush also picked up the kite on another visit. Myrdal knows that the cover for The Kick Inside is striking and has a lot of fans. He still feels the comping issues are too obvious. To him at least. Not as perfect as he’d hoped. However, the fact that he was charged with photographing Kate Bush for her debut album is a huge honour that cannot be erased! The fact that The Kick Inside has appeared quite high in some best albums cover features is not lost on him. Jay Myrdal not knowing at the time how big Kate Bush would become. He is proud to have been a small part of her career. Because The Kick Inside is my favourite album ever means I am really interested in the cover and details about it. Even though various other covers were used for international versions of The Kick Inside (including a Gered Mankowitz photo for the U.S. cover where Bush is in blue jeans and has this great expression on her face). You can see it in this feature from 2018 that celebrated the iconic kite cover for The Kick Inside. If you are a fan of the Jay Myrdal photo and eye/kite combination on The Kick Inside or you prefer international versions, you cannot deny that the U.K. cover…

IS timeless.

FEATURE: Kate Bush: The Tour of Life: Why Did the Icon Dismiss Her Earliest Work?

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Kate Bush: The Tour of Life

IN THIS PHOOT: Kate Bush in 1979/PHOTO CREDIT: Gered Mankowitz

Why Did the Icon Dismiss Her Earliest Work?

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AS I am spending some time…

IN THIS PHOTO: Kate Bush in December 1979/PHOTO CREDIT: Alamy

looking at Kate Bush’s first couple of albums…or more specifically her dazzling debut, The Kick Inside (1978), I was thinking about her attitude towards her earliest work. I know a lot of artists sort of distance themselves from their early work. Feeling that it is not representative of them. I wonder if Kate Bush has softened her position when it comes to her first album or two. In fact, I feel she has suggested her first three or four albums are not up to her best. She embraces 1985’s Hounds of Love and I guess there is that sense of respect for The Dreaming (1982). If she was worn out at the time and pushed herself hard for that album, I feel she is kinder towards it than she is her debut and remarkable follow-up. I suppose the press image and perception didn’t help. Kate Bush often ridiculed and belittled. Maybe by pushing away her early albums, it is partly because of things attached to the promotion. How she worked so hard and often had to face sexist, misogynist and disrespectful interviewers. It was a hard time in many ways. Perhaps she was looking objectively and could see how her music evolved. Maybe not in control as much when it came to the process and production. Less of the driving force. It wasn’t really until Hounds of Love when she found that perfect balance. Truly happy making an album. I don’t think that she has anything to be sorry about in terms of the material! The Kick Inside is my favourite album ever. I think that her demos pre-The Kick Inside are phenomenal. I also really love Lionheart and Never for Ever. Some of the best music of her entire career. Think about how fame had engulfed Bush’s life. Andrew Powell – who produced The Kick Inside and Lionheart – said how Bush would offer to do a sandwich run when people in the studio were hungry. She offered to go out but had to be accompanied by someone as she would get mobbed!

That would have been quite a deflating and scary thought. Also, ‘assisting’ Andrew Powell with production on Lionheart. She wanted more say and credit, so I can appreciate how Bush has this difficult relationship with her first couple of albums especially. It was a very busy time for Kate Bush in 1978. If she had been given more distance and time, would she feel differently about her first two albums?! Maybe it was unavoidable. Wuthering Heights’ chart success meant that there was instant demand for a follow-up to The Kick Inside. Most artists would release an album a year or so after their debut. Bush put out her second studio album nine months after her debut. In between all of this was promotion around the world. One can view her opinions towards each of her first two albums differently. The Kick Inside was a happy recording and she had plenty of choices for songs. Perhaps not being able to produce or input as much as she hoped led to some disappointment. Wanting to be more of the architect and guiding voice. She maybe saw herself as the singer whereas others, especially Andrew Powell, called the shots. For Lionheart, it was all rushed. With time to only write four or so new songs, she had to include songs on Lionheart that were not deemed right for The Kick Inside. Bush almost forgot she wrote the masterpiece, Symphony in Blue. The opening song on Lionheart, she remember the title but was not sure what she was thinking when she wrote it. This kind of brushing off of a wonderful song! Similarly, Bush dismissed Oh England My Lionheart. In some interviews she did say it was her favourite on the album bur she soon came to almost resent it. Feeling it was embarrassing or a weak track.

Bush was always hankering to produce. She didn’t like being produced by someone else. She picked up enough of what happened in studios from two albums to have the confidence to produce Never for Ever, which she did alongside Jon Kelly. 1980 was a fresh start. Her third studio album arrived just over nine months into the new decade. Even so, and with more control over the output, Bush has not really spoken much about Never for Ever. Perhaps she felt it was her best album at the time. Less rushed and with time to include new songs, it did seem like a new chapter. By all accounts, life in the studio with Kate Bush was a very happy and familial one for Never for Ever. It reached number one in the U.K. and spawned successful singles like Babooshka. However, one gets the feeling Bush was still not happy. Still finding her voice. The bridge between her first two albums and their defined sound and the more experimental and confident sound of her fourth and fifth albums. Her third album was neither a compromise or misstep. Maybe Bush did feel that she was still evolving and was not quite where she needed to be. The fact that she has dismissed Lionheart and had some unhappy retrospective comments about The Kick Inside should have been corrected with Never for Ever. However, was she truly satisfied until Hounds of Love arrived?! Bush dismissed the early part of her career as light and bland, lacking that edginess of her Punk contemporaries. If she was a true original of the late-1970s and early-1980s, perhaps she felt like she was undervalued or not being taken seriously. The Dreaming was a tougher and darker album but it took too much out of Bush. Hounds of Love has quite a masculine energy with a lot of percussive punch. However, it seemed to be the album where everything coalesced for Bush. Sounding future-looking yet contemporary, she produced music that had edge as well as beauty. Producing solo and seeing her album soar the charts around the world, did she really feel her career started in 1985 rather than peaking?!

It is not to say Kate Bush dislikes her third and fourth albums and feels her first two are worth writing off or not representative of who she would become. I think it is unfair to write off The Kick Inside and Lionheart as light or lesser to what was being released around it. Yet, Bush has not given much retrospective nod to these albums. 2011’s Director’s Cut took songs from 1989’s The Sensual World and 1993’s The Red Shoes. Even if her first couple of albums were covered during 1979’s The Tour of Life, Bush didn’t include any songs from those albums for 2014’s Before the Dawn. Never for Ever and The Dreaming unrepresented either. Bush taking songs from Hounds of Love forward. It is such a shame that two entire studio albums are largely untouched when it comes to live work. Bush has reissued her studio albums more than once. She wants people to appreciate The Kick Inside, hear Lionheart and buy Never for Ever and The Dreaming. If Bush ever does archive again and unearths and performs once more, is there any chance her earliest albums will feature?! It seems unlikely. I don’t know if she wants to think back to 1978. One can understand it was a while ago and she has moved on, though I think it runs deeper than that. Her attitudes towards the music impacted by the lack of control over the albums and the way she was promoting endlessly. How the media perceived her and how Bush was unable to commit to writing many new songs for her second album. For that reason, I do feel that fans should give love to her first four albums. Particularly 1978’s The Kick Inside and Lionheart. They are tremendous albums that I hope do get some spotlight in the future! Maybe live work is a long shot, yet one hopes songs from the albums appear in films and on T.V. That Bush is asked about the album and has fonder memories. That she no longer sees them as inessential or throwaway. Far from it. Her earliest work is perhaps her most revealing and interesting. An artist growing but already fully-formed. This icon should never…

SELL herself short!

FEATURE: T.V. (Almost Killed the Radio Star): Kate Bush Alone on the Stage Tonight

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T.V. (Almost Killed the Radio Star)

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

Kate Bush Alone on the Stage Tonight

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FOR the final run of Kate Bush features…

IN THIS PHOTO: Kate Bush on Saturday Night Live. on 9th December, 1978/PHOTO CREDIT: NBCU Photo Bank/NBCUniversal via Getty

in 2024, I want to take things back to the start. Looking around her debut album, The Kick Inside, and various aspects of that time. 1978 and what she was doing then. Thinking about The Kick Inside and especially the debut single, Wuthering Heights, there is so much to discuss. Kate Bush’s first T.V. appearances focused on that song. There was so much demand and allure. A song like no other, it is understandable networks and T.V. shows would want to bring Kate Bush to the screen. Her first U.K T.V. appearance was almost her last. In the sense it was a disaster. This radio star at that point – or someone most people knew from the radio – was on Top of the Pops. This was a big moment for her. With her debut single climbing the charts and it very much being this song destined for something huge (it reached number one), there would have been excitement around Bush appearing on Top of the Pops. She would have seen artists she loved like David Bowie and Elton John on the show and dreamed of one day being there herself. Whilst she would have loved to have performed with her group, the K.T. Bush Band, that was not to be. If she wanted people like Del Palmer and Paddy Bush to be on the stage or nearby for moral and musical support, the rules of Top of the Pops meant she could not perform with a band as a solo artist. She had to be backed by the BBC orchestra. Not exactly suitable for Wuthering Heights, she took to the stage for that debut U.K. T.V. appearance with fear and annoyance. Not being able to perform with her players, she had to get through what should have been a highlight with almost clenched teeth. The nineteen-year-old was a true professional even then and gamely completed the performance. It would have been exciting and memorable for those watching, though it was a moment to forget for Kate Bush.

<

Someone who was a very visual artist and wanted her songs to be brought to life, she would have hoped for a smoother transition from radio to T.V. Her first T.V. appearance came before Top of the Pops when she performed in Germany. Playing her debut single, she was backed by scenery that included a volcano. That misreading of what Yorkshire looked like and how to backdrop a song set to Emily Brontë’s debut novel, together with the Top of the Pops fiasco, was her jumping into the deep end and being left to flounder! However, things did get better. At the very least, Bush and EMI knew that she was someone who could command the stage and camera. I will cover this more when discussing Wuthering Heights for other features. The first video version, with Kate Bush in the red dress, was destined for the U.S. market and was shot in Salisbury. The second, shot in a studio and directed by Keith MacMillan (Keef), was shot one Monday afternoon, edited in the evening and ready for Top of the Pops the next day. Ammunition that showed Bush was a truly engaging screen presence, even if she was not given fair opportunity for her debut outing on Top of the Pops. MacMillan’s video was shown on Top of the Pops on 2nd March, 1978. The single was at number five then and hit number one the following week – where it stayed for a month. I am getting a lot of guidance from Tom Doyle’s excellent Kate Bush biography, Running Up That Hill: 50 Visions of Kate Bush. He notes how Bush appearing on the BBC’s Tonight on 16th March was a big step. Speaking with Denis Tuohy, Bush was treated to an interview that was not too intrusive or misinformed. Asked whether she expected Wuthering Heights to be such a success, she did hope it would be but possibly not to the speed and degree that it actually did. The early T.V. slots showed how she was viewed by the media. Interviewers like Gay Byrne, who interviewed Bush for The Late Late Show, almost belittling and condescending. Not really sure how to handle a young and successful female artist. Almost talking to her like she was a girl and not a woman!

These T.V. appearances could have left Kate Bush cold and wary of appearing again. The first year with this prodigious artist, EMI sent her all around the world. After trips to Germany and Ireland, she was in Japan in June 1978. Appearing at the Seventh Tokyo Music Festival, Bush came joint-second in the contest (which was won by Al Green). Moving was released in Japan and was a number one there. She was nervous singing in front of a crowd of over 11,000. It was a strange trip where Bush was sent to sell her music to an audience who probably did not understand most of what she was singing! Bush recorded two commercials for Seiko. She was on Sound of S, where she performed a few Beatles numbers – including The Long and Winding Road -, and then there was this sort of odd finale. I will go more into this. I was interested to think about the T.V. appearances of 1978. One of her biggest early-career moments came when Bush appeared on Saturday Night Live in the U.S. Mick Jagger and David Bowie were at the rehearsals to pay fair due and salute to Kate Bush. On a primetime show (presented then by Eric Idle), Bush did get some much-needed exposure in America. However, she had this feeling she was spending so much time in studios and on T.V. She wanted to promote her albums a little bit but be in the studio and work on albums. Instead, EMI drove her promotion so hard she was still promoting The Kick Inside when she was looking ahead to her second studio album, Lionheart (released on 10th November, 1978). The T.V. appearances of 1978 taught Bush a few things. She did enjoy some of it, though there were some bad experiences and she was travelling far and wide. Bush wanted to gain control of her career. A big part of this was her videos and the visual side of things.

 IN THIS PHOTO: Kate Bush in Japan in June 1978

I might isolate this particular T.V. appearance for another feature. However, after an insanely busy 1978, there were some interesting highlights from 1979. On 20th January, Bush appeared on Multi-Coloured Swap Shop and chatted with Noel Edmonds. I have written about this before but felt compelled to return. Kate Bush’s appearance was one of the few from the show’s history that has survived. After a gruelling first professional year where she was still learning the T.V. ropes and was being pushed and pulled between studios, she seemed a lot more relaxed on Multi-Coloured Swap Shop. Even if she was (largely) all smiles there, I don’t think Bush ever truly enjoyed T.V. in the early years. There did seem to be this dizzying tour of various countries and stations. Following a strange trip to Japan and travelling to the U.S. and further beyond, she did need a bit of a break after releasing two studio albums. Of course, in 1979, she was planting the seeds and planning The Tour of Life. A move that took her away from album promotion and a focus on live work. It is fascinating looking back on those early T.V. spots. When she was first on Top of the Pops and must have felt mortified when she had performed Wuthering Heights. From there, it was around the world to capitalise on the success of that single and The Kick Inside. Showing more confidence from 1979 onwards, Bush was aware that she was spending too much time away from the studio. That others were dictating her moves and career. That would change from 1979 and even more so in 1980, when she co-produced her third studio album, Never for Ever. She could have collapsed or buckled after such media and T.V. scrutiny and fascination. She didn’t. Instead, she focused on the future and a day when she could have more say in her own work. When that day finally came, Bush would not turn back or repeat patterns, even though some T.V. appearances were quite fraught and regrettable. Those early T.V. appearances could have killed the radio star. Far from it! Her professionalism and tenacity proved that there was nobody quite…

LIKE Kate Bush.

FEATURE: The Digital Mixtape: A Christmas Mix

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Jonathan Borba/Pexels

A Christmas Mix

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FOR this Digital Mixtape…

PHOTO CREDIT: George Dolgikh/Pexels

I have put together an assortment of Christmas classics and some newer tracks. Rather than focusing on alternative Christmas songs, this is all about the positives. With some newer Christmas songs sitting alongside the standards, this is a playlist that can score any party or Christmas gathering. We are close to the big day, so many people would have heard most of these songs already. I apologise for any repetition or overexposure. However, as we are all looking ahead to a peaceful Christmas, it is good to fall on those reliable songs that we all know and love. There are a few newer Christmas songs in the mix. To go alongside all of the other Christmas playlists out there, enjoy the treats and presents that are on offer in the Digital Mixtape below. If you are not already there yet, it is sure to get you…

 PHOTO CREDIT: George Dolgikh/Pexels

IN the Christmas mood!

FEATURE: Groovelines: Band Aid – Do They Know It’s Christmas?

FEATURE:

 

 

Groovelines

Band Aid – Do They Know It’s Christmas?

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THERE we are not many Christmas songs…

IN THIS PHOTO: The recording of Do They Know It’s Christmas? in 1984/PHOTO CREDIT: Brian Aris/Band Aid

that are divisive in terms of the lyrics. Most stick quite close to the formulaic and traditional. The imagery is pretty standard and relatable. However, in 1984, a charity single was released that was vastly different to anything that was released before. Rather than focusing its attention on images of presents, snow and family, Band Aid’s Do They Know It’s Christmas? turned its attention to the famine in Africa. Written in 1984 by Bob Geldof and Midge Ure, it was designed to raise money for the 1983–1985 famine in Ethiopia. Band Aid was a supergroup consisting of popular British and Irish musical acts. It Do They Know It’s Christmas? was recorded in a single day at Sarm West Studios in Notting Hill, London, in November 1984. Released on 7th December, 1984, it went to number one in the U.K. and stayed at that position for five weeks. Selling a million copies in its first week, it was the biggest-selling U.K. singles of all time to that point. The single raised £8 million for Ethiopia within a year. All of this is commendable and to be applauded. Where does it rank in terms of the great Christmas songs? Most people would not include it in their top ten. Maybe because it is not as traditional and heart-warming as other Christmas songs, it has not caught on like other Christmas tracks. If the lyrics about those dying in famine unaware it was Christmas and unable to enjoy the time like those more fortunate were bellowed back in 1984, in years since, the lyrics are seen as more problematic. The imagery painted in the song causing offence and division. A new documentary is available on the BBC iPlayer that takes us inside the making of Do They Know It’s Christmas? Even if the single had noble intentions and the celebrities who sang on it were genuinely affected by images of famine in Ethiopia, maybe it was an odd choice of a Christmas song. Children in Africa knew about Christmas and were not shut off from the outside world. Perhaps the song has not aged too well. A new mix of the song has united those who were on the 1984 version and has cut them together with artists who appeared on previous versions. Before coming to an article about that, this is what Melody Maker said about Band Aid’s Do They Know It’s Christmas? when it was originally released: "Inevitably, after such massive publicity, the record itself is something of an anti-climax, even though Geldof's sense of universal melodrama is perfectly suited to this kind of epic musical manifesto. Midge Ure's large-screen production and the emotional vocal deliveries of the various celebrities matches the demonstrative sweep of Geldof's lyric, which veers occasionally toward an uncomfortably generalised sentimentality which threatens to turn righteous pleading into pompous indignation. On the other hand, I'm sure it's impossible to write flippantly about something as fundamentally dreadful as the Ethiopia famine”.

Whereas most Christmas songs are judged in terms of whether they are as good as other Christmas songs, when it comes to Do They Know It’s Christmas?, the question is different. Is it doing more good than bad? Such is the weight of the track in terms of its meaning and lyrics, it has this complex history and legacy. The Guardian published a feature recently that explored some of the more damaging stereotypes the song perpetuated in 1984:

“Four decades on, however, is Band Aid doing harm as well as good? That was the suggestion of a statement made this week by Ed Sheeran, who sang on the version of the single released in 2014 and whose voice has been used in the new remix, along with other vocalists from across the decades.

He had not been asked permission, said Sheeran on Instagram, and would have declined if he had. Instead, he shared a post by the musician Fuse ODG, a longtime Band Aid critic, who argues such initiatives “perpetuate damaging stereotypes that stifle Africa’s economic growth, tourism and investment, ultimately … destroying its dignity, pride and identity”.

For all Band Aid’s popularity over the years, there are many in the development sector who share this view. Critics point to problematic lyrics – yes, they do know it is Christmas in Ethiopia, one of the oldest Christian communities in the world – and images of nameless, helpless victims.

The problem is “Africa always [being] portrayed as a place where children are perpetually in peril,” said Haseeb Shabbir, an associate professor at the Centre for Charity Effectiveness at City St George’s, University of London. “Africa is [shown as] a barren civilisation in constant need of salvation, while it is portrayed as the moral obligation of essentially white donors to save a group of people who lack agency to resolve their own problems.”

Meanwhile, he said, “many initiatives from African people themselves go under the radar. Nobody hears about them in this country, [but] it’s those changes which are the bulk of what is taking place in Africa.”

Band Aid is far from alone in this, in Shabbir’s view – Comic Relief, which was inspired by it, has come in for similar criticism. “But the problem with Band Aid is that its message is so amplified and celebrated.” It is certainly remarkably enduring – alongside the countless radio plays and millions of streams of the original single each year, even Band Aid 30 a decade ago went to No 1 in 69 countries.

The international development sector has changed a lot in four decades, said Lena Bheeroo, head of anti-racism and equity at Bond, an umbrella body for development organisations, moving away from “images of poverty, disease, conflict and children who are malnourished with flies on them”, and the use of wording that reinforces recipients’ powerlessness.

“Band Aid was set up in a time where [using this imagery] was deemed the right thing to be doing. But we’re not any longer in 1984, we are in 2024, and the conversations around what it means to [work in this area] have changed.”

These are not new criticisms, as Geldof hit back tartly this week to the Conversation: “The same argument has been made many times over the years and elicits the same wearisome response.” Band Aid has made concessions to changing times in the past – the 2014 single had substantially changed lyrics, most strikingly changing Bono’s original line “Well tonight, thank God it’s them instead of you” to “ell tonight, we’re reaching out and touching you.” Emeli Sandé, who sang on that track, later apologised for it, however, saying other edits she made had not been included”.

Because there is a 2024 Mix of the Band Aid single, it is back in the spotlight. Although the new release has not been as big chart success, many are discussing Do They Know It’s Christmas? in a new light. Debating its intentions and whether the lyrics are offensive or not. It is a shame, as the single did raise millions and saved lives. However, as it will be played a lot through this month, it is worth exploring Do They Know It’s Christmas? Ed Sheeran, who was part of the 2014 version and has been spliced into the 2024 mix, has objected to being included in the new single because of the lyrics. For Billboard, Bob Geldof reflected on Band Aid’s smash at forty:

“That’s not us; that’s just people doing it…all out of this little pop song we made 40 years ago,” Geldof says. “And I thought, ‘Well, we should preface this year by bringing out the record,’ but instead of doing it again with this generation of (performers), why not take the three generations that made it happen and bang ’em on one single.”

“Do They Know It’s Christmas? (2024 Ultimate Mix)” — which debuted on Nov. 25 and will be released commercially on Friday, Nov. 29 — does just that, with Trevor Horn, who co-produced the original version with Midge Ure of Ultravox, mashing together performances from that and sequels recorded to commemorate the 20th anniversary in 2004 and the 30th during 2014. Accompanied by a new Oliver Murray-directed video fusing footage from all three (as well as the late David Bowie’s introduction for the original and footage from Michael Buerk’s BBC News report from October of 1984 that inspired Geldof to launch the project), the “2024 Ultimate Mix” offers a panoply of pop icons, primarily British but also Irish and American, blended into yet another interpretation of the song.

“I was very hands-off and, like (Geldof), gobsmacked at this opus (Horn) managed to come up with,” says Ure, who co-wrote the U.K. chart-topping song with Geldof four decades ago (the original also reached the top 20 of the Billboard Hot 100). “It’s very clever. I can hear elements of the original recordings in there. It’s a bit of a miracle that he managed to pull together things that were recorded at different tempos, different speeds, maybe different pitches and integrate them into one track where you get vocalists who maybe weren’t born when the original was done harmonizing or singing alongside some of the original vocalists. It’s a bit of a masterpiece, I think.”

Geldof is equally effusive about the record — which, among other juxtapositions, features U2’s Bono’s parts (and footage) from all three recordings. “It is so beautiful, this production, properly beautiful,” he says. “It’s so moving.” But he adds that Horn balked a bit when Geldof first presented him with the “Ultimate Mix” idea.

“I said, ‘Trevor, you’re good. Can you take these thousands of people and bang ’em together?’ And he said, ‘No, I can’t, f–k off!'” Geldof recalls. “And I said, ‘There must be…’ ‘How can I possibly do it? Everybody’s singing the same words. They’re at different tempos. They’re different keys.’ I said, ‘Ehhh — you can do it!’ (laughs) He said, ‘I’m going to have to repeat the lines.’ I said repeat the lines! Who cares! Just get on with it!’ And he put together the voices, conceivably the greatest voices in British rock, together almost perfectly. It actually is in the producer’s art a work of genius. It really is one of the great records — I truly believe that. It’s nothing to do with our song, or Band Aid. I just went, ‘Omigod!’

“So billions of dollars of debt relief for the poorest people in the world came from this small song, (written) one damp October afternoon. The common thread is this tune. That’s the thing that alerts everyone, drives through constantly, coming out again with a different idea each time.”

British artist Peter Blake, 93, who designed the 1984 single cover for “Do They Know It’s Christmas?,” returned to create a new image for the “Ultimate Mix.”

Forty years later Geldof and Ure have slightly divergent views of the song they’re both justifiably proud of. “I’ve decided it is a pretty good tune this year,” Geldof says. “Y’know, I remember when about three in the morning (in 1984) I said, ‘Leave it, that’ll do.’ We kept going ’til five, and ‘that’ll do’ was where we were at. And it did; ‘It’ll do,’ and it did.”

Ure, meanwhile, views “Do They Know It’s Christmas?” as “not that good. Both Bob and I have done better. If you forget who’s singing it, it sounds like an Ultravox track. I think it stands up better as a recording than a song. As an event, as a production, as a record, it excelled. It did more than any of us ever expected.”

That the song, and Band Aid, continues to thrive after four decades goes far beyond the intended one-off, what Geldof calls a “crap little Christmas song.”

“It was meant to be a six-month project spending the seven, eight million pounds it generated,” remembers Ure, who also serves as a Band Aid trustee. “Of course, within that six-month period it grew from a record into suddenly putting together Live Aid…and compounded by the fact that nobody thought for one nano second that if you make a Christmas record it might just get played every year. We could only focus on the Christmas of ’84 going into ’85; if we could get it to No. 1 over the Christmas period, great. But we never saw life beyond that. The last 39 years has proved that wrong.”

No good deed goes unpunished, of course — or free of controversy, which Band Aid and “Do They Know It’s Christmas?” have faced over the years, and recently. Most notably Ed Sheeran publicly said he would not have allowed his performance from the 2014 recording to be used, saying that “my understanding of the narrative associated with this has changed” — specifically citing the Ghanian-English artist Fuse ODG’s contention that the song “perpetuates damaging stereotypes” about Africa. Ethiopian Prime Minister Abiy Ahmed has dismissed the effort as “well-meaning at the time” but lamented that it’s “frustrating to see our nation’s ancient history, culture, diversity and beauty reduced to doom and gloom.” He also contends that Band Aid “has not evolved with the times (and) might end up doing more harm than good”.

I am going to finish with an article from the New Statesman. With a new documentary about the making of Do They Know It’s Christmas? on the BBC iPlayer, it is worth remembering what it was like for those alive in 1984. Around to witness a single that had such a host of famous voices on it. Nothing like this had come about. In terms of the news coverage and the amount it raised. It was a phenomenon! Only in years since was the song dissected and the lyrics questioned to the degree that they have been. At the time, there was so much focus on raising money and getting the messages out to the public. Whether you consider it a Christmas classic or a song that is problematic in the modern age, you cannot deny that it did make a big difference:

“The documentary isn’t retrospective – all the footage was filmed on the day, much of it unseen until now – and perhaps this accounts, in part, for its unexpected ghostliness. The feeling is of old family cine film, fetched down from the attic. But it also had to do with the sad fact that many of those in it are dead: Paula Yates, Geldof’s then wife; Annabel Giles, Midge Ure’s then girlfriend; Rick Parfitt, of Status Quo; and George Michael. The general mood is shy. Boy George says all of them were always slagging each other off in the press – and yet, they’d never met in person before. Simon Le Bon sits next to Bono, and it’s like the sixth form, the uncool kid laughing far too hard at the cooler kid’s jokes.

Putting aside the song’s agonising lyrics – all that crass stuff about snow in Africa: 40 years on, and it’s in danger of being cancelled – you’ll be struck by Band Aid’s want of an effective diversity and inclusion programme. Kool & the Gang are the only black guys; the only girls allowed are Bananarama, and Jody Watley of Shalimar. Talent, though, is not a prerequisite, and I suppose in that sense the time was in its own peculiar way highly meritocratic (again, I give you Hadley). We get to hear voices raw and unrehearsed, unaccompanied by guitars or even synthesisers. George Michael nails it, of course, and Boy George, when he can stop with the double entendres, is okay. But Bono, Paul Young and Glenn Gregory of Heaven 17 are pretty awful and – how young they look! – must report after class to Mrs Quaver the music mistress for extra coaching.

On the day, however, the coaching is left to Geldof, Horn and Ure. “More expression!” says Geldof. “It’s slightly flat,” says Ure. Horn conducts the mass singalong at the song’s end in a manner that suggests he’s long since given up, his hands moving in time to the crowd, rather than the other way round.

It’s funny, but as a teenager, I thought Band Aid comprised dozens of people. Now, though, I understand what a small group Geldof had managed to gather, the kingpins (Bowie, Mercury, McCartney et al) either otherwise engaged, or far too trepidatious/sensible to consider putting their voices next to Foghorn Hadley’s. Bam, bam, ba-bam, ba-ba-bam! What was once such a big deal – oh, the mad excitement Band Aid brought to my generation – now dematerialises in a cloud of smoke to the sound of Phil Collins’ (admittedly excellent) drumming”.

Band Aid II re-recorded the song in 1989. Since, there has been Band Aid 20, 30 and the new 40 version. It has seen a host of artists lend their voices to a song whose messages have not changed. If the lyrics can be seen as offensive or misguided, the issue around quality remains. Diminishing returns in terms of the subsequent versions. Wealthy artists maybe paying lip service or jumping on a bandwagon. There is a lot to discuss and unpack. We still listen to Do They Know It’s Christmas? today. Although there is still famine across Africa, the landscape across Ethiopia has changed since the 1980s. Is the Band Aid single too problematic? Bob Geldof and Midge Ure have put distance between them and the song in years since its release. Claiming the song was secondary and it was about fundraising. Geldof highlighting how millions of lives were changed, but also claiming that he was not hugely proud of it. Ure having even less love towards the song. Critics claiming that Do They Know It’s Christmas? has a western-centric viewpoint. A song that has these condescending stereotypical descriptions of Africa, others see it as a Christmas classic. Whatever your viewpoint on Do They Know It’s Christmas? focuses on the lyrics and the politics of the song or how it compares to other Christmas songs, one cannot deny that Band Aid did a lot of good in 1984. As the single has been remixed this year, there are new eyes and ears on…

THIS divisive Christmas standard.

FEATURE: The ‘White’ in The White Stripes: Meg White at Fifty: Her Best Beats

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The ‘White’ in The White Stripes

Meg White at Fifty: Her Best Beats

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AS we are heading towards Christmas…

PHOTO CREDIT: Patrick Pantano

there is not a lot of music news of anything happening in the world of music. Not huge, anyway. There are a few significant birthdays of amazing musicians. One such example is Meg White’s fiftieth birthday on 10th December. The literal ‘White’ in the duo, The White Stripes (she and Jack White were married before they released their debut album (they divorced in 2000); Jack White’s real name is John Anthony Gillis), they released their eponymous debut in 1999. Until they split in 2011, they enjoyed this incredible career. This D.I.Y.-sounding aesthetic. Quite lo-fi and comprised of vocals, guitar and drum, they adopted a uniform of wearing red, white and black. The number three playing a big role. If some felt Meg White’s drumming was basic and child-like, they overlook how skilled and powerful she was! Her child-like abandon was one of her great strengths. She is an incredible percussionist whose beats and energy defined the best songs of The White Stripes! To mark her upcoming fiftieth birthday, I have combined some of her best performance from the discography of The White Stripes. One of the best drummers in my view, she has faced criticism because of her style. Jack White came to her defence. There was this ignorance and misogyny around her. If you listen to The White Stripes, it is clear how Meg White was instrumental when it came to evolving and defining their sound! An incredible drummer who I hope has not retired and will feature on other albums, this is a birthday salute…

TO the amazing Meg White.

FEATURE: My Broken Hearts, My Fabulous Dance: Reacting to the Success of Little Shrew (Snowflake) at the World Film Festival

FEATURE:

 

 

My Broken Hearts, My Fabulous Dance

Reacting to the Success of Little Shrew (Snowflake) at the World Film Festival

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JUST when you think…

LITTLE SHREW ANIMATION: Nicolette Van Gendt/CONCEPT ARTWORK: Jim Kay

we were done with Kate Bush news for 2024, something else pops up! In October, Bush revealed a video for Little Shrew (Snowflake). When it was teased online, we were initially not sure what it was. Originally, we got a post to say that the song had a new radio edit. No real feeling it was going to have this video or greater cause. It was unusual that this particular song, the opening track from 50 Words for Snow, was highlighted for special attention. Although great that Snowflake (as it was called on the album) got a radio edit, what did it mean?! I said it at the time, but it did feel like it was going to be a song used on a Christmas advert. That would have been okay. On 25th October, the truth was revealed. An interview between Kate Bush and Emma Barnett was shared. Speaking on the Today programme, Bush spoke about this new video. With a little shrew at its heart, people were stunned when they saw it. Navigating this war-torn setting, we follow the shrew as it tries to makes its way out. Directed and written by Kate Bush and boasting some stunning animation (Little Shrew animation by Nicolette Van Gendt; Hope and drone animation by James Gifford; concept artwork by Jim Kay), the Little Shrew gets out of this bombed-out city in order to find Hope. It is an emotional and stunning video that lasts just over four minutes. Bush has directed videos before, though this is something different. For 2011’s 50 Words for Snow, Kate Bush directed and wrote the video for Eider Falls at Lake Tahoe. She worked in animated and was familiar with the form, so it was not a big surprise that Little Shrew (Snowflake) is a success and looks so good. Brilliantly directed and written, one of the biggest aims is to raise money for War Child. Bush discussed this with Emma Barnett. How there has been war after war and the news is so bleak. Rather than merely write a post about it and get people to donate to War Child, Bush was affected by images in the news – especially children displaced and affected by the violence in Ukraine – and put this video together. Whereas the original Snowflake was written for her son, Bertie, to showcase his voice, the lyrics and sound fits perfectly in this new setting.

HOPE AND DRONE ANIMATION: James Gifford/CONCEPT ARTWORK: Jim Kay

The lyrics really taking on a new life and shining in a new light. Reviews for Little Shrew (Snowflake) were huge. Whereas not all of Bush’s videos have won such acclaim – the video for Deeper Understanding, from 2011’s Director’s Cut, was savaged by some -, here everything was spot on. I wrote recently how Bush has been GRAMMY-nominated. Although minor categories, two of the Hounds of Love reissues have been nominated in different categories. If Bush wins a GRAMMY, it will be the first time. Five-times nominated, it will be another huge honour for her. Before then, Bush has been honoured at the World Film Festival in Cannes, winning multiple awards - including Best Animation Film, Best Cause-Driven Film & Best Female Director Short Film. I was not sure she was nominated and I didn’t actually have that festival on my radar. When Kate Bush News posted about it yesterday, it was met with joy from fans. A huge achievement for Kate Bush. Not only has she raised funds for a charity helping war-affected children; there is also this wonderful video that has affected so many people. I wonder whether Kate Bush will post to her website about the award wins. It is clear that her video has had this profound effect. So timely and powerful:

“This exceptional work has been celebrated at the World Film Festival in Cannes on November 27, winning multiple awards including Best Animation Film, Best Cause-Driven Film & Best Female Director Short Film. Festival founder Karolina Bomba lauded Bush's "creative genius and unwavering commitment," highlighting the film's ability to "illuminate the plight of countless children trapped in the throes of war."

Bomba further emphasized the film's profound impact: "The world is reeling from the horrific realities of war. We must open our eyes to the devastating effects it has on innocent children caught in the crossfire. Little Shrew transcends the boundaries of a music video, evolving into a heart-wrenching cry for peace, a stark reminder of shattered innocence, and a resounding call for empathy. Through this captivating piece of art, Kate Bush compels us to acknowledge the suffering of children in warzones and inspires action in support of War Child UK. It is an honor to join her in this pursuit of peace and justice through the Festival. Together, let's amplify the voices of these children and contribute to a world imbued with greater justice and peace. Remember the Future!”.

Given this award success, it does make me wonder whether Bush will direct more videos. I have actually written about this in another feature. Wondering what Bush’s future music videos will look like. It does seem that animation, whilst time-consuming, is a medium that she feels comfortable in. It allows for huge scenes, imaginative visuals and things you cannot get from a live action video. Bush posted to her website about the conception process and bringing the video to life:

“The original track runs for over seven minutes, but as animations take a long time to make, it made a lot of sense to shorten it to three or four minutes. I was concerned that the song might lose something by being edited so intensely but actually it’s held up pretty well.

I knew I wanted the featured character to be a child caught up in war, so I made a very rough, off the cuff story board.

Although I’d initially thought to make the character a human child – a little girl – I settled on the idea of a Caucasian pygmy shrew (Ukrainian shrew): a tiny, fragile little creature. I felt that people might have more empathy for a vulnerable little animal than a human…

This little shrew would take a journey on a moonlit, winter’s night through a war-torn city, initially unaware of what was going on around her in this land of the giants. She can sense that she’s being called by a kind of spiritual presence… HOPE.

She starts to search for HOPE. Sometimes hope is all there is to hang on to”. 

It is wonderful that Little Shrew (Snowflake) has been honoured by the World Film Festival in Cannes. Bush winning an award for her direction. It will bring even more attention to the video which in turn will help raise even more funds for War Child. It does raise some interesting possibilities.

CONCEPT ARTWORK: Jim Kay

Going forward, even more attention will be brought to Kate Bush. With every bit of news like her award wins, it opens up her work to those who might not have discovered her. I had to react to the Cannes award wins, as it adds extra weight to the song. To that brilliant and unforgettable video for Little Shrew (Snowflake). Bush awarded a director prize. Highlighting what a brilliant director she is. People seeking out her videos and how the ones she directed really stand out. I think that Bush is underrated as a visual thinker and director. Someone who has a real gift for cinema and putting unique stories on the screen. Also, any Kate Bush news means new eyes and ears head her way. It gives extra incentive for her to release new music (when she spoke with Emma Barnett, Bush revealed that possibility was on her mind). I think that Bush is going to direct more videos. It will be interesting seeing what she has in mind and what form they take. More than anything, we also get concrete proof of how charity and humanity is huge in Kate Bush’s heart. She has been raising funds and awareness for charities for decades now. I will wrap up there. As we look ahead to 2025, there is no telling what we will get from Kate Bush. This year has been a very busy one in terms of updates and projects. Album reissues and news. This latest bit of new is very special and significant. Honours to an incredible filmmaker and iconic artist who has spent so long making sure that this animated video (for Little Shrew (Snowflake) makes an impact. How her initial storyboards and concepts were turned into something epic and spine-tinging. The Little Shrew searching for Hope. This powerful video has made a big difference already and will continue to do so. It just goes to show that, although Bush has not released new music for thirteen years, she is always relevant and never out of sight. So many Kate Bush fans will be excited to see what comes…

NEXT year.

FEATURE: Kate Bush: The Tour of Life: The Mystery and Transience of Sex and Passion Through Her Music

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Kate Bush: The Tour of Life

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Brian Aris

The Mystery and Transience of Sex and Passion Through Her Music

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FOR this feature…

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Jill Furmanovsky

the eight-hundred-and-ninetieth I have published about Kate Bush, I wanted to zero in on a passage and thought that was shared by Graeme Thomson in his biography, Under the Ivy: The Life and Music of Kate Bush. I know I do mention this book a lot and have been  given plenty of information and inspiration for features. I am returning to it again and I will definitely continue to do so going forward. I have discussed Bush’s lyrics and their depth. I have approached them from different angles. Now, and related to the forty-seventh anniversary of The Kick Inside on 17th February, I am thinking back to the start. How Bush describes passion and love in different ways. How it can be mysterious, ephemeral but also intense and temporary. But also have this sense of mystique. Thomson’s observations about Misty, which appears on 2011’s 50 Words for Snow, led me to think about the way in which Bush writes about sex and passion. How it can be this powerful force that enlivens, emboldens and is universal. However, there is also this other aspect. The transient nature of it. How Misty has this sense of ridicule, as it is about a woman who has a night of passion with a snowman, and darkness.

IN THIS PHOTO: Kate Bush visualising Misty from 2011’s 50 Words for Snow

Maybe a taboo coupling, though I always think Bush used the snowman as a metaphor. How there is this passion that is gone by the morning. The fleeting nature of sex. The sense of loss too. How there is blood on the hand. Is it menstruation blood or from death? Or is it insignificant? Thomson comments how Misty concerns the mystery of love. The power of fantasy. The woman’s (or Bush) love has melted by the morning. It was a theory that I was compelled to stretch. How the words, “I turn off the light” link to The Man with the Child in His Eyes. In that song, which features on her The Kick Inside (her 1978 debut), Bush sings “I realise he's there/When I turn the light off and turn over”. I don’t think it was an unintentional link to her debut album. So many have highlighted how Bush returned to The Kick Inside through the importance of the piano. There are similarities in terms of the lyrics and sound. Love and passion quite prominent. If Bush was singing about philosophers, mysticism and inhabiting the ghost of Catherine Earnshaw (from Emily Brontë’s Wuthering Heights) on The Kick Inside, she was singing about a haunted lake (Lake Tahoe) and the mystery of a Yeti. How we want to hunt for this mystery and put it in a box. How there is beauty to the mystery and we should leave it alone. If it is less explicitly about love and passion, I do feel Bush was also alluding to something more grounded in the everyday. It is interesting how Bush has addressed and represented the fleeting nature of love and passion through the years.

Think about The Man with the Child in His Eyes. This very young woman has this mysterious stranger. This talked-about love that might be “lost on some horizon” or is out to sea. If Bush has said the song is about how men have this child-like wonder and keep that within themselves, I think of the song as very sensual but also mysterious. Something fictional perhaps. If the first lines suggest a physicality and closeness, it does seem that Bush is referring to falling asleep and seeing this man in her dreams: “I hear him, before I go to sleep/And focus on the day that's been/I realise he's there/When I turn the light off and turn over”. Even if Bush has been pretty direct and natural when talking about passion, one of the most interesting aspects is how she entwines the mystical, transient and almost fictional around sex and passion. The Kick Inside is a great example. L’Amour Looks Something Like You’s first verse has that combination of yearning but this transient, passing nature. How there is attraction and pull but it is temporary or somehow fleeting: “You came out of the night/Wearing a mask in white colour/My eyes were shining/On the wine, and your aura/All in order, we move into the boudoir/But too soon the morning has resumed”. The Wedding List, from 1980’s Never for Ever, is about a bride who seeks revenge after her groom is killed at the altar. Whilst an extreme example, it is another case of love being snatched away. How the unpredictable can end love. You can look at Hounds of Love’s title track as another extreme example. How Bush is running away from love. This fear that the hounds (love) will catch you and cause harm.

Bush has never shied away from discussing sex and passion. Many songs where she has been very bold and uncomplicated when representing her desires or fears. There is another side. Where she highlights love and passion as being something out of reach, temporary or mystical. Think about the sexuality and passion through Aerial’s Mrs. Bartolozzi. Images of clothes entwined in the washing machine. Through a song about domesticity, there are fantastical elements. This woman’s mind wandering and almost imagining this sexual encounter between clothes. The water splashing. When the cycle stops, so does the romance. Rather than focusing on whether Bush feels love is largely transient and mysterious, I think it is probably worth reframing things. How she tackles the complexities and realities of love. How love can be lost. Whether it is the loss of a young son sent to war in Army Dreamers or Misty’s fantastical and unusual hero melting in the sheets, I am fascinated by how Bush tackles love and loss. Rather than it being depressing and downbeat, there is something deeper and more positive. There is a mystery and magic in so many of her songs. How she can perfectly illustrate the wonder and physicality of sex without any restrictions or needless embarrassment. Someone very confident and honest. Most artists would only have this one side or dynamic. The way Bush writes and expresses herself. How passion and love can be lost so quick. How the real and imaginary are close bedfellows. The way she can write about something universal that has a unique storytelling palette. No other writer matches Bush when it comes to highlighting the mystery of love, the transient nature of sex and he power of fantasy. Something that runs right through Bush’s catalogue. Graeme Thomson’s comments about Misty did get me thinking deeply about Kate Bush’s work and how she writes about sex and love.

How it is very much present on Kate Bush’s debut album from 1978 and her latest album from thirty-three years later. Bush was derided or at least mocked when she wrote about sex in a romantic fiction sort of way on The Kick Inside. One or two lyrics that were a little below her best (images of boudoirs and stockings falling!). Some feel that some of the songs of love on The Sensual World and The Red Shoes are more routine. A little dull. Not to say that Bush is unmemorable when being very honest about the loss or love or the thrill of sex. In fact, she can be majestic and peerless! However, I think she is at her very best when she marries fantasy and the relatable. When she is close to the ecstasy of passion or the fulfilment of desire but it is taken away. When there is this mystery and lingering sense of loss when it comes to love. Someone will put it into words a lot better than me. I have not really seen it expanded on though I would really like to. Such an intriguing subject. By all means, Bush was in largely stable and happy relationships. She was with Del Palmer for well over a decade, and she did not get her heart broken much. Some could say she is writing from a fictional or less personal lens. What makes Kate Bush’s songs about passion and love so compelling is that she taps into something we all feel. Whether it is the vulnerability and temporary nature of love or the way it can chase us and we need to stand up to it, it is a reason why her music is so enduring and discussed. In a 2022 BBC feature, Bush’s “mystical songs” were celebrated. One passage particularly caught my eye: “In interviews she is lovely, if deftly evasive, unable or unwilling to put into words why and how she makes music of such magical intensity. The more that she denies that there is any mystery to unravel, the more fascinating she becomes. She told me that she loves it when listeners mishear or misread her songs as long as they take something positive from the experience: "Whether you've understood what the artist felt is basically irrelevant. It's how it makes you feel”. When Kate Bush graces us with new music, no doubt she will put love, romance and sex in the mix. Its romance, fragility and mystery. It will be compelling reading Kate Bush’s…

NEXT chapter.

FEATURE: I Just Know That Something Good is Gonna Happen: Kate Bush CBE: Why Is She Not a Dame?

FEATURE:

 

 

I Just Know That Something Good is Gonna Happen

IN THIS PHOTO: Kate Bush receives the Editors Award at the Evening Standard Theatre Awards at the Palladium, London on 30th November, 2014/PHOTO CREDIT: Alan Davidson/Rex/Shutterstock

Kate Bush CBE: Why Is She Not a Dame?

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I have written about this before…

 IN THIS PHOTO: Kate Bush awarded a CBE by The Queen on 10th April, 2013/PHOTO CREDIT: PA Wire/Press Association Images

but I wanted to revisit it because the topic is on my mind. There is no arguing against the fact Kate Bush is a hugely successful artist. In terms of the chart positions of her albums. Her studio albums always get into the top ten in the U.K. Even if her singles are a little less consistent, the fact is that Kate Bush is one of the most consistently successful albums artists ever. Over a period of more than thirty year, Bush has managed to release these acclaimed and different-sounding albums that have endured and inspired people. Bush is talking about the possibility of new music. How she is open to new ideas and wants to move forward. That possibility of an eleventh studio album. Her fanbase has widened over the past few years. Reaching a new generation without releasing any new music. It is quite an achievement. I am going to explore her influence on various groups of people. Something that I have been thinking about is why Bush has not received quite the sort of honours she deserves. I guess one can say that the music industry has rewarded her. She has been inducted into the Rock & Roll Hall of Fame. She has won awards through the years. In fact, there are few artists who have been acknowledged as consistently as Kate Bush. Think back to the 1970s and 1980s when she was award-nominated. In 2012, Kate Bush won the South Bank Sky Arts Award for Pop. That was for 50 Words for Snow. Bush and her son Albert have been nominated in two GRAMMYs categories for Hounds of Love. Her 2023 illustrated vinyl release of Hounds of Love, The Baskerville Edition, has been nominated for Best Recording Package, while The Boxes of Lost at Sea art pieces (also editions of Hounds of Love) have been nominated for Best Boxed or Special Limited Edition Package. We all hope that she wins! Of course, Bush will not be attending the ceremony in the U.S. next year. However, there is a strong chance that Bush will be a GRAMMY-winning artist very soon. Bush has not collected five GRAMMY nominations. Her most recent was for The Line, the Cross and the Curve in 1996, which was nominated for Best Music Film. So I guess she has been converted by the industry. Maybe not as garlanded as she should have been, at least awards have come her way!

I am thinking more about other honours. Why has Kate Bush never been made a Dame?! I guess it is an honour many think is insignificant. Many refuse that sort of thing because they do not like the Royal Family or they feel it sends a bad message. It does not mean anything in the grand scheme. That recognition of the highest order. That degree of excellence and significance. In April 2013, Kate Bush was awarded a CBE. It was a long overdue recognition of her services to music. By all accounts, it was an honour that meant a lot to Bush:

“Kate Bush has received her CBE for services to music from the Queen at an investiture ceremony at Windsor Castle.

The singer-songwriter, who was catapulted to fame in 1978 when Wuthering Heights topped the charts, said she was "incredibly thrilled".

The 54-year-old dedicated the award to her family and joked that it would have pride of place at the top of her Christmas tree.

She has released 10 studio albums in a career spanning nearly 40 years.

Bush, whose other hits include Running Up That Hill and Babooshka, has won both Brit and Ivor Novello awards.

The artist, from Abingdon, Oxfordshire, has also recorded collaborations with some of the most prominent names in music, including Sir Elton John, Eric Clapton, Peter Gabriel and Prince.

'Thrilled'

But she has toured only once, in 1979, and rarely makes public appearances or gives interviews.

She declined to speak directly to journalists who gathered at Windsor Castle for the ceremony, but did release a brief statement.

"I feel incredibly thrilled to receive this honour which I share with my family, friends and fellow musicians and everybody who has been such an important part of it all," she said.

"Now I've got something special to put on top of the Christmas tree."

The first British women ever to win Olympic gold for rowing and their coach have also been honoured at the same ceremony.

Helen Glover and Heather Stanning triumphed in the coxless pairs to win Team GB's first gold medal of the 2012 Olympics, and received MBEs together with trainer Robin Williams.

Peter Charles, who won gold in the team showjumping event at London 2012 and cyclist Dani King, who won gold in the team pursuit event, have also received MBEs”.

I do think there are other music awards and honours Kate Bush should be awarded. However, many people have asked when she will be made a Dame. It will not really add to her legacy or how she is perceived. I feel it is something that is earned. In terms of acknowledging the effect she has had on popular culture. Her charity fundraising is also another factor. She has done a lot for charity right throughout her career. The most recent example is the video for Little Shrew (Snowflake) and how that was designed to help raise funds for War Child. It was not the first time Bush has created awareness for War Child before. She donated a signed turntable for Record Store Day earlier in the year. Inspired by The Ninth Wave from 1985’s Hounds of Love, Bush donated artwork to an auction on behalf of War Child in 1994. David Bowie took a shine to Bush’s artwork. The pieces were reauctioned in 2012. I have also written about how Bush has done so much for charity. I will revisit that at some point. In terms of how her music has affected and impacted people. All of this together makes her worthy of further honour. Whether it is an MBE or she is made a Dame, I think it would be a worthy nod of recognition. From actors to sport stars, so many have been a Dame or Sir. Knighted and bestowed one of the greatest honours you can get. Again, it is a divisive subject. Whether it means anything or whether people should accept them. Kate Bush is more than worthy of such esteem. Given how she has made contributions to charities like War Child and is now this artist resonating with a new generation, will it be her time?! King Charles III has an association with Kate Bush. Though loosely. The first Prince's Trust Rock Gala was held at the Dominion Tottenham Court Road, with Madness, Joan Armatrading, Phil Collins, Kate Bush and Pete Townshend performing. Kate Bush was featured on the official playlist for the coronation of King Charles III, along with other artists such as The Beatles and Madness. The Department for Culture, Media and Sport (DCMS) created the playlist, which was released three months before the coronation. That was last year.

Clearly, Kate Bush is known by King Charles III, so I would not be shocked if Bush was bestowed an honour in the New Year’s Honours List. We are around the time when we will know if Bush is included. On 29th December, 2023, on the same day as the 2022 Prime Minister's Resignation Honours, 2024’s names were announced. You can see the complete list of who was awarded what. It would be amazing for Kate Bush to be included in the 2025 New Years Honours. Technically, the award is Dame Commander of the Order of the British Empire. Last year, Jilly Cooper was made a Dame. I think that Kate Bush’s time is now. Maybe it is more likely a few years down the line, though why not now?! I can see why people would want these sort of great honours to go to people like doctors, nurses, scientists and social workers. How there is this criticism that people are being awarded for ‘doing their jobs’. Many others note how there is this anachronism and lack of diversity. Some issues with the current honours system. Every year, we get articles that note how there should be recognition of people who are unsung who do not get awarded such prestige. That is fair. However, in recent years, there has been more diversification in terms of those who are recognised. Not many artists are knighted or made a Dame. Paul McCartney, Bono, Julie Andrews and Bob Geldof have either been knighted or made a Dame. Charity seems to be a link to many. Will it take a few more years of Bush’s music and benevolence to make her worthy of being a Dame? Many fans feel she is deserving now. Me among them. Others would not care and feel that this is irrelevant or problematic. Bush herself is very comfortable and would definitely be flattered. She is our queen! Someone who deserves the highest honours and tributes. The music industry has done that. No doubt more awards will come. How long will it take before the extraordinary Kate Bush…

IS made a Dame?!

FEATURE: The Digital Mixtape: The Best Singles of 2024

FEATURE:

 

The Digital Mixtape

IN THIS PHOTO: Sabrina Carpenter/PHOTO CREDIT: Bryce Anderson

The Best Songs of 2024

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IN one of my last…

PHOTO CREDIT: Mike Jones/Pexels

Digital Mixtapes of the year, I want to compile the absolute best songs from this year. It has been a really strong year for tracks and singles, so it was hard whittling it down! I have taken suggestions from a number of different sources. There will be some songs in here that you have heard of, though there may also be others that are new. An eclectic and phenomenal assortment of the best from 2024. I am looking forward to seeing what great tracks come along next year. In the meantime, I have looked around and combined the finest songs and singles of 2024 has had to offer. As you will hear from this Digital Mixtape,. It has been another…

IN THIS PHOTO: Chappell Roan/PHOTO CREDIT: Island/UMG via AP

HUGELY strong year.

FEATURE: In the Eye of the Storm: Inside Beatles ‘64

FEATURE:

 

 

In the Eye of the Storm

Inside Beatles ‘64

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ONE of the most anticipated…

PHOTO CREDIT: Albert and David Maysles © 2024 Apple Corps, Ltd. All Rights Reserved

music documentaries of the year is available on Disney+ from tomorrow (29th November). Beatles ’64 charts The Beatles’ first visit to the U.S. It is already receiving some incredible reviews. I will end with one of them. Even if you are not a huge Beatles fan, the documentary is a historical snapshot. A moment when this Liverpool band wowed America and changed popular culture forever. It must have been exhilarating and a whirlwind for people who were there at the time. I can only imagine what it was like for the band! Before getting to a review for Beatles ’64, here is some information about the forthcoming documentary:

“Today, Disney+ announced that Beatles ‘64, an all-new documentary from producer Martin Scorsese and director David Tedeschi, will stream exclusively on Disney+ beginning 29 November 2024. The film captures the electrifying moment of The Beatles’ first visit to America. Featuring never-before-seen footage of the band and the legions of young fans who helped fuel their ascendance, the film gives a rare glimpse into when The Beatles became the most influential and beloved band of all time.

On 7 February 1964, The Beatles arrived in New York City to unprecedented excitement and hysteria. From the instant they landed at Kennedy Airport, met by thousands of fans, Beatlemania swept New York and the entire country. Their thrilling debut performance on “The Ed Sullivan Show” captivated more than 73 million viewers, the most watched television event of its time. Beatles ‘64 presents the spectacle, but also reflects a more intimate behind the scenes story, capturing the camaraderie of John, Paul, George, and Ringo as they experienced unimaginable fame.

The film includes rare footage filmed by pioneering documentarians Albert and David Maysles, beautifully restored in 4K by Park Road Post in New Zealand. The live performances from The Beatles first American concert at the Washington, DC Coliseum and their Ed Sullivan appearances were demixed by WingNut Films and remixed by Giles Martin. Spotlighting this singular cultural moment and its continued resonance today, the music and footage are augmented by newly filmed interviews with Paul and Ringo, as well as fans whose lives were transformed by The Beatles.

Beatles ’64 is directed by David Tedeschi and produced by Martin Scorsese, Margaret Bodde, Paul McCartney, Ringo Starr, Olivia Harrison, Sean Ono Lennon, Jonathan Clyde, Mikaela Beardsley, with Jeff Jones and Rick Yorn serving as executive producers.

Coinciding with the film’s Disney+ release, seven American Beatles albums have been analogue cut for 180-gram audiophile vinyl from their original mono master tapes for global release on 22 November by Apple Corps Ltd./Capitol/UMe. Originally compiled for U.S. release between January 1964 and March 1965 by Capitol Records and United Artists, these mono albums have been out of print on vinyl since 1995. Meet The Beatles!; The Beatles’ Second Album; A Hard Day’s Night (Original Motion Picture Sound Track); Something New; The Beatles’ Story (2LP); Beatles ’65; and The Early Beatles are available now for preorder in a new vinyl box set titled The Beatles: 1964 U.S. Albums In Mono, with six of the titles also available individually”.

I am keen to spotlight a five-star review for Beatles ’64. Before that, Rolling Stone interviewed director David Tedeschi about a documentary that is going to thrill and enlighten Beatles fans the world over. A unique and phenomenal look into the lives of four young men who were catapulted to a new level. The way they conquered America so quickly is testament to their extraordinary talent and appeal! We will never see anything like it again:

“The Beatles invaded America in early 1964, and the nation was never the same. Even as their plane was landing in New York, mobs of screaming fans stormed the airport. The night they played The Ed Sullivan Show, on February 9, they blew the minds of 73 million viewers. Beatlemania gripped the whole country. That moment is captured in Beatles ’64, a new documentary produced by Martin Scorsese. It’s directed by David Tedeschi, who has worked on many Scorsese docs, include the great George Harrison bio Living in the Material World.

Beatles ’64 arrives on Disney+ on Thanksgiving weekend—just as Peter Jackson’s Get Back did three years ago. It premieres on Nov. 29. The film features new interviews with Paul McCartney and Ringo Starr, with archival interviews from John Lennon and George Harrison, as well as their first American concert. “The movie goes from New York to Washington D.C. and Miami, which was chaos,” David Tedeschi tells Rolling Stone in an exclusive interview. “There’s over 17 minutes of footage that’s never been seen before.”

The footage comes mostly from the documentary pioneers David and Albert Maysles, who went on to make classics films like Gimme Shelter and Grey Gardens. They followed the band, filming three weeks in the life of the Fab Four as the world around them goes mad, capturing Beatlemania as it exploded day by day. “We were kind of normal, and the rest of the world was crazy,” George Harrison says in the trailer. “Everybody got into the mania when the Beatles came to town.”

Peter Jackson’s WingNut Studios remastered the footage, as they did for Get Back. The music is produced by Giles Martin, who has produced the stellar run of Beatles editions that began in 2017 with Sgt. Pepper. Beatles ’64 gets up close and personal as John, Paul, George, and Ringo, already stars in their homeland, suddenly experience the kind of mass hysteria they’d never seen before — and neither had anyone else. “It was like being in the eye of a hurricane,” John says in in the trailer. “It was happening to us, but it was hard to see.

The film also has interviews with American music legends testifying to the Fabs’ impact, from Motown founder Berry Gordy to the late Ronnie Spector. Smokey Robinson, the Beatles’ original songwriting idol, discusses their connections with African-American music. As Robinson says, “They were the first white group that I’d ever heard in my life who said, ‘Yeah, we grew up listening to Black music.’”

Beatles ’64 is produced by Scorsese, Margaret Bodde, McCartney, Starr, Olivia Harrison, Sean Ono Lennon, Jonathan Clyde, and Mikaela Beardsley, with executive producers Jeff Jones and Rick Yorn. David Tedeschi spoke to Rolling Stone for an exclusive inside tour of the film, discussing how it happened and what fans can expect.

Are you a fan?

I’m a big Beatle fan. I grew up on the Beatles—it’s part of my DNA. Listen, I live in New York City. In a way, oddly enough, it’s a New York City story. Beatlemania feels like it took over the world in New York — Ed Sullivan was here. It wasn’t the beginning of Beatlemania, but that’s where it went up another level. Then it started happening all over the United States. So in a way, it’s a New York story, as a New Yorker who loved the Beatles, I feel very connected to it.

How did the movie come together?

I edited a film for Martin Scorsese called George Harrison: Living the Material World. As a result, we were very good friends with Olivia Harrison. We interviewed Paul and Ringo for that film. So there’s a relationship with Apple — we know them. Apple was aware that they had this footage and they wanted to do something with it, so they reached out to me.

Where does this footage come from?

David and Albert Maysles, who became very famous later in the sixties. This is their second movie-they made a movie that was rarely shown called What’s Happening! And one of the reasons it was rarely shown is they didn’t really have rights — a variety of rights. So Apple took ownership of the actual Maysles negatives.

Hardly anyone has seen What’s Happening!

Al and David, they were just phenomenal filmmakers and pioneers, and what they were doing was very unusual. So What’s Happening! did play on American TV, but it was considered too, how shall I say this, radical or obscure. And what played on American TV had interstitials with Carol Burnett.

What’s Happening! has a beautiful moment when the Beatles have just landed, riding in the car from the airport. Paul is holding up a transistor radio, hearing their song on the air. He looks right at the camera and says “I love this!” It’s so intimate.

Yeah, the Maysles brothers were pioneers of direct cinema, as they called it. In that footage, you can see that the Beatles are very relaxed. They have so much charisma on camera. But even the fans, these young women in front of the Plaza Hotel, or what we call the Sullivan Theater now — they also have so much charisma. There’s something about the energy of Al and David that relaxed people, and allowed them to project something on film. I don’t know what it is. I worked with Al when Scorsese hired him for [the Rolling Stones’ concert film] Shine a Light. So as the Rolling Stones were rehearsing, I got to watch Al at work. And he was very sly. People would see the camera, but quickly they forgot about it.

In the trailer, there’s a moment of Ringo talking to Martin Scorsese. Did Scorsese interview him?

We did two interviews: Ringo and Paul. Marty was there for Ringo, and I would say he primarily conducted the interview. We didn’t want to do just sit-down interviews. With Ringo, he has saved a lot of his clothes through the years, so he had one of the suits he wore on the train to Washington. He has it all — that same drum kit that he played at Ed Sullivan. I interviewed Paul at the Brooklyn Museum, when he was there for Eye of the Storm photo exhibit. When you look at the handwritten lyrics for ‘I Want to Hold Your Hand,’ it’s an emotional thing

How far into 1964 does Beatles ’64 go?

It’s just those three weeks—they arrive in New York, for maybe four or five days, then Washington and Miami. There’s footage from the Maysleses all the way through, but there’s other stuff. We had a great researcher who found a lot of local Miami footage from local archives—a lot of footage was buried, and he really had to go digging in order to find it. So that’s exciting”.

PHOTO CREDIT: © 2024 Apple Corps

I will finish off with a review from The Guardian. Although I have seen one or two reviews give a middling assessment of Beatles ’64 – calling it an uneven portrait -, many have given it a huge thumbs up. Tomorrow is going to be an exciting day, as we will get to see one of the most important Beatles documentaries ever made. I cannot wait to see what comes from it:

“The Beatles’ breaking of America – that mythic, ecstatic moment which restored Britain’s postwar pride and became an enduring cornerstone of our soft power self-respect – is the subject of this absorbing documentary from director David Tedeschi; Martin Scorsese is a producer and interviews Ringo himself in the present day, with Paul speaking to camera separately. It also uses the intimate hotel-room and backstage footage shot at the time by the Maysles brothers, Albert and David.

The film is a record of the band’s arrival in New York in 1964, and their legendary live appearance on The Ed Sullivan Show, the host resembling a wary, jowly Richard Nixon. Craig Brown’s book One Two Three Four points out that the Beatles’ appearance on the show followed an interminable succession of forgotten support acts who, though they may have eagerly accepted the TV booking at the time, were doomed to be hated by an impatient nation for not being the Beatles, for ever tainted by their sheer irrelevance. This film shows one of the TV audience yawning at one of these lesser mortals.

The band’s first concert in the US was in Washington DC, where the staff and officials at a British embassy reception notoriously disgraced themselves with their boorish snobbery towards the band; a well-spoken chap is shown sneering that he had no patriotic pride about the Beatles. Then it was back to New York to play Carnegie Hall, then on to Miami where they got to goof around with Muhammad Ali, though there is no film footage of that.

As ever, the four faces of the Beatles glow with incredulous bafflement and joy at the surreal storm swirling around them; they radiate an inexhaustible, almost supernatural energy, cracking wise and laughing, and apparently never in a bad mood with the cameras that are forever being shoved in their faces. They are good-tempered and bemused by the New York radio DJ Murray Kaufman, or Murray the K, who had somehow managed to fluke his way into hanging out with them in their hotel room, and no one quite knows who allowed him to do this. The film gives us some great closeups of the band’s faces while they are playing – I’d never noticed before that George sometimes briefly appeared to zone out on stage.

Writer Joe Queenan chokes up while remembering how he felt when he first heard the Beatles on the radio; that eerie alchemy of voices, at once galvanised with rock’n’roll energy and yet innocent and unthreatening. They were cathedral choristers of romantic joy, and the band that gave white America permission to rock out and lift their spirits after the Kennedy assassination. Some of the documentary is interested in how soft, and even exotically non-binary, the Beatles looked – so different from what Betty Friedan is shown describing as the crew-cut Prussian masculinity that was mandatory for American manhood at the time. (Again, without knowing it, they paved the way for America’s acceptance of Brit-androgynous glam rock.)

Photographer Harry Benson is interviewed in the present day, confiding that John, nervous about how he and the others would go down with the US public, found himself talking about Lee Harvey Oswald. Lennon is also shown making a pertinent point: “The Beatles and their ilk were created by the vacuum of non-conscription … we were the army that never was.” National service was abolished … and rock’n’roll took its place? It’s an intriguing thought, though it should be said that Elvis Presley did military service.

And what is still amazing is how brief an instant it was; in just a few years, the Beatles and their music would evolve into something completely different. A few years after that, they would break up, while still only in their 20s. An amazing split-second of cultural history”.

Beatles ’64 shows that there is still this incredible gravity and love around the band. How the whole story can never be told. Sixty years after they visited America, we are still talking about them! Band members Paul McCartney and Ringo Starr talking about that time is really emotional and important. That incredible, first-hand testimony from young men who were in the eye of a storm. It must have been such a daze for them. They, John Lennon and George Harrison left their mark on the world. Their legacy will last forever. Make sure that you watch Beatles ’64 on Apple+, as it is a documentary…

YOU will not want to miss!

FEATURE: Director’s Cut II: Will Kate Bush Ever Revisit Her First Three Albums?

FEATURE:

 

 

Director’s Cut II

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

Will Kate Bush Ever Revisit Her First Three Albums?

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I feel we have reached a point…

where Kate Bush has done all the revision and retrospection. I don’t think we will get any more album reissues and expansions. As good as it would be to have an expansive reissue of Hounds of Love or The Dreaming, I feel everything that has been released is enough. I do hold out hope that Kate Bush will open up the archives, as you just know there are studio takes and extras that nobody has heard. She seems to be much more open to her older work. Maybe she finds those offcuts imperfect and detrimental, whereas her album reissues have been about taking something album-worthy and making it even better. I have said before how it would be wonderful having a tribute album. Artists tackling Kate Bush’s songs. It has sort of been done before but not by well-known artists. It is a definite gap that requires filling. In May, it will be fourteen years since Kate Bush released Director’s Cut through Fish People (and EMI). I am going to write about that album nearer the anniversary. Her first studio album since 2005’s Aerial, it was a big step re-examining her older work. If fans were looking for new material, what they got was a compromise. Bush taking a real interest in previous work whilst offering new versions of those songs. She selected tracks from The Sensual World (1989) and The Red Shoes (1993). Maybe she felt were not great the first time around. The production sound not as she imagined.

I can understand why Bush wanted to tackle those two albums. Whilst she loves 1985’s Hounds of Love and 2005’s Aerial, the two albums in the middle were not as strong as they could have been. I am speaking for Kate Bush rather than providing my own opinion. Even though her production is terrific, there is room for reinvention and improvement. I do feel The Red Shoes especially has a bit of an edgy or emptier sound that is not as warm and fulsome as other studio albums. Whilst some of the reworkings improve on the originals or at least offer tantalising and fresh perspectives, a fair few of the songs cannot surpass the studio album versions. I was really excited when the album was announced. Director’s Cut got some positive reviews, though many consider it to be Bush’s only inessential album. There were some baffled by the album. I feel it is underrated and deserves more love. Director’s Cut is an album many fans leave to collect dust on the shelf. There are treasures to be found. I am going to sort of defend Director’s Cut in a feature near to May. It is a great album and it is wonderful hearing Bush with this older voice revisit songs from a couple of decades prior. Songs such as Top of the City (The Red Shoes) and Never Be Mine (The Sensual World), which fans might not have known about or appreciated, are put back in the spotlight.

I do wonder why Bush never considered revisiting her first three albums. She sort of wrote them off at one point. In the same way Steely Dan dismissed their first three albums as juvenilia, Kate Bush felt that her first few albums were maybe not up to snuff. A different person. What I would love to hear is Kate Bush now revisiting songs from The Kick Inside and Lionheart. Both released in 1978, she was nineteen and twenty respectively when those albums arrived,. 1980’s Never for Ever was the first album where she co-produced (alongside Jon Kelly). Even though at the time she said she was proud of the albums, that attitude sort of shifted in years since. I am ending this feature with a playlist of twelve songs from those three albums that would be interesting to see given a new take. I can appreciate how Bush might have wanted to keep some distance from her earliest work. After all, she was in her late-teens/early-twenties when those three albums came out, so it might have felt weird going that far back. Such a different sound and headspace, could Bush have tackled songs from The Kick Inside where she was writing from a teenage perspective. Albeit it a very mature viewpoint. She did re-record the vocal for Wuthering Heights (1978) and included it on her sole greatest hits collection, The Whole Story (1986). That question remains as to why she reapproached The Sensual World and The Red Shoes rather than her first three albums. Albums where she did not feel in control or that they were truly representative of her. I guess there are still distribution and ownership rights issues for those albums. Especially Kick Inside and Lionheart. I don’t think her Fish People label has distribution ownership of those albums, so would it be a hassle trying to reissue songs from those albums onto a new Director’s Cut?

The fact Bush felt The Sensual World and The Red Shoes suffered because of the production trends and sounds of the time in which they were released, her reasoning would be different for revisiting her first three albums. The title, Director’s Cut, does imply this was Bush releasing the albums she always wanted to. Taking control and giving her version. If she felt ownership of some albums were out of her control and she was wrestling it back, it was more silencing a nagging voice in her head. Rectifying some issues that were weighing heavy on her mind. I love how Steve Gadd was integral to Director’s Cut and its brilliant percussion. He would also be utilised for the follow-up, 2011’s 50 Words for Snow. Gadd said how Bush wanted him to treat the tracks as new. She stripped them down and built them again, so it seemed like a new album - albeit one with some familiar words! Another big reason for Director’s Cut was that she could use words from James Joyce’s Ulysses. She was not able to for The Sensual World’s title track but she was granted permission in time for Director’s Cut. That is because the book was in the public domain and was not subjected to copyright restrictions. Flower of the Mountain was Bush using words she longed to sing.

People are very keen for Kate Bush to move forward. She recently discussed how she is looking to do something new and has lots of ideas. Whether this is a much-demanded eleventh studio album or a new project of some sort, would a second Director’s Cut please or divide fans? On the one hand, those who disliked or were a bit ho-hum about 2011’s Director’s Cut would not jump at the sequel. My biggest problem was that many of the songs on The Sensual World and The Red Shoes Bush decided to rework were strong on the original albums. You could say the same about cuts from The Kick Inside, Lionheart and Never for Ever, though the biggest fascination would be going that far back. Giving this completely new spin on these songs. So many people overlook those first three albums and see them as inferior. It would give them their due and also introduce them to new fans. What would the motivation be for Bush revisiting albums from the 1970s and 1980s?! I think the most compelling argument would be how dissatisfied she is with them. At least there is this lingering feeling that she was not the driving force. Think of some of the songs and collaborations that could go into the album! I will end with my choices for songs that would appear on Director’s Cut II, though many others have their opinions. In any case, it is just a theory and hope, yet many other people would love to see Kate Bush take some time to re-record songs from the simply wonderful The Kick Inside, Lionheart and Never for Ever. I feel that Director’s Cut II would be…

A box office success.

FEATURE: Catch Us Now for I Am Your Future: What Possibilities Does 2025 Hold for All Things Kate Bush?

FEATURE:

 

 

Catch Us Now for I Am Your Future

IN THIS PHOTO: Kate Bush in an outtake from the Babooshka photo session in 1980/PHOTO CREDIT: John Carder Bush

What Possibilities Does 2025 Hold for All Things Kate Bush?

_________

IT is a fool’s errand…

 ILLUSTRATION CREDIT: Jim Kay

predicting what will happen with Kate Bush in 2025! However, as we are nearing the end of the year and looking ahead, it is worth predicting. After a somewhat downbeat 2023 Christmas message from Bush, there was a glimmer of hope. Many didn’t think we would see much activity from Kate Bush during the pandemic. Not only did she post message to her website, there was also the success of Running Up That Hill (A Deal with God) after it featured on Stranger Things. I am almost sick of talking about it, though it is important. Nobody thought this year we would hear a new interview from Kate Bush. Speaking with Emma Barnett for Today in October, Bush was discussing the Little Shrew (Snowflake) video and how she wants to raise funds for War Child. When asked whether Bush was thinking of new music, she revealed she is keen to do something new and was open to the idea. Whilst not an official confirmation of her eleventh studio album, it is the clearest indication in years we have had. That shaft of light some thought would never come! It has been more than thirteen years since she released 50 Words for Snow. Whilst many feel that revelation for Today was Bush looking ahead to maybe starting writing for a new album, the fact she has discussed the possibility of a new album means it is probably further along than the inception stage. Rather than it being a polite answer to a question – Bush wanting people to stop talking about it -, this was her genuinely engaging with a new album.

If she had no plans then she would have said that. I do think next year will finally be the one where Bush announces a new album. As I say with every feature like this, I hope she does not announce one before the end of the year, as it messes up so many features I have already written! I am writing this feature on 24th November – it will go out in December – and thinking we have heard everything significant from Bush in 2024. There will be her Christmas message later in the year. We mark forty-five years of her Christmas special, Kate, on 28th December. However, next year offers some tantalising possibilities. Given that possibility Kate Bush is at least working on an album if not ready to announce it yet, that means there will be a lot of fascination and exposure. I think we will see new magazine articles and entire editions dedicated to her. Rather than it being tied to a particular anniversary, we will see articles that rank her songs and albums. Fans talking about their music. I am going to write a separate feature speculating what a new album might sound like or be called. It is likely that we will get a few Kate Bush posts on her website. In terms of this year, it has been defined by retrospection and reissues. It seems like Bush has finished with that particular stage. What could she reissue or repackage for 2025? The albums have come out several times and I don’t think she could do anything more with them. I guess we have to accept that Bush will not reissue albums with demos, outtakes or B-sides.

I shall come to the biggest anniversary of 2025 at the end. There are two big anniversaries later in the year. In September, Never for Ever turns forty-five. I think we will get magazine and online celebration of this album closer to the date. The majestic Aerial turns twenty next November. I hope that both anniversaries are greeted with new inspection and spotlight. As I say, there will be no more album reissues. Instead, a chance for fans to come together to share their thoughts about this important album. I think it is unlikely we will get a new Kate Bush biography, though you can never bet against a book of some sort coming out. Leah Kardos released her book about Hounds of Love for the 33 1/3 series. Maybe Kate Bush album will be added to the series in 2025? I do think we will get at least one new Kate Bush-related book, though it is unclear what it could be about. Given she has invited the possibility of new music, it will compel and inspire writers. Although it is unlikely to be marked by any Kate Bush post or anything online, I am looking forward to June. That will mark fifty years since Kate Bush visited AIR Studios in London and recorded two songs that would appear on her debut album, The Kick Inside. Although Humming (or Maybe as it was known) did not make the cut, The Man with the Child in His Eyes and The Saxophone Song did. The versions we hear on the album were from 1975 and that recording. Bush was only sixteen when she laid down those vocals. So extraordinary! What else could come from Kate Bush in 2025?

I do think that there will be some charity involvement. Bush has recently raised money for War Child, so I would not be surprised if she increases that involvement. Keen to raise money for worthy causes. There was a Kate Bush pop-up in Kings Cross, London in 2018, which sold merchandise and albums. That was the year she remastered her albums, so they were available, alongside some great items. It raised a lot of money for Crisis. It would be wonderful if there was another pop-up shop in 2025. I do feel we will get a lot of Kate Bush covers next year. More than in recent years anyway. Artists discovering her now sharing their takes on her tracks. Maybe Hounds of Love’s tracks will get most exposure, though you never know which songs will be covered. Kate Bush will engage with fans through the year. I feel we will get an album announcement at some point next year. The likelihood is she has written tracks for an album and will not leave such a huge gap between finishing archiving and retrospection and something new. Why would she say she is interested in making new music and then leave us hanging for a couple or several years?! It is very unlikely we will have an entire year when Bush is writing and recording and we’d get an album announcement some time in 2026. I think it is likely that she will announce an album towards the summer next year and release something in the autumn or early winter. However, as this is Kate Bush, you can never tell! I get the feeling she has recorded quite a bit of a new album and will have something ready to go next year. It would be wonderful if we got an eleventh studio album and Bush kept the door open for a twelfth studio album. It does seem like she is keen to embark on a new creative phase, so all fans want her to keep recording. We can’t be greedy, though!

 IN THIS PHOTO: Kate Bush during the photo session for The Ninth Wave/PHOTO CREDIT: John Carder Bush

The biggest anniversary next year is when Hounds of Love turns forty on 16th September. Even if the album has been reissued a few times in various forms and will not be done again, there will be plenty of attention around it. I would like to think there will be a podcast or two. A BBC show or documentary. Maybe not filmed. Instead, a station like BBC Radio 4 will commission a documentary. One that examines an album that seems as relevant now as ever. I do also think BBC Radio 6 will run a day of playing songs from the album on 16th September. Hearing from fans of the album. I keep putting the idea out there of an adaptation of The Ninth Wave. The album’s second side suite, it was brought to life for 2014’s Before the Dawn though the DVD will never be released. People say that the stage version is sufficient and there is no demand for a filmed version. I would disagree. The vast majority of Kate Bush fans have and never will see that staged version. Things can be done more than once if done differently. Bush has reissued the same albums more than once. She also said in 1985 how she was thinking of making a cinematic version of The Ninth Wave…and fans cannot really speak for Kate Bush or predict how others will react. Personally, I feel there would be demand and definite scope. Some film or single comedy-drama announced near the fortieth anniversary of Hounds of Love. I have previously pitched an idea where Saoirse Ronan is the woman lost at sea. Playing a character called Catherine, we would follow her after her wedding day and a honeymoon trip that would involve her being on a boat. Coming out of New York, she falls into the sea midway through a cruise. Set in modern-day U.S. in August, we would focus on the heroine trying to stay alive as The Ninth Wave comes to life. Each song would have a different visual and cinematic tone. There would be a mix of terror, suspense, comedy, emotional hit and beauty. Different lighting, visual styles and techniques as eventually Catherine is found by a helicopter and we see her returned to New York as she ponders her life.

 IN THIS PHOTO: Saoirse Ronan/PHOTO CREDIT: Nathan Merchadier

There is a lot more to it than that, though that is the core of the story. We end the film wondering if she actually survived and this is a dream or she did get back and it is real. Whether it was an accidental or she was pushed. Kate Bush’s The Ninth Wave very much at the centre of the film of the same name. I recently shared a feature where I pitched a potential Kate Bush video (for a hypothetical new single). I actually think it would fit better as the opening of The Ninth Wave. Catherine in this scenario listening to a song through headphones (I am imagining something by David Bowie or even Radiohead) before the introduction ends and we cut to her in her New York apartment at night lying awake with headphones on. An overhead shot of the bedroom that would mirror the overhead shot during Hello Earth near the end of The Ninth Wave. Again making us wonder if she survived and The Ninth Wave was a dream or she is dreaming of the ‘on land’ scenes from the sea. It would end with a twist and that unanswerable question. Although unlikely, I do think something big should happen around the fortieth anniversary of Hounds of Love. Lots of possibilities regarding Kate Bush next year. Given how busy the last few years have been – and few of us ever expected that! -, one thing we can guarantee is that 2025 will not be quiet! I do love how this year has seen Bush interact with fans and there has been so much happening. As we head to Christmas, we will prepare for a new Kate Bush message. Some great things have come from her in 2024, so there is a lot to reflect on! The wonderful and iconic Kate Bush has reached and inspired…

A whole new legion of fans.

FEATURE: Kate Bush: The Deep Cuts: Among Angels

FEATURE:

 

 

Kate Bush: The Deep Cuts

IN THIS PHOTO: Kate Bush in 2011/PHOTO CREDIT: John Carder Bush

Among Angels

_________

FOR the final part…

of Kate Bush: The Deep Cuts, I am featuring a song that ranks alongside her best ‘recent’ work – from 2005’s Aerial to 2011’s 50 Words for Snow. This late-career masterpiece is the final track on her most recent album, 50 Words for Snow. It ranks alongside her very best tracks ever. There are Kate Bush song ranking features, though Among Angels rarely features. When ranking Kate Bush’s fifty best tracks earlier this year, I was glad to see MOJO placed Among Angels in the very respectable place of thirty-seven (“Who you gonna call? Kate's supernatural support service. Concluding 50 Words…, this sparse, poignant torch song to a beleaguered loved one has nothing to do with snow but fits with the album’s atmosphere of glittering, supernatural reverie. Initially taking an unexpectedly grounded view of the problem (“Only you can do something about it”), the song soon thickens into a spiritual balm, Kate offering celestial comfort over tender broken chords: “I see angels standing around you/They shimmer like mirrors in summer/But you don’t know it”). The only other time I have seen it in a rankings list is from 2023 where PROG included it in their top forty Kate Bush songs feature (“Stephen W Tayler: “I heard it for the first time when I was mixing the album 50 Words For Snow with Kate. The mood, simplicity, intimacy and emotion hit me right there and then. It’s such a profound and evocative song and such a stunning performance. “When I was invited by Kate to become the ‘Kate Vocal Navigator’ for the Before The Dawn live shows, we spent months with the crew and the band rehearsing and preparing. Every day at lunchtime, when the rehearsal stage was empty, Kate would come and practise a few songs at the piano with just me in the room, controlling her sound. One song she rehearsed every day was Among Angels. I was almost in tears every time she performed it. I was controlling her vocal live which was nerve-racking as it became a real struggle to concentrate. I was overwhelmed with emotion every time. You could hear a pin drop in the theatre. “I’ve heard Among Angels too many times to count, yet still feel the same emotions whenever I hear it, as if for the very first time”).

Among Angels is the only song on 50 Words for Snow not about snow and the cold. It was performed as the penultimate (before Cloudbusting) song of her 2014 residency, Before the Dawn. The only song from 50 Words for Snow included in the setlist, Among Angels provided a suitably emotional and phenomenal first song of the encore. Many fans would not have expected this song to be included. It gave new light and attention to a track (and album) many people have overlooked or have not investigated fully. I think it is a great deep cut that deserves more love, as it is one of Kate Bush’s finest tracks. At 6:48, it is shorter than the official single released from 50 Words for Snow, Wild Man. There could have been a radio edit, as I would have loved to have seen a music video for Among Angels. I have said in a previous feature how there could be this animated video for the song. If all seven songs got an animated video and it was part of a story, the final part would be for Among Angels. A video set in Los Angeles (the city of angels), I could imagine something powerful and tender. As the final song of her most recent studio album, Among Angels is also the final Kate Bush album track. Though not the last! She will be back with new material. With just Kate Bush at the piano, it is this sparse and beautifully intimate song. In terms of Kate Bush album tracks, there is less written about it then most. It was just Kate Bush and her piano. It has only one studio version and the live version from Before the Dawn. It was covered (quite well) by Grimeland as part of the collection, I Wanna Be Kate: The Songs of Kate Bush. That was released in 2020. However, I think that the original is by far the best and most striking. I love when people cover Kate Bush, though for a song as distinct and utterly Kate Bush as Among Angels, everyone else can hope for second best at most!

Even though there are fewer lyrics than many of Kate Bush’s songs, I think that Among Angels has this economy that works in its favour. There is this sense of a dear friend falling apart or in trouble but Bush is reaching out. This sense that we all go through tough times but come through. Giving strength and hope to someone. A sense of mystery and intrigue that sits along such beautiful words and powerful visions: “Only you can do something about it/There’s no-one there, my friend, any better/I might know what you mean when you say you fall apart/Aren’t we all the same? In and out of doubt/I can see angels standing around you/They shimmer like mirrors in Summer/But you don’t know it/And they will carry you o’er the walls/If you need us, just call/Rest your weary world in their hands/Lay your broken laugh at their feet/I can see angels around you/They shimmer like mirrors in summer/There’s someone who’s loved you forever but you don’t know it/You might feel it and just not show it”. Pitchfork wrote in their review of 50 Words for Snow how gorgeous Among Angels is. NME noted (Among Angels) “has a spacious, sacred feel”. For Record Store Day, Lake Tahoe/Among Angels was released on a limited edition picture disc. One of the most detailed analysis of Among Angels came from Jude Rogers in a 2011 BBC review (“The album’s finale, Among Angels, is even better, a torch-song for a friend in need, with a stunning central lyric: "I can see angels standing around you / They shimmer like mirrors in summer / But you don’t know it." Throughout, the piano sets a magical mood, all dark, loud and heavy. Just after the song’s start, you also hear Bush stop for a second, take her fingers off the keys, and whisper the word "fine").

In a somewhat underwhelming and misguided three-star review – how could anyone give it such a mediocre score?! – this was what The Guardian said about Among Angels: “The final piano track, "Among Angels" should be pulling floods of tears from listeners' ducts but never quite locates the tap. This album is rather better when it is winking at you, rather than seeking to cryogenically preserve emotion”. I want to source from page 331 of Graeme Thomson’s Under the Ivy: The Life and Music of Kate Bush. In his chapter on 50 Words for Snow - or the one where he goes into detail regarding her tenth studio album -, he discussed Among Angels. A song written some years earlier (than the other six on the album), it was unique in the sense it was not connected to snow. In an interview with BBC Radio 2’s Jamie Cullum – which is annoyingly removed from YouTube! – in December 2011, Bush said she felt Among Angels was atmospherically at home with its album siblings. After a false start and muffled aside – which she wanted to take out but friends convinced her to keep in -, Bush addresses love, faith, death, belief and struggle. It is one of her most inspiring and powerful songs. Thomson muses how Among Angels could be about her departed father (who died in 2008 and would have occurred around the time she wrote the song I guess) or her young son, Bertie. Maybe a friend that was in need. Interestingly, Thomson also notes how Among Angels has more in common with the pre-The Kick Inside demos (the Cathy Demos) and a pile of gems that included the likes of Cussi Cussi and Something Like a Song  - the latter of which Thomson notes has a similarity with Among Angels. Her latest album sort of connects with her debut. The importance of the piano. Bush consciously thinking back to The Kick Inside and some of the tones and aspects of that album. Bush backed by a swelling orchestra and delivering this spinetingling song. Thomson summarises when closing his thoughts on Among Angels: “Elegant, exquisite, show stopping” (and a song that came before the show-stopping Cloudbusting in 2014). A stunning and unforgettable song that somehow transports us back to the music Bush recorded when she was a girl/young teen, Among Angels is truly…

A divine offering.

FEATURE: Off to a Flying Start: Ten Remarkable 2024 Debut Albums

FEATURE:

 

 

Off to a Flying Start

IN THIS PHOTO: Tyla/PHOTO CREDIT: Jeremy Soma 

Ten Remarkable 2024 Debut Albums

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ALTHOUGH we take…

IN THIS PHOTO: Rachel Chinouriri/PHOTO CREDIT: Lauren Harris

a lot of time this time of year to recognise the very best albums, there are not as many features about the finest debut albums. Fewer to choose from granted, though it is important that we acknowledge the brilliant flying starts from artists. The debut album is so hard to get right. Everything leads up to that moment, so it is all the more impressive when you get a first album that sounds so complete, assured and uncracked. I am going to go on to highlight ten awesome debut albums from 2024. Those that you need to have a listen to. I want to give honourable mentions to Nia Archives’s Silence Is Loud, Kate Hudson’s Glorious and GloRilla’s Glorious. From some terrific solo artists to band-made debut wonders, these are the best and brightest from this year. Here are ten albums that show these artists got it spot on…

RIGHT from the start.

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The Last Dinner Party – Prelude to Ecstasy 

Release Date: 2nd February

Label: Island

Producer: James Ford

Review:

“If you were looking to understand the appeal of The Last Dinner Party, you could alight on the world which they conjure in their beguiling songs: a cocktail of gothic romance and sparkling opulence. Having been mainstays on the London live circuit following the pandemic, the five-piece swiftly landed a major label deal and have since continued to align their image and artistry, bringing silken ball gowns and a raucous energy to stages the world over. It’s as though they figured where they were going long before they got there.

In the months leading up to their debut LP ‘Prelude To Ecstasy’, their name has echoed around late night chat shows and festival lineups; yet the speed with which the band broke through has led to online discourse around their credentials, not too dissimilar to the conversations that were previously directed towards the rapid arrival of Wet Leg. Arguably, there is now an element of smoke and mirrors around a band whose mission appears to be fairly straightforward: “We imagined the kind of joyful act we’d want to see when we go out, and created our own ‘dream band’ from that,” vocalist Abigail Morris told NME last year.

It’s almost easy to forget that we’re here, primarily, because of one endlessly catchy single. ‘Prelude To Ecstasy’ arrives nearly a year on from ‘Nothing Matters’, the track that launched the band on their dizzying trajectory; in terms of its Roxy Music-like stomp and fatalist lyrics, it serves as their own dark, escapist fantasy. “And you can hold me like he held her / And I will fuck you like nothing matters,” so goes the chorus.

Rendered in strings, groove-flecked guitar passages and twinkling keys, the album’s recurring themes continue to ooze out of every verse: girlhood, regret, intimacy, unsatisfying relationships. It swoops from a cavernous torch song (‘On Your Side’) to visions of hysteria via a plaintive ballad (‘Caesar On The TV Screen’). Slickly arranged as though these tracks are – with James Ford [Arctic Monkeys, Jessie Ware] on production duties – they offer a type of melodrama that doesn’t crop up often in modern mainstream pop.

In fact, when the band dial things down, like on ‘Beautiful Boy’ which peaks almost instantly with a panpipe section, the energy shift is noticeable. ‘Gjuha’, an Albanian-language call to home sung by keyboardist Aurora Nishevci, contains some beautiful, contrasting falsettos but feels out of place within the album’s clear vision. These more muted moments aren’t a slight on ‘Prelude To Ecstasy’ as a whole; if anything, they go to show that the band manage to cram a surplus of ideas into the majority of the material here.

Even at its most overwrought – the rhythmic attack of ‘My Lady Of Mercy’; a chunk of wallowing reverb in ‘Burn Alive’, presumably to evoke misery and displacement – there’s a melodic confidence throughout that’s a rare find in a debut. The Last Dinner Party may have some reverence for their art-rock forebears (think: early Julia Holter or St Vincent), but also enough self-belief and magnetism to set them apart from what’s come before” – NME

Standout Tracks: Caesar on a TV Screen/Sinner/Nothing Matters

Key Cut: The Feminine Urge

English Teacher – This Could Be Texas

Release Date: 12th April

Label: Island

Producer: Marta Salogni

Review:

“The album opens with the swooping sentimentality of Albatross – a masterful display of tension and release, feathery piano and guitar work gliding gracefully across the track before it descends into a whirlpool of hypnotic syncopation. The World’s Biggest Paving Slab follows – a seemingly mundane but actually brilliant claiming of personal abundance, in which Lily Fontaine puts their hometown of Colne on the map, delivering lines pertaining to Lancashire lore: 'I am the Bank of Dave, Golden Postbox / And the festival of R&B / And I'm not the terrorist of Talbot Street / But I have apocalyptic dreams'.

The band flip the central sentiment of Beyoncé’s most recent single on its head with title track This Could Be Texas, favouring chipper ivories and hopeful brass over scratchy acoustic guitar and a driving hoedown kick drum. Other highlights include the arcade machine intro and critique of ridiculous billionaire hobbies on Not Everybody Gets To Go To Space; the fragmented time signature and snapshot lyricism of Broken Biscuits; and the drunken drumwork and extraterrestrial soundscape of Sideboob. This debut LP sees English Teacher beginning to consolidate and take the already-delicious sounds introduced on their Polyawkward EP to even greater heights” – The Skinny

Standout Tracks: The World’s Biggest Paving Slab/Broken Biscuits/Nearly Daffodils

Key Cut: Albert Road

FLO – Access All Areas

Release Date: 15th November

Label: Island

Producers: Various

Review:

“While many of their solo contemporaries understandably fixate on shady exes, FLO also lift up the good dudes. Explicitly starry-eyed tracks like the sweet, kinda crunk “Check”—which runs down an inventory of a partner’s desirable traits (“Is he faithful? Check…”) over sweaty trap 808s—and the doting “Bending My Rules” celebrate steady, dependable men. On lead single “Walk Like This,” with its stiletto-clicking beat, they sing about the aftershocks of great sex—wobbly knees and emotions—while the Dreamgirls-inspired title track, “AAA,” is a whispered invitation to foreplay over a suite of go-go snares and showy hi-hats. These songs might feel traditionalist in some ways, but FLO’s idea of partnership is reciprocal and well-earned. “If I give you everything, it better mean everything, not just anything,” they clarify on “AAA.” Later, they wonder, “How does it feel to know I could have anyone but you the one that I want?”

Just when the vibe starts to get too coddling, they balance it with a little venom, threatening to key cars on the cautionary tale “Caught Up,” a femme-fatale callback to the millennial aloofness of Blu Cantrell. This course correction happened intentionally in the midst of recording. Douglas told Dazed this past September, “We were able to see that we had four songs that were, like, ‘I love my man,’ and four songs that were [all] ‘I’m a Bad Bitch,’ but where were the songs about ourselves?” One of their self-love gems, “In My Bag,” features a bullish GloRilla guest verse and a speedy beat switch-up made for Peloton rides while FLO boast about being their own biggest fans: “What I got is manifested/I don’t even gotta try.” It’s an aspirational level of self-possession in the lineage of TLC. Even the icy breakup anthem “IWH2BMX” (“I Would Hate to Be My Ex”) exudes glow-up energy: “I’m a pop star like Rihanna,” they gloat.

What makes these songs particularly striking is FLO’s vocal chemistry and equity. Their primary collaborator, British producer-songwriter MNEK (whose credits include Beyoncé, Little Mix, Kylie Minogue, and Dua Lipa), keeps the group’s tones warm and precise as the album winds down to dreamier slow-burners like the pillowy “Soft” and “On and On,” a blushing ballad that feels like a soothing spa soak. As a collective, FLO and MNEK are keyed in on the exact sweet-and-salty frequency that makes a girl group pop. Impressively, none of these tracks feel like filler, and even some of the less immediate standouts take a charming or surprising turn, whether it’s the lush, slightly maudlin Dynasty-style strings on “Shoulda Woulda Coulda” or the rock-leaning closer “I’m Just a Girl,” a rallying cry about facing industry pushback. While out of place tonally and potentially polarizing (“This song ain’t for everybody,” they acknowledge at one point), it still shows FLO’s willingness to experiment.

Perfection isn’t just the goal for the average girl group—it’s gospel, and FLO are shamelessly invested. The quest isn’t literal, of course (nobody’s flawless), but about following the examples set by their forebears: clean vocals, tight harmonies, and choreography with something meaningful behind it. Quaresma told Teen Vogue, “I think we feel like we’re in good company with the girl groups that have come before because we know that we can work hard enough to be seen as one of them one day.” You can tell they’ve studied not just their influences’ lyrics, enunciations, and double-time flows but all the intangibles, too (they’ve sung on treadmills for practice like Destiny’s Child). And they’ve used that knowledge to craft a debut that’s neither overly formulaic nor purely decorative, one that comes from a youthful, self-actualized lens. Acesss All Areas makes a case that their pursuit of a more perfect union is within reach” – Pitchfork

Standout Tracks: AAA/In My Bag/Shoulda Woulda Coulda

Key Cut: Walk Like This

Rachel Chinouriri – What a Devastating Turn of Events

Release Date: 3rd May

Label: Parlophone

Producers: Various

Review:

“Rachel Chinouriri has always been far from a predictable artist (her 2019 EP ‘Mama’s Boy’ offered up a slice of soulful pop, while 2021 project ‘Four° In Winter’ leaned more into electronic influences), but it’s on this, her long-awaited debut full-length, that she fully steps into her considerable potential as one of indie pop’s most interesting, vital voices. Very much an album of two halves, ‘What A Devastating Turn Of Events’ utterly rejects the notion that chart-friendly music need be thematically or emotionally beige. On its A-side, Rachel explores concepts of homesickness and heartsickness with candour, sass, and wry self-awareness; though this first section largely deals in affairs of the heart, she manages to bring new dimension to the well-worn ‘boy mistreats girl’ lyrical trope by swapping between nostalgia-tinged intimacy (‘All I Ever Asked’) and affirming, anthemic choruses (‘Never Need Me’).

As we pass the record’s halfway point, however, there’s a significant tonal shift: gone are the meta, tongue-in-cheek additions of matey voice notes (‘It Is What It Is’) and humorous radio links (‘Dumb Bitch Juice’), and in their place is the title track – an instrumentally understated yet thematically hard-hitting hairpin turn left, detailing the eponymous narrative that led to a relative of Rachel’s taking her own life. It’s a sucker-punch statement that aims to emulate the speed with which circumstances can change, and indeed begins a run of poignantly beautiful tracks that variously touch on disordered eating and body image (‘I Hate Myself’); familial tragedy (‘Robbed’); and generational trauma (‘My Blood’).

What’s remarkable about ‘What A Devastating Turn Of Events’, though, is that the gravitas of this weightier material isn’t cheapened by the sudden contrast, just as the LP’s initial buoyancy somehow doesn’t become retrospectively flippant. Instead, the album honours that life’s lightness isn’t contradicted by the dark moments, but rather co-exists alongside them; a reminder that everything – and everyone – contains multitudes” – DIY

Standout Tracks: The Hills/All I Ever Asked/What a Devastating Turn of Events

Key Cut: Never Need Me

SPRINTS – Letter to Self 

Release Date: 5th January

Label: City Slang

Producer: Daniel Fox

Review:

“Dublin four-piece Sprints signed to City Slang in 2023, and blast into the New Year with debut album ‘Letter To Self’. Opening with the brooding beats of ‘Ticking’, the vocals of Karla Chubb begin low, full of foreboding. Questioning and self-doubt are apparent from the very beginning, an uncertainty about oneself. The instrumentation builds into an all-encompassing soundscape – a thrilling start which sets the scene for what is to follow. And to hear lyrics in German, the guttural nature of the language fitting perfectly with the atmosphere of the track. Although born in Dublin, Karla Chubb spent part of her early childhood in Germany, initially turning to music as a consequence of feeling out-of-step with the world.

It’s then straight into the scuzzy static-fuelled guitars of ‘Heavy’.  The external questions continue: “Do you ever feel like the room is heavy?” they ask. The energy and passion evoked here are raw and true. The lyrics build, eventually exploding in an air of frustration “watching the world go around the window”.

‘Cathedral’ is in a similar vein. There is a darkness here; “Maybe living’s easy / Maybe dying’s the same.”  The emotional intensity continues to seep through the music. The combination of Sam McCann’s bass and the guitars of Chubb and Colm O’Reilly combine to create a cacophony of sound, fast and furious.  

‘Shaking Their Hands’ takes us to a different place, with its weariness with life.  More contemplative, witnesses Chubb deliver a softer vocal.  The theme is more thoughtful with the singer “counting the minutes until the clock strikes six” – a sentiment most can connect with.  However it’s an intriguing song as the question is inevitably “whose hands?”.  ‘Adore, Adore, Adore’ was released as a single and projects the idea of being judged with its question “Do you adore me?” The pace rattles along and its chorus of “they never call me beautiful, they only call me insane” suggests a desire to fit in, to be accepted.

‘Shadow Of A Doubt’ has an eerie start with its haunting plucking guitar chords.  Again there is a atmosphere of foreboding, a lack of belonging.  The repetition of “I am lost” is gut-wrenching and Chubb builds the tension until the frustration boils over “can you hear me calling?” The sentiment is heart-breaking as it seems to be a call for help, and that wavering guitar chord perfectly evokes the anxiety.  Likewise with ‘Can’t Get Enough Of It’, the agitation remains. The inevitable ear-worm of the repeating “This is a living nightmare” is breath-taking, as it combines with the soaring soundscape. The mid-track key change takes the listener by surprise as it punches at the very core with its emotional impact. Perhaps there is a sense here of not being able to be oneself, a lack of self-belief, of security in ones own self-worth.  And goodness do those guitar parts add to the overall sense of anxiety.

The sign of a great song is that it still elicits an emotional response long after its initial release. And so it is with the 2022 single ‘Literary Mind’. Re-recorded for ‘Letter To Self’, Sprints have shared that this track has evolved over time. It is pacier than the original single version and is all the better for it. A love song, it relieves the tension felt so far on the album. It’s a song to belt out at the top of your voice, and is thus cathartic for us all. And just listen to McCann’s vocal on the outro, you know Sprints love playing this track. ‘A Wreck (A Mess)’ opens with electrifying guitar riffs and the percussive beats of Jack Callan.  The lighter tone set by ‘Literary Mind’ continues. Again lyrically reflective ‘A Wreck (A Mess)’ is delivered with wild abandon, all scuzzy guitars and thunderous drums. The ebb and flow of the pace keeps the listener on their toes, plus lyrics that will live long in the memory including: “is everyone a wreck, is everyone stressed?”

Latest single ‘Up And Comer’ reached the dizzy heights of the 6Music A-list. The opening guitar riffs stops the listener in their tracks every time.  And then the full force of ‘Up And Comer’ kicks in and once it reaches top speed you just know it’s not stopping with its full-frontal assault. The chorus is simply electrifying.

The title track closes out ‘Letter To Self’ and it takes a stand against the internal turmoil. “I’ll give as good as I get”.  Here there is defiance. The expression is one of hope, of possibility, of coming out from under the weight of expectation, of fighting back. It sees the journey through the album reach its conclusion.  Now the lyrics question those who criticise, those whose behaviour is inappropriate.  ‘Letter To Self’ states confidently “I am alive” compared to the questioning “am I alive?” from opener ‘Ticking’.  It’s a thunderous end, the theme of the track completely different from the rest of the album.

With ‘Letter To Self’ Sprints have produced an album brutally honest and personal. They have not been afraid to express the feeling of being an outsider, of looking for validation, of attempting to overcome self-doubt. The human condition and thus society is complex and difficult to navigate but Sprints have not been afraid to express uncertainty and vulnerability. And all the while they have enveloped these themes in the most glorious noise for us all to find comfort and lose ourselves in.

Is it possible to have an album of the year contender on only the first week in? Of course it is” – CLASH

Standout Tracks: Heavy/Shadow of a Doubt/Literary Mind

Key Cut: Up and Comer

NewDad - MADRA 

Release Date: 26th January

Labels: Fair Youth/Atlantic

Producer: Chris W Ryan

Review:

“The thing about looking into a polished surface is that your reflection will always be a smudge in its sheen. On ‘Madra’, NewDad find seams of doubt, uncertainty and frustration staring back at them from beneath an otherwise serene shoegaze-pop exterior.

There is a point a few songs into the London-via-Galway quartet’s debut album when their past and present meet, with the roiling emotions of young adulthood contained in Julie Dawson’s lyrics cutting through the glistening, propulsive sound the band have fashioned into a protective cocoon since the release of their promising-if-half-formed early EPs. “I don’t know where I go, I don’t know where I go,” Dawson repeats on ‘Where I Go’, her sense of dislocation growing with each additional syllable.

But while her words portray someone casting about for an anchor, NewDad’s circumstances are altogether more concrete. With major label backing and enough hype on their side to power Kevin Shields’ amplifier skyline, they are neatly placed in the slipstream of the shoegaze moment being enjoyed by reunited OG bands such as Slowdive and Ride, along with more seasoned next-gen acts in Nothing or Spirit Of The Beehive.

This weight of expectation sits easily on the broad shoulders of the LP’s best tracks, though, which are all could-be singles characterised by a keen appreciation of melody that continues to elude many of NewDad’s peers. ‘Where I Go’ leads off a killer run at the heart of ‘Madra’ where the band – completed by guitarist Sean O’Dowd, bassist Cara Joshi and drummer Fiachra Parslow – set fresh benchmarks in quick succession.

‘In My Head’ and ‘Dream Of Me’ are dream-pop gems with some lovely, nerdy guitar stuff set off to each side in the mix, while ‘Let Go’ is a hulking, riffy beast. The central hook behind ‘Change My Mind’, meanwhile, is a real flex, taking on an immediately classic feel as Dawson’s voice twists in the air.

Its few prosaic moments – including the oddly-sequenced opening pair of ‘Angel’ and ‘Sickly Sweet’ – are at the very least stylish and delivered with muscular flair as Joshi’s bass does much of the heavy lifting. Equally, while NewDad might not be as structurally inventive as the power-pop-indebted Hotline TNT or as heavy as the nu-gaze-leaning Fleshwater, they are perhaps more streamlined and together, which counts for plenty” – NME

Standout Tracks: In My Head/Nosebleed/Nightmares

Key Cut: Dream of Me

Normani - Dopamine

Release Date: 14th June

Label: RCA

Producers: Various

Review:

“The first track you hear on Normani’s solo debut album encapsulates the deceptive charm at the heart of it. Over subliminal bass pangs, synthetic horns and an interlocking groove, ‘Big Boy’ is a sensorial mood setter. It’s not an emphatic introduction but it does usher in the slow reveal of ‘Dopamine’, heralding Normani’s arrival in precise, deliberate steps.

‘Dopamine’ would always be judged against its long, faltering road to completion, documented industriously by a fan-fuelled online engine which builds up stars just to watch them descend into the abyss. Evidently, it has been a long wait. Normani first teased her girl-group breakaway in 2019, with the bubble-gum performance piece ‘Motivation’, a song that wore past influences on its graffitied sleeves; a hit that’s quietly endured but one Normani has since distanced herself from. In the interim period, she released the Cardi B-assisted ‘Wild Side’: the final track on ‘Dopamine’ paid tribute to Timbaland’s twitchy, hyperkinetic drum programming, interpolating Aaliyah’s ‘One in a Million’. Once again it was reliant on past trends and signifiers, which fed into criticism of the singer as risk-averse and too sterile.

A few years on, the Houston singer is the most famous she’s ever been but still crippled by the weight of expectation and personal anguish. It’s been revealed both of Normani’s parents were cancer-stricken, and personnel changes within her management team played a part in delaying the release. ‘Dopamine’ is in essence a survivor’s account; a paean to playing the long game. Track number two, ‘Still’, captures that quiet resistance and hardened resolve, with Normani intoning her Houston roots over a glazed trap beat that screws and grinds to a halt in its closing moments.

Throughout its forty-minute runtime, ‘Dopamine’ pays tribute to ’00s-stylized RnB deep cuts, covertly repurposing and reworking the iconography, spirit and form of her spiritual predecessors – making just enough tweaks and modifications so as to not duplicate what came to define that era. Brandy’s progressive RnB rhapsody ‘Afrodisiac’ is an obvious reference on ‘Dopamine’, and her woozy harmonic presence on torch song, ‘Insomnia’, is a luminous testimony to the union and exhange between progenitors and their students.

Normani lets loose with innuendo-laced bedroom commands. ‘Lights On’ is the quiet storm sex pinnacle, where silky-smooth, low-slung vocals meet a litany of demands. It’s forthright but not without nuance as Normani moves between submissiveness and power player, echoed on the creaky, spacious canvas ‘Grip’, allowing the singer to assume default vocal mode: pliable, steady, cool, gently bending time as she glissades across and stretches her syllables.

Normani counters the momentum lapse spoiling recent marquee pop releases with two of the best tracks positioned towards the end: ‘Tantrums’, featuring a revived ‘Overgrown’-era James Blake vocal flip, puts the two in opposition – one crystalline, one weighty – echoing the volatile memory of a tumultuous love affair; ‘Little Secrets’ plays out the aftermath, the singer in contention with her old flame’s new conquest, her superior prowess confirmed over a shrill, deconstructed RnB-rock escapade.

Normani’s storytelling isn’t revelatory on ‘Dopamine’. She hews closely to the algorithm of RnB reveries; clipped, catchy soundbites that compress raw emotions in real time. ‘Dopamine’ isn’t a raw confessional either but a balanced, art-directed exercise. It’s a debut that hits the programmed sweet spot, conversant with contemporary trends and greater RnB and soul traditions. It’s the sound of Normani calibrating her affinity for homage whilst subtly establishing her own presence as a star to bank on” – CLASH

Standout Tracks: All Yours/Insomnia/Wild Side

Key Cut: Lights On

Tyla - TYLA

Release Date: 22nd March

Labels: FAX/Epic

Producers: Various

Review:

“The mononymous South African singer first rose to international fame in 2023 with her single “Water”, which has been used on TikTok 1.5 million times. TYLA is her debut album, but to say she already has a captive audience would be an understatement.

Tyla’s edge is that she has all the trappings of a real Popstar, with a capital P – last year, videos of her dancing expertly in her shows started to emerge online, sparking interest in audiences accustomed to artists of the “go girl give us nothing” variety. Her stage presence, choreography, and vocal prowess have only grown with her fame. Even under intense public scrutiny, fighting the uphill battle of an African artist trying to break into a western music scene, Tyla has never faltered, breaking new ground with confidence at only 21 years old.

Critics have called Tyla’s take on afrobeats “westernized”, but she’s one step ahead of them, stating, “My album fuses amapiano, afrobeats, pop and R&B into a completely new sound.” These diverse influences are legible but expertly blended into every song of her debut album, resulting in a record that is above all cohesive, in an age of pop albums that can feel like amalgamations of caricatures. She bridges African and western pop traditions, which has resulted in her becoming the highest-charting African female solo artist ever on the Hot 100 chart. TYLA’S four singles, already verifiable hits, are all present on the album, giving it the feel of a victory lap even as a debut.

This celebratory mood is pervasive across the record, which only features one true ballad. TYLA is turned up to 11 – there is little emotional or energetic dynamism on the album, but every song is club-ready, danceable and infectious. As audiences emerge from winter into spring, Tyla presents them with 14 songs of the summer, perfectly timed to take the world by storm” – The Line of Best Fit

Standout Tracks: Water/Butterflies/Jump

Key Cut: Truth or Dare

Tems - Born in the Wild

Release Date: 7th June

Labels: RCA/Since '93

Producers: Tems/GuiltyBeatz/Sarz/Spax/P2J/London/DameDame

Review:

“Temilade Openiyi’s three-year rise from Lagos buzz to international contender has been vertiginous. The vocalist/producer has already scored one Grammy, plus further Grammy and Oscar nominations for her work with Future, Beyoncé and Rihanna.

After two well-received EPs, Tems’s debut album drops with 18-track swagger and a tiny handful of guests (Asake and J Cole). Born in the Wild runs a little long, but it makes good on Tems’s early promise as a thoughtful writer who retains her voice and Nigerian aesthetic – alté, Afrobeats – while feeling right at home in US soul/R&B.

The album is divided between songs about relationships and tracks about making her way in the world. We hear pep talks from her mother and managers (two interludes), and wry or righteous takedowns of partners who have not made the grade (Unfortunate, the stripped-back Boy O Boy). The bangers, though, are even better. Following on from the previously released Me & U and Love Me Je Je, Wickedest is a flex that prominently samples the pan-African 1999 hit Magic System’s 1er Gaou. The assured Turn Me Up feels like a single-in-waiting, and not an unreasonable instruction from an artist levelling up in style” – The Guardian

Standout Tracks: Born in the Wild/Burning/Love Me JeJe

Key Cut: Hold On

Crawlers – The Mess We Seem to Make

Release Date: 16th February

Label: Polydor

Producer: Pete Robertson

Review:

“Anyone after evidence of Crawlers’ growth, from buzzy Merseyside newcomers pre-pandemic to genuine rock contenders as we hit 2024 can find it in ‘Come Over (Again)’. The version featured here on debut ‘The Mess We Seem To Make’ sits in direct constrast, sonically, to its 2019 outing on the quartet’s self-titled EP. It helps, of course, that the song itself was an impeccably-formed one to begin with, but where, before, its push-and-pull came largely in contrast to the ferociousness it sat alongside, its new iteration is expanded, the chorus transformed to a big hitter, vocalist Holly Minto pushing themselves further to convey every bit of emotion expressed in their lyrics.

And for all this is a sonically rich, musically accomplished record - and it truly is - it’s Holly’s enviably dextrous voice that can’t help but take centre stage. They can belt with the best of them: the rock stomp of ‘Hit It Again’ has it reaching a metallic roar, the chorus of the decidedly Weezer-indebted ‘What I Know Is What I Love’ has them belting out as if their life depended on it, ‘Better If I Just Pretend’ invokes ‘90s grunge ennui via their low-key delivery, while piano ballad and literal centrepiece ‘Golden Bridge’ flips the script entirely, with a turn that’s soft, subtle and jazzy; the wistfulness of Ellie Rowsell can be heard, the sadness of Billie Eilish’s whisper, even (dare we say it) the soar of Adele.

Through this, the snapshot of life Crawlers provide across the record is a vivid one, the heart-on-sleeve lyrics sometimes stark: “Am I just your pornography / A quick fix and some company” asks opener ‘Meaningless Sex’, a track which uses glitchy guitars and stop-start percussion alongisde Holly’s voice at full pelt to create a satisfying cresendo as the song fully kicks in. “I say I’m not addicted,” confesses ‘Hit It Again’, “‘Cause I only ask for one.” Closer ‘Nighttime Affair’ meanwhile, may offer no wholesome conclusion (“Everyone can see the way you look at me / When she’s not looking”) but there’s something so utterly pleasing about its use of ‘50s Hollywood style strings and classic pop chord changes to evoke romance - and sympathy. Crawlers’ buzz has been simmering for some time now. ‘The Mess We Seem To Make’ should see it fully explode” – DIY

Standout Tracks: Would You Come to My Funeral/Golden Bridge/Call It Love

Key Cut: Meaningless Sex

FEATURE: December Will Be Magic Again: The Kate Bush Christmas Gift Guide

FEATURE:

 

 

December Will Be Magic Again

The Kate Bush Christmas Gift Guide

_________

I might…

keep this title when I do a Kate Bush Christmas gift guide next year. Really, as I cannot think of what else to call it! Here, I will recommend items which are good to get the Kate Bush fan in your life. I will cover books, albums, merchandise and some rarities. A lot of these people might know about and already own. As there have been some new releases and reissues this year, it is worth revisiting this subject. Let’s start out with the amazing books out there. For the new fan of diehard, these four books are essential purchases. They should definitely be on your bookshelf! Perhaps the most essential Kate Bush book is Graeme Thomson’s Under the Ivy: The Life and Music of Kate Bush. It was updated for 2024, so you can get a copy here. It is great that this book has been updated because new things have happened. Since it was published (in June), Bush announced that she is open to a new album. I wonder whether Thomson will update his book once again! If you need some more details, then here is why you need to buy this brilliant biography;

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

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

Focusing on her unique working methods, her studio techniques, her timeless albums and inescapable influence, Under The Ivy is an eminently readable and insightful exploration of one of the world's most unique and gifted artists.

The text has been updated to include coverage of Bush's return to the top of the charts in 2022 following the extraordinary resurgence of 'Running Up That Hill.' An eye-opening journey of discovery for anyone unfamiliar with the breadth of Bush's work, Under The Ivy also rewards the long-term fan with new insights and fresh analysis”.

There are quite a few Kate Bush books around. Ones that are a more general overview and those that focus on specific albums. The next one I want to highlight is about Hounds of Love. Published recently, Leah Kardos’s 33 1/3 book is a great read. An album that is always relevant and remains Bush’s most popular, it provides an accessible investigation and spotlight of the 1985 masterpiece. However, it also goes quite deep. We get to look back at the years before the album was released and how Bush’s career changed. It is a complete story that adds new dimensions and layers to Hounds of Love. If you have not bought the book yet, this great stocking filler can be purchased here:

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

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

I think that we will see a lot of new magazine articles and special magazine editions dedicated to the amazing Kate Bush. I am not sure whether any new books will come, though you never know! It would be awesome if another book came along, yet one wonders what the angle would be. In terms of biography, I think everything has been covered. One that I would recommend is Tom Doyle’s excellent Running Up That Hill: 50 Visions of Kate Bush. It is unique in the sense it is a Kate Bush biography that is not strictly chronological. Various chapters (fifty in total) that take us to different points in her career. It is a fascinating read. I would recommend all Kate Bush fans buy this book. You can find it here:

“A Times Book of the Year
An Uncut Magazine Book of the Year
A Waterstones Music Book of the Year
A Virgin Radio Book of the Year
A Louder Book of the Year

'Probably the best Bush book to date.' - Record Collector

Kate Bush: the subject of murmured legend and one of the most idiosyncratic musicians of the modern era. Comprising fifty chapters or 'visions', Running Up That Hill is a multi-faceted biography of this famously elusive figure, viewing her life and work from fresh and illuminating angles.

Featuring details from the author's one-to-one conversations with Kate, as well as vignettes of her key songs, albums, videos and concerts, this artful, candid and often brutally funny portrait introduces the reader to the refreshingly real Kate Bush.

Along the way, the narrative also includes vivid reconstructions of transformative moments in her career and insights from the friends and collaborators closest to Kate, including her photographer brother John Carder Bush and fellow artists David Gilmour, John Lydon and Youth.

Running Up That Hill is a vibrant and comprehensive re-examination of Kate Bush and her many creative landmarks”.

PHOTO CREDIT: John Carder Bush

The final book I want to highlight is John Carder Bush’s KATE: Inside the Rainbow. This is a wonderful photobook from her brother. Shots of Kate Bush taking through her career together with some commentary and notes about the photos. Even though it costs £50, it is well worth the investment. I do think that there are not enough photobooks about Kate Bush. Plenty of photos and collections that could be brought together. I do wonder if we will see anything like this in 2025. These books offer new perspectives and sides to Kate Bush:

“A MUST-HAVE COLLECTION OF RARE AND UNSEEN PHOTOGRAPHS OF KATE BUSH.

WITH ESSAYS BY HER BROTHER, JOHN CARDER BUSH, ABOUT KATE'S LIFE AND CAREER.

Stunning and unique images from throughout Kate Bush's career including:

Outtakes from classic album shoots and never-before-seen photographs from The Dreamingand Hounds of Love sessions

Rare candid studio shots and behind-the-scenes stills from video sets, including 'Army Dreamers' and 'Running Up that Hill'

Includes original essays from Kate's brother:

From Cathy to Kate: Describes in vibrant detail their shared childhood and the whirlwind days of Kate's career

Chasing the Shot: A vivid evocation of John's experience of photographing his sister

'For me, each of these images forms part of a golden thread that shoots through the visual tapestry of Kate's remarkable career. Storytelling has always been the heartbeat of Kate's body of work, and it has been a privilege to capture these photographic illustrations that accompany those magical tales' John Carder Bush”.

Moving onto music, it is hard to know what to suggest to people. I cannot say to Kate Bush fans to buy all of her music on vinyl, as that would be a huge expense! What I would say is have a listen to her music on a platform like Spotify so that you get a good idea of what they are about. Which ones take your fancy. You can get Bush’s albums on C.D. For instance, if you wanted to buy The Red Shoes on C.D., you can do so here. I would advise shopping around, as it is quite expensive at over £20. However, as the new Kate Bush fan might be buying one or two of her albums, it will not cost that much. In terms of vinyl, there are three albums I would recommend. Bush reissued her albums this year for independent record shops. You get these new vinyl designs. Bush giving each album its own colour and feel. In terms of C.D.s, you might be best to visit Rough Trade. One that you can get on C.D. is The Kick Inside. You can also get the new U.S. import of the album. Bush’s incredible debut album, I would recommend all fans start with this. If you do not know much about it, then here is some information:

“Kicking things off with a whimper, not a bang, Kate Bush quietly released her 1978 debut, The Kick Inside and that disc still to this day affects an incredible number people. There are so many elements that make this disc unique - Kate's soaring soprano, her warm piano playing - but the one thing that perhaps sticks out most is how different her sounds were from anything else circulating at that time. Ten years before 'Alternative' hit the forefront, this music was neither easy nor palatable, truly an alternative from the other styles out there. Among the more legendary tracks, search out The Man With The Child in His Eyes and her timeless classic Wuthering Heights”.

Hounds of Love is interesting, as you can get the vinyl, C.D. or reissue of the original cassette version. In this new Raspberry Beret colour, it is a treat that you need to add your collection. You can buy it from Kate Bush’s website, or you can go to Rough Trade again:

“Though not the most prolific of album artists, Bush's works make up in impact what they lack in frequency. Her style and material has always been unique, eccentric even, but Hounds of Love is probably the strongest mix of controlled musical experimentation and lyrical expression. It deals with big issues - childhood fantasy and trauma, conflict, sexuality - but rarely lapses into pretension. The intense arrangements are perfectly matched to the subjects: "Running Up That Hill" climactically erotic, "Cloudbusting" broodingly triumphant... and it's all her own work”.

There are expanded editions of Hounds of Love. You can get The Boxes of Lost at Sea. Perhaps more for the diehard fan, it will cost a bit more money, but it is a real collector’s item. You have a few different options when it comes to Hounds of Love. Depending on your budget, you can have the album as it is or you can have one of the other releases. I do hope the album gets reissued with some B-sides and extra material at some point:

“Kate Bush - Hounds of Love (The Boxes of Lost at Sea)

This special presentation consists of two wall-mountable art boxes, each containing one side of the Hounds of Love album pressed on white vinyl and UV printed with an illustration by Timorous Beasties. The LED, which pulses gently, is powered by a hidden AAA battery
“The idea was to create a hybrid of an album and a piece of artwork you could hang on the wall. They’re based on something I designed for an auction for the charity War Child ”
A donation will be made to War Child with each box that's bought.
They can be bought separately, or as a set. There are also braille versions of the boxes, with the brass plaque text encoded in braille.
The Boxes of Lost at Sea are wall-mountable art boxes”.
Lost at Sea - Box A contains a UV printed single-sided white vinyl LP, side A of the album:
Lost at Sea - Box B contains a UV printed single-sided white vinyl LP, side B of the album:
The braille versions of Lost at Sea have the brass plaque text encoded in braille”.

You can also purchase the beautiful Baskerville Edition. One might feel it is quite expensive but, again, these are very special items that you can play and keep for years. Owning a piece of Kate Bush history. The fact that she is very proud of the album and has spent a lot of time with these new editions. The final album I would recommend people investigate is 50 Words for Snow. Her most recent album, it was released in 2011. “50 Words For Snow her tenth album, was released six months after her last LP, Director's Cut. The record is released on her own label Fish People. Unlike Director's Cut, which saw Bush reinterpreting tracks from her back catalogue, 50 Words for Snow consists entirely of new material. There are seven tracks on the album, which has a running time of 65 minutes. the tracks are 'Set Against a Background of Falling Snow”. You can get the album from Rough Trade or Kate Bush’s website . Whether you fancy the C.D. or vinyl version, this is an essential album that remains underrated. A gorgeous and accomplished album that I cannot recommend highly enough. Also reissued as the Polar Edition, there are beautiful illustrations and extras. Not in terms of material but design. It is a beautiful album that does not cost too much either. Complete with a special Christmas card, you can get it at Rough Trade.:

“The third in the series of illustrated reissues. Double 180 Gram vinyl housed in gatefold sleeve with belly band. Illustrated by Timorous Beasties. 50 Words For Snow her tenth album, was released six months after her last LP, Director's Cut. The record is released on her own label Fish People. Unlike Director's Cut, which saw Bush reinterpreting tracks from her back catalogue, 50 Words for Snow consists entirely of new material. There are seven tracks on the album, which has a running time of 65 minutes. the tracks are 'Set Against a Background of Falling Snow”.

I will end with some merchandise recommendation. Think about the Kate Bush Christmas plan. You could buy that Kate Bush fan a book or two. Have one like the 33 1/3 on Hounds of Love book and then, say, Under the Ivy: The Life and Music of Kate Bush under the tree. Perhaps a special treat of John Carder Bush’s photobook for that ‘big present’. It is a treat getting vinyl as a present, so I imagine people wrapping up Hounds of Love or The Kick Inside for that new Kate Bush fan. Maybe one of the Hounds of Love special editions for that big Kate Bush fan. Perhaps the Hounds of Love cassette and a C.D. version of one of Bush’s other albums. So many choices! If you want to top it off with some Kate Bush merchandise, there are plenty of options. Take a look inside the Kate Bush Shop. As it is coming up to Christmas, how about the Polar Edition Christmas cards. Five cards for £10, you get five cards and five decorated envelopes. It would be a real treat getting a Kate Bush Christmas card. The final date for Christmas delivery is 13th December, so order as soon as possible! There are a number of prints available on her website. Ones you can put on the wall. My personal favourite is the one for Top of the City. In terms of clothing, I do hope more comes out next. The Never for Ever T-shirt that was sold at her pop-up in 2018. We do need another pop-up shop with goodies in! The Little Shrew T-shirt is one that I would recommend people get. To go alongside the T-shirt, and to keep warm, go and order a Fish People hoodie. To keep your new Kate Bush presents in, you could get the Fish People tote.  I have provided some recommendations. Of course, there is a whole world of Kate Bush goods out there. Whether you buy one vinyl album for a new Kate Bush fan or you have a bundle of a book, bit of merchandise and vinyl, I have provided some guidance. It is an exciting time to be a Kate Bush fan. With potential new music coming soon, it is a perfect moment to read up about her. Listen to those amazing albums. Make sure that you bring a bit of Kate Bush…

HOME for Christmas.

FEATURE: Kate Bush: The Tour of Life: Pulling Away from EMI and Towards Fish People

FEATURE:

 

 

Kate Bush: The Tour of Life

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

Pulling Away from EMI and Towards Fish People

_________

PERHAPS similar…

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

to recent features I have published that relate to Kate Bush’s career between 1993/1994 and 2005, I wanted to talk more about how she pulled away from EMI. I am interested in Bush’s label, Fish People, and the reason she went independent. Although she has not produce for other artist or has signings to Fish People, it did complete the transition from working with EMI to having her own brand and space. That suggests there was this long unhappiness and strain from Bush. Rather than it being a frayed relationship and something fractious, Bush wanted freedom. Maybe feeling that there was a pressure on her and she did not want to work to deadlines, I often think about he albums released with EMI and how difficult it was at time. In 1978, Bush put out two albums. The Kick Inside and Lionheart took a lot out of her. 1982’s The Dreaming, her fourth studio album, left the label unhappy. Even if it was a chart success, its sales were pretty low (compared to her debut, The Kick Inside) and the singles released from the album were largely unsuccessful. They could have no complaints about Hounds of Love, though one feels there was always an issue with timescales, expectations and budgets. Bush was spending so much money and time moving between studios for 1982’s The Dreaming. She built her own studio for Hounds of Love. It isn’t EMI’s fault that Bush became tired of going between studios. What I do find hard to ignore is how they were perhaps not as patient with her in the early years as they should have been. What I mean is that there was this rush to get the second album out. Whilst some feel that is them having faith in her and wanting to keep momentum going, it was pure commercial pressure and EMI not considering Bush’s need for space and time to write new material.

One could say Bush came with a certain amount of privilege and she was very lucky to sign with a label like EMI (or EMI Records to be precise). Thanks to some mentoring from David Gilmour, whose reputation and name would also have helped Bush, there were moments when the relationship between artist and label were not harmonious. In 2011, four Kate Bush albums were re-issued after she won back control of them from EMI. The Dreaming, Hounds of Love, The Sensual World and The Red Shoes, which EMI originally released between 1982 and 1993, were all lined up to be re-issued with former EMI and PolyGram executive, David Munns (then acting as a consultant to her). That was reported by Kate Bush News. I believe The Red Shoes was remastered in 2011 whilst the other studio albums were reissued to C.D. under the Fish People label. There was a definite series of ups and downs with EMI. I can understand why Bush wanted ownership of her albums and set up Fish People. However, a lot of the time things were quite close between Kate Bush and EMI. As much as I hate how there was this pressure from EMI and, like most labels, they seemed to put sales and commercial success ahead of artistic freedom and space, they did realise that a very talented teenage Kate Bush needed time to develop her music at such a young age. There was not this push to get her right into the studio. When EMI’s Bob Mercer died in 2010, there was this loving and passionate obituary. The section relating to Kate Bush caught my eye:

“In July 1975 Mercer dropped in at Abbey Road to check on the Pink Floyd sessions for what would become the Wish You Were Here album. The Floyd guitarist David Gilmour played him the three-song demo tape he had made with Bush at AIR Studios. Mercer was particularly taken with "The Man with the Child in His Eyes" and "The Saxophone Song", which would both be included on The Kick Inside, the singer's 1978 debut album.

Mercer put the then 17-year-old singer under contract, but also suggested she take time to develop further artistically. "On meeting her, I realised how young she was mentally. We gave her some money to grow up with," he said. "EMI was like another family to her. She was the company's daughter for a few years."

When, during a fraught meeting, Bush burst into tears and insisted the company issue "Wuthering Heights" rather than "James and the Cold Gun" as her first single, and also demanded a change of picture bag which delayed its release until January 1978, Mercer gave in.

"It went to No 1 and stayed there for four weeks," he said. "I had told her not to worry, that it would take at least three albums and she should be patient. To her credit, she never reminded me of the incident." The notoriously elusive Bush held him in high regard and kept in touch after he moved to the US. In the 1980s he worked for EMI Films, and had a spell managing Roger Waters of Pink Floyd, which culminated in the momentous and monumental staging of The Wall in Berlin in 1990”.

It is complex unpicking the relationship between Kate Bush and EMI and truly understanding the reasons why Bush set up her own label. I guess she did want to make music on her own terms and in her own time. Also protect her albums and assume some sort of control that was not given to her at the time they were released. I want to investigate the move away from EMI. I am fascinated by the decades-long relationship between Kate Bush and EMI. Granted, she did take a while to record albums, though you always get the feeling the label were expecting her to pump out an album a year. They wanted their star to bring out music and stay in the public eye, yet there wasn’t quite the true space there should have been. Even though I say that, there is no telling how many times Kate Bush breached her contract! Even if it unreasonable, EMI would have expected faster turnaround. That flexibility, I guess, is to be admired. David Munns and Tony Wandsworth left EMI in 2008. They were reliable and familiar faces to Bush. Maybe Bush felt that EMI were prizing profitability over artistic merit. Things were changing. If once she felt like part of a record label family – albeit one with some arguments and tense moments -, things altered not long after Bush released 2005’s Aerial. She did not have a father figure or familial connection anymore to EMI. She did not want to hand her music over to strangers or people she couldn’t trust. The fact was Bush could record music on her own terms and without the help and support of EMI. I am taking many of these observations from Graeme Thomson’s book, Under the Ivy: The Life and Music of Kate Bush.

One of the most significant dynamic changes in Kate Bush’s music happened in 2011. A year when she released two albums, I can understand the symbolism of her pushing away from EMI in 2011 and also releasing Director’s Cut. An album where she rerecorded songs from 1989’s The Sensual World and 1993’s The Red Shoes, it was almost like she was correcting mistakes or reworking the past. Not only did Kate Bush oversea the mix, packaging, and pressing of Director’s Cut, she also well aware of how the industry was changing (and the shifts in infrastructure). How albums were promoted and released. Bush’s Fish People swam into view in 2011. EMI distributed her albums still, though all the creative decisions and everything else was conducted at home. With very few familiar faces at EMI, that trust had well and truly gone. One of the most interesting passages from Graeme Thomson’s book is where we learn Tony Wadsworth left EMI. That happened when Terra Firma acquired the company. Bush apparently phoned Guy Hands up to say that this was the first and last time she would speak to him. Feeling angry that maybe Wadsworth was pushed out or there was this premature departure, that was the final straw. There was this delightful spoof that appeared in The Sunday Times in January 2008 that was a reaction to Guy Hands’s lack of tact regarding artists. EMI was sold to Universal Music Group in 2011. Bush did acknowledge that Fish People was not a reaction to being given no freedom. I do think EMI could have made better decisions in 1978 regarding the rush for a second studio album. However, since 1980, Bush was given more freedom regarding her output. So setting up her own label was not this radical shift. She just had total freedom! Fish People meant that she had control not over how her music was made and when it was released. Bush could also have say over how she was perceived and how she promoted her albums. Maybe that endless cycle of promotional interviews of the past was heavy on her mind.

IN THIS PHOTO: Kate Bush in 2005/PHOTO CREDIT: Trevor Leighton

You could see and feel these subtle alterations. If Aerial’s photos, as Thomson notes, were more organic and natural, there was more flair and theatre for Director’s Cut’s promotional photo. Shots with her brother, John Carder Bush. She shot with Trevor Leighton in 2005, so bringing in her brother again for promotional images seemed to reflect how Fish People was in-house and homemade. I love the shots for Director’s Cut. Bush conducting interviews from her home. Although EMI would have been fine with that, you can feel how Bush was bringing everything back home. Almost returning her career to how things were before 1978. Going full circle in many ways. I am interested as to the future. It is clear Fish People will not sign artists or whether there will be any albums released through it from other artists. However, I do like how this label was Bush making it clear she was no longer working with EMI. One can argue whether her relationship with EMI was more positive and different to how it would have been with other labels. It is clear they let her get on with things for the most part, though what would have things been like if they made different decisions. That tussle between an artist wanting to make music in her own image and the record label concerned about commercial longevity and keeping Bush ‘accessible’. It was a shame Bush lost faith with EMI. I do think Fish People and this new increased independence was a great thing. If she does release a new album – which it seems is most likely -, how will Bush’s promotion change? We can look at how Bush has utilised her own record label and freedom when reassuring her studio albums. There are still issues around distribution and control over her first few studio albums. Regardless, Bush is now in a position when she can release albums when she wants and promote them as she sees fit – and she seems so much happier for it. The birth of and continued relevance of Fish People allows the divine Kate Bush to…

SWIM freely.

FEATURE: Marking a Phenomenal Year for Music: The Best Albums of 2025

FEATURE:

 

 

Marking a Phenomenal Year for Music

 IN THIS PHOTO: Beyoncé

The Best Albums of 2025

_________

EVEN though…

 IN THIS PHOTO: Charli xcx

there are a few more weeks of potentially exceptional albums and ones that could be among the best of the year, I think we have seen the absolute best. Like so many people, I wanted to highlight the standout albums from a brilliant year. Even though my rundown and spotlight is a little restrictive – with ten albums included – I do think that it has plenty of variety. Albums I would recommend people investigate. From a year-defining album from Charli xcx to some terrific albums by established and newer artists alike, it has been another stunning year for music. Below are ten albums that I feel are…

THE best of 2025.

___________

Charli xcx – BRAT

Release Date: 7th June

Label: Atlantic

Producers: A. G. Cook/Cirkut/George Daniel/Charli XCX/Gesaffelstein/Finn Keane/Hudson Mohawke/El Guincho/Jon Shave/Linus Wiklund/Omer Fedi

Review:

“The out all night in last night’s makeup, glorifies Lana Del Rey, a little bit messed up, and “you hate the fact she’s New York City’s darling” ones. If her latest album – a set of rave-y dance songs digging deep into the artist’s insecurities and looking good while doing it – is an attempt to court that crowd, it’s so good that it might as well be pandering.

Whereas Charli’s previous full-length effort Crash was her most garden-variety-pop release in years, recreating the synthpop of the late 20th century with a modern flair, Brat is a diametrically different kind of dance record: she “came from the clubs,” as she said in a post on X, and to the clubs she shall return. Brat is chock-full of grimy, booming synths, driving drum-machine beats, and repetitive hooks; these tracks would be best experienced by a headbanging, borderline-violent crowd surrounded by smoke machines and illicit hallucinogens. At fifteen tracks, the album’s club-friendly repetitiveness can make it a bit of a stretch to get through, especially because a few tracks feel less essential than the rest. But overall, it’s still surprisingly exceptional as a front-to-back listen.

That power and cohesion is due in no small part to the album’s producers. Electronic music visionary A.G. Cook, who has led Charli’s production work since the mid-2010s but largely took a backseat on Crash, has his fingerprints all over Brat; he even gets a shoutout on each of the album’s first two tracks. It’s all the little A.G. touches – the cutesy piano melody in “Mean girls,” the choice of synth on the outro of “Rewind” – that make this album feel a little closer to Charli’s comfort zone, if one can even call it that. Her PC Music-inspired, pioneering, avant-garde, abrasive comfort zone.

Even if Brat is Charli’s most bouncy, propulsive album, though, it’s also her most vulnerable.

It’s a common trope for pop artists to write introspective lyrics a couple times per album, in an attempt to show that the pop star, too, is a human being. Maybe the ambitious will write a whole album talking about their feelings. But Brat isn’t just inward-looking – it’s a full-on self-character dissection, delivered with all the rawness of a self-hating Notes app rant. Some tracks appear to be about other pop stars explicitly, and most delve into Charli’s most difficult feelings, from generational trauma to body image issues to an obsession with the Billboard charts. She describes herself as inhabiting the “background” at clubs, wonders aloud whether or not her contemporaries actually like her, expresses her fear of actually meeting someone for the first time in real life, asks if she “deserves commercial success,” laments how much she over-analyzes her face shape. She sings about how her jealousy of other pop stars can drive her to suicidal ideation; she writes about her fears that her parents’ generational trauma might have reached her. Even when paired with bombastic dance beats, this is easily the most insecure, dark album Charli has ever released. And in context, the few songs where Charli sounds fully and unreservedly secure in herself – “360,” “Von dutch” – start to sound less like re-affirmations of her greatness and more like attempts to convince herself of it.

Brat isn’t entirely mournful, though: on occasion, moments of hope filter through the misery of celebrity that pervades Charli’s lyricism. On “Everything is romantic,” she pens a list of small joys – “Bad tattoos on leather tanned skin / Jesus Christ on a plastic sign / Fall in love again and again / Winding roads doing manual drive” – and repeats it again and again, clinging to the beauty in those otherwise-insignificant moments. And at the end of the album on the penultimate “I think about it all the time,” she writes about meeting a friend and her new baby: “standing there, same old clothes she wore before, holding a child”. It’s these moments of vitality that cut through the insecurity and suffering throughout most of Brat, reminding Charli and her audience simultaneously that life can be – and is – beautiful, despite everything. “My career feels so small in the existential steam of it all,” she writes on “I think about it all the time”. Maybe it is.

By the end of the album, Charli seems to have no memory of her vulnerabilities. Instead, on album finale “365,” she raps over a sped-up mix of opener “360” about looking hot, calling an ambulance, and generally having what sounds like the craziest house party of all time. It’s superficial, unpoetic, unimportant – and absolutely deserved. She sounds more alive than she has in years. After over a dozen tender, depressive, beautiful club tracks, by the end of Brat, Charli is ready to actually be at the club. And you know she’s going to shine at its centre” – The Line of Best Fit

Key Cuts: Club classics/Von dutch/I think about it all the time

Standout Track: 360

Nadine Shah – Filthy Underneath

Release Date: 23rd February

Label: EMI North

Producer: Ben Hillier

Review:

“Nadine Shah is lingering backstage after a “blinding” show at the dawn of the track ‘Sad Lads Anonymous’ from her tour de force fifth album ‘Filthy Underneath’. Her gloriously expressive Wearside accent runs free in a spoken word monologue: “The band left hours ago, according to the work experience kid that I’m currently telling all my deepest darkest secrets to in a toilet cubicle”.

If that kid was privy to the first draft, then we are all now treated to the fully-realised final product. Those secrets, sadly, carry a profound weight: since Shah’s last album, 2020’s ‘Kitchen Sink’, she lost her mother at the height of lockdown, her marriage came to an end and she attempted to take her own life. Through a period of recovery has emerged a career-best statement of Shah’s songwriting prowess, where inner struggles are rendered with maturity and relatability, supercharged by a fearless, expansive sonic palette.

Twitches and chirrups of static fuzz adorn ‘Even Light’, a track ridden by a sense of foreboding, gothic paranoia, but at a rollicking, devil-may-care pace. ‘Food For Fuel’ shows off the qawwali devotional influence of Nusrat Fateh Ali Khan, while ‘You Drive, I Shoot’ and ‘Keeping Score’ find Shah and longtime producer Ben Hillier [Blur, Depeche Mode] creating soundscapes that can send a shiver through the listener without ever alienating them. If the arrangements occasionally seem sparse and uncertain, then with Shah’s deeply felt vocals, we are always firmly rooted in a human place, where a warm embrace is never far away.

‘Greatest Dancer’ details nights watching Strictly with her ailing mother while illicitly slipping down some of her medicated morphine. What results is a glorious moment of escapism, a hallucinogenic fantasia with galloping drums and a glitterball swirl of dreamy synths.

But on ‘Topless Mother’, the mood changes as she sings, “When you were born you broke the mould / Another lie to you your mother told”. A glimpse into Shah’s recovery period, the song collapses into a non-sequitur chorus of random word exclamations (“Samosa!”, “Iguana!”), and we ponder whether Shah is shirking at us trying to listen in too closely, or surrendering to the jumble of her own internal monologue.

‘French Exit’ is a disarmingly frank contemplation of the day of her attempted suicide. “Blue polka dot and matching trousers / Reapplied lipstick, a clown who counts the downers / Just a French exit, sliding off the dancefloor / But how close is it, the now until the no more,” she sings, the poignant, matter of fact specificity averting any danger of glamourisation. Shah is writing about the darkest places a person can reach in a devastatingly human manner that demonstrates a rare level of repose and reflection” – NME

Key Cuts: Even Light/Greatest Dancer/Twenty Things

Standout Track: Topless Mother

Beyoncé – COWBOY CARTER

Release Date: 29th March

Labels: Parkswood/Columbia

Producers: Various

Review:

“Ever since Beyoncé – to quote the lady herself – “changed the game with that digital drop” via her self-titled fifth album, released without warning in 2013, she’s become the fixed point around which popular culture oscillates. Bandwidth-swallowing think pieces, detailed decoding of every lyric, plus an increasingly vexed right-wing America have kept her name on everyone’s lips. She wasn’t exactly a cult concern before, but the last decade has seen her move beyond mere superstar status, aided by 2016’s internet sleuth-facilitating infidelity opus Lemonade and 2022’s liberated, post-lockdown dance party, Renaissance.

That last album was billed teasingly as Act I, and now arrives the second part of a mooted trilogy. While Renaissance, with its celebration of the oft-ignored influence of Black queer dance pioneers, facilitated a healthy amount of debate, you could cobble together a hefty book on the discourse that’s already swirling around Cowboy Carter. Inspired by a less than welcome reaction to the Texan’s performance of her country single Daddy Lessons at the 2016 Country Music Awards – where she was dismissed as a “pop artist”, seemingly code for “Black woman” – it’s an album that takes country music by its plaid shirt collar, holds up its (mainly) male, pale and stale status to the light and sets it on fire.

A deliciously camp revenge fantasy suddenly breaks into a snatch of 18th-century aria – one of many vocal flexes

Thrilling opener Ameriican Requiem – a slow-burn, country-rock opera – references that CMA controversy directly (“Used to say I spoke too country / And the rejection came, said I wasn’t country ’nough”), before making broader statements on who gets to call themselves a “true American” (“A pretty house that we never settled in”). It is followed by a cover of the Beatles’ folk-y Blackbird (here retitled Blackbiird, a consistent motif used throughout the album to denote it being Act II), a song that was inspired by the experiences of nine teenage Black girls attending an all-white school in post-segregation 1957, featuring vocals from upcoming Black country singers Brittney Spencer, Reyna Roberts, Tanner Adell and Tiera Kennedy. It’s an opening salvo ripe for music scholars to unpick.

But Cowboy Carter is never just one thing. Nor does its scholarly detail weigh it down. Just as it uses country music as a backdrop to explore other genres, it also utilises anger and injustice as shades of a bigger picture. There’s fun to be had via the playful, thigh-slapping single Texas Hold ’Em, which makes more sense preceded by an introduction from a stoned Willie Nelson. The unhinged Ya Ya is a freewheelin’ sprint through social and economic disparity that channels the electifying spirit of Tina Turner, and samples Nancy Sinatra and the Beach Boys.

While Beyoncé’s take on Jolene by Dolly Parton (or Dolly P as she’s recast here) loses some of the original’s desperation by morphing into a glint-eyed warning, it’s still a hoot to hear her spit lines like “Jolene, I know I’m a queen, Jolene / I’m still a Creole banjee bitch from Louisiane.” Daughter is a deliciously camp revenge fantasy that suddenly breaks into – and this is one of Beyoncé’s many vocal flexes on the album – a snatch of the 18th-century aria Caro Mio Ben, sung in Italian.

By swapping the tightly packed synth and drum programming of Renaissance for live instrumentation (including percussion made from the click-clack of Beyoncé’s nails), Cowboy Carter has a looser, baggier feel than its predecessor. The excellent, loved-up Bodyguard unspools like a lost Fleetwood Mac classic, all rippling 70s soft-rock melodies, while the sweet Protector, dedicated to her daughter Rumi Carter, sounds like it was knocked out around a campfire. II Most Wanted, meanwhile, finds Beyoncé and pop-country maven Miley Cyrus trading odes to their ride or dies as if sharing the same mic.

If this all sounds decidedly mid-paced, Cowboy Carter isn’t solely about rustic shuffles. Spaghettii, which features Linda Martell, the first Black country star to perform on the Grand Ole Opry stage, is a trap-infused head knocker; II Hands II Heaven rides a soft electronic pulse and samples Underworld; while the finger-pointing Tyrant fuses fiddle filigrees with rib-rattling bass, perfect for a sweat-soaked dosey doe at Club Renaissance.

Cowboy Carter’s scope and scale can be overwhelming, as can its 27-track runtime – the shorter interludes-as-songs cause a dip in excitement midway through – but there’s something about its construction that pleads with you to consume it as a whole; a journey not just through, and beyond, American roots music, but through various moods, shades and emotions that coalesce as a celebration. It feels like a feast at a time when pop is offering up scraps. As she mentioned herself when announcing the album to a mix of anger, intrigue and confusion: “This ain’t a country album. This is a ‘Beyoncé’ album.” It’s also her fourth classic in a row” – The Guardian

Key Cuts: BLACKBIRD/TEXAS HOLD ‘EM/ALLIIGATOR TEARS

Standout Track: SPAGHETTII

Jack White – No Name

Release Date: 19th July

Label: Third Man

Producer: Jack White

Review:

“Jack White didn't get where he is without a keen sense of theater and self-promotion, and not many artists could build a buzz around a new album the way he did with 2024's No Name. On July 19, 2024, anyone who made a purchase at one of White's Third Man stores in Detroit, Nashville, and London would find in their bags a mysterious LP, in a plain white sleeve and with the white labels simply stamped "No Name." Of course, the sort of folks shopping at his stores are the sort of music nerds who would be intrigued and delighted by getting a mystery disc, and before long the music media was abuzz with stories about White releasing a new album in a manner that was at once secretive and bound to call attention to itself. It didn't take long for needle-drop bootlegs of the album to circulate online, and within a week, No Name had been given an official wide release. So what sort of album did White make to hype in this manner? No Name happens to be the most straightforward rock & roll album he has delivered in some time, a set of 13 tough guitar-based tunes with an abundance of swagger and a kick that melds the punky minimalism of the White Stripes with his well-documented obsession with Led Zeppelin. (You could make an effective drinking game out of making listeners take a shot when they hear a clear Zep lift in the melodies or White's guitar.) If White's two albums of 2022, Fear of the Dawn and Entering Heaven Alive, found him introspectively exploring the outer margins of his music as he struggled with the isolation of the COVID-19 pandemic, No Name is an enthusiastic return to the familiar, though it doesn't play like a regression so much as an artist embracing their strengths and having a good time doing so. The lyrics are full of braggadocio, declaring "If God's too busy then I'll bless myself" in "Bless Yourself" and "I'll make you miss me again" in "Missionary," and they're matched to guitar work that rhymes. White's leads constantly swing from elemental chunkiness to bluesy flash without losing his footing, and the clean, unobtrusive production flatters his tone and lets the other musicians strut their stuff without taking the spotlight off the star (as if he would permit such a thing). Even without its publicity stunt release, No Name would doubtless click with an awful lot of Jack White's fans, and it's the sort of idiosyncratic but lean and mean rock album he's needed to make for a while” – AllMusic

Key Cuts: Bless Yourself/Bombing Out/Terminal Archenemy Endling

Standout Track: Archbishop Harold Holmes

St. Vincent - All Born Screaming

Release Date: 26th April

Labels: Total Pleasure/Virgin

Producer: St. Vincent

Review:

“While hardly the most original observation, St. Vincent’s constant use of reinvention and high concepts shares a few similarities with our dear departed Starman. Both Clark and Bowie stand as ferocious creative forces spurned on by the next big idea, hungrily eager to change their musical makeup with every project. There’s also a shared sense of the alien that both artists inhabit. There’s a distance, the feeling of them being an observer of our world, not an earthy participant. Such elements make their songs exciting, otherly, and, of course, unique to most others. Why the preamble? To highlight why Clark’s previous album, 2021’s ‘Daddy’s Home’, didn’t quite linger in people’s hearts as well as her other work.

Inhabiting the sleazy funk and soul of 70s New York sounded exhilarating when announced, but when all was said and done, Clark embracing nostalgic sounds and aesthetics of yore didn’t come across as 100% convincing. Her dominant aura and forward-thinking spirit just didn’t fit the warm tones of the past – which takes us to ‘All Born Screaming,’ ten tracks of off-kilter rock and pop that sees Annie strap on her angular guitar and set coordinates straight for the sun. In other words, she’s back.

While ‘Daddy’s Home’ wasn’t without its merits, this latest release had an immediacy that it could only dream of. Despite opener ‘Hell Is Near’ acting as the album’s moodiest cut, there’s a lurking sense of propulsion and menace from the off. There’s a dash of Led Zep folk rock by way of the moody textures of trip-hop. Bold, arresting, and Clark at her finest. The following ‘Reckless’ sees her harness her love of Nine Inch Nails, embracing the cinematic darkness one Trent Reznor perfected. Groovy and dangerously carnal, she absolutely nails the sense of isolation and intimacy that NIN made their name with.

Continuing her teenage love of alt-rock is the lead single ‘Broken Man,’ an industrial-flavoured stomper with Mr. Dave Grohl adding his powerhouse drumming to proceedings. It’s three and a half minutes and gritty swagger, and it will undoubtedly become a live favorite for years to come. With Clark literally covered in flames on its cover and the title being, well, what is, you’d be excused for thinking that her seventh album may be her most somber, but at the midpoint, things take a welcome turn.

‘Big Time Nothing’ marries some of the funk and soul elements of the previous album but filters them through a kaleidoscopic prism of electronica and dance. It’s a far more exciting prospect. Not happy with subverting expectations there, Clark then goes full Bond theme tune on the brilliant ‘Violent Times.’ John Barry-esque guitar licks and horn blasts are married to lyrics focused on eyes and immortality. It’s a treat and makes you wonder why on earth St. Vincent has yet to be tapped to do a theme – after all, Garbage did a bang-up job.

Ever imagined what Annie Clark doing Blondie would sound like? Dream no more, ‘So Many Planets,’ breezy nu-wave is your answer. Light ska elements add a summery sheen to the number before Clark lets loose a mischievous guitar solo that shows off her chops without overpowering the song’s upbeat vibe. As for the mental-as-hell-sounding title track? An 80s-flavored foot-tapper slowly morphs into a trippy disco outro, like a more unhinged cousin to the beloved ‘Fast Slow Disco.’ Until its last moment, nothing is as it seems on ‘All Born Screaming’.

While it’s not a controversial take to say St. Vincent doesn’t have a bad album, this latest set sees Clark back in domineering form. There’s not a second wasted on the album’s taut track list, the songwriter managing to balance her teenage inspirations simultaneously, go back to basics, and break new ground all at once. Bowie soared highest when being his freaky little self. The same can be said of Clark, whose songs come alight when icy beauty and danger go for a dance—a staggering return” – CLASH

Key Cuts: Reckless/Big Time Nothing/Violent Times

Standout Track: Broken Man

Laura Marling - Patterns in Repeat

Release Date: 25th October

Labels: Chrysalis/Partisan

Producers: Laura Marling/Dom Monks

Review:

“I want you to know that I gave it up willingly/ Nothing real was lost in the bringing of you to me,” sings Laura Marling to her baby daughter on Patterns in Repeat. Recorded mostly at the 34-year-old musician’s north London home, the album features infant gurgles and dog collar jangles interspersed with her decisively plucked acoustic guitar. It’s a record that celebrates motherhood as an expansion of creativity, rather than the stifling of it that she had expected.

It’s unsurprising that Marling feared the pram in the hall. Ever since the release of her 2008 debut album, Alas I Cannot Swim, released when she was just 18, critics have compared her precocious talent to that of Joni Mitchell – who put her only child up for adoption in 1965 and spent much of her subsequent songwriting career comparing the lonely exhilarations of her fearless artistry with the cosy prison of domesticity that she contemptuously/covetously cast as “the lady’s choice”.

Like Mitchell, Marling finds her truth in angular melodies that often elbow aside space for her blunt, questing confessions. She left home young, read fiercely, and sang of loving with wild unsentimentality. Often toying with the idea of walking away from the music industry, she took a break in America where she befriended vagabonds, cult members and people who lived off grid. She went electric (like Mitchell) on her 2015 album Short Movie, and in her podcast Reversing the Muse, challenged cultural constructs around women and art. On 2017’s Semper Femina she sang of yearning “to be the kind of free/women still can’t be alone”.

But it has been almost 60 years since Mitchell (then 20) felt forced to choose between music and motherhood. She was alone, with no support from her child’s father or her parents – and had not yet established herself as an artist. By contrast, Marling is a well-established talent, with financial security and a loving partner (a songwriter-turned-charcutier). Under these fortuitous conditions, she’s found parenthood to be an adventure and she stretches out thoughtfully into many of its corners on this album, like a baby in its first cot. Opener “Child of Mine” rises from a terrycloth-soft strum, casually picking up a heavenly choir as it journeys from intimate scenes of father-daughter kitchen dancing to the more abstract mysteries of the unreachable infant mind. Strings and accompanying male vocals curl around Marling’s voice like tiny fingers.

Marling recently earned a masters in psychoanalysis and attended “family constellation therapy” – a therapeutic approach in which she looked for patterns in gene pools. The skippily picked “Patterns” sees her relaxing into the repetition of generations that turn like seasons. She rakes leaves on “Your Girl” – the melody is slinky and her voice drops to a drawl as she tells a lover that he “let me down sometimes” as she “tried to play a boy’s game”. A piano pops in on “No One’s Gonna Love You Like I Can” and the guitar takes on a moody, melodramatic Spanish flare on “The Shadows”. You can hear the narrative turning on a flamenco dancer’s heel as Marling laments: “She knows, of course she knows… and one day she’ll tear me apart.” There’s a little flick of the skirt to Led Zep’s “Stairway To Heaven” in there, too.

There’s a bittersweet nod back to Bob Dylan’s “Don’t Think Twice” on “Caroline” – a song written from the perspective of an older man getting a call from the old flame who left him, asking her not to call again because: “I got married and I love my wife/I have kids, they’re good and grown now/All in all I’ve been happy with my life.” Marling’s voice – once again, like Mitchell’s – is often most soul-grazing when it drops low and cold. She contrasts those moments with the sweetness of a forgotten tune that goes: “Laaa, la, la, laaa – something something, Caroline.”

Marling has often credited her dad for teaching her his “birdlike” guitar technique. Here she goes one further and covers a song he wrote as a young man called “Looking Back”. Here his daughter projects herself into the future where she remembers the joy of early motherhood – she knows she’ll ache for it one day. The latin-flavoured “Lullaby” does what it says on the bottle, promising her child that she is “safe in my arms”.

The album closes neatly with its title song – jazzy chords lifting to hammock-swung refrains. “A smile or two/a gap between your tooth,” wisecracks the singer, always with an edge of sharpness. Never sappy. Strings saw their way between semitones like teethers. It should be enough that Marling has expressed this version of motherhood for herself and her family alone. But I can’t help hoping it opens hopeful doors for other creative women – and shows the music industry how to value and support mothers without expecting them to crack on like nothing game-changing has happened to their minds, bodies and souls” – The Independent

Key Cuts: No One's Gonna Love You Like I Can/Caroline/Lullaby

Standout Track: Child of Mine

English Teacher - This Could Be Texas

Release Date: 12th April

Label: Island

Producer: Marta Salogni

Review:

“Not everybody gets a time to shine,” muses English Teacher’s Lily Fontaine on the suitably star-gazing ‘Not Everyone Gets To Go Space’ from their long-awaited debut ‘This Could Be Texas’. It’s a tongue-in-cheek line that also pragmatically lays out the logistical nightmare and societal issues that a free-at-the-point-of-delivery intergalactic travel system would create for us normies. A pretty perfect encapsulation of the band’s marriage of the fantastic and the everyday, and a pithy reminder of where we’re at.

There have been a lot of headlines of late about how totally impossible it’s becoming for musicians, artists and creatives to exist – let alone thrive. Venues closing, streaming services not paying out, shareholders laughing at us, and opportunities disappearing: see some sad-but-true points made by James Blake, Another Sky, BRITs champion RAYE and The Last Dinner Party in their correction of those out-of-context “cost of living” comments.

Yes, doom surrounds us, but so does talent. If you’re mourning a drought of decent new bands, please find the nearest bin. The year is still young and you’ve already been spoiled with stellar first albums from NewDad, Sprints, Whitelands and Lime Garden, for starters. The odds are stacked against these bands, and yet they deliver. Leading the charge are Leeds’ own English Teacher.

Another set of dry and talky post-punkers, they are not. Heavenly album opener ‘Albatross’ lays the table nicely with some gorgeous indie-prog string and piano work with a smack of ‘90s peak Radiohead. Buzz-generating single ‘The World’s Biggest Paving Slab’ delivers a rollocking ode to the little guys with big ideas – namely fellow Northern legends the Pendle Witches, John Simm, Lee Ingleby and The Bank Of Dave – vowing that “no one can walk over me”.

That defiance carries through to the lilting ‘fuck the Tories’ vibe of ‘Broken Biscuits’ as Fontaine demands someone take responsibility: “Can a river stop its banks from bursting? Blame the council, not the rain”. ‘R&B’ is a jagged fiery revenge song that sees the singer spit back at misplaced presumptions about her race and place in music: “despite appearances, I haven’t got the voice for R&B”.

The utterly gorgeous ‘Albert Road’ will speak to anyone who remembers bittersweet moments of boredom and frustration, and teenage daydreaming themselves out of the wire in working class neighbourhoods. As Fontaine offers: “So don’t take our prejudice to heart, we hate everyone” and refreshingly concludes without irony or patronisation: “That’s why we are how we are, and that’s why we don’t get very far” – NME

Key Cuts: The World's Biggest Paving Slab/Broken Biscuits/Nearly Daffodils

Standout Track: Albert Road

Fontaines D.C. - Romance

Release Date: 23rd August

Label: XL

Producer: James Ford

Review:

“When Fontaines D.C. dropped their debut album Dogrel in 2019, the Irish post-punkers were heralded in some quarters as generational voices, a band that was able to dissect their Irish identity in a way so acute that it evoked the spirit of that nation’s great poets — whether that was classic voices like James Joyce or modern hellraisers such as Shane McGowan.

“Dublin in the rain is mine,” the group’s singer Grian Chatten famously affirmed on the spiky punk of ‘Big’.

This thread continued all the way to their third album, 2022’s Skinty Fia, in which they offered the perspective of a band wracked with a degree of guilt when they moved away to London after hitting the big time.

But two years later, their return feels like a hard reset. This time around, it seems that this record is defined by something less rooted in reality and a search for something far more fantastical. To paraphrase a very famous quote from Dorothy Gale: “We’re not in Dublin anymore, Toto.”

The first sign of this came when they released the swaggering lead single ‘Starburster’, which saw the group decked out in oversized sports tops, hair clips and wraparound sunglasses.

It seemed like a sign that the band were searching for something bigger, and that’s only too clear on the sound of this latest record.

On the titular opening track, the group display an unsettling, Kubrickian edge as Chatten croons “Maybe romance is a place” over imposing, piercing instrumentals.

At times, it feels like this bigger sound is that of a band triumphantly gunning for the big leagues too, cementing their place as generational greats. It’s shown on that aforementioned rock-star verve of ‘Starburster’, but the searing ‘Death Kink’ — an examination of toxic relationships — feels like one of the best songs that Chatten has ever written.

As the album closes too, ‘Favourite’ feels like the closest thing they’ve ever managed to a driving song. We mean this entirely in the positive sense; it’s the kind of softly melodic, hook-laden number that could be paired nicely with a sun-soaked trip through the country, windows fully down, of course.

All of which is to say this: Fontaines D.C. have abandoned the serious for the fantastical, the tangible for the surreal. This new identity and successful quest for something, ahem, BIG, suits them down to the ground. They’re in a brilliant world, and indeed a league of their own” – Rolling Stone UK

Key Cuts: Romance/In the Modern World/Favourite

Standout Track: Starbuster

Beth Gibbons – Lives Outgrown

Release Date: 17th May

Label: Domino

Producers: Beth Gibbons/James Ford

Review:

“Stylistically, Lives Outgrown approaches folk music, thanks to its acoustic guitars and strings; but it feels denser, louder, and more exploratory, like stumbling across a junkyard deep in the forest. Unusual textures abound: In “Tell Me Who You Are Today,” producer James Ford (of Simian Mobile Disco) strikes piano strings with metal spoons; for another track, he and Gibbons spin whirly tubes over their heads, in search of the perfect creepy tone.

Melodies of endless melancholy and lyrics of pointed depth, reminiscent of Gibbons’ work with Portishead and (briefly) Rustin Man, her duo with Talk Talk’s Paul Webb, reflect the singer’s period of self-reflection. Lives Outgrown has moments of crushing relatability, as she tackles subjects like motherhood, anxiety, and menopause, her unvarnished humanity a world away from the otherworldly rage she inhabited on Third. “Without control/I’m heading toward a boundary/That divides us/Reminds us,” she sings on “Floating on a Moment,” striking a beautifully sparse rhythm and tone, while the opening couplet of “Ocean” (“I fake in the morning, a stake to relieve/I never noticed the pain I proceed”) distills years of dull suffering into two elegant lines. Her melodies are strong as iron: The elegantly inevitable “Floating on a Moment” and cathartic album closer “Whispering Love” are among the best songs that Gibbons has put her name to.

Gibbons’ voice makes comparisons to Portishead inevitable—and there is, perhaps, a tang of Adrian Utley’s spaghetti western guitar in the opening bars of “Floating on a Moment.” Occasionally, she makes veiled references to her past, with phrases that seem to mirror lines from elsewhere in her catalog. On the whole, though, the singer makes a concerted effort to outrun her musical history. Gibbons said that she wanted to get away from snare drums and breakbeats—both key elements of the Portishead sound—while recording Lives Outgrown, with the drum lines of collaborator Lee Harris (formerly of Talk Talk and a contributor to Gibbons and Rustin Man’s Out of Season) instead hammered out on toms and bass.

This percussive roll is complemented by an inconspicuously cosmopolitan mixture of sounds. Unusual groupings of instruments are packed into devious musical layers, like the viscid concoction of bass clarinet, bass, cello, Farfisa, harmonium, recorders, “fuzz flute,” violin, singing tubes, and bowed saw that is daubed over “Beyond the Sun”. This darkly sylvan stew has little of Portishead's cinematic high drama; its abstruse angles and woodland heavy metal are closer to Tom Waits’ discordant masterpiece Swordfishtrombones than the clean guitar lines of Out of Season. Gibbons also employs backing vocals for the first time, their sparing use bolstering, rather than radically altering, the album’s makeup, although the children’s choir and wobbly recorder on “Floating on a Moment” and “Beyond the Sun” give the two songs an unsettling air of innocence lost.

The arrangements, largely by Gibbons and Ford, luxuriate in the slightly unreal edge of music once removed. Much of the instrumentation (for example, the sweeping, almost Middle Eastern string lines on “For Sale”) could have been written at any point in the last century, although the rejection of the snare drum’s rebellious crack nudges Lives Outgrown into a parallel universe where rock’n’roll never really took root. Verses are punctuated by wild brass skronk (“Beyond the Sun”) and violins scrape across the percussive surface like nails on a blackboard (“Burden of Life”). These leftfield choices underscore the courageous and subtly unusual nature of Gibbons’ album” – Pitchfork

Key Cuts: Floating on a Moment/Lost Changes/Oceans

Standout Track: Reaching Out

The Last Dinner Party – Prelude to Ecstasy

Release Date: 2nd February

Label: Island

Producer: James Ford

Review:

“Unapologetically flaunting an MO of gleeful maximalism at every turn, The Last Dinner Party’s hotly-anticipated debut album was never going to be a meek thing, but it’s hard to recall an opening gambit that greedily embraces every possible ounce of opportunity quite like ‘Prelude To Ecstasy’. If the primary spoils of major label backing are that the barriers to things like lavish string sections and world class producers (in their case, Arctic Monkeys’ go-to guy James Ford) are removed, then the London quintet have used their deal with Island to facilitate an album that dreams not just big but huge. It begins with a literal orchestral overture - 96 seconds of world-building that removes you from boring old reality and plants you into their version of Fantasia. Then, 11 tracks of similarly sky-high, grandiose ambition, that tie together lofty literary sentiment, cinematic sweeping theatricality and killer melodic indie hooks with an equal affinity for each.

It’s this unlikely balance that is The Last Dinner Party’s greatest trick. A band composed of both classical and alternative musicians, they knit the two sensibilities together in ways that sound like little else. Recent single ‘Caesar on a TV Screen’ might be the only modern pop song to reference Leningrad and the Red Scare, but it’s also all sorts of fun, switching up time signatures and styles from bombastic chest-puffing to a cheeky ‘60s shuffle. Early highlight ‘Burn Alive’ begins with tense, ‘80s gothic drama before exploding into a rousingly defiant chorus; ‘Beautiful Boy’ makes use of woodwind and an Oscar Wilde-like sense of romanticism; ‘Gjuha’ sees keyboard player Aurora Nishveci singing in Albanian, while it’s frontwoman Abigail Morris’ natural sense of vocal melodrama that’s likely earned them a fair whack of Kate Bush comparisons.

Dangling the carrot right through to the record’s closing moments, they leave breakout debut ‘Nothing Matters’ until the penultimate track. But it’s a holy trinity of brilliance in that single, the roaring rock opera of ‘My Lady of Mercy’, and ‘Portrait of a Dead Girl’ that sees out ‘Prelude…’s final third in truly ecstatic fashion. The latter track in particular serves up crescendo after crescendo; nestled between the band’s two finest singles, it’s even better than either of them.

If Wet Leg’s globe-conquering debut showed that it was still possible for an indie band to reach the dizzying heights of yore, then the success of The Last Dinner Party feels like one step further; proof in an age of algorithms that a completely singular band can beat them all and come out on top without diminishing a shred of their vision. If their debut is only the ‘Prelude To Ecstasy’, then it’s truly thrilling to imagine what they could dream up when they reach the real meat of their career” – DIY

Key Cuts: Caesar on a TV Screen/Sinner/Nothing Matters

Standout Track: The Feminine Urge