FEATURE: Between Hounds of Love and The Sensual World… Kate Bush’s 1987

FEATURE:

 

Between Hounds of Love and The Sensual World…

IN THIS PHOTO: Kate Bush being presented with the Best British Female Artist award by Ray Davies at the 1987 BPI (BRIT) Awards/PHOTO CREDIT: Getty Images

Kate Bush’s 1987

_________

EVEN though there are…

IN THIS PHOTO: Kate Bush with David Gilmour and Peter Gabriel at Amnesty International’s Secret Policeman's Third Ball at the Palladium on 26th March, 1987/PHOTO CREDIT: Steve Rapport

not many photos of Kate Bush from 1987, it is a year that is pretty interesting. She released her fifth studio album, Hounds of Love, in 1985. The Sensual World arrived in 1989. Between then, apart from recording a new album, there were things happening. It was a period of transition for Kate Bush. 1987 was the final full year she was in her twenties. I guess, in terms of activity, there was a mix of post-Hounds of Love success and this new chapter with her sixth studio album. Thanks to this invaluable website for providing timeline around Kate Bush. Specifically in this case, what she was doing in 1987. I know that the greatest hits collection, The Whole Story, came out in 1986. The following year was when the VHS version arrived. That was my first exposure to Bush and her first single, Wuthering Heights. It seemed that 1987 was one of moving on but also recognition:

“Despite reservations by Kate herself, EMI resolves to release a video compilation of The Whole Story. Again, sales are enormous. The worldwide commercial success of the album is greater than that of any of her earlier albums.

Meanwhile, Kate dives into the recording of a new studio album.

To date, the main part of Kate's creative activity since the middle of 1986 remains a mystery.

February 1987

Kate appears at the 1987 British Phonographic Industry Awards, and this time wins the competition for Best Female Singer, despite the fact that the album for which she won was released more than a year earlier.

Kate also wins in the same category of the U.S. College Music Awards, and accepts the award in a brief comic film shot at her home in England.

Kate records an original song for the Nicholas Roeg film Castaway, called Be Kind to My Mistakes.

Bush must have been doing something through 1986. She was releasing singles still, though how much of The Sensual World was written and recorded is unknown. I can imagine a tour might have been speculated. There was a bit of success in the U.S. 1986 – which I shall cover in another feature soon –, which was quite interesting. Some personal appearances, involvement with Comic Relief, plus promotion around Hounds of Love. I suppose there was that transition from one album and the next. Rather than leap straight into her next album from 1986, it was a moment for a bit of calm. This being Kate Bush, she was still pretty busy! That British Phonographic Industry Awards win is both strange and deserved. Hounds of Love came out in 1985, so it is a bit odd that it gets recognised all that time later. That said, you still get that sort of delay at award shows now. Albums and songs out for a long time get rewarded. Kate Bush was also involved in the charity single, Let It Be. As part of the Ferry Aid group (a collection of artists from the U.K. and U.S.), I wrote about this before. The single was released following the Zeebrugge Disaster. On 6th March, 1987 the ferry MS Herald of Free Enterprise had capsized, killing 193 passengers and crew. It was a strange charity cause. It involved The Sun newspaper and a strange cover version choice! Even so, Kate Bush got involved!

That song for Castaway, Be Kind to My Mistakes, came after Bush turned down a role in the film. It starred Oliver Reed. The role eventually went to Amanda Donohoe. Given the nature of the role (which was quite sexual) and appearing opposite Oliver Reed, it was probably a smart idea that Kate Bush refused! Despite there not being new music and lots of activity through 1987, there was this continuation of charity work. As you can see below, Bush made this iconic appearance with David Gilmour:

March 28/29, 1987

Kate performs Running Up That Hill and Let It Be live with David Gilmour at Amnesty International's Secret Policeman's Third Ball concerts.

March 1987

Kate does some session work for the second album by Go West, called Dancing on the Couch: she sings backing vocals on the track The Kind is Dead.

Kate also writes and records a song called This Woman's Work for the John Hughes film She's Having a Baby, which is finally released in February 1988.

late 1987

Kate agrees to lend her name to a new vegetarian campaign launched by the Vegetarian Society to publicise excessive cruelties within specific areas of the meat trade”.

Kate Bush News recently reported on there being a new version of the Go West song being released. Featuring Kate Bush on backing vocals, many fans might not know about it. Whether it was Peter Gabriel, Roy Harper or Go West, Bush did make some appearances as a backing singer (I forgot to mention Prince too):

“In 1987, English pop duo, Go West, issued their second studio album which featured the single The King is Dead with Kate on backing vocals. The story goes that Kate’s guitarist, Alan Murphy, was working on the album with the band in Denmark and asked Kate if she could do some vocals on the track. Kate obliged by sending tapes over to them to work with. Apart from her repeatedly singing the song title behind much of the second half of the track, at 1 minute 45 seconds Kate belts out:

“You let me in behind the lies, but you’re no use to me life size…”

This month, Chrysalis Records have reissued the album in a deluxe package on CD/DVD and on vinyl record and it features a new previously unreleased version of the song, The King Is Dead (12″ Long Vibe Piano Mix). We can hear more Kate backing vocals, in particular a striking moment at the 4 minute 37 seconds mark!

From vocalist Peter Cox on the band’s official site: “At one point Richard said that it would be great if we could get a female backing vocal on the song ..someone like Kate Bush’. Al (Murphy, guitarist) had played in Kate’s band for many years and said, ‘Why not just ask Kate?’ He called her – she graciously agreed, and we sent her the multitrack tape. It was quite the moment when we heard what she had done – we hadn’t given her any notes or guidance, just let her do her fabulous thing.” Richard Drummie of the band continues: “This song is about meeting a hero and your established perception of them being different from the reality. That’s not their fault.. ‘no one’s to blame.. but it immediately appeared as a poignant situation we could write about. We wrote the song really quickly”.

That pivotal moment of Kate Bush writing This Woman’s Work happened in 1987. After turning down a film role, this was a case of her giving her music to film once more. Perhaps more keen to be the other side of the camera, again, many may not know that This Woman’s Work was in a film before it turned up on The Sensual World. Kate Bush also allowing her name to be used for the Vegetarian Society campaign. If we had to sum up 1987, it is very much one of Kate Bush giving. A lot of charity work. Some interesting songs and creative bits. I remember the VHS for The Whole Story coming out. It was sort of the start of a very fascinating year. There was award recognition and some great little things she was involved with. After a hectic year in 1986 promoting Hounds of Love and finishing that off, there was this bridge before hew new album, 1988 would see her more immersed in The Sensual World. Kate Bush turned thirty in July 1988. I suppose there was thins feeling that, in the last year of her twenties, she would give as much back as possible. Bush was always charitable, yet it seemed 1987 was as much about giving something back. After enjoying so much success, we got to see this very benevolent and caring side. It was an interesting year to go into. Things would ramp up from 1988 and into 1989. Some real variety and standout moments, Kate Bush’s 1987 definitely…

HAD its highlights.

FEATURE: Revisiting… Lola Kirke – Lady for Sale

FEATURE:

 

 

Revisiting…

Lola Kirke – Lady for Sale

_________

AS her new E.P…

PHOTO CREDIT: Ward & Kweskin

comes out soon, I wanted to look back at Lola Kirke’s 2022 album, Lady for Sale. Country Curious is going to be an exiting new project from an artist not known and played as much. Released in April 2022, Lady for Sale is a terrific album that more people should know about. Before ending with a review for the amazing Lady for Sale, there are a couple of interviews that I want to come to. Rolling Stone spoke with an artist embracing and utilising the drama of Country for her 2022 album. An acclaimed actor herself, Lola Kirke employs and deploys her incredible talents and emotional range through the album. It is a remarkable work that more people should listen to:

“WHEN SHE WAS an infant, Lola Kirke had a nurse who would sing Patsy Cline’s “Crazy” to her as a soothing gesture. She would later encounter the song in a new way in Jumpin’ Jim’s Ukulele Country music book, which she received as a teenager learning to play the ukulele.

“It was my first instrument, because I’m a white girl who grew up in the mid-2000s — we all got ukuleles,” Kirke jokes during a Zoom call with Rolling Stone. The singer-actress, who’s starred in Mozart in the Jungle and Gone Girl, is currently in New York, but has also been spending long stretches in Nashville over the last couple of years.

Kirke’s time in Nashville and deepening interest in country music is reflected in her new album Lady for Sale, which arrives this week via Third Man Records. Rather than a slick country-pop affair or sparse singer-songwriter project, Lady for Sale finds a third path, one where the aesthetics of Eighties country and synth-pop collide in tightly written, clever songs. There is the icy melodic flourish in the chorus of “Broken Families,” which features Courtney Marie Andrews, and the softer palette of steel and guitar that undergirds “Pink Sky,” and then there’s the Madonna-meets-the-Judds bounce of “Better than Any Drug.” Keen music listeners will recognize some of the reference points, but they’re also employed as ways for Kirke to frame her smart examinations of unhealthy relationships and show-business pitfalls.

“We wanted to make archetypal Eighties, Nineties country music,” says Kirke, the daughter of Free and Bad Company drummer Simon Kirke. “Through that, you would be like, ‘Oh, that’s what I’m entering into,’ and then get to these more complex ideas through what might seem like a simple exterior.”

You grew up in a family of musicians. Your dad is a well-known rock drummer. What spurred your interest in country music?

I think I was just drawn to how easy the songs were initially because there were three chords or whatever. Literally, I was like, “Oh, I can play these.” And through that ease, discovered a deeper love of country music. Also, there’s a lot of parallels with being an actress and being a country singer or singing country. So many of the women in country music, they’re telling these stories and embodying characters and also wearing costumes in a really incredible way. There was all this room for drama within country that was really exciting to me as an actor.

It’s almost like doing drag in some instances, when you think about Dolly Parton or Reba McEntire. The presentation is very dramatic and campy.

It’s great! And that is actually a greater way that you can be truthful. It’s this concept of, through the mask, you can reveal the truth. And I think that there’s something so earnest and authentic about the songs that these women who are in drag, as we’re saying, I’m so moved by so much of this music. That really appealed to me.

Your new album Lady for Sale nods to the neon hues and synth sounds of the Eighties, with touches of disco in the mix. It’s very different than your previous album Heart Head West, which had a dreamy, shimmering quality. When did the transition start to happen between those sounds?

A lot of it really started with Austin Jenkins [White Denim], who produced and co-wrote the record with me. He reflected that I’m actually a lot more fun than I’ve ever really let myself be in music, and I was like, “Huh, that’s true.” I spent a lot of time at the beginning of my music career trying to appear cool to other women, my peers — earnest and cool and serious and I’m just really not that. It wasn’t authentic to me. I also, over the course of the pandemic, really got interested in the Judds and Tanya Tucker and that period of music, which I really wasn’t familiar with prior to then, because growing up in New York City, that’s not really what I heard. I think Faith Hill and Shania made it onto the radio where I grew up, but country radio other than that was just nonexistent to me. So hearing Rosanne Cash’s Seven Year Ache and a bunch of other music of that time, I was just opened up to a new world.

Many people have an idealized version of what it’s like coming to Nashville. How did your experience compare to what you imagined?

I had kind of first gotten to know Nashville through the movie Nashville, the Robert Altman film, which was one of my favorite movies growing up. And then The Thing Called Love, the Peter Bogdanovich movie that was River Phoenix’s last, which is all about songwriters. And when I moved to Nashville, I fell in love with the show Nashville, became so obsessed I would have dreams about the characters, which was funny because I was very much watching it during lockdown. I’ve heard people say “Oh, people started moving here because they loved that show so much.” And now it’s not as local as it once was. But it comes pretty close to what I dreamed of it being. I also think that as I get older, I see that the world as I imagined it would be when I was older just doesn’t exist. I remember going to San Francisco and being like, “And at any moment Jerry Garcia will round the corner,” and it was actually “there’s a Google Bus.” I don’t think this local quality that the world once had exists in quite the same way. But I do think that Nashville, as a smaller city, kind of keeps that alive”.

1883 Magazine spoke with the British-born, U.S.-based actor-musician in 2022. I first heard Lady for Sale then. I was instantly struck by it. I am dipping into the album now, excited to hear new music from Lola Kirke. Her latest single, My House, is among her best releases. This is a tremendous artist that you need to get behind and listen to. Such a remarkable talent:

“It might seem surprising for a New Yorker born in England to turn to country music to express herself, but the longer you talk to Kirke, the more it makes sense. The Mistress America and Mozart in the Jungle actress grew up in a household full to bursting with creatives (her father is a drummer, her siblings are painters, actors and musicians), and her family relocated to the States when she was five years of age. She grew up in “the wild West Village” of Manhattan, she jokes, and as the only person in the family with an American accent, Kirke always felt somewhat of a comfortable outsider. “I think there was a great safety for me in having an American accent when everyone else in my family didn’t,” she says.

She went through a brief punk phase in her teens in an attempt to carve out more of her own identity, but evidently, it didn’t stick. “I could have played punk music, because it’s kind of easy, but I was not cool enough to play punk,” she laughs.

“My sister (Jemima, a visual artist and actress known for her work in Lena Dunham’s Girls), used to dress me for school. Her best friend at the time was this actress Paz de la Huerta, and Paz was a real punk ― she had those Sid Vicious creeper shoes,” Kirke recalls. “I wanted to be one because I thought it was colourful and pretty. When I reflect back on how I felt in high school, I think I was very easy to make fun of, and I think that because nobody else really liked it, punk felt like a safe place for me to live and something to call my own.”

PHOTO CREDIT: Sara-Anne Waggoner

Kirke was raised on rock and roll — the first song she remembers loving is Led Zeppelin’s ‘Since I’ve Been Loving You’. “I was asleep in the backseat of my parents’ car, and the song actually woke me up. It sounded like somebody had broken something open,” she recalls. But, at least for now, Kirke’s home is pedal steels, slide guitars, three chords and the truth. Even if she invokes the latter cliché with more than a hint of self-deprecation. “Actually, I saw this meme the other day that was like, ‘three chords and fucking lies!,’” she says.

“There’s an earnestness about country music that I really connect to. The country music I’m listening to now, the 80s and 90s stuff that is so referenced on this record, is so exciting to me. I feel glad I discovered it when I did, because if I had listened to it growing up, I maybe wouldn’t be so impressed. There’s something about the slickness, and expertise. The other thing about country music,” she adds, “is that you can’t just make a country song. It’s so structured! Your choruses better fucking pay off, and your verses had better support them in the most cheeky, witty, concise way. It’s funny to me when people put a pedal steel on a track and are like ‘it’s a country song!’ It’s not.”

She talks about country music like a kid in a candy store, all wide eyes and wonder, marveling at every detail. She talks about acting that way, too, and there’s a huge parallel between her choices as a musician and an actor. “When I look at the women in country, there’s a real space for performance in the genre. Those women ― the Loretta Lynns and Tammy Wynettes ― are such great actresses. There’s a lot of story-telling in country,” she says, adding: “Or Dolly Parton! You don’t know anything about her home life! She wears a wig!”

PHOTO CREDIT: Sara-Anne Waggoner

Lady For Sale is certainly a partial experiment in persona for Kirke. It’s hyper-stylized, and each song seems to have a distinct character ― so much so that one could almost call it a concept album. “There’s definitely a mask element to it,” Kirke explains. “I am able to live more truthfully through the mask, and I really appreciated finding the character of Lola.” Whiplashing between untethered, fun country-pop and mournful modern melodies, Kirke explores everything from loving and longing to feminine sexuality and desire, with a breathy voice and absolutely no restraint.

Despite all the characters that Kirke brings to the album, Lady For Sale has also been a vehicle for self-discovery for her. It’s Lola, playing versions of herself. She’s still acting, but she’s using a different medium, and she’s certainly no longer interested in succumbing to the pressure of conformity, though it took writing this record for her to understand that. “There’s been a tremendous amount of getting to know myself and my instrument, so to speak. I’m typically quite a warm, earnest and jovial person. I mean, I’m also a crazy bitch,” she smirks. “But I’m not a sad person. And I think there was a trend with girls my age to be really sad with a guitar.”

Does she ever see herself prioritizing one career over another?

“This album cycle has really been eye-opening, in terms of choosing to involve myself in two of the most toxic industries that exist,” Kirke says. “I have a true passion for both of these crafts. I love singing, and writing songs, but I also love acting, and being on set. There was a spiritual beatdown that certainly happened while putting this record out. When I get out of touch with whatever it is I really love about the record, performing and touring, it can feel really confusing.” The expectation that artists should be offering themselves up as commodities over social media is a bitter pill”.

There were some really positive reviews for Lady for Sale. One of those albums I think passed some by, do take some time and revisit this gem from Lola Kirke. In their impassioned review, The Line of Best Fit noted how Lady for Sale is a confident follow-up from her 2019 debut, Heart Head West. Produced by Austin Jenkins, Lady for Sale is a wonderful listen. You can buy the album. It is an album released whilst we were still in the grip of the COVID-19 pandemic. For many, Lady for Sale provided a lot of comfort and release. With some incredible tour dates around the U.S., there are going to be fans that hope Lola Kirke comes to the U.K. at some point to play. She is a magnificent artist who has this very loyal and loving fanbase:

“This rebrand away from her excellent 2019 debut Heart Head West – which presented itself as more subdued with a rocking ’n’ rolling tint – is in the name of embracing self and allowing it to shine bright.

Amongst her fresh recipe of syrupy country come tales of romance lost and found. It’s undeniable that Kirke is here to have fun with her second outing Lady For Sale, yet roots it deep in the sticky feelings which come with relationships and life.

Throughout, she's toying vibrantly with empowerment be it through its exterior world in the form a workout video (“Lady For Sale”) to just embracing being unashamedly human. Kirke is pulling no punches in living life in the creative arts (Kirke also acts), including references to the OnlyFans business model being akin to the music industry and joining the content churn to be a musician.

Delectable chorus after delectable chorus soars above all else. With the melodies doing their best to push their luck – toeing the line between infectious and abrasive, it's this swinging energy under which Lady For Sale thrives. Indeed, this isn’t an album created to lay low, it begs for attention, and once you’re in its sights, it’s impossible not to do so.

Not only embracing herself but all the joy of life, each gem in the Nudie suit Lady For Sale shines bright with a different message, some darker than others. Opener “Broken Families”, featuring Courtney Marie Andrews, breaks down the familial toxicity that leads to troubled relationships. The titular track opens with the bar-room toilet graffiti influenced lyrical A-bomb “Weed is proof of God” before winding its way through the lacking respect and putting on fronts to get by in order to achieve dreams. The lushly subdued “Pink Sky”, which promises “there’s no rush / no rush / he’s howling at the moon", proves it doesn’t have to be all bright and shiny – sometimes, things need to get real for a second to make sure the train stays on the tracks.

Lyrically, Kirke moves into the top tier of writers. Even references to alien conspiracy theories from questionable lovers who take the nihilistic quote "fuck the world" a little too seriously on "The Crime" deliver a kick and punch before a kiss and a wink.

“Stay Drunk” avoids dealing with the consequences of actions, while the ‘80s call-back “Better Than Any Drug” ensures those actions keep you coming back for more with an exhaustive lyrical wink-and-smile run the Class-A list. Undoubtedly life is about seizing the day, and in the trickles of pedal steel and glowing synths, on Lady For Sale Lola Kirke encourages the exploration of mistakes while knowing that you only live once, so have some fun with it, yeah?”.

An album that I feel did not get all of the attention and focus it warranted back in 2022, Lady for Sale is the latest album from the stunning Lola Kirke. The Country Curious E.P. has been announced. It will be another important chapter from one of the music world’s most distinct talents. I really love Lady for Sale, so I wanted to recommend it here. If you have not heard the album, I would suggest you take a little time out and…

DIVE right in.

FEATURE: Turning of the Tide: Is An Historic Night at the GRAMMYs a Sign Female Dominance and Progression Will Continue Through This Year?

FEATURE:

 

 

Turning of the Tide

IN THIS PHOTO: Kylie Minogue won the Best Pop Dance Recording GRAMMY for Padam Padam on 4th February, 2024 in Los Angeles, California/PHOTO CREDIT: Alberto E. Rodriguez/Getty Images

Is An Historic Night at the GRAMMYs a Sign Female Dominance and Progression Will Continue Through This Year?

_________

THE music has a long way to go…

IMAGE CREDIT: Beth Garrabrant

when it comes to making women equal and ensuring they are heard. In terms of misogyny and sexism, this is something worryingly rife through the industry. Festival headliners are still largely male. There are a lot of issues to sort out. When it comes to award ceremonies and rewarding women for their achievements, this is something that is changing. Maybe this is the first sign that female dominance is going to define this year. It is a shame reward representation does not mirror necessarily into festivals and even radio playlists. I shall come to an article from The Guardian who recently discussed women dominating music and how there has been this incredible shift. Last night’s GRAMMYs saw women taken home awards in many of the biggest categories. Aside from Taylor Swift setting records and also announcing a new album, THE TORTURED POETS DEPARTMENT, it was a great night for women in musi!. Showing that male bias cannot continue. That they are dominating and, more than likely, this is going to continue for years more:

“Album of the year

Jon Batiste – World Music Radio
boygenius – The Record
Miley Cyrus – Endless Summer Vacation
Lana Del Rey – Did You Know That There’s a Tunnel Under Ocean Blvd
Janelle Monáe – The Age of Pleasure
Olivia Rodrigo – Guts
Taylor Swift – Midnights – WINNER
SZA – SOS

Record of the year

Jon Batiste – Worship
boygenius – Not Strong Enough
Miley Cyrus – Flowers – WINNER
Billie Eilish – What Was I Made For? from Barbie: The Album
Victoria Monét – On My Mama
Olivia Rodrigo – Vampire
Taylor Swift – Anti-Hero
SZA – Kill Bill

Best new artist

Gracie Abrams
Fred again..
Ice Spice
Jelly Roll
Coco Jones
Noah Kahan
Victoria Monét – WINNER
The War and Treaty

Song of the year

Lana Del Rey – A&W
Taylor Swift – Anti-Hero
Jon Batiste – Butterfly
Dua Lipa – Dance the Night from Barbie
Miley Cyrus – Flowers
SZA – Kill Bill
Olivia Rodrigo – Vampire
Billie Eilish – What Was I Made For? from Barbie – WINNER

Best pop vocal album

Kelly Clarkson – Chemistry
Miley Cyrus – Endless Summer Vacation
Olivia Rodrigo – Guts
Ed Sheeran – “-” (Subtract)
Taylor Swift – Midnights – WINNER

Best R&B song

Halle – Angel
Robert Glasper featuring SiR and Alex Isley – Back to Love
Coco Jones – ICU
Victoria Monét – On My Mama
SZA – Snooze – WINNER

Best música urbana album

Rauw Alejandro – Saturno
Karol G – Mañana Será Bonito – WINNER
Tainy – Data

Best pop solo performance

Miley Cyrus – Flowers – WINNER
Doja Cat – Paint the Town Red
Billie Eilish – What Was I Made For? from Barbie
Olivia Rodrigo – Vampire
Taylor Swift – Anti-Hero

Best progressive R&B album

6lack – Since I Have a Lover
Diddy – The Love Album: Off the Grid
Terrace Martin and James Fauntleroy – Nova
Janelle Monáe – The Age of Pleasure
SZA – SOS – WINNER

Best R&B performance

Chris Brown – Summer Too Hot
Robert Glasper featuring SiR and Alex Isley – Back to Love
Coco Jones – ICU – WINNER
Victoria Monét – How Does It Make You Feel
SZA – Kill Bill

Best folk album

Dom Flemons – Traveling Wildfire
The Milk Carton Kids – I Only See the Moon
Joni Mitchell – Joni Mitchell at Newport (Live) – WINNER
Nickel Creek – Celebrants
Old Crow Medicine Show – Jubilee
Paul Simon – Seven Psalms
Rufus Wainwright – Folkocracy

Best pop duo/group performance

Miley Cyrus featuring Brandi Carlile – Thousand Miles
Lana Del Rey featuring Jon Batiste – Candy Necklace
Labrinth featuring Billie Eilish – Never Felt So Alone
Taylor Swift featuring Ice Spice – Karma
SZA featuring Phoebe Bridgers – Ghost in the Machine – WINNER

Best pop dance recording

David Guetta, Anne-Marie and Coi Leray – Baby Don’t Hurt Me
Calvin Harris featuring Ellie Goulding – Miracle
Kylie Minogue – Padam Padam – WINNER
Bebe Rexha and David Guetta – One in a Million
Troye Sivan – Rush

Best R&B album

Babyface – Girls Night Out
Coco Jones – What I Didn’t Tell You (Deluxe)
Emily King – Special Occasion
Victoria Monét – Jaguar II – WINNER
Summer Walker – Clear 2: Soft Life EP

Best song written for visual media

Barbie World from Barbie the Album, Naija Gaston, Ephrem Louis Lopez Jr. and Onika Maraj, songwriters (Nicki Minaj and Ice Spice featuring Aqua)
Dance the Night from “Barbie the Album, Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt, songwriters (Dua Lipa)
I’m Just Ken from Barbie the Album, Mark Ronson and Andrew Wyatt, songwriters (Ryan Gosling)
Lift Me Up from Black Panther: Wakanda Forever — Music From and Inspired By, Ryan Coogler, Ludwig Göransson, Robyn Fenty and Temilade Openiyi, songwriters (Rihanna)
What Was I Made For? from Barbie the Album, Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish) — WINNER

Best African music performance

Asake and Olamide – Amapiano
Burna Boy – City Boys
Davido featuring Musa Keys – Unavailable
Ayra Starr – Rush
Tyla – Water – WINNER

Best alternative music album

Arctic Monkeys – The Car
boygenius – The Record – WINNER
Lana Del Rey – Did You Know That There’s a Tunnel Under Ocean Blvd
Gorillaz – Cracker Island
PJ Harvey – I Inside the Old Year Dying

Best alternative music performance

Alvvays – Belinda Says
Arctic Monkeys – Body Paint
boygenius – Cool About It
Lana Del Rey – A&W
Paramore – This Is Why – WINNER

Best rock album

Foo Fighters – But Here We Are
Greta Van Fleet – Starcatcher
Metallica – 72 Seasons
Paramore – This Is Why – WINNER
Queens of the Stone Age – In Times New Roman…

Best rock song

The Rolling Stones – Angry
Olivia Rodrigo – Ballad of a Homeschooled Girl
Queens of the Stone Age – Emotion Sickness
boygenius – Not Strong Enough – WINNER
Foo Fighters – Rescued

Best rock performance

Arctic Monkeys – Sculptures of Anything Goes
Black Pumas – More Than a Love Song
boygenius – Not Strong Enough – WINNER
Foo Fighters – Rescued
Metallica – Lux Æterna”.

I do think that the tide is turning. Normally, award ceremonies struggle to acknowledge and celebrate women. After years of such fantastic music from them, there have been no excuses anymore. The GRAMMYs is the latest example of how women are ruling across so many genres and areas. If there are some genres where they are under-represented and nominated – Rap being one; female producers not being nominated -, then that is going to change before too long. Things are not rosy and celebration across the board. Whilst the GRAMMYs showed that some of music’s biggest and most successful queens have been recognised, that is not to say that things are fixed. In fact, rather than the GRAMMYs being a major shift towards equality and women feeling seen in the industry, it is at least a moment that will start to turn the tide. A knock-on affect that hopefully will spread through all levels of music. The Guardian recently wrote how there is this hopeful new era for women in music – against a backdrop of a recent parliamentary report in the U.K. that makes for disturbing reading:

“Gaining greater stature and confidence in the industry, the story is not repeated at either the very bottom or the very top of the business. Female recording studio technicians and session musicians still have harrowing accounts of the obstacles and insults they have faced at work, while the most influential labels and music publishing companies are top-heavy with men.

An oppressive emphasis on the physical appearance of female artists made their life particularly hard, the parliamentary committee report found, analysing evidence gathered by a parliamentary inquiry that began last summer.

Limited opportunities to advance in the industry and persistently lower levels of pay are also hurdles, while racial discrimination holds back many black women from taking up influential roles in the music business, the findings suggested.

Most worrying was testimony about an enduring “culture of silence” that means women are often expected to sit next to known abusers at industry events. The only alternative is a potentially career-ending showdown. “Much of the evidence we received has had to remain confidential, including commentary on television shows and household names,” the report read. “That is highly regrettable but demonstrates the extent of the use of NDAs [non-disclosure agreements].”

IN THIS PHOTO: Ellie Goulding

Goulding is one of the prominent performers to use her secure position to speak out. Explaining the unpleasant environment that female artists can encounter, she recalled “a slight feeling of discomfort” whenever she walked into a studio to find she was alone with “one or two men”.

“There are still few women in really powerful positions in the record companies, considering at least half the consumers of music are women,” said Smith, “There used to be a teaboy route up through to the top of a record company, but if you were a 17-year-old girl, would you really want to be there with no status and all that male banter? It’s good that the music schools are now training women for these roles, because it would be hard for a young woman to put up with all that male stupidity. You can see why so many of them say ‘I’m out.’”

And the numbers don’t lie. There has been a huge surge up the charts. In 2022 only two female musicians cracked the top 10 of biggest songs, with Kate Bush reprising the success of her 1985 single Running Up That Hill, on the back of television’s Stranger Things, and pop singer Cat Burns making an impact with Go.

It is the same heartening story in America. A study by the University of Southern California’s Annenberg Inclusion Initiative found that the share of women involved in last year’s hits in the US had increased to 35%. The number of female artists has reached the highest since 2012.

“Whilst work continues towards achieving full representation for women across the music industry, 2023 has been a brilliant year for women in the Official Charts,” said the BPI’s Twist. “There is a more diverse range of recording artists than ever achieving great success with the backing of their labels. This should be celebrated, but without complacency, and our work in the music industry continues to ensure that this becomes the norm”.

IN THIS PHOTO: Coco Jones won the GRAMMY for Best R&B Performance for ICU/PHOTO CREDIT: Frazer Harrison/Getty Images

It has been wonderful seeing all the reaction to the GRAMMY wins. This sign that music from women is dominating. I guess it only tells some of the story. Some of the more commercial women are rightly being acknowledged. If you look at the wave of other female artists across music who struggle to get headline slots and festival places; those who have to struggle to get onto radio or to be taken seriously; those who feel safe and secure in the industry, it is evident that we have a long way to go. The music industry still has a big problem with misogyny and inequality. This is not going to be corrected anytime soon. What high-profile ceremonies like the GRAMMYs show is that women near the very top are ruling. I hope this is a sign that women throughout music should be respected and given more opportunity. You can feel things starting to change. Going through this year, we need to call to account any incident where women are being overlooked. Tackle misogyny and abuse through this industry. Ensure that pay is levelled and that more women are given roles in executive positions – especially for Black women, who are a group vastly under-represented. If now has never been a better time for women in the industry in terms of recognition – though the bar has been extremely low for decades now -, that is going to increase and build. There does need to be an industry-wide trickle-down where every issue and inequality is tackled. Ensuring that it is not only elite female artists getting credit and reward: this kudos and celebration needs to extend much more extensively. I am hopeful. The GRAMMYs shows that the tide is turning now. It will be a long time before we can truly say that sexism and misogyny has been eradicated, yet every bit of good news is reason for encouragement. We definitely need to see more of this…

THROUGHOUT this year

FEATURE: Spotlight: The War and Treaty

FEATURE:

 

 

Spotlight

The War and Treaty

_________

A GRAMMY-nominated duo who…

PHOTO CREDIT: Alysse Gafkjen for Rolling Stone 

have been on the scene for a while but are getting a lot of spotlight and buzz now, The War and Treaty should be on your radar. Their latest album, Lover’s Game, was released last March. They are a terrific husband-and-wife duo consisting of Michael Trotter Jr. and Tanya Trotter. I guarantee you will love what they are doing. I want to come to a few interview from The War and Treaty from last year. To give you some depth and background about this amazing musical force. I will start with some biography from their website:

“Founded in 2014 by the husband-and-wife duo Michael Trotter Jr. and Tanya Trotter, The War And Treaty has emerged as one of the most electrifying new acts in American music. Recently earning their first ever GRAMMY nominations for Best New Artist and Best American Roots Song for “Blank Page,” they also received this year their first ever Duo of the Year nomination from the Country Music Association, Vocal Duo nomination from the Academy of Country Music, plus recognition by the Country Music Hall of Fame, the Rock & Roll Hall of Fame, the Grand Ole Opry, and the Americana Music Association including earning AMA Duo/Group of the Year for the second straight year. 

With a lionhearted sonic blend, both roaring with passion and tender to the touch, The Tennessean notes, “they are unlike any other act in music.” The War And Treaty’s major label debut album Lover’s Game (Mercury Nashville), was met with critical praise with Associated Press claiming, “The colossally talented pair continue their commando, no-limits journey to the top of the music world.” Drawing respect across the board, they have gone on to appear as top-flight collaborators including the latest “Hey Driver” with Zach Bryan.  

The War And Treaty has captivated audiences across the globe from North America to Europe, Australia and beyond, while headlining their own shows and opening for a diverse group of living legends: Al Green, Brandi Carlile, Chris Stapleton, Jason Isbell, John Legend, Lauren Daigle, and Van Morrison among them”.

PHOTO CREDIT: Austin Hargrave

I am going to move onto an interview from The Guardian. The story of how Michael Trotter Jr. and Tanya Trotter found one another and started making music together is amazing:

“He was a wounded Army veteran, she was a failed R&B star. Together they’ve transmuted trauma into powerfully uplifting gospel and country music – and John Legend is set to film their love story

Michael Trotter did his very best to stop Tanya from falling for him. I’m a screwup, he told her. I’ve already got a divorce in my 20s, I’ve been to war twice, I’m wounded. I am not a catch. “She just looked at me and said, ‘Are you done?’” says Michael. “‘Because I’m going to tell you what I see. I see a king. You just need the right kind of queen.’”

The resulting partnership, both marital and musical, has proven her right. See the Trotters in a room together and you almost feel sorry for other couples. Watch them on stage, as the War and Treaty, and you’re transported into the heart of their relationship. Their Glastonbury debut last year had the devotional fervour of a revival meeting, and their fourth album, Lover’s Game, released this month, bursts with emotion, inspired by the gospel and country sounds they have both loved since childhood.

It is a creation of great experience and even greater joy. Last year they opened for John Legend’s tour; their own love story is so epic that Legend is now making it into a movie.

Michael is an army veteran who suffers with depression and PTSD and for whom music is therapy. Sometimes he will sit and write several songs a day just to process his feelings. “I’m thinking of one right now,” he says. The US had just invaded Iraq when he enlisted at 21; he was stationed in one of Saddam Hussein’s former palaces in Baghdad. When fellow soldiers died, he sang tributes to them on a piano he found there. “I was very blessed in the leaders I had,” he says. “They all encouraged me in my music-making. They saw I had a different calling.”

His service completed, he met Tanya Blount in August 2010, when they played the same festival in Maryland. Tanya was on her second musical career – her first had peaked in her teens, when she appeared opposite Lauryn Hill and Whoopi Goldberg in Sister Act 2 and signed a deal with Sean Combs’s record label to become an R&B star at 16. “I knew at eight that this was what I wanted to do,” says Tanya.

But she took a break from the business after an unsatisfactory experience with Bad Boy Records. “I’d been in a pretentious world for pretty much most of my teens and 20s,” says Tanya. “In R&B, hip-hop, nothing’s what they say it is. The car’s not theirs, the chain’s not theirs. Everything is rented.”

Michael, by comparison, was candid to a fault. They fell for each other at first sight. “I remember her saying: ‘I’m not looking for a bank account, I’m not looking for a six pack,” says Michael. “And I jumped for joy because I don’t have neither.”

The sound they arrived at as a duo is the product of relentless work and ruthless honesty. “We’d be doing eight hours of rehearsal at home, and if the song didn’t move us we’d trash it,” says Michael. “If we’re not feeling teary, or some emotional connection, it’s not worth it.” Some of their most upbeat choruses hide the couple’s trauma in plain sight. Five More Minutes was named for the day in 2017 that Michael had decided to end his life and Tanya asked him to stay with her just a little longer”.

Maybe now only starting to get the credit they fully deserve, The War and Treaty will find a whole new wave of fans this year. I hope that they manage to come to the U.K. and Europe to tour. Holler caught up with The War and Treaty last year. With Michael and Tanya coming from very different backgrounds/paths but having this instant connection, harmony and incredible talent, this Gospel-Country-Soul duo are going to making music for many years to come. I think that they warrant a lot more exposure on radio and in the music media:

“Though the pair hadn’t yet met, Michael had already spotted Tanya in the movie and, rather fortuitously, her head was turned when she heard him perform at a local festival.

By 2014 the new couple had formed The War and Treaty and started to experience the highs and lows of a music career. Over the years, their sound evolved, carrying them through to recognition worthy of securing great opening slots for the likes of John Legend, Al Green and Brandi Carlile.

Despite the pandemic pausing their progress, Michael still suffering from PTSD and Tanya getting heavily ill from Covid - which continues to affect her vision and energy – the War and Treaty are anything but quitters. Instead they became stronger, lauded by the Grand Ole Opry, the Country Music Hall of Fame and the Americana Music Association, who made The War and Treaty their 2022 Duo/Group of the Year.

Now they have a new, major label album, Lover’s Game, produced by none other than Dave Cobb, a headlining tour and plans to conquer the world with buckets of charm and harmonies. Just listen to the hugely soulful ‘Have You A Heart’ and the sweeping drama of ‘Blank Page’. Or hear their country side on ‘Yesterday’s Burn’ where Michael channels his idol, Kenny Rogers, and ‘That’s How Love Is Made’ which they’d have loved Dottie West and Kenny to have duetted on.

We spoke to the genial and self-deprecating Tanya and Michael from their Tennessee home, and on the eve of this latest part of their journey, to delve deep into how they work, why they’ve chosen this genre, and what makes them tick…

How did you get paired with the amazing Dave Cobb as your producer on your new album?

Michael: We’ve known each other since about 2017. We’ve always threatened to work together, and Universal provided the opportunity to make that threat a reality. I’m so grateful that they did. To work with Dave is so much fun, and we actually ate more than we worked. That’s the honest to God truth. His wife is a wonderful cook and we ate tapas one night and spaghetti another night. We just ate a lot of food and really enjoyed each other’s company.

Aside from that, we were there for him. Dave lost his mom last year and we didn’t care any more about the music. It was all about Dave Cobb the person and not the producer. We were able to see another side of him, and that allowed Tanya and I to fall more in love with Dave and vice versa for him. We are friends and we take care of one another.

Tanya: Dave encouraged us to trust ourselves; that what we already were doing is what we should do in the studio. We try not to make things perfect because nothing is perfect, no-one’s perfect and he kind of had the same approach. He just said get in there and do what you guys gotta do, then walked out the room.

‘Angel’ is a song about love entwined with religion, and I wonder if you’re both at the same place in your faith?

Tanya: We are on the same wavelength of what we believe. Our faith is the compass to take us where we go, we pray together, cry together, we have dreams together, manifest things together. So we believe the same things and that’s a big part of why we’re able to move forward as a couple and a unit. People see the unity first and feel our faith.

What were your roles in writing the songs on this album, like ‘Ain’t No Harmin’ Me’?

Tanya: Michael is definitely better with melody and lyrics, because he gets everything at the same time. I’m inspired much slower than Michael – for every song I write he’s already written 10. Then he comes to me and says what you think about this song I wrote? And I hear something that needs to change and we’ll come to an agreement to keep it like it is or change it.

He’s prolific. He probably wrote more than 100 songs during the pandemic. I stopped counting! Our music director was laughing the other day because he has over 750 songs in his database from Michael, and only he’s been our music director for five years. We’ve been married for 12 years so just imagine the songs I have in my head!

What’s been your biggest challenge, personally and as a duo?

Tanya: Early on we had to get on the same page about where we wanted to go musically. Then we somehow just stumbled into Americana – we didn’t even know it was a genre, we were trying out different things we loved and hearing our voices on different things.

The challenge – the beauty of what we do – is where I feel limited with my vocals and my voice, Michael picks up and takes it even further. It’s the same with him, and we finish each other’s sentences for lack of a better way of explaining it, that’s what we’ve done for each other.

Maybe Americana was tailor-made for you – this all-encompassing, multi-style genre?

Michael: I prefer to not be boxed in! I love being all over the place, I’m all over the place anyway. I’m all over the place in my marriage, in my finances. One day I’m broke, the next day I’ve got money. As long as they get my name right I don’t care!”.

I will come to a review of Lover’s Game soon. Before that, there is another interview worth bringing in. Country Now spoke with The War and Treaty about their journey to their new album. Not only is their music career extraordinary and inspiring. Where Michael Trotter Jr. and Tanya Trotter started and how they found one another. It is no wonder there is something cinematic about their finding one another. You can feel and hear their experiences, struggle and sense of discovery through their music. Putting so much of their own story and lives into every note. Such power and beauty from their voices:

“Lover’s Game was produced by Dave Cobb in his Savannah home studio and marks their first major-label release under Mercury Nashville. The War and Treaty spent time sifting through over 100 songs that they had written within the last two years, before landing on the final 10-song track listing for Lover’s Game.

Bottom of Form

Ahead of the official release, fans got a glimpse into the project with songs like “That’s How Love Is Made,” “Ain’t No Harmin’ Me,” “Blank Page,” “Dumb Luck,” and the soaring title track, “Lover’s Game.”

The infectious melody of the title track sets the tone for the authenticity that follows in the rest of the chapters. The couple revealed that the inspiration for the beginning line of the chorus actually stems from an essential part of their recording process.

“Margarita, hot chicken, strawberry wine / Looking for your lovin’ to be mine, all mine,” they sing.

“We recorded the record in Savannah, Georgia, and we didn’t have like that ‘margarita hot chicken, strawberry wine’ line. So Dave Cobb, who fed us to death while we recorded this record, he threw that in there,” Tanya explained. “I never had hot chicken before, so when we were doing it, I was like, I gotta be authentic. I need to go and find a place with some hot chicken. So, you know, I went and got some hot chicken and it’s just an ode to Nashville and our experience here. It was just a lot of fun recording that record, too.”

While discussing their path in life that led them to create such a stunning list of new songs to add to their catalog, the pair opened up about the beginnings of their love story. When they first met, they were both homeless and jumping from place to place among many different people until they landed in Richmond, VA.

“We were living in a transitional house. We didn’t realize that next door, it was a transitional house that we were sharing and we were on food stamps, you know, we had our little baby with us and this is probably not even five years ago…maybe seven years ago,” Tanya explained. “So when I think about it, it doesn’t seem that far removed, you know, from my thinking now. I get up every morning when I’m home and I go out on the back of our porch and I’m just reminded of how good God is, how good it is to be able to have the strength to get up every day and be resilient and just be reminded of this gift that we have. It’s a gift, and it’s not for us, you know, it’s to be given to everyone that listens to it”.

I will finish off with Saving Country Music’s review of the extraordinary Lover’s Game. It is an album from last year that got a love of love, yet I don’t think it was shared and discussed as much as it should be. If you have not heard the album then make sure you do. I guarantee that it will stay in your mind long after you have heard the final song:

“Though well-beloved by elements of the Americana community for years, and the Opry faithful from having proven their prowess in the circle so many times, The War and Treaty has heretofore struggled to find an audience beyond niche programming. The hope was pairing the duo with producer Dave Cobb and exploring all of their influences in a more diverse and robust manner may result in the wider audience The War and Treaty’s talent undeniable deserves by capturing the electricity of what they do live. Lover’s Game just might pull that off.

The album starts off with the braying guitars and upbeat tempo of “Lover’s Game,” which gives the album an immediacy and Southern rock flair to suck you right in. “Ain’t No Harmin’ Me” is one of a host of Gospel entries from the album, but one that is far from preachy, and combines the spirit of blues and Rick Rubin-era Johnny Cash for an enthralling experience. If you want to hear what The War and Treaty are capable of when they let their country influences come to the forefront, get a load of “Yesterday’s Burn”—a song that went viral when they first performed it on the Opry.

One challenge for really all married singing duos is how sometimes songs where they stare lovingly into each other’s eyes and coo affectionately can take on a very sappy, Captain & Tennille vibe if you’re not careful. There are a couple of moments like that on this album, like the falsetto-laden “The Best That I Have” with its mom rock vibes, complete with a Golden Girls reference. Where the first half of the album shows a lot of great energy and diversity in sound, the second half defaults into the duo’s comfort zone, and may challenge the attentiveness of the audience.

What never gives out though, and makes Lover’s Game engaging throughout is the personal nature of the material. This album feels like the lives of Michael and Tanya Trotter set to music. This even includes “Dumb Luck,” which surprisingly is one of the few tracks not written by the duo, but by producer/songwriter Beau Bedford, despite feeling outright autobiographical to them, making references to Opry performances.

And most importantly of course, The War and Treaty is one of those duos that could sing the phone book, and blow the crowd out of their seats. But in this day an age of ever-present singing competitions and Chris Stapleton, this isn’t entirely novel. Marrying their voices with songs that can resonate beyond the enchantment of the performances themselves and appeal to broader parts of the country and roots world is what makes Lover’s Game feel like such an important work.

Country music has always been, and will always be a push and pull of both yearning for purity in the genre, while also wanting to be inviting to a wide sphere of influences and perspectives. The War and Treaty is just the kind of diversity country music needs—one with roots in the genre from the Gospel and blues influences in their sound, respect for country’s origins and institutions, while also instilling a level of talent that is frankly unparalleled by peers, and perfect for proving why being too rigid with genre borders can result in the loss of valuable voices.

No matter what you call them, The War & Treaty belong. And if the rest of the musical world is too busy to invite them into the fold, country music should be more than happy to have them”.

I am going to finish up now. The incredible The War and Treaty have just received GRAMMY acknowledgment and are set to have one of their biggest years yet. Go and follow this amazing duo. Last year, The War and Treaty became the first Black duo to be nominated for the Country Music Association Award for Duo of the Year. They were also the first bBlack duo to be nominated for the Academy of Country Music Award for Duo of the Year. I am looking forward to seeing the upcoming biopic about the GRAMMY-nominated duo’s story. If you are not following them already, do make sure that you add this wonderful name…

TO your playlist.

___________

Follow The War and Treaty

Official:

https://www.thewarandtreaty.com/

Instagram:

https://www.instagram.com/thewarandtreaty/

Twitter:

https://twitter.com/warandtreaty

TikTok:

https://www.tiktok.com/@thewarandtreaty

Spotify:

https://open.spotify.com/artist/6HhV0jtMMK5HYnYgG0xgtz

YouTube:

https://www.youtube.com/channel/UC5csm28Wss38xCghjzUhj9g

Facebook:

https://www.facebook.com/TheWarandTreaty

FEATURE: New Waves: The Use of AI Compositional Tools That Reduce Studio Costs and Foster Creativity

FEATURE:

 

 

New Waves

IMAGE CREDIT: Irenebination

The Use of AI Compositional Tools That Reduce Studio Costs and Foster Creativity

_________

I have published features…

 PHOTO CREDIT: ThisIsEngineering/Pexels

in the past that talk about various styles of music we do not hear anymore. Certain sounds that are rare for various reasons. One of the most recent features discussed Steely Dan and Donald Fagen. How there are hardly any artists today where you can hear their influence. Not such an obscure artist(s), why do we not hear anything Dan/Fagen-esque in modern music?! Some suggested the sheer studio costs put people off. Maybe the creative and intellectual levels needed to write such music. I would argue people could pen something similar to a Donald Fagen song that was really great without having to be exactly as good. In terms of composition, I feel that people could have ideas and starting blocks that could form into these fully-formed songs. Maybe time in the studio experimenting would take a lot of money and time. Is the sheer cost of recording at professional studios with musicians limiting creativity?! Not that there is anything wrong with small studios or D.I.Y. recording. Indeed, some of the very best albums can be made for very little. In terms of doing something bigger and more involved, I guess you need quite a few musicians. If you had to do fewer takes and had the compositions fully realised before they get to the studios, then that would help creativity and future inspiration. Rather than using AI to completely replace artists, one of its benefits is that there are algorithms and options where you could put together notes, lines and full compositions into a demo and then present to musicians. This is nothing new you’ll say, yet AI offers something more detailed and comprehensive. Rather than it being mere building blocks, you could work together these compositions that just need to be repeated in the studio – still costing a little but not as much as doing endless takes.

IN THIS PHOTO: Steely Dan’s Walter Becker and Donald Fagen in 1977/PHOTO CREDIT: Chris Walter/WireImage/Getty Images

There are programmes and software like AIVA, that allow anyone of any level to create songs in a variety of styles. There has been a lot of discussion about AI in music over the past year or so. We have seen entire songs and albums generated by AI. There are definite disadvantages of AI in music around authenticity and quality. Songs through AI that do not sound that good or lack the human depth and nuance. I think we are a very long way away from AI being able to replicate musicians or replace them. Artists fear they can have their voices used without permission. That we will have a scene of AI music. This real nervousness around technology in music. There are benefits to AI. Think about The Beatles’ final song, Now and Then, which was released last year. That was a John Lennon demo that featured the other three Beatles. AI was used and made it sound like a full and proper band collaboration. AI can give you tools to produce like a professional. Rather than replace those essential people, it allows options for artists who want to self-produce or do not have the budget for a producer. Thinking about the fact that some bands and sounds should have modern-day torch-carriers but do not. I wonder whether studio fees and a daunting hill to climb puts people off. AI does make it more likely that artists today can create quite layered songs with incredible musicianship. They do not need to spend weeks in the studio. This LinkedIn feature discusses AI-composed music and its benefits:

“Introduction

The fact that artificial intelligence can produce music is exciting and scary at the right time for many people. With technological advancement, AI has left no stone unturned and is now doing wonders in the music industry. AI has significantly grown in music composition! Thanks to the development of sophisticated algorithms and the rising availability of large datasets. The algorithms use machine learning techniques to analyze unique music patterns and generate new compositions.

Through this newsletter, let us explore how these algorithms work in a symphony to hit the right notes of the music.

PHOTO CREDIT: Blaz Erzetic/Pexels

AI Algorithms Composing Tunes

Data Collection:  The process starts by collecting massive amounts of music data, including audio recordings and user-generated compositions. This data gives the algorithm a diverse range of musical styles and genres to learn from.

Machine Learning Models: Deep learning is the most common machine learning approach in music composition. These are designed to process sequential data and learn temporal dependencies, making them suitable for capturing musical patterns over time.

Model Training:  The algorithm is trained on the collected music data to analyze the patterns and structures in the music. The model learns the relationship between notes, chords, rhythms, melodies, and other musical elements.

Creativity and Generation: The trained model can generate new musical compositions, take input in melodies or notes, and use this knowledge to develop music further. The generation process is often guided by specific parameters or constraints set by the composer or the user, such as genre, mood, tempo, or musical motifs.

Evaluation and refinement: Not all generated compositions will be musically appealing. Therefore, AI composers often use evaluation metrics or feedback mechanisms to check the quality of the generated music. They may compare the AI-generated music against a large corpus of existing human-created music to ensure that the generated output aligns with established musical norms.

Repetitive Improvement: The AI algorithms meticulously improve by analyzing feedback and user interactions and refining their output over time. This process of continuous learning enables the algorithm to produce increasingly better compositions.

Collaborative tools: Some AI music composition tools are designed to assist human composers rather than replace them entirely. These tools can provide suggestions, harmonizations, or variations based on the composer's input, helping to speed up the creative process and inspire new ideas.

Conclusion

While technology is continuously evolving, AI is becoming an essential tool in the creative process for musicians and composers worldwide. However, it's important to note that while AI in music composition has demonstrated impressive capabilities, it still faces challenges in fully understanding and replicating the complexities of human musical creativity and emotion”.

PHOTO CREDIT: Wallace Chuck/Pexels

It is important to make a distinction. I do think that AI creating entire albums and tracks seems rather pointless. I would not want to buy any albums where all the music was made by AI. I know that there are plenty of albums that are made digitally. Electronic albums that have been created by machines. I mean AI replacing instruments and voices. This attempt to replace humans. With some saying they cannot write and record certain types of music because of the incredible studio costs and time to get the sound write. AI tools and algorithms can allow composers and artists to exactly hear what is in their heads. In terms of incurring studio costs, when musicians know that what a composer wants, they can record their part remotely. I favour musicians in the studio though, rather than having AI replace their parts, a remotely-recorded take would be fine. It takes me back to my concern that there are certain groups and artists (like Steely Dan or even The Beatles) where you cannot really hear their influence today. Not the more experimental side of them anyway. This valuable and hugely rich sound of music that is stuck in the past and is begging for modern-day revival. I can understand that there are limited budgets. I don’t feel a lack of talent is the reason for an absence of certain sounds and updates on older artists who should be adopted by new artists. AI is a way of inspiring melodies and harmonies. A way of building compositions and cutting costs because of the reduced studio hours. Then, once a composition or song is worked up by AI, it can then by played by real musicians. Rather than AI being used to replace existing artists or revive deceased ones, the technology is so useful as a way of working up demos and almost-realised full features before working them in a studio. Even for non-musicians like me, is makes compositions and songwriting a lot easier and more intuitive. Let’s hope more and more artists do use AI this way and we will see a revival of older and wonderful sounds…

PHOTO CREDIT: Thapelo Boateng/Pexels

MISSING in the present day.

FEATURE: Definitely/Maybe: Potentially Great ‘Lost’ Album Title Tracks

FEATURE:

 

 

Definitely/Maybe

IN THIS PHOTO: An outtake from the cover shoot of Oasis’ 1994 debut album, Definitely Maybe/PHOTO CREDIT: Michael Spencer Jones 

Potentially Great ‘Lost’ Album Title Tracks

_________

I was recently thinking about…

IN THIS PHOTO: Kate Bush in 1980/PHOTO CREDIT: Mirrorpix

Kate Bush’s second studio album, Lionheart, and how there was a track recorded during the sessions that was called Never for Ever. Producer Andrew Powell confirmed that the track was recorded but never used, as Bush felt that her vocal was not great. This terrific and beautiful song that never made it onto the album of the same name – Never for Ever was released in 1980 and co-produced by Kate Bush -; I wonder why it was recorded for the session of Lionheart. Whether it was going to be a Lionheart song or Bush was already thinking to her third album and wanted this title track. In any case, the fact that Never for Ever is the only Kate Bush studio album without a title track seems like this gap. A great what-if regarding Never for Ever and what a title track would have sounded like. It got me thinking about other amazing albums that could have had potentially epic title tracks. It is good when an album has a title but no title track. It seems disconnected, though that sense of detachment is something I love. Even so, there are some classic albums that never had title tracks that I feel could have been something awesome. One turns thirty later this year. Oasis’ Definitely Maybe was a classic of 1994. Whereas future albums had title tracks, their genius debut album did not. I often think of that album title as a throwaway. Maybe a response to a question. It seems very Beatle-esque. More on that band later. Oasis, unashamedly indebted to The Beatles in a huge way could have penned something Beatles-like with a Definitely Maybe title track. A big anthem that could have opened the second side of the album – expand the album from eleven to twelve tracks and have Definitely Maybe nestled between Supersonic and Bring It on Down – and added yet another gem to one of the best albums of the 1990s.

In terms of women in music and female-fronted bands, there are some examples that spring to mind. Even though more quite a few Björk albums do not have title tracks, I feel that 2004’s Medúlla befitted one. That word is Latin for ‘marrow’. That may not seem like fertile ground for lyrical and musical inspiration, though Björk could have used that word to refer to the marrow of the planet. Of plants and living things. A sweeping and fascinating track that could have closed the album. I know that Medúlla is a long album as it stands. However, I often think of her album titles and the potential title cuts that could have been written. A couple of music queens have album titles begging for title tracks. Tori Amos’ Under the Pink recently turned thirty. That title could refer to sexuality. Femininity and womanhood. I am not exactly sure why the album was called Under the Pink, yet there is that tantalising what-if regarding a title track. Again, at nearly an hour and thirteen tracks, would it be excessive or bloated having another track in there?! I think an Under the Pink track would have been really interesting. I guess that Beyoncé’s Lemonade is explained and explored through the album. Its title referring to making something good out of a bad situation. That struggle in terms of race and gender. Identity and political struggle. Rather than it being too revealing, an extra track on her 2016 masterpiece would be wonderful. A song called Lemonade could have various meanings and, as such, her lyrics could dig into a variety of subjects and avenues. The acidic lemon sting or the heroine making lemonade out of lemons. Mixing childhood metaphors and taking that word in other directions, I did half-expect Lemonade to have a title track when the album was annoucned.

I will come onto The Beatles and some other classic albums. First, there are some other older and newer classic albums I muse as to what a title track would have sounded like. Bob Dylan’s Blood on the Tracks is his 1975 classic that could have increased its tracklisting to eleven and had a powerful and stirring title track. What about Joni Mitchell and her 1979 album, Mingus? There is Nirvana’s Nevermind (1991), Fleetwood Mac’s Rumours (1977) and Radiohead’s Amnesiac (2001). I know some albums without a title track do mention the title in another song. It is a subjective thing, though most of us listen to classic albums that do not have a title cut. Why do artists not include one?! Maybe the title doesn’t suggest anything good. There may be that thing of the album being non-thematic. The title track might make the album narrative too limited or defined. It is pretty curious. I think that The Beatles’ Revolver is an album that begged a title track. Most of their albums had title tracks, though perhaps their first never did. I suppose the gun-themed word might be too violent or restrictive. I feel a Revolver track could have sounded perfect on the album. Thinking about it, the album’s predecessor, Rubber Soul (1965) is without a title track.

Whilst there have been discussions and features about this very subject before, it is something not as dissected as I’d imagine. The fact Oasis’ Definitely Maybe turning thirty is one of the biggest anniversaries of this year got me thinking about what a title track could have consisted of. How epic would it have been. My mind also went to other albums from 1994 without title tracks: Pulp’s Different Class (1995); Beck’s Odelay (1996) – though the word is repeated through the album song, Lord Only Knows -; The Chemical Brothers’ Dig Your Own Hole (1997) and R.E.M.’s Out of Time (1991). Looking at some suggestions online and more modern albums like Britney Spears’ Blackout (2007), Billie Eilish’s debut album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? (2019) had potential title tracks (or at least in fans’ minds). There is no title track on Pink Floyd’s The Dark Side of the Moon (1973) (an album, annoyingly, that most shortened to ‘Dark Side of the Moon’!). There are ample examples of albums where the title is mentioned in other songs, thus people feel that that is an adequate connection. The Corrs’ Talk on Corners ( 1997) is mentioned in the track, Queen of Hollywood. There is actually an album by The Title Trackers called Lost Title Tracks that mentions a few. The inclusion of The Rolling Stones’ Exile on Main St. (1972) made me realise that this album, plus 1968’s Beggars Banquet, 1971’s Sticky Fingers and even their Beatles rip-off, 1967’s Their Satanic Majesties Request (pretty much their version of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band from the same year) does not have a title track! If you have any suggestions or ideas of title tracks that could have slotted onto classic albums currently without them then let me know. Sadly, in the days of A.I., that sort of request can be fulfilled pretty quickly. It is best kept in the imagination. It takes me back to Oasis’ Definitely Maybe and whether the band had a title track in mind. Would it have been any good?! I guess we will never know. Do have a think about missing title tracks from classic albums and let your…

IMAGINATION run wild!

FEATURE: Without You Without Them: Reacting to the News of boygenius’ Indefinite Hiatus

FEATURE:

 

 

Without You Without Them

IN THIS PHOTO: Phoebe Bridgers (left), Lucy Dacus (right) and Julien Baker (bottom) have announced that boygenius is going on an indefinite hiatus/PHOTO CREDIT: Hobbes Ginsberg for The New York Times

Reacting to the News of boygenius’ Indefinite Hiatus

_________

YOU get bands who go on hiatus…

and artists that step away and take time out for various reasons. One of my favourite groups out there, boygenius, have announced they are to go on hiatus for the foreseeable future. Phoebe Bridgers, Julien Baker and Lucy Dacus have their own solo careers, but they are at their best when together. Because last year’s the record was such a brilliant album (and one of my favourite from 2023), it is quite sad that the supergroup are taking some time away. I think many were looking forward to a second studio album from them this year maybe. Pitchfork reported on the news that the beloved trio are on hiatus for the foreseeable future:

“Boygenius played two acoustic sets last night at the Smell in downtown Los Angeles. During the shows, they said, “We’re going away for the foreseeable future,” and Boygenius’ representatives confirmed to Pitchfork that the group is going hiatus.

Phoebe Bridgers, Julien Baker, and Lucy Dacus formed Boygenius in 2018, sharing their self-titled debut EP that year. The trio was relatively inactive in the years that followed, with each member releasing a solo album of her own: Bridgers issued Punisher in 2020; Baker released Little Oblivions in February 2021; and Dacus shared Home Video in June 2021.

Boygenius made their triumphant return last year with their debut album, The Record, and a companion EP, The Rest. The full-length got nominated for Album of the Year, Best Alternative Music Album, and Best Engineered Album, Non-Classical, at the 2024 Grammy Awards. In addition, the single “Not Strong Enough” got nods for Record of the Year and Best Rock Performance, while “Cool About It” is up for Best Alternative Music Performance. The Grammys take place on Sunday, February 4, in Los Angeles.

I am going to finish off with a playlist of boygenius’ best songs and deep cuts. I can understand why boygenius might want some time away and are keeping the reason a bit secret. They have their own solo careers to think about, though we hope this is not the end. So incredible is their connection and live performances, fans of the trio hope that they come back together again. Tomorrow in Los Angeles, we will discover if they walk away with a GRAMMY. That might be one of the final public outings for them as a trio for a long time. Though the boys are going to be, as many have punned, out of town for a while, let’s hope that they will be roaring back, Thin Lizzy-style, very soon. Their political and social awareness. How they stand up for the lights of others (especially the L.G.B.T.Q.I.A.+ community) and their conscientiousness is much needed. Their sisterhood and strength! Together with their combined musical brilliance makes them such a standout act. I have loved them since they released their self-titled E.P. in 2018. Their latest E.P., the rest, came out late last year. I think a lot of people that after the record came out, that there would be extensive touring and follow-up. I predicted they would be at Glastonbury this year – which I guess can’t possibly happen now. With such an amazing album up there, maybe many were looking ahead to future music. They could well be back but, as boygenius have been together for a long time, it is understandable they will want to do their own thing for a bit.

I am a particular big fan of Phoebe Bridgers, so it would be great to see a follow-up to 2020’s remarkable Punisher. Lucy Dacus put Home Video out on 2021. Julien Baker put out Little Oblivions in 2021. All three albums possibly rank as their best solo efforts. When combined for boygenius, something even more remarkable was released last year. There is no denying that Baker, Dacus and Bridgers are among the best and most consistent songwriters of their generation. Artists who are hugely important and have their own fanbases. I will look to see how they progress and move through this year. Everyone hopes that boygenius can come back together in the coming years. It is clear that there is a love of love between them, so there is no sense of them breaking up or wanting to go in different directions. It is fantastic to have had them in music. The best modern-day supergroup and, more than that, three like-minded but different artists who work together beautifully and harmoniously. If it is the end for boygenuius, we can cherish the peerless music they have given us. If there is more sometime in the future, it is definitely something to hold onto. It is clear that the music scene will never be quite as special and distinct…

WITHOUT them.

FEATURE: Mirror Mirror: Why Pet Shop Boys’ Claims Ageism in Music Doesn’t Exist Is Especially Ignorant

FEATURE:

 

 

Mirror Mirror

IN THIS PHOTO: Madonna during her current Celebration Tour

Why Pet Shop Boys’ Claims Ageism in Music Doesn’t Exist Is Especially Ignorant

_________

MAYBE they are referring to the popularity…

IN THIS PHOTO: Pet Shop Boys (Neil Tenant and Chris Lowe)/PHOTO CREDIT: Alasdair McLellan

of albums by artists over the age of fifty but, in a new interview from The Guardian, Pet Shop Boys’ Neil Tenant has suggested ageism in music does not exist. Maybe he was meant to say that records are timeless and, therefore, ageism doesn’t exist in terms of legacy and modern relevance. New albums by older artists survive decades, whereas artists like Pet Shop Boys are still hugely popular:

“Tennant famously worked at Smash Hits pre-Pets, and this begs a Hits-style question: what does their new album smell like? “That is a good Smash Hits question,” says Tennant. “It’s not citrony or sweet. I think it’s slightly more musky.”

Nonetheless is a marked development from their last Parlophone record, 2012’s beautiful but melancholy Elysium, a slightly defeated collection about becoming invisible as older men and musicians, also made in the wake of the deaths of Tennant’s parents. In 2022, the Pets helmed a Palace fashion advert alongside Joan Collins, now 90; a Loewe advert starring Maggie Smith, 89, recently went viral. Madonna, 65, is no longer lambasted for ageing, but triumphantly touring her Celebration retrospective. Have attitudes to older people changed in the past decade?

“Weirdly, music ceased to be ageist,” says Tennant, as various chocolate cakes arrive and the pair produce an astonishing amount of crumbs. “Young people are listening to their parents’ records. It’s all up for grabs.” He credits YouTube. “You could have a fond memory of seeing the video for Strawberry Fields Forever on Top of the Pops in 1967, and then you never saw it again. But I could look at it now. Something happened then. It all existed at the same time.” They crashed into this last year when Drake released a song with an unlicensed quotation of West End Girls, which Tennant found out about through a young nephew: “He was quite impressed, actually.” It got sorted after a cross tweet. “They were very helpful and apologetic,” says Tennant. Did they get paid? “Oh we certainly did.”

He ventures a theory. “I think pop stars have managed to do what we used to think only old blues musicians could do – turn into sort of ‘authentic’, classic … I think the public accept that. You could call it nostalgia, but I think it’s a desire to witness an authentic movement recreated. Age doesn’t seem to matter any more because the music doesn’t seem to have aged”.

It is incredibly ignorant to suggest that ageism does not exist in music. Maybe not so much for men but, for women, it is something that affects them. Chuck D recently spoke about ageism Madonna received during her Celebration Tour world extravaganza. Laura Snapes’ short-sighted assessment that Madonna is celebrated and not slammed because of her age is strange! So many people have taken to social media to troll her. She has received so much criticism for ‘not acting her age’ and trying to recapture the past. Even though the tour is wildly popular, its star attraction is not immune to ageism. Same for Kylie Minogue. Her latest album, TENSION, is one of her best. Even given her success and legacy, she has had to fight against ageism. Even though she has said it is not cool to be ageist now, that does not mean it’s non-existent! Minogue knows this. So how can we say music is not ageist?! BBC Radio 1 was accused of being ageist by James’ Tim Booth. Belinda Carlisle has also said she had faced ageism. Is it ambiguous when we look at the word, ‘ageism’/’ageist’. In terms of sound and relevance, I don’t think that the scene is obsessed solely with young artists and anyone over thirty is seen as washed-up and irrelevant. I do think that artists over fifty especially are still subjected to ageism and have to battle to get heard. This is especially true for women.

IN THIS PHOTO: Belinda Carlisle/PHOTO CREDIT: Nick Spanos/The Guardian

In terms of women over the age of thirty, there are artists fighting against dusty ageism. This post from 2022 suggests how there is a tide starting to turn. Even though there is a tonne of ageism still in 2024 – it is very much available to view online if you think it has disappeared! -, at least there is a bit more flexibility towards featuring female artists over thirty:

“The pressures of an industry obsessed with youth applies to both men and women, but of course with women it’s particularly brutal. The entertainment business – from music to Hollywood – has always fetishised the “ingénue” (just look at the backlash against Billie Eilish when she unveiled her new ‘womanly’ look on the cover of Vogue, age 18, or the vitriol directed towards a just-turned-18 Millie Bobby Brown when she started dressing sexy). It is profoundly depressing to think that Smash Hits reviewed a 35-year-old Madonna with the headline, “Calm Down Grandma!” in 1992.

And then there is the question of motherhood: record label bosses worried about investing in an artist who might only have a year or two before they want to have a baby, while singers like Paloma Faith and Jessie Ware have revealed how mercilessly inflexible the business can be for touring mothers.

Faith has revealed she knocked four years off her age (from 27 to 23) after she read an article that described KT Tunstall as old – at just 27. Anastacia said she was 23 when she was actually 30. As Madonna said in a 2016 speech accepting a Billboard Woman of the Year award: “In the music industry…to age is to sin”.

But, in the last two years, there seems to have been a shift, with a crop of female musicians breaking into the business in their thirties. Lizzo’s name-making sleeper hit Truth Hurts (originally released in 2017) entered the charts in 2019 when she was 31. Rina Sawayama released her breakthrough album SAWAYAMA in 2020 aged 30. And that same year Jessie Ware – who almost quit the music industry after becoming a mother – released the most successful album of her career, What’s Your Pleasure, aged 35. In January Priya Ragu made the BBC Sound of 2022 poll – a poll journalists use to identify each year’s shiny new generation of musicians – age 36. And Self Esteem – who used to lie about her age – was in February nominated for a Brit in the Best New Artist category at the age of 35, writing on Twitter, “In an industry obsessed the with youth of women, I’m galvanised as fuck by this.”

If the tide is genuinely turning, then I am relieved. Yes, youth and a breathlessly fast ascent is an easier story to sell (to my editor, to the reader, in a headline), but interviewing a young star is always hard work. Not only is it difficult to tease out anything particularly enlightening from the average teenager (and nor do you want to mine them for unprocessed trauma), I always feel a little concerned about immortalising opinions that will surely change three times over in the course of their early twenties through quotes that will forever sit somewhere on the internet. Last year when I interviewed a 17 year-old “viral star” on Zoom from the middle of his messy teenage bedroom, he seemed so vulnerable the experience genuinely felt wrong.

And I am relieved for their sake too. Fame is always easiest to navigate once you’ve already grown up away from the spotlight – you only have to chart the rise and fall of most Hollywood child stars to see why. Last week, Lizzo spoke to Vanity Fair about how her arduously slow route to success meant that “I was almost 30 when all this shit started popping up on me. I had a chance to fuck up as a teenager and in my 20s.… I’m so glad I had a chance to grow up and then get hit with all this shit”.

So many women in the music industry would argue how ageism is very much still around. Madonna has been slagged off and trolled. So many women over forty and fifty are still not played on playlists. BBC Radio 1 is not exclusively for younger artists, though there is still this segregation when it comes to stations and the age of artists. BBC Radio 2 playlisting ‘older’ artists and BBC Radio 1 for younger artists. I have heard from women in their forties and fifties who are given less airplay or taken less seriously because they are not in their twenties or thirties. The rise of TikTok artists and a wave of fresh and young Pop shows that there is still a preference for artists of a certain age. This suggestion music’s ageism has gone is very naive. It has distinctly improved. Not as rampant as it once was. Older women largely missing from festivals, especially the headline slots. I struggle to see how things have drastically improved. They haven’t. This year should be one where ageism isn’t a factor but, if you look at radio playlists, features, festival bills and beyond, you will see that the industry has an age block. It is one where women are still being victimised and ignored. If journalists are less obvious in their ageism, look at online comments and criticism of artists like Madonna and there is ageism all around. Nobody can argue against that – as there is ample evidence -, so there is no way ageism doesn’t exist. Maybe in terms of older artists having their music embraced, ageism is less prolific there. When it comes to attitudes towards older artists, particularly female performer, sadly, we have a very…

LONG way to go.

FEATURE: Not Any Tom, Dick and Harry: Ringo Starr’s Beats & Threads, and Another Important Year for The Beatles

FEATURE:

 

 

Not Any Tom, Dick and Harry

Ringo Starr’s Beats & Threads, and Another Important Year for The Beatles

_________

I have been thinking about The Beatles…

IN THIS PHOTO: The Beatles (left to right: Paul McCartney, John Lennon, Ringo Starr and George Harrison) in an iconic Paris pillow fight shot from 1964/PHOTO CREDIT: Harry Benson 

a lot recently. I think about The Beatles a lot all of the time. Whilst most of my neutral brain is dedicated to Kate Bush, I often have The Beatles in the background. Often, these two worlds intereact and I wonder why Kate Bush and Ringo Starr never did anything together, as they share a lot of musical and spiritual DNA. Same of her and George Harrison. Bush met and worked alongside Paul McCartney, though she did not have a lot of exposure to the other band members (once, Kate Bush said her favourite Beatles album was Magical Mystery Tour, so she appreciated the trippy and deeper cuts). You might be forgiven by being confused by the first part of the title. Tom, Dick, and Harry is used as a placeholder for unknown or unextraordinary people. In the context of Ringo Starr, the ‘Tom’ refers to a tom-tom; a crucial part of percussion kit. The ‘Dick’ is a distillation and alternative to Richard (Ringo Starr’s real name is Richard Starkey). The ‘Harry’ is a little more obscure: Harry Benson’s early-1964 photos of The Beatles in the storm of Beatlemania have their sixtieth anniversary coming. In fact, and before I get to the main objective of this feature, 2024 is another big year for Beatles fans – though, I guess every year is in some way! 1964 was a massively important year for the band. On 9th February, John Lennon, George Harrison, Ringo Starr and Paul McCartney made their first appearance on The Ed Sullivan Show in the U.S. and, with it, ignited a fire of screaming and passionate fandom/obsession! On 10th July, the band released their third studio album, A Hard Day’s Night. The first album of entirely oriignal compositions, the film of the same name came out in the U.K. on 6th July, 1964. With the release of The Beatles’ final single, Now and Then, last year, there is still plenty to look forward to in terms of anniversaries and various bits!

There is cynicism and cries of cash-grab when we get a Beatles reissue and remaster. Whether it is the iconic ‘red’ and ‘blue’ albums coming back out or a new book about them, there is sceptical reaction from some. It can be expensive being a Beatles fan! I would say that the books that come from Paul McCartney and Ringo Starr are essential. Personal perspective and very special releases that we need to keep and cherish. We are blessed they are both still with us. Any music legend like them, Joni Mitchell or Paul Simon. Those who were around in the 1960s and 1970s and changed the face of music. When it comes to the most important element of music history, I don’t think it is an exaggeration to say that Ringo Starr’s drums were up there. Maybe the most important part of music history. As the driving force and, let’s face it, the heart of the band – in terms of the respect from the other members, and the fact he is such a special human -, anything he comes out with is alright by me! Starr announced on his Instagram that a new album is coming out. A Country-themed album that was meant to be an E.P. but is not a ten-track release (an E.P., Crooked Boy, is also coming out, with the tracks are written by Linda Perry). Also, a book that looks very exciting, Beats & Threads, is one I feel should have a wider release. I shall explain why. Here is some more information:

“Beats & Threads, a new limited-edition retrospective hardcover by legendary Beatles drummer and global music icon Ringo Starr, is to be sold exclusively by the publishing division of Julien’s Auctions, the industry’s leading Rock ‘N’ Roll memorabilia auction house. Ringo’s latest publication is an unprecedented chronicle of over 70 years of his legendary sonic and sartorial style, dedicated to his historic drum kits and era-defining garments that made music and fashion history.

Featuring nearly 300 images capturing iconic and many never-before-seen intimate moments of Ringo’s illustrious life and career, along with the musician’s warm memories told in his own words, this immense tribute to the enduring influence and time-transcending impact of the Fab Four member is a ticket to ride through fashion and Beatles history, and gets back to why Ringo’s trend-setting threads were as signature as the beat of his drums.

The 312-page book is available for purchase exclusively online at www.juliensauctions.com. Exclusive limited editions of the commemorative hardcover book with a special colour cover of the Beatles signed by Ringo Starr are available for $500, and exclusive Ringo Starr signed limited editions of the book housed in a special designed slip-case that also includes an exclusive video of Ringo Starr will be available for $750..

All proceeds of the book sales will benefit The Lotus Foundation whose mission funds supports, participates in and promotes charitable projects aimed at advancing social welfare in diverse areas including, but not limited to substance abuse, cerebral palsy, brain tumors, cancer, battered women and their children, homelessness, and animals in need.

Comprehensive

Ringo, in collaboration with noted historian, author, speaker, drummer, and vintage drum collector, Gary Astridge, offers for the first-time the most comprehensive look at his legendary Beatles-era drum kits in a book containing decades of research-based information with curated and detailed photographs of these pieces of music history.

Accompanied by archival documentation including drum specifications, contracts with drum making companies such as Ajax Edgware, music engagement schedules and more, the book uncovers new perspectives and untold stories of Ringo’s and the Beatles’ musical and style evolution, such as the remarkable revelation of The Beatles’ “Drop-T” logo and its actual creator, Eddie Stokes that includes the only photo that exists of the late freelance sign painter of one of the most recognisable logos in the world.

Nine of Ringo’s original drum kits are presented here featuring his 1958 Ajax Edgware drum kit, 1960 Premier Mahogany Duroplastic, 1963 Ludwig Downbeat Drum kit, 1963 Oyster Black Pearl Ludwig Jazz Festival Snare Drum– considered one of his most important and utilized instrument in Ringo’s assortment of drums throughout his Beatles career and heard on most of their recordings.

Instrumental

Alongside this treasure trove of information are pages bursting with dazzling images of Ringo’s iconic clothing worn playing behind his drums, his life off and on the road, in studio and at home. From the early influence of the Beatles manager and father figure, Brian Epstein, who was instrumental in creating their early modern look of the Beatles’ iconic three-piece black suit designed by Douglas Millings and Beatle Boots to the Fab Four’s individual and most photographed styles, such as Ringo’s “Hey Jude” green pinstripe three-piece ensemble worn in the filming of their iconic performance filmed at Twickenham Film Studios on August 4, 1968, to his custom-made embellished “All You Need is Love” lavender silk tunic, these photographs capture the decades’ spirit and the Beatles phenomenon.

Ringo’s unforgettable and inimitable style was created by the designers who crafted these artisanal pieces from London’s most distinguished designers on Savile Row to King’s Road, Chelsea to the hippie floral shirts and bold colour jackets from the Hung on You boutique as well as Ringo’s insouciant choice of wearing then-wife Maureen’s red vinyl raincoat to protect himself from the inclement weather in the Beatles’ 1969 mythic Apple Studios rooftop performance of the filming of Let It Be.

“I enjoyed getting it together with the help of Gary, Scotty and Julien’s and I hope you enjoy it too! Peace and love, Ringo,” said Ringo Starr.

The release of the book coincides with Beatlemania back on top of the charts with the recent record-breaking release of the Beatles’ final song Now and Then making history and Peter Jackson’s acclaimed Get Back documentary that continues to be seen by millions of fans around the world since its premiere on Disney+. In 2023, Ringo went back on the road with a 34th anniversary tour with his All-Starr Band, released Rewind Forward, his fourth EP release in three years that includes the track Feeling the Sunlight with Paul McCartney and collaborated with McCartney on Dolly Parton’s cover of the Beatles’ Let It Be”.

View this post on Instagram

A post shared by Ringo Starr (@ringostarrmusic)

It is great that this book has come out. It would be great if it was made widely available to fans, as it seems like one of the most important books that has been put out about the band. It is noble that money is being raised for Lotus Foundation - though I wonder if it going to be at high street stores soon. Not only is the fashion of Ringo Starr and The Beatles iconic. His kits and knowing more about his drum set-up gives a greater understanding of the songs and his genius. Rather than it being a gallery and something you can browse, there is an immersive quality to Beats & Threads. Released on 24th November, 2023, the fact Ringo Starr has just promoted the book on his Instagram makes me wonder whether Beats & Threads is still available (I cannot find any copies listed at the moment) I was sort of hoping that there would be interview from Matt Everitt and Ringo Starr. A BBC Radio 6  Music promotion of this important and fascination collection of photos. As I am writing this on 3rd February, I am not 100% sure one hasn’t been recorded. We are marking sixty years of Beatlemania, so I feel greater accessibility to archives and books like Beats & Threads is important. Paul McCartney’s 1964: Eyes of the Storm is a book everyone should get. Snapshots from Paul McCartney and his unique perspective of the mayhem and chaos that greeted The Beatles as they travelled to Paris, the U.S. and beyond. Hearing from Ringo Starr is always a pleasure, so I am looking forward to new music. I was really intrigued by the book, Beats & Threads, and it would be awesome to own it. Regular copies of the book are, I understand, were available for $80 so, if there was another round of release where one could buy the book but proceeds went to charity, then it would give even more fans a chance to own it. I am keeping an eye out in terms of the book’s availability and whether it is the signed copies available or regular ones. Incredible insight and photography from, to me, the world’s most important drummer. If the amazing Ringo Starr put Beats & Threads back into the world, then his millions of adoring fans would offer him…

PEACE and love.

FEATURE: He'll Never Make The Sweeney: Kate Bush’s Wow at Forty-Five

FEATURE:

 

 

He'll Never Make The Sweeney

Kate Bush’s Wow at Forty-Five

_________

I am looking ahead…

to 9th March. One of Kate Bush’s biggest and most incredible singles, Wow, turns forty-five. Even though Bush does not mark anniversaries and would not take to social media to mark forty-five years of a classic, I know that so many fans would. Wow was a really important single. The third song from her second studio album, Lionheart, this is a track that Bush had ready long before recording the album. It is a song that could have appeared on The Kick Inside. Lionheart is an album that has never really gained the respect and love that it deserves. Many might know it for Wow alone. Rather than put out the most instant and most ‘radio-friendly’ song from the album first, Hammer Horror was released. Charting at forty-four in the U.K., it was an unsuccessful first release from an album that a lot of people were looking at with scrutiny. After the success of The Kick Inside – which had two major singles In Wuthering Heights and The Man with the Child of His Eyes -, Lionheart was quickly recorded and was not really what Kate Bush wanted or had in mind. Obviously, Wow was always going to be a single, though I often wonder why it was not the first one out. Even though Hammer Horror is a great song, maybe Bush and EMI felt that this was distinct enough from The Kick Inside. Rather than release something similar to the songs on that album, Hammer Horror is very much Kate Bush stepping into new sonic territory. Wow has elements of the sound and vibe of The Kick Inside, yet its subject matter is completely different. When it was released on 9th March, 1979, it was less than a month before she started The Tour of Life (the first date was 2nd April).

Kate Bush performed Wow live quite a few times. It was in the setlist for The Tour of Life. She also performed it during an ABBA T.V. special in April 1979. There does seem to be some confusion over the release date of Wow. Some say 5th March, 1979, whereas others say 9th March, 1979. On 5th March, 1979, the video for Wow was shown on television for the first time on The Kenny Everett Video Show. The tickets for The Tour of Life go on sale the same day (except for certain venues, which are to cause much embarrassment by jumping the gun). As we see, Bush is interviewed on 6th March, 1979 about her new single. As part of a new Arts programme on BBC 2, Musical Chairs, a documentary recording the making of the Wow video, is shown. Bush would not have time to perform Wow on Top of the Pops, so intense were the rehearsals for The Tour of Life. When The Whole Story was released in 1986, a video was made of Wow which was a compilation of Bush performing the song live. The original video for the single is Kate Bush in a blackened studio with a light behind her. It was directed by Keef (Keith MacMillan). Thanks to the Kate Bush Encyclopedia for providing detail about the track. The critical response of Wow are pretty mixed:

“Critical response

The music paper Sounds seemed a little underwhelmed by ‘Wow’: “I hear this mediocre chanteuse crooning her way through this silly song. (…) I realise that a lot of people would like to go to bed with her, but buying all her records seems a curious way of expressing such desires.” Meanwhile, The Guardian called ‘Wow’ the “undisputed highlight” of the Lionheart album. “An eerie gentle number with perceptive lyrics. The verses still sound a little muddled but get better with playing” said Record Mirror. And Melody Maker added: “The most precisely focused Kate Bush single since Wuthering Heights despite the self-indulgent lush production.”

Kate about ‘Wow’

I’ve really enjoyed recording ‘Wow’. I’m very, very pleased with my vocal performance on that, because we did it a few times, and although it was all in tune and it was okay, there was just something missing. And we went back and did it again and it just happened, and I’ve really pleased with that, it was very satisfying.

LIONHEART PROMO CASSETTE, EMI CANADA, 1978

‘Wow’ is a song about the music business, not just rock music but show business in general, including acting and theatre. People say that the music business is about ripoffs, the rat race, competition, strain, people trying to cut you down, and so on, and though that’s all there, there’s also the magic. It was sparked off when I sat down to try and write a Pink Floyd song, something spacey; Though I’m not surprised no-one has picked that up, it’s not really recognisable as that, in the same way as people haven’t noticed that ‘Kite’ is a Bob Marley song, and ‘Don’t Push Your Foot On The Heartbrake’ is a Patti Smith song. When I wrote it I didn’t envisage performing it – the performance when it happened was an interpretation of the words I’d already written. I first made up the visuals in a hotel room in New Zealand, when I had half an hour to make up a routine and prepare for a TV show. I sat down and listened to the song through once, and the whirling seemed to fit the music. Those who were at the last concert of the tour at Hammersmith must have noticed a frogman appear through the dry ice it was one of the crew’s many last night ‘pranks’ and was really amazing. I’d have liked to have had it in every show.

KATE BUSH CLUB NEWSLETTER, SUMMER 1979”.

With Full House as its B-side, Wow is one of Kate Bush’s finest singles. Reaching fourteen in the U.K., it can be considered a success. The musicians on the track are incredible. Lionheart was an album with a blend of musicians. Kate Bush wanted her band to play on the album though Andrew Powell, the producer of The Kick Inside and Wow, wanted the same musicians from her debut. In the end, Bush’s band had to be sent home. However, on Wow, we get Brian Bath on guitar and the late Del Palmer on bass. Both were in the K.T. Bush band and were among her chosen musicians. Ian Bairnson (the late great), who was on The Kick Inside, was on electric guitar. Paddy Bush, her brother – who too was on The Kick Inside -, played mandolin. With Charlie Morgan on drums and Duncan Mackay on synthesiser, it is a song that apparently took quite a few takes. Kate Bush never truly happy with her vocals, she endlessly searched for a perfect take. In 2012, The Guardian discussed how Lionheart was a rushed disappointment, though it had a clear highlight in Wow:

“Wow was the second single from Kate Bush's difficult second album, Lionheart. It was difficult not for the usual reasons – overindulgence, procrastination, artistic crises – but because it was rushed. Lionheart came out only nine months after her debut, The Kick Inside, and frankly, it's a bit of a stinker. It's fortunate she was starting out in the late 70s rather than the impatient music scene of today, or we may never have enjoyed the rich pickings of her subsequent work.

In late 1978 the 20-year-old Bush still seemed an ingenue and it was always going to be tough following an album that contained Wuthering Heights and The Man With the Child in His Eyes. She later complained she felt under pressure from EMI to release Lionheart too early, a problem she made sure she never experienced again. But Wow was always a song that stood on its own merits. It contains many of her trademarks: enigmatic intertextual lyrics, unfeasibly high-pitched vocals that fall unexpectedly to an absurd low note (the last "wow" of each chorus is particularly amusing), tantalising verses followed by a cascading chorus. Musically, Wow is typical of her early work, with pretty woodwind, piano and strings complementing a lyrical bass line.

The song, as far an anyone other than its author knows for certain, appears to be about struggling actors and the disappointments of fame. In the video its most famous lines – "He'll never make the scene/ He'll never make the Sweeney/ Be that movie queen/ He's too busy hitting the vaseline" – were expressed through her much-parodied mime-the-lyrics dancing style. The word "Sweeney" was accompanied by her firing a gun and "hitting the vaseline" by her tapping her backside. Viewers were invited to draw their own conclusions.

Bush is such a singular talent it has become too easy to dismiss her as an eccentric, peripheral figure. It was around the time Wow was released that the pastiches began, most famously by Pamela Stephenson on Not the Nine O'Clock News”.

On 9th March, it will be forty-five years since Kate Bush’s Wow was released. I do think that this is a song whose video deserves the HD treatment. One of her most distinguished and fascinating singles, it is arresting, cheeky and distinctly Kate Bush. Maybe not played as much as it should be, I hope that people revisit the song ahead of its anniversary. This entrancing and hypnotic gem is…

SIMPLY unbelievable!

FEATURE: Spotlight: Hana Lili

FEATURE:

 

 

Spotlight

Hana Lili

_________

I am a big fan of Hana Lili…

and hope that as many people as people connect with her music this year. The Welsh artist supported the Cardiff leg of Coldplay's Music of the Spheres World Tour last year at the Principality Stadium, together with Scottish group Chvrches. She has just (7th February) supported Circa Waves. This is an amazing name that everyone should know about. I am keen to get to some interviews with Hana Lili. I will start with an older interview. Going back to 2021. I will bring it up to date after that. I am interested in the NOTION interview, as they spotlighted an exciting rising talent:

“It’s been a busy year for Hana Lili. After her song “Stay” played on this year’s Love Island the young Welsh star was launched into the spotlight, picking up a legion of fans with her soulful acoustic sound. 

In October, Hana delivered her 4-track EP ‘Flowers Die in Summer’ after a year of going in and out of lockdown offered her the opportunity to knuckle down and get creative. ‘Flowers Die in Summer’ is an ethereal introduction to her mellow sound, brimming with ear candy melodies, touching lyrics and silky (self-taught) production. With the music video for “Don’t Try To Call Me” shot on her phone, it’s clear this artist revels in staying authentic, original and low-key.

Giving insight into her creative process on the track “Don’t Try To Call Me”, Hana explains: ‘I wrote this song in the middle of lockdown, all my communications we’re through my phone. I sat in my room for days on end, and the phone was the only means of communication. It was a frustrating, sad and lonely time for a lot of people. I recorded a guitar loop and sampled it. The sampled guitar riff runs through the whole song; it’s perpetual and reflects the emotions of a Groundhog Day. I wrote about the feelings of isolation, loneliness, and paranoia. Ironically it’s the most upbeat song of my EP.’ 

Notion got the chance to speak with Hana Lili about how she’s developed as an artist this past year, what song never fails to make her cry, and who – or what – would play her in a film.

How have you developed creatively over the past year?

The past year has allowed me to reflect a lot. When live shows and releasing music paused, it made me question why do I do what I do? It made me realise I just love writing songs, in the same way I did when I was 14. I think remembering that being creative is simply an enjoyable process and not all about output. The last year allowed me to enjoy the process again and remember the simplicity of being creative is just to create.

How can an artist stay original nowadays?

I think staying original comes with understanding that who I am when I’m making music in my bedroom when no one else is around is who I should stay true to as an artist. Inspiration comes from everywhere in the world, and I think that it’s something to celebrate, but staying original shouldn’t be the main focus, there should be a focus on staying true to your authentic self and not feel the pressure to adapt to the trends but also to let yourself be influenced by the world outside. It’s like a double negative, what I’m saying is a contradiction, but if it’s an automatic natural process, it will just be exactly that.

What is your biggest pinch-me moment so far?

Releasing music is always that moment for me. It’s been a bizarre year and creating and writing songs has been such an amazing outlet for me and my emotions. Also, my track ‘Stay’ was played on this year’s season of Love Island which was so unexpected and a massive moment in my career so far!

Finish the sentence: I feel happiest when…

I’m busy. When I’m performing songs to new audiences, when I release new music. This past year, although great to reflect, I’m done with the over analysing of my own emotions, and having the time to micro analyse it all. It’s catch 22. I feel like it’s been a sense of release and serenity being able to release music and perform live after such a long time without it”.

One of the best singles from last year was Hana Lili’s Small Talk. I thought that it deserved a lot more radio airtime. It is one of the best releases from this amazing artist. Women in Pop spoke with Hana Lili in November about Small Talk. She also looked ahead to this year and what she wanted to achieve:

“There is such a warmness and tenderness to the song, along with a sense of melancholy, set to a lovely indie pop sound. What was the soundscape, or feels, you were aiming for with the song?

I’m a massive fan of 90s indie music. Bands such as the Cardigans, No Doubt. I find with the production being nostalgic and slightly upbeat it correlates to the lyrics in some way. Hiding behind the melancholic feel of the track, is the earnest lyrics talking about going through a hard time and not being able to communicate that properly with others.

What was the creative process like for this song? Who did you work with and how long did the whole process take?

I always start with a trail of thought. Writing random thoughts and feelings. In the lyrical dump of that day I had “I hate small talk” written down which sparked the beginning of the song. I worked with producer Jez Ashurst and songwriter Mark Vallance and we wrote the song in that day's session. The process then involved adding production with Jez, building the track, and I layered the guitars… there’s even an omnichord tucked in the mix somewhere in the track!

Who were the artists that influenced you growing up?

I would always steal my parents CDs as a way of discovering new music. Bands such as The Pixies, Nirvana, Radiohead, No Doubt and the Cardigans.

The music industry has never been a particularly welcoming or safe space for female artists, mainly because it has been run by older, straight, white men for decades. What are your experiences and/or thoughts on gender (in)equality and sexism in music?

I’m currently working with a project called ‘Merched yn Gwneud Miwsig’ which translates to Women in Music. It’s a project where we as artists encourage girls to write and produce music,  and learn about different sectors in the industry. I’m off to North Wales tomorrow to run another camp. Being a part of the project and being able to encourage young women to produce and take on roles that may be deemed as ‘male led’ has been really cool. Seeing the young women go forth  after the camp, and start producing, writing songs or taking interest in the music industry is amazing.

Growing up and producing music, I felt this internal thought sometimes that was ‘yeah that’s not really producing though’ but in reality it was, I wrote the music and produced it all in my bedroom it was satisfying to be that independent.

‘Small Talk’ is out now, what else do you have planned for the rest of the year and into 2024?

Lots of songwriting! I’m also finishing up the next single which I’m excited to share. I’ll be playing a London show on the 15th of November in the Seabright Arms as part of the ‘The Great Escape’ First Fifty launch. Which of course will lead to playing the Great Escape next year. So there will be more shows, new music and more songwriting in 2024 for sure!”.

There is another article around Small Talk that I want to bring in before wrapping things up. If you need more convincing that the wonderful Hana Lili is worth following, then I hope that the final two interviews are enough. She is an artist that is going to have an amazing year. Do ensure that she does not pass you by. I love everything she has put out so far:

“What’s the title of your latest release, and what does it mean to you?

The song is titled ‘Small Talk’ and is about a time when I was lacking confidence and hiding behind small talk in conversation with people as a way to avoid feeling vulnerable. The song idea came to me when I was out in London meeting new people and realizing what I was doing, putting up a front in the hope that people would like me and I thought I need to stop this and be me!

What was the hardest part about putting this release together, and why?

I think it’s always the stage of finalising the song in the first place, and then letting go of the recording – basically saying “Here it is it’s finished”. The creative process is always an exciting space to be in and you always think you can make things a bit better. Then suddenly it’s time to let it go and put it out into the world.

Who produced the release, and what did they bring to it?

The record was produced by Jez Ashurst. My favourite part of making the record on the production side was when Jez and I started layering the production; adding guitars, a baritone guitar, and also an Omnicord. It’s a fun balance of adding enough new, and sometimes strange elements into the mix of the production, which is something I’ve always been a fan of!

What do you want the listener to take away from listening to your music?

If it’s something they relate to, I hope it, in some way, helps them. I find that with music that I love, it’s always an artist describing something I feel or that resonates with me so specifically that it helps me to heal and feel understood.

How does a track normally come together? Can you tell us something about the process?

I always start by writing a stream of thought about what I’m feeling that day. It’s then a process of finding melodies and putting the lyrics together, similar to playing a game of crossword”.

I am going to wrap things up in a minute. Actually, for the final interview, I am returning to NOTION. A couple of years after highlighting the Welsh artist, they chatted about Small Talk. Teasing new music in the future – I can imagine a new single will arrive fairly soon -, it is another great insight into the world and talent of Hana Lili. She is someone I can see atop huge festival stages in years to come. This is a phenomenal artist that you really do need to get involved with:

“Raised in a small seaside town on Wales’ south west coast, enveloped by a wealth of culture and history, it was there that her passion for creating music began to brew. From partaking in local folk singing competitions, to now supporting the likes of Coldplay and Tom Grennan, Hana has managed to weave the thread of storytelling—learnt from competing in folk music contests—into her artistry today. Viewing writing songs as a format to understand her emotions, it’s no surprise that her songs read like pages torn from her diary, as she navigates growing up whilst reflecting on  her childhood. Her introspective nature is paradigmatically exemplified in her single ‘Small Talk’, traversing vast emotional landscapes, hardships and realities—all to the rhythm of lo-fi elements laced with her teeming alt-pop vision. Dedicating the anthem to anxious over-thinkers, Hana expresses the emotions you are burdened with when you feel like you don’t fit in.

 Expect to witness the young artists’ sugar-sweet vocals lilted with a poignant nostalgic sensibility, which calls to 90s indie and grunge. Tentative guitar strings are plucked, whilst sliding guitar riffs swoop in occasionally, all the to the backdrop of an infectious drum beat. It feels vibrant and dreamy, like a perfect shimmery bedroom pop tune that ushers a new side to her artistry, whilst continuing her quintessential devoir to be her most authentic self.

To celebrate her latest single, we catch up with Hana to talk about her Welsh heritage, stealing her parents’ CD’s and all things ‘Small Talk’.

You’ve mentioned that ‘Small Talk’ is about hiding behind meaningless conversations to avoid being vulnerable. How important is vulnerability in your songwriting, and how do you also balance that with your music’s self-assured sound?

Writing songs is a way for me to process my emotions. It’s like a diary entry of some sort about different moments and feelings I’m going through, it’s massively therapeutic. I always tend to just write about what I’m feeling and in a strange way it becomes a silver lining being able to turn feelings of frustration, sadness or anger into a song.

You just supported Coldplay and Tom Grennan – what did you learn? How was the experience, and have they, in any way, influenced your musical journey and aspirations?

Supporting Coldplay was awesome. I think it’s a real testament to their ethos as a band, that they have local acts support them on their world tour. Being on stage is definitely my happy place, it’s where I feel most comfortable. I had so much fun supporting Tom Grennan! Performing in front of a crowd is such a fantastic feeling. I learned so much watching their shows, the energy they bring and how they connect with a crowd on such big stages.

Your music has been described as an introspective variant of indie pop and folk pop. Can you share more about the themes and emotions that you explore in your music, especially in your latest EP, Existential?

My latest EP Existential explores the inside of my mind, it’s a very introspective EP. Reflecting back, I think I had a tendency to overthink a lot in this period of writing the last EP and the process of writing these songs paved way to explore that, and ask myself why that was.

As a first language Welsh speaker, you sing in both English and Welsh. How does your Welsh heritage and language influence your music, and do you have any plans to incorporate more Welsh elements into your future work?

Growing up in Wales, I began performing by competing in the Eisteddfod which is a Welsh traditional festival held here every year in Wales. That’s definitely the point whereby I fell in love with music. I’d love to release a translated Welsh version of one of my songs. I’ll definitely get my mum to help me with that (she always checks over my grammar).

What else can we expect from you in the near future? Are there any upcoming projects, collaborations, or tours that your fans should be excited about?

I have more new music on the way! I’ve been in the studio over the past couple of months recording and finishing the new tracks which I’m excited to share. I’m also performing in London on the 15th of November at the Seabright Arms as part of Great Escape’s First Fifty launch.

You’ve received support from your local community, and your upbringing in Sully played a significant role in your musical journey. How has your small seaside town upbringing influenced your music and your connection with your audience?

Wales is such a special place to me. It’s a huge part of my heritage and the music community here really gave me the chance to develop and find myself as an artist. Performing live, writing songs and producing in my bedroom.

What advice would you give to aspiring musicians who are looking to make their mark in the music industry, especially in terms of staying authentic to their own unique sound and style?

Write about something that resonates with you. Go to shows. Enjoy the process of developing yourself as an artist. Have confidence in yourself. Oh yeah and PRACTICE your instrument!! Hahaha”.

The wonderous Hana Lili has been in my sight for a while now. I am compelled to see what she comes up with this year. Her music is so distinct and memorable. After some big supports slots this and last year, there is this faith in her music and performance ability. An incredible live artist, check out her social media and go and see her play if she is near you in the future. Make sure that you go and check out the wonderful music of…

THE one and only Hana Lili.

__________

Follow Hana Lili

 Official:

https://www.hanalili.com/

Instagram:

https://www.instagram.com/hanalili__

TikTok:

https://www.tiktok.com/@hanalili__

Twitter:

https://twitter.com/hanalilimusic

Spotify:

https://open.spotify.com/artist/6irpcuKNgvg9Zyy62yXC7p?si=XDCtWTI9QTSbK2xXNU8yRA

YouTube:

https://www.youtube.com/channel/UCR7wOsZ4USl91nYBGyWvcZA

Facebook:

https://www.facebook.com/hanalilimusic/

FEATURE: Spotlight: Erin LeCount

FEATURE:

 

 

Spotlight

  

Erin LeCount

_________

AFTER a string of…

incredible live dates last year, I know that there will be a lot of demand for the wonderful Erin LeCount. She is a singer songwriter, musician and producer from Chelmsford. I first heard her when the E.P., Soft Skin, Restless Bones, arrived in September of last year. One of my favourite E.P.s from last year, I was instantly struck by Erin LeCount’s music. Someone who instantly draws you in, I hope there is more new music this year. Among the acts booked for The Great Escape festival in May, she is someone that I would recommend you check out. Perhaps the first bit of news and buzz I heard around Erin LeCount’s music was when she released the awesome single, Heartbreak Hotel. It arrived in July. I was instantly struck by it. This is what Mystic Sons wrote when they spotlighted a stunning single from a hugely and accomplished artist:

“After originally breaking through with her spellbinding debut single 'Killing Time' last year, Essex-based singer, songwriter and producer Erin LeCount returns to deliver news of her eagerly-awaited debut EP 'Soft Skins, Restless Bones', featuring the wondrous new outing 'Heartbreak Hotel'.

Channelling a beautifully sweet and effervescent direction throughout her newest effort, 'Heartbreak Hotel' instantly cements her as one of the most exciting names on the rise right now. With her beautifully soul-infused voice layered across a progressive production from start to finish, she looks set to become one of 2023's most talked about new artists doing the rounds.

Adding about the track, she said, “‘Heartbreak Hotel’ is an upbeat, yet resentful reflection on the relationships in my life that have seen me trying to ‘fix’ partners and the expectation that is often placed on young women, to be rehabilitation centres for men, perform emotional labour and temporarily fulfil a mother or therapist role rather than be a girlfriend. All those built up frustrations and bitter feelings of being disposable or used gave me a chance in this song to get spiteful and vengeful rather than sad. ‘Check in, check out, I’m a hotel / My loves a rehab for boys who couldn’t save themselves’ is a playful retaliation against how unfair it feels to pour love into patching someone up, only for them to leave once they’ve received what they needed”.

In August, Wonderland. spoke with Erin LeCount was asked about her wonderful E.P., Soft Skin, Restless Bones. For anyone who has not heard it, do take some time out and experience this wonderful offering from one of our best young songwriters:

“Get to know the stellar talents of Erin LeCount with her new music that embodies a captivating journey, delving into emotions and self-discovery. Her debut EP, “Soft Skin, Restless Bones”, is a mesmerising blend of ethereal vocals, cinematic soundscapes, and poignant storytelling. The lead single, “Heaven” is a soulful gospel-infused track that explores finding solace in the support of women, community, and family during challenging times, a sentiment beautifully echoed throughout the EP.

LeCount’s songwriting is a revelation, offering a sincere and confessional glimpse into her experiences, growth, and heartaches. The EP’s tracks such as “Killing Time”, “Don’t Ask” and “Bday Blues” highlight her ability to navigate complex emotions with an introspective touch. With influences ranging from Fiona Apple to FKA Twigs, LeCount crafts an innovative alternative-pop narrative that resonates deeply.

“Soft Skin, Restless Bones” encapsulates the essence of youthful introspection and transformation. Erin LeCount’s artistry shines bright, and her debut EP is an intimate, melancholic, and ultimately uplifting masterpiece that establishes her as an artist poised for a remarkable musical journey. We sat down with the star to get to know her early days, creative processes and future plans…

Hey Erin! How are you? What does a day in the life look like for you currently? 

I’m well, thank you – excited! Most days are super routine, I wake up super early and walk or exercise because my brain needs the endorphins and I need activity all the time. Sounds boring but I spend pretty much all day, every day in my shed in the garden where I make music. I’ll be writing and producing or filming and editing or rehearsing, usually with a few zoom calls or walks or something dotted in between. It’s my little safe space. Every now and then there’s a few weeks where I come out of hermit mode, and I’ll be seriously on the go for meetings or sessions or gigs, all the social butterfly duties where I get some kind of outside world contact and then I retreat back to the shed with new things to write about and the cycle continues, I kind of like it that way.

Tell us about your early days. How did you fall in love with music? 

When I was little I was proper “away with the fairies” – I’d tell lots of stories, I’d write them down and they’d turn into weird long monologue songs and I took any opportunity to be as loud as I could and put on shows for anyone who’d give me the attention. Then I kept doing it wherever I got the opportunity. I always felt like I was winging it and I never committed to real lessons because I just liked making whatever noise I wanted to be honest and I was having fun so never felt the need to. A primary school music teacher owned this great local music venue, the ‘Hermit Club’ in Brentwood – and he let me and friends rehearse there every weekend, (I owe him a lot for that) and I feel like I kept ending up on stage making my noise since then.

Who have been main inspirations to you personally and musically throughout your journey so far? 

The artists I first loved were your standard British artist answers – Adele, Duffy and Florence as a kid, those big, loud voices and the drama of it all. They were the ones I sang along to all the time and they probably inspired me to start. Sampha, Kate Bush, BANKS made me want to produce. Then I feel like this sounds so soppy but my main inspirations are the people that I know personally who are doing music too – the people I’ve met the last couple of years and befriended, collaborated with, the producers I’ve worked with who just let me watch over their shoulders in awe and ask questions. When I started doing sessions aged seventeen / eighteen, I just remember thinking I wanted to be like them, seeing the way they’d mastered their craft gave me this excitement to want to start and I was so desperate to understand it all more.

Congratulations on your debut EP “Soft Skin, Restless Bones”! Tell us about the message and motive behind the EP?

Thank you! The songs on this are quite literally some of the first ones I ever made which is so fitting because this EP is about all the ‘first times’ I felt and experienced a lot of things, so it feels like reading my own diary. I had this feeling I’d missed out on most of my best years, so between 17-19 years old I kind of tried to make up for it by throwing myself headfirst into self destructive stuff – relationships (Killing Time, Heartbreak Hotel), making my first real bad mistakes and running away from them (Mind the Gap), having my first experience relapsing with my mental health as an adult where I suddenly realised I wasn’t a child anymore and I had more responsibility to take care of myself now (Don’t Ask, Bday Blues) and I was just documenting it all as I was feeling it. Each of the six songs on the EP are “aha” moments I had during that time, the big and small moments of self awareness or realisation”.

I am going to end with a recent interview from Ticketmaster. With a stunning single mashup in White Ferrari x I Know The End, there was new interest and curiosity around an artist always evolving. Someone who never sits still when it comes to her music. It is going to be amazing to see what comes from Erin LeCount this year. Even though she has been performing and writing for years now, I feel that the best is still ahead. Make sure you follow LeCount on social media:

“Erin LeCount’s debut EP, Soft Skin, Restless Bones, has garnered attention for its poignant lyrics, ethereal vocals and cinematic compositions. With a sold-out headline show in 2023, backing from the BBC, and a record deal with Good As Gold – a London label founded by music producer Kurtis McKenzie (known for his work with Kendrick Lamar, Doja Cat and Selena Gomez) – Erin is set for a massive 2024.
Her most recent release ‘White Ferrari x I Know The End’ is a stunning synthwave mashup of the respective Frank Ocean and Phoebe Bridgers tracks. It’s become a fast fan favourite on TikTok, with an intensity and build-up that will make you feel like the main character conquering a second act crisis. Recently unveiled as part of The Great Escape line-up and having just landed back in the UK following a writing trip to LA, Erin LeCount stopped by to discuss music, shows and more.

When did you first know you wanted to pursue music? Was there anyone in those early days who really helped nurture your passion?

I had a really great music teacher when I was in primary school who came in once a week. He let me use his music club venue every weekend. And I think doing that consistently when I was about nine made me hyper-fixate on music. I couldn’t really imagine doing anything else from that point.

Who are your influences?

Kate Bush, Fiona Apple, Imogen Heap, Sampha, Sylvan Esso. That’s a good list.

What’s been your biggest challenge so far?

Good question. I think the biggest challenge has been finding a balance between always wanting to improve, but also recognising how much you have learned and how far you’ve come already, and appreciating that.

You’ve got to celebrate the wins! Where do you see yourself in five years?

In five years? I would want to have a few more projects released, to have done a tour, and to do a support slot for an artist I really love… There are dream venues…”.

Someone who is ambitious and has the talent to fulfil those ambitions, it is always a treat getting new material from Erin LeCount. Keep your eyes peeled, as this year is going to be a busy one for her. She is an artist I connected with the moment I heard her music. Many others feel the same. If you are unfamiliar with the brilliant Erin LeCount, then do make sure that you check her out. She truly is…

A talent to cherish.

__________

Follow Erin LeCount

PHOTO CREDIT: Lewis Vorn 

Official:

https://erinlecount.com/

Instagram:

https://www.instagram.com/erinlecount/

TikTok:

https://www.tiktok.com/@erinlecount

Twitter:

https://twitter.com/erinlecount

Spotify:

https://open.spotify.com/artist/1h6v3Gd5Ub1xmiSMq0X5f3

YouTube:

https://www.youtube.com/c/erinlecount

Facebook:

https://www.facebook.com/erinlecount/

FEATURE: Spotlight: Dirty Blonde

FEATURE:

 

 

Spotlight

Dirty Blonde

_________

ONE of the acts…

named for this year’s Great Escape festival in Brighton, Dirty Blonde are an act quite new to my ears. The Manchester duo are fierce and phenomenal. Consisting of Ailis Mackay and Hayley Tait, everybody needs to follow them. I think that they will have a huge year ahead. Their phenomenal Favourite Record E.P. was released in November. I am excited to see where they head as we move through 2024. I want to come to some interviews with the wonderful Dirty Blonde. I want to start with an interview from early last year. Broken 8 Records featured Dirty Blonde in June:

“Dirty Blonde are a fierce female alternative duo comprising members Ailis Mackay and Hayley Tait. Hailing from Manchester, the duo have quickly gathered pace amongst key tastemakers and were praised as ‘one of the most exciting acts to come through Radio 1’s Future Alternative'.

The pair met on Instagram in 2022 after Hayley kept seeing sponsored videos where Ailis combines the styles of two artists and makes a cover of them. “I knew she was really talented so I took the plunge and reached out to her and asked if she’d want to be in the band, and here we are today!”, says Hayley.

Following a packed out show at The Great Escape last month and a sold out debut headline at the Deaf Institute, Dirty Blonde are back with their new single ‘Run (When I Tell You)’, and we couldn't wait to find out more about it.

Wonderful to have you here, we've been absolutely loving the new single. We know you first met on Instagram, but how did you first start making music?

"Individually we had different routes that led us to being in Dirty Blonde. Hayley wanted to be Mark Ronson and Ailis wanted to be Dave Grohl. The band came together when we met on Instagram and realised we were as delusional as each other. We’d gotten used to working remotely throughout Covid so we worked on some demos together initially before turning it into Dirty Blonde."

The new single has been described as indie-pop in the recent past, but how would you describe it to the uninitiated?

"Indie rock anthems with a pop edge - picture Dua Lipa being dragged through a hedge kinda vibes."

I love that. There's definitely a distinct indie rock edge to things. What sort of bands have helped inspire that?

"We have a really big range of influences ranging from Oasis, Royal Blood and Kasabian to The 1975, Billie Eilish and Phoebe Bridgers."

I can imagine some amazing potential collaborations there. Do you have a particular favourite?

"Dirty Blonde X The 1975"

Let's talk a little about the new single, can you tell us a bit more about it?

"'Run (When I Tell You)' is a gritty song with big riffs and vocals. We love this song because it really resonates at our live gigs. A lot of people are shocked when they hear that two girls are writing and playing such heavy music."

What is your songwriting process? How does it all come together?

"It varies from song to song. Sometimes the whole song will just come together out of nowhere in a couple of minutes and other times it needs more work. With Run, the original version was very close to the end product. We took it into the rehearsal room to play it through and made a few changes that just really brought the song together."

What’s the most important thing for you when you’re writing a song?

"Just making sure that it’s a song that we genuinely like. If you can strip the song back to acoustic and it still sounds good and interesting then we know we’re not hiding behind the production”.

I with move on to an interview from Vents Magazine. They spoke with Dirty Blonde back in August. It is always interesting learning about their songs and how they came together. I am really keen to see the duo play live. If they are in London anytime soon, I will definitely try and catch them. One of our most promising and talented acts who are creating a lot of excitement:

“We’re excited to be speaking today with acclaimed Manchester alt-rock duo extraordinaire Dirty Blonde; greetings and salutations, you two!  Before we dive into the proverbial Q&A mosh-pit, could you each say ‘hi’ and introduce yourselves to readers?

Hey! I’m Ailis and I sing and play guitar and I’m Hayley and I play guitar and do backing vocals.

Major congrats and accolades for your brilliant new single Don’t Cry (It Doesn’t Suit You)! Ailis, what’s the story behind this amazing new release, how did it come into being?

Hayley actually found a meme that inspired her to write this song. She sent me a voice note of it so I naturally added a rap in the second verse and started to produce the song ready to take to the rehearsal room. Lyrically it’s about people only being sorry when they’ve been caught out and that it’s okay to be sick and tired of people’s BS.

Hayley, the new single has real tinges of beautiful nostalgia ingrained within the music and lyrics. Was this a deliberate choice on yours and Ailis’ part?

This song from the start was always me trying to write an Oasis song so I’m glad that nostalgia comes through. We see so many indie lad bands trying to be the next Oasis and we thought it was time for women to do it with a modern twist.

Ailis, who was your producer on Don’t Cry (It Doesn’t Suit You) and what did the collaboration between Dirty Blonde and producer look like in the studio?

I self produced this track when we recorded a demo earlier in the year. We then brought it into the studio with Gareth Nuttall at The Lounge and used his knowledge to amplify what we had started on. One specific part which was really good was when Gaz mic’d up the electric guitar strings to recreate a really scratchy and messy guitar that was in the demo where you could really hear the strings.

Hayley, what sets Don’t Cry (It Doesn’t Suit You) apart from anything else currently going on the 2023 music scene?

When we play this song live everyone expects it to be a slow acoustic song, but everyone is always really taken back when it kicks in out of nowhere. With this song we purposely wanted to give it that indie Oasis feel that a lot of other bands are trying to do but we’ve never seen any female fronted bands doing it. With added grunge and attitude obviously.

Ailis, can fans look forward to an EP or LP release from Dirty Blonde in the wake of the release of the new single?

Watch this space.

A question for the both of you: Who inspires you musically?

We’re both really inspired by new up and coming bands who are reinventing the wheel. It always pushes us to be better and challenges us. We’re really liking Queen Cult and Girlband.

Hayley, how did Dirty Blonde get its start? Is there a VH1-Behind the Music origin story you could share with our ever-inquisitive readers?

Myself and Ailis met on Instagram. We clicked straight away and started writing songs together which quickly became Dirty Blonde”.

I think it is only a matter of time before Dirty Blonde get spotlighted by a big publication or magazine. The likes of NME or Kerrang! come knocking. The interviews out there already are pretty illuminating and revealing. Rock the Joint Magazine featured Dirty Blonde last year. Labelling them as Your Dad’s Favourite New Band’, there was a lot of buzz around this phenomenal duo:

“Hailing from Manchester, Dirty Blonde represent a cool rock northern vibe with a twist of punk in the mix (think early Blondie before they became popular). The single shows how fast they are developing musically, and it is no surprise to us that they are gaining so much positive attention. Therefore, when we point our readers towards a must watch act in 2023, we mean it—they could become one of our new favourite bands!

With their new single, “Don’t Cry, It Doesn’t Suit You,” making waves on social media and the girls starting to make an impact on the live scene, we spoke to Ailis MacKay about the band, their single, and their future plans.

We thought a quick introduction to the band and their music would be a good place to start.

Ailis- As you said, we are from Manchester, and sonically, we are doing an Indie thing, but it is female-fronted and has an Oasis meets grunge vibe. Hayley and I met on Instagram, and the rest is history.

The new single “Don’t Cry, It Doesn’t Suit You” has a positive melodic rock vibe; it kicks in the mid-section and becomes a great riff-driven groove. We believe it is also the first time the band has filmed for a video.

Ailis- We just had my little vlogging camera; Hayley has a videography degree, so we managed to pull it all together and get it sorted.

The single has a positive commercial sound, and it follows a couple of earlier releases, “Run When I Tell You” and “Come Over.” We asked how the songwriting developed between the duo.

Ailis- I think it’s different every time, really. Sometimes it’s me that brings in something, and if it’s Hayley, she’ll play an acoustic guitar and send a voice memo. I have a sound engineering degree, so a lot of what I do is like a fully formed demo. With “Don’t Cry,” Hayley found a meme; I’m not sure what it was, but that set the track off. I then did a bit of production on it. At the start, when you listen to it, it is this slow acoustic song, and then it rocks. On the production side, I added that bit where the drums suddenly come in and finess the guitar tone, and then the second verse is similar to the first verse, but I added a Jamie T-style rap to it. So that is how that came about, but we are trying to be as organic as possible.

“Run When I Tell You” has a strong early Debbie Harry or Blondie feel to it.

Ailis- I’ll take that! Debbie Harry, who walked so that we could run, is, in my opinion, an inspiration for all women in bands. I feel like Hayley has a big rock and punk taste; she loves all the 90s indie bands. But then I was raised on Radio 1, so I listened to a lot of pop music, so I brought in a commercial pop side to things. I think where we are going is making it indie rather than rock, but personally, for me, my favourite band at the moment is “Nothing But Thieves”.

Playing Brighton’s The Great Escape this summer, there is going to be a lot more from Dirty Blonde this year. I am going to keep my eyes peeled for the amazing Ailis Mackay and Hayley Tait. They are primed for big things! A duo I can see appearing at some big festivals. After a string of terrific singles and an E.P. last year, there is no stopping the mighty Dirty Blonde! If they are new to you, then make sure that you follow them. This is an act that you cannot…

AFFORD to overlook.

__________

Follow Dirty Blonde 

Instagram:

https://www.instagram.com/wearedirtyblonde/

Twitter:

https://twitter.com/weredirtyblonde

Spotify:

https://open.spotify.com/artist/2DgztFhlbYMAJ5JNxTjuhc?si=zBoWYd8SSWWUuWI7mmQHZg

YouTube:

https://www.youtube.com/@wearedirtyblonde

Facebook:

https://www.facebook.com/wearedirtyblonde/

FEATURE: Back on Track? The Scrapped Kate Bush Autobiography Makes Me Wonder If We’ll Ever Get a Personal Account from the Icon

FEATURE:

 

 

Back on Track?

The Scrapped Kate Bush Autobiography Makes Me Wonder If We’ll Ever Get a Personal Account from the Icon

_________

IN 1983…

IN THIS PHOTO: Kate Bush in 1983/PHOTO CREDIT: Brian Griffin

many might not know that Kate Bush had started to write – or at least planned to write – an autobiography. A 144-page book, it was to be published by Sidgwick & Jackson. Likely written and ready to be published, the book was little known of and withdrawn in 1984. It is interesting seeing the cover and what it could have looked like. It is understandable why Kate Bush would have been asked and would have considered it. At that point in her career, she had released four studio albums. Hounds of Love would appear in 1985. Her autobiography was scrapped back in 1984. I wonder whether the need to record a new album meant that she had little time or effort to dedicate to it. I suspect that an autobiography was part of a new promotional drive after EMI felt that The Dreaming (1982) undersold or was taking Bush’s career in the wrong direction. That autobiography title, Leaving My Tracks, has a double meaning. Referring to tracks as songs, it also has this sense of being derailed. Maybe coming off the tracks into danger. In any case, whilst some say the book was written and ready to go and others say that hardly any was written, the fact that a number of pages was announced (144) makes me suspect that somewhere there is the book. Forty years after it was shelved, I wonder why it has not been published. In terms of insight into the career of Kate Bush, many fans would love to read this book!

In 2024, where there has been reissues and revising lately from Kate Bush, the release of Leaving My Tracks would seem like a smart move. It is hard to tell why the book was scrapped. That question around whether Kate Bush will ever write something like that again. Forty years since the autobiography was written/planned, a lot of has happened to her. I have mused before on this subject. Apparently the autobiography was written with a ghost writer, although there is really not much known beyond that. A lot of mystery and what-ifs. You know that there is something in the archives or held away that could be published. Maybe Kate Bush would not want Leaving My Tracks published now. I hardly hear anyone discuss it or consider what could have been in there. Perhaps very few people know about its existence. Interviews are often based around an album and can be quite limited. I know that there is a lot about Kate Bush, her writing process and early life that would be wonderful to read about. Whether Leaving My Tracks was very personal or a little more detached I am not sure. At sixty-five, Kate Bush has a lot to reflect on. I would like to think that, one day, there would be a revision. That she would feel comfortable putting into the world a memoir or autobiography. I feel the 1980s version was more pressurised by the label and a way of getting more people interested in her music.

Now, forty years later, Kate Bush has full control and can approach it from a different perspective. Even though Kate Bush has been busy the past few years with reissues and various stuff, there has not been a whole lot going on in terms of new stuff. You do wonder if she has been working on a new project. Maybe there will not be an album coming at all. The tantalising thought that she may be working on a book of some sort. It is weird that an autobiography might have been ready to go and then was called off in 1984. No real reason why that was and whether there were plans to release it at a later date. Whatever the truth behind it, I guess Kate Bush would not be the only major and legendary artist who has not released an autobiography. Paul McCartney springs to mind. He has put out a lyrics book where he explains his songs though, in terms of a traditional autobiography, nothing like that has ever come about – though there would be a huge demand if he were to consider it. I guess it is this very open thing that requires a lot of focus and time. Not all artists would want to commit to that. (in terms of time and exposing themselves). I just got curious about Leaving My Tracks and whatever happened. One of those great Kate Bush mysteries. A shame that there may be a lot of fascinating pages written that people will never get to see! As there would be great importance publishing the book or revisiting the autobiography, I hope that Leaving My Tracks, one day, finds its way…

BACK on track.

FEATURE: The Digital Mixtape: The GRAMMYs Big Categories: The Playlist

FEATURE:

 

 

The Digital Mixtape

IN THIS PHOTO: Victoria Monét/PHOTO CREDIT: Erik Carter for Variety Magazine 

The GRAMMYs Big Categories: The Playlist

_________

I am going to pick up…

IN THIS PHOTO: SZA/PHOTO CREDIT: Gianni Gallant for Rolling Stone

on an article from The Guardian. They have predicted the winners in the big categories at this year’s GRAMMYs. They take place tomorrow (4th February) in Los Angeles. Not long to go now, I will add to what they have written and predict a few more categories. I am going to end with a playlist of songs from the categories included. It is going to be a big night where we might get some unexpected winners. You can see all the nominees here:

“Record of the Year: Jon Batiste – Worship/boygenius - Not Strong Enough/Miley Cyrus – Flowers/Billie Eilish – What Was I Made For?/Victoria Monét – On My Mama/Olivia Rodrigo – vampire/Taylor Swift – Anti-Hero/SZA – Kill Bill

Will win: Billie Eilish – What Was I Made For?
Should win: Olivia Rodrigo – vampire

Album of the Year: Jon Batiste – World Music Radio/boygenius – the record/Miley Cyrus – Endless Summer Vacation/Lana Del Rey – Did you know that there’s a tunnel under Ocean Blvd/Janelle Monaé - The Age of Pleasure/Olivia Rodrigo – GUTS/Taylor Swift – Midnights/SZA – SOS

Will win: Taylor Swift – Midnights
Should win: boygenius – the record

Song of the Year: Lana Del Rey – A&W/Taylor Swift – Anti-Hero/Jon Batiste – Butterfly/Dua Lipa – Dance the Night/Miley Cyrus – Flowers/SZA – Kill Bill/Olivia Rodrigo – vampire/Billie Eilish – What Was I Made For?

Will win: Taylor Swift – Anti-Hero
Should win: SZA – Kill Bill

Best New Artist: Gracie Abrams/Fred again../Ice Spice/Jelly Roll/Coco Jones/Noah Kahan/Victoria Monét/The War and Treaty

Will win: Victoria Monét
Should win: Victoria Monét

Best Pop Solo Performance: Miley Cyrus – Flowers/Doja Cat – Paint the Town Red/Billie Eilish – What Was I Made For?/Olivia Rodrigo – vampire/Taylor Swift – Anti-Hero

Will win: Taylor Swift – Anti-Hero
Should win: Billie Eilish – What Was I Made For?

Best Rock Performance: Arctic Monkeys – Sculptures of Anything Goes/Black Pumas – More Than a Love Song/boygenius – Not Strong Enough/Foo Fighters – Rescue/Metallica – Lux Æterna

Will win: Arctic Monkeys – Sculptures of Anything Goes
Should win: boygenius – Not Strong Enough

Best Rock Album: Foo Fighters - But Here We Are/Greta Van Fleet – Starcatcher/Metallica - 72 Seasons/Paramore - This Is Why/Queens of the Stone Age - In Times New Roman…

Will win: Foo Fighters - But Here We Are
Should win: Paramore - This Is Why

Best Alternative Music Album: Arctic Monkeys - The Car/boygenius - the record/Lana Del Rey - Did you know that there's a tunnel under Ocean Blvd/Gorillaz  - Cracker Island/PJ Harvey - I Inside The Old Year Dying

Will win: Arctic Monkeys - The Car
Should win: Lana Del Rey - Did you know that there's a tunnel under Ocean Blvd

Best R&B Album: Babyface - Girls Night Out/Coco Jones - What I Didn't Tell You (Deluxe)/Emily King - Special Occasion/Victoria Monét - JAGUAR II/Summer Walker - CLEAR 2: SOFT LIFE EP

Will win: Victoria Monét - JAGUAR II
Should win: Victoria Monét - JAGUAR II

FEATURE: The Digital Mixtape: The Iconic Brandy at Forty-Five: The Essential Playlist

FEATURE:

 

 

The Digital Mixtape

The Iconic Brandy at Forty-Five: The Essential Playlist

_________

I have written about Brandy…

a few times before. I love her music and I grew up listening to her albums. As she celebrates her forty-fifth birthday on 11th February, I have put together a playlist of her best-known songs and deeper cuts. Her debut album, Brandy, turns thirty in September. She is an artist who has doubtless influenced so many other artists. I am going to pop in a playlist in the middle of this feature with songs from artists who have followed Brandy, cite her as an influence, or you can tell have some of her DNA in common. First, here is some biography from AllMusic:

“Brandy is among the few artists, contemporary R&B or otherwise, to achieve mainstream success as a teenager and make smooth artistic transitions across a multi-decade career. The singer and actor emerged during the post-new jack swing era like the kid sister of Mary J. Blige or TLC, specializing in pop-oriented R&B epitomized by her first two singles, "I Wanna Be Down" and "Baby," both Top Ten crossover hits that made her debut, Brandy (1994), a multi-platinum smash. The title role on the popular sitcom Moesha, a chart-topping and Grammy-winning duet with Monica ("The Boy Is Mine," the longest-running number one female duet in Billboard chart history), and the multi-platinum follow-up Never Say Never (1998) all reaffirmed Brandy's broad appeal through the end of the '90s. While she could have continued to crank out safe contemporary R&B as her acting career took precedence, she made the most out of her subsequent studio time, highlighted by Full Moon (2002) and Afrodisiac (2004), progressive stylistic hybrids that earned her consecutive Grammy nominations for Best Contemporary R&B Album. Since the mid-2000s, Brandy has recorded less often, with Human (2008) and Two Eleven (2012) maintaining her unbroken streak of Top Ten R&B/hip-hop albums. Amid constant work onscreen and on-stage, Brandy's musical output during the second half of the 2010s was limited to a handful of singles and featured appearances, but she issued her seventh full-length, B7 (2020), and first holiday album, Christmas with Brandy (2023), early the next decade.

Brandy Norwood was born in McComb, Mississippi, and began singing in church at age two. When she was four, her father was hired as music director at a church in Carson, California, and after a few years, she decided to pursue a professional singing career, inspired by Whitney Houston. With the help of her family, she began hunting for a record contract, and in 1992 began singing backup for the young R&B group Immature. Brandy enrolled in the Hollywood High Performing Arts Center and launched an acting career, appearing in films like Arachnophobia and Demolition Man. At the age of 14, she landed a record deal with a performance at an Atlantic Records talent showcase. Around the same time, she won a supporting role on the short-lived ABC sitcom Thea. In September 1994, Brandy released her self-titled debut album, which immediately produced Billboard Hot 100 Top Ten smashes in "I Wanna Be Down" and "Baby," both of which hit number one on the R&B/hip-hop chart; "Brokenhearted" and "Best Friend" went on to smaller successes. Brandy was certified quadruple platinum within two years.

In 1996, Brandy scored her biggest hit yet with "Sittin' Up in My Room," recorded for the Waiting to Exhale soundtrack; it hit number two pop and number one R&B/hip-hop. Early that year, she also debuted on UPN as the star of Moesha, for which she took a lengthy recording hiatus. Apart from "Sittin' Up in My Room," her only real activity over the next couple of years was the Set It Off soundtrack single "Missing You," on which she teamed with Chaka Khan, Gladys Knight, and Tamia. In 1997, she branched out by taking the title role in Disney's made-for-TV version of Cinderella, appearing alongside her idol Whitney Houston; the film's star power and integrated cast made it a significant ratings success. Finally, Brandy set about recording her second album. Never Say Never was released in June 1998, and its first single, the Monica duet "The Boy Is Mine," was a mammoth hit, topping the Hot 100 for a staggering 13 weeks. In its wake, "Top of the World" (featuring guest rapper Mase) and "Have You Ever?" were both substantial hits as well, with the latter becoming Brandy's first solo number one Hot 100 hit. Never Say Never spun off three additional singles, including the Top 20 pop hit "Almost Doesn't Count," on its way to sales of over five million copies. "The Boy Is Mine" subsequently won a Grammy for Best R&B Performance by a Duo or Group with Vocal.

Meanwhile, Brandy's acting career continued to blossom. In 1998, she landed her first major theatrical film role in I Still Know What You Did Last Summer, and the following year, she appeared in another TV movie, Double Trouble, with Diana Ross. She concentrated mostly on Moesha until the show was canceled in the spring of 2001. The same year, she voiced a character in the animated film Osmosis Jones. In February 2002, Brandy released her third album, Full Moon, which entered the Billboard 200 chart at number two, spun off an immediate hit in "What About Us?" -- her seventh Top Ten pop single -- and was subsequently nominated for a Grammy in the category of Best Contemporary R&B Album. That summer, Brandy gave birth to her first child. Her pregnancy was the subject of an MTV documentary series, Brandy: Special Delivery.

The singer's fourth album, Afrodisiac, was released in June 2004. Its lead single, "Talk About Our Love," was produced by Kanye West and peaked at number 36 on the Hot 100. Although it too received a Grammy nomination for Best Contemporary Album, Afrodisiac was Brandy's last recording for Atlantic. Signed to Epic, she returned in December 2008 with Human, an adult contemporary-leaning set that entered the Billboard 200 at number 15. A couple years later, she starred alongside her brother and parents in the reality television series Brandy & Ray J: A Family Business, with a soundtrack of sorts following in 2011. She teamed up with Monica again in 2012 for the single "It All Belongs to Me" (which appeared on Monica's New Life), and months later issued the collaboration-heavy Two Eleven, which topped the R&B/hip-hop chart and entered the Billboard 200 at number three. The Chris Brown collaboration "Put It Down" became Brandy's tenth Top Ten R&B/hip-hop single as a headliner.

For the rest of the 2010s, Brandy devoted most of her time to acting, highlighted by roles on the series The Game, Zoe After Ever, and Star, as well as the lead role in the Broadway production of Chicago. Her limited recordings during these years included the bluesy belters "Beggin & Pleadin" (2016) and "Freedom Rings" (2019), a featured appearance on August Greene's cover of Sounds of Blackness' "Optimistic," and a duet with Daniel Caesar, "Love Again," which earned a Grammy nomination for Best R&B Performance. After she built more anticipation with the Chance the Rapper collaboration "Baby Mama," B7, her first album in eight years, arrived in 2020 and debuted at number 12 on the Billboard 200. The Disney Princess anthem "Starting Now" appeared the following year. Christmas with Brandy, combinding holiday standards with a handful of original songs such as "Christmas Party for Two," followed in 2023”.

A legendary artist who I have a lot of respect and love for, I hope there is a follow-up to Brandy’s most recent studio album (barring last year’s Christmas album), B7, that arrived in 2020. Brandy’s albums always offer something incredible. I am not sure whether there are plans for an album this year, though I know her fans would welcome one. To mark the upcoming forty-fifth birthday of one of music’s greatest voices, below is a playlist of Brandy’s stunning hits and some must-hear deep cuts. It just goes to show…

WHAT an amazing artist she truly is!

FEATURE: The Digital Mixtape: Alternative Valentine’s Day Songs

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Jonathan Borba/Pexels

Alternative Valentine’s Day Songs

_________

AS Valentine’s Day…

PHOTO CREDIT: Acharaporn Kamornboonyarush/Pexels

is a matter of days away (14th February), I wanted to put out a playlist that contains some alternative love songs. Rather than the traditional and overheard mushier songs, this one is a little bit different. I have nothing against Valentine’s Day, though it does rely on cloying sentiments and a bit of a Hallmark vibe. Love and affections comes in all different forms and shapes. I was keen to explore the playlists out there which have this different take on Valentine’s Day. The range of songs one might not necessarily think about when 14th February rolls by. Whatever you are doing for the day – whether you are single or with someone -, it can put quite a lot of stress on people. If you need a slightly ‘new’/nontraditional take on Valentine’s Day, these songs are a little bit different to the sweeter and classic songs you’ll hear on the radio. Below is a selection box of…

PHOTO CREDIT: Tim Samuel/Pexels

ALTERNATIVE Valentine’s Day cuts.

FEATURE: Spotlight: Naomi Sharon

FEATURE:

 

 

Spotlight

Naomi Sharon

_________

LISTENING back to…

Obsidian, and it must rank alongside the best albums of last year. Released by Naomi Sharon, it is my introduction to an artist who warrants more love and attention. Songs that should garner more airplay on U.K. radio. If you have not heard about her music then go and follow Naomi Sharon. I am going to get to some interviews with her. There are a few to get to. I will end with an interview from last month. This Dutch and Caribbean singer and songwriter is a sensation. She was born in Rotterdam. Raised in a household that was heavily music-focused, it was a step and sign for Naomi Sharon to create her own. Upon leaving The Theatre School in the third year, she started her career as an actress in stage, where she performed in Dreamgirls and The Lion King. I will start with an interview from METAL. We get to learn more about this incredible artist and an album, Obsidiain, that will stay in your head and heart for a very long time after you finish listening to it:

“Born and raised in Rotterdam, with roots in the Caribbean, Naomi's musical DNA is both diasporic and constant, formatively cultivated in a household pulsing with the disparate sounds of artists such as Sting, Sade, and Marcus Miller. This rich heritage, combined with a profound connection to spirituality, forms the bedrock of her artistry.

With Obsidian, Naomi reveals an alchemical blend of introspection and catharsis. Naomi weaves a visceral tapestry of bittersweet nostalgia and existential yearning, each track being a testament to the ascendancy of art as a medium of healing, a sanctuary for the soul, and a catalyst for self-improvement. Naomi’s inevitable meteoric rise to R&B royalty will be supported through the spoils that come with an OVO Sound stamp of approval, opening doors to a truly global audience and collaborations that promise to push the boundaries of sound and genre.

A massive congratulations on this exquisite body of work you have released! Obsidian is a commanding exploration of rebirth, confrontation, and healing. How did you approach the creative process to convey these themes through your music?

The themes of rebirth, confrontation, and healing in Obsidian draw directly from my personal experiences. This emotional journey, which includes heartbreak, new relationships, self-discovery, and the challenges of a burgeoning career while traveling across continents, deeply influenced the album's content. You can hear this personal connection throughout the project, even during its most intense moments.
The music served as a shield, allowing me to express my feelings and confront emotional challenges. Take, for example, the lead single and album opener, Definition of Love. It's a hypnotic exploration of love, evoking sun-soaked childhood memories and belief in love. This song became a therapeutic and cathartic outlet during a period of heartbreak, adding a beautiful and vulnerable layer to the album.

Obsidian is described by you as “a protective stone that shields against negative energy.” Your visually striking cover art depicts you encased in what appears to be an obsidian shell ostensibly protecting you from this negative energy. How does this symbolism of protection influence the sonic and lyrical choices on the album?

The symbolism of protection represented by the obsidian shell on the album cover had a profound impact on both the sonic and lyrical choices in Obsidian. This idea of shielding against negative energy guided our selection of songs and lyrics, infusing the album with themes of strength, resilience, and self-protection.
In the music itself, you can feel this sense of fortitude and intensity, reflecting the transformative power of facing life's challenges head-on. The choice of instruments, the depth of the arrangements, and the emotional nuances in the vocals all echo the concept of confronting darkness and emerging stronger.
Ultimately, Obsidian is a testament to the ability of music to help us grow and heal, just like the obsidian stone's capacity to absorb and transform negative energy. It's about taking challenging experiences and turning them into something beautiful and meaningful.

Embracing your inner vulnerability and creating an album as deeply intimate as Obsidian is a bold artistic choice. Can you share how far having someone as influential as Drake backing your sound from the early stages of your career in 2019 helped you find the confidence to explore such personal themes? Did this support from an industry heavyweight help alleviate any imposter syndrome that often haunts emerging artists?

I was truly honored to have piqued his interest, and working with his team had always been a dream of mine. His input was exceptionally inspiring, and he went out of his way to ensure I felt entirely comfortable in every aspect of our collaboration and I feel really empowered by him to explore my own sound and follow my own path”.

COMPLEX spoke with Naomi Sharon last November. Discussing her fantastic album, this is an artist guided by love. Someone who should be on your radar. Even though I am new to the music of this splendid artist, I can definitely recommend it to everyone. She is a real gem that should be part of your music rotation:

“This is a snapshot of who Naomi Sharon is, an artist deeply in tune with her own energy and constantly seeking to understand the energies of others. She’s been surrounded by music for her entire life. She grew up with parents who would constantly flood her house with jazz music, giving her a natural inclination to artists like Bill Withers and Destiny’s Child as she would “make up my own type of English” to sing songs. Sharon also took theater classes in high school, which helped jumpstart her career in musical theater in shows like The Lion King and Dreamgirls. She also participated in the music game show The Voice Holland during the early goings of her career, which was an experience she says taught her more about herself as an artist.

“I think it kind of showed me that I wasn't ready back then,” Sharon says. “I remember the audition with the chairs, and I was so scared. I was so occupied with this feeling of, ‘Oh my God, are they gonna like me? Are they gonna turn their chairs?’ I was not present, and I think that once that was over, I realized that being present when you're performing, or just in general in life, is so important.” 

Now after years of refining her craft, the outside noise doesn’t bother Sharon. She eventually caught the attention of Drake, who discovered her on social media in 2019 and later reached out asking if she would join OVO, and Sharon officially became the first woman signee to the label this year. “I think [I add] some guts to try some new things because I went from neo-soul and a bit of alternative R&B to up-tempo things and I was like, ‘Oh, this is scary,’ but I did it and I think that's because of [Drake] as well, and the label, or even Noah, who told me like, ‘You should also try that, just try it,’” Sharon says of what she adds to OVO.

Her debut studio album under OVO, Obsidian, released on Oct. 20, is a reflection of years of emotional and spiritual growth. The project is named after the gemstone that is believed to have powerful healing and protective properties but also forces you to confront negative energy head-on. “And I was like, that's interesting because I love something that confronts me and puts me into a feeling of discomfort because then I can investigate what that is,” she explains.

When and how did you get involved with music?

I think from a very young age, from the age of like, 4. My cousin was performing, she did a show where you could win something and she was performing “Diamonds Are a Girl’s Best Friend.” And I was with my mom and dad and all of a sudden they were like, “Oh, where's Naomi?” And I was onstage, I don't know how at 4 years old, but I crawled up the stage and I was out there and performing.

I'm Dutch, so I was always making up my own type of English. And then later on, I wanted to become so many things, to be honest. Surgeon, designer, and whatever, but I always stuck to singing and I created my own songs in Dutch, but it was still small and innocent. Then I think during high school you could choose this extra thing [to do] in school and I did theater. So you explore what your voice sounds like and I was doing all these musical things. I never aspired to be a musical star or whatever, but I became one.

Even before you were on The Lion King and heavy in theater, you auditioned for The Voice Holland. Did that experience help prepare you for the competitiveness of the music industry?

I think it kind of showed me that I wasn't ready back then. I remember the audition with the chairs, and I was so scared. I was so occupied with this feeling of, “Oh my God, are they gonna like me? Are they gonna turn their chairs?” I was not present, and I think that once that was over, I realized that being present when you're performing, or just in general in life, is so important. And I think back then I was a little bit disappointed when I lost the battles, but I think it was good because I needed some time to be like, “OK, what was that? How did you feel and how can we improve?” I think that musicals really helped me feel comfortable with a bigger audience and just myself onstage every night.

Do you see any similarities between that experience and working in the American music industry now?

I think the pressure, but what I like right now is that I do it for myself and not for a show or a company. The pressure that I'm feeling is something that I can translate into this energy because I think it's good to feel something when you're performing. I'm never too nervous, but there should be some excitement going on in your body. And so whenever I feel a little bit like, “Oh, this is scary.” I use it to channel it down into this like, “OK, we're gonna do this. It's good that you feel something.

Why is “Lovely Day” by Bill Withers such an important song for you?

It brings back such good memories. It's such an uplifting song as well and I just love it. Every time I'm talking about older songs, I feel it as well. Like it unlocks something in me, and I think that whenever I listen to these songs, I have a lot of respect for artists from back then because they didn't have Autotune. It's really authentic, and so there's a lot of emotion in these songs. I think with “Lovely Day,” it makes me very happy.

Your voice has hints of Sade meets Yebba. Who are some of your musical inspirations?

A huge one is Sting, just the way he writes and his melodies and the way he is a big storyteller. He's so good at telling a story and being truthful. I think another one is Eva Cassidy. She died unfortunately at a young age, but she is so good and my mom used to play her songs, and then of course Sade. But I think later on when I was a little bit older, because these music genres, I grew up with that. But I thought it was so annoying every time I came back from school, I came back home and it was like jazz. Very intelligent music, but it makes your brain [flustered], so when I was younger, I was always like, “OK, whatever, let me just listen to “Destiny’s Child.” But when I grew older I really had so much love and respect for that type of music, of course. Sade is, I love her timelessness but I love that from Sting as well and all these other artists that I just mentioned. I love timeless music. You just mentioned Yebba, I think she does a great job at that”.

There are one or two other interviews from last year that I want to cover off before coming to this year. NME chatted with Naomi Sharon in October. Signed to Drake’s prestigious OVO label, this is someone who has already caught the eye and ear of a modern music giant. I think that she is going to go on to incredible things. Even though Naomi Sharon has been on the scene a little while now, her best days are still ahead. This is someone that you need in your life:

“How did you find it writing the album, given that your career as an artist was very much nascent when you got picked up by OVO?

“They’re very easy-going at OVO, they were like, ‘Just make as many songs as you can and then we’ll figure it out.’ I was like, ‘No, I need a goal’. I was planning to go to Toronto for three weeks to record a little bit, and I was already planning like, ‘They’re telling me not to go into album mode, but let’s do it. Let’s see if we can do an album in three weeks.’

“We ended up in the studio making a song every day, which is very special. It was a really tough period for me, ‘cos I was going through a lot of emotional turbulence when it came to my love life, but it really helped me to dig deeper and tell a truthful story which people can relate to eventually.”

Do you have any standout memories of recording ‘Obsidian’?

“I remember one of the songs, ‘Myrrh’. If you’re emotional and going through it, one of the toughest things is to use that in your music ‘cos sometimes you don’t want to talk about it. My producer, who is also a writer, was like, ‘Let’s go to the studio’, and I was like, ‘No, I need a day off.’ He was playing something and started a melody, and I was immediately activated and triggered by it. It was amazing, and one of the most emotional songs on the album.

“It’s a very special one, ‘cos how nice is it when you work with a writer who’s first of all your friend, but who also understands what you’re going through and can put that into words with you? It meant a lot to me; that day will always be a memory that will be very close to me.”

Your general musical practice is very much linked to spirituality. How do you work that into songs or writing?

“Wherever I am, I’m always looking for a spiritual shop where I can buy my candles and my crystals or whatever – we went into this shop in Toronto when we were making the album, we bought a candle, and we set our intentions in the studio. I think that with every song I make, I’m very aware of what I’m writing. Whenever I’m writing about a heartbreak, for example on ‘Myrrh’, or talking about how hurt I am, I set the intention for me to get better, to heal and to meet someone that can give me more.

“Whenever you’re writing something down or saying something, you’re speaking it into existence. That’s what I believe. So spirituality is flowing in everything that I do. Sometimes I like to use, not a spell but an intention in the music, and no one really notices – but it’s different frequencies that you play with”.

I actually want to come to that interview from The Face now. They spoke to Naomi Sharon around the release of the new single, Nothing Sweeter. The start of a new year and new chapter, it is amazing to see this artist evolve and continue to put out incredible work that goes deep and really does uncover so many different emotions. If you can see her on tour then do so. Naomi Sharon plays London’s The Lower Third on 9th April. That is a date I shall try and get along to:

“She’s just dropped her new single, Nothing Sweeter, an acoustic-guitar-led, stripped-back track mapping the vulnerability of being open to new love. ​“When you meet someone and you finally kiss each other, you’re mesmerised by it,” she continues. ​“It’s like finding hope in love after heartbreak or difficulty trusting people. That’s what this song is about.”

Sharon actually made Nothing Sweeter at the same time as most of the songs on Obsidian, her captivating, soulful debut album representing ​“a very intense moment” in her life, which dropped in 2023. It treads similar thematic territory, like heartbreak and acceptance; sonically, though, Sharon has kept things comparatively simple. ​“It’s just me and a guitar,” she says. ​“I thought it could have a moment on the album, but it felt stronger on its own.”

It’s little wonder why Sharon’s silky smooth vocals, reminiscent of Sade’s unmistakable lower register, caught Drake’s eye back in 2019. In that same year, he DM’d Sharon on Instagram and asked her to send over some music. As of 2023, she’s the first female signee to his label, OVO Sound, which he launched in 2012.

Born and raised in Rotterdam, Sharon grew up listening to Steve Wonder and Sting – her all-time favourite artist – before starting her career in musical theatre. She starred in productions of The Lion King and Dream Girls, before re-evaluating what was actually important to her. ​“It was so safe and comfortable. After three years of The Lion King, I was like, no more!” says Sharon. ​“I didn’t know who I was as an individual. It was time to do me, to find my voice again.”

“Over the last few months, I feel like I’ve really regained my power,” she continues. ​“When I listen to music, I do it because I need to, like some kind of medicine. I want to provide that for people. I hope it motivates them to make good decisions for themselves.”

10% What kind of emotions and experiences influence your work?

The other day on TikTok, someone was like, ​“Are you traumatised, making music like this?” Yeah! I’m a traumatised queen! Well, I’m a very sensitive person. So when it comes to feeling sad, I’m not afraid to feel it. But I don’t want to make songs that are like, ​“I can’t live without this person”. I can feel the pain, but I need a bit of hope. No disrespect to Adele.

20% What’s a piece of advice that changed your life?

We’re all projecting. Sometimes, when you do something and people comment on it, it’s based on experiences, fear or things they carry with them and project onto you. Stay true to your own compass.

30% If you were cooking to impress someone, what would you make?

I’m really into these Asian bowls at the moment – kind of like poke but with stuff like beef teriyaki.

40% You rule the world for a day. What goes down?

I would do a big reset. No more weapons, more evenly distributed power. Go back to basics.

50% Best hangover cure?

To make yourself a healthy breakfast and watch Real Housewives of Beverly Hills. My favourite is Adrian.

60% Who’s your favourite?

Adrian, I think. Kyle too.

70% Love, like, hate?

I love people who love unconditionally and are considerate. I like Bali. I hate dishonesty and when people don’t take responsibility for that. Everyone lies, but you have to own it.

80% What’s your favourite song of all time?

Fragile by Sting.

90% What’s a bad habit you wish you could kick?

Talking down on myself.

100% What can artists do to help save the world?

Start with themselves. Practise what you preach – we don’t all have to be activists. It’s important that you do things from a pure heart”.

I am going to end with an interview from Colors Studio. Having recently performed her COLORS SHOW, they were keen to find out more about Naomi Sharon her singing to OVO. Again, if you have not discovered her music and connected with her yet, then go and check out her social media. This is an artist who will go all the way in the industry:

“Could you share some of the best advice the OVO team has given you?

Before I began creating my album, I sat down with Drake. He said that he liked my sound, but wondered what I could do with an uptempo beat. He believes it’s important for songs to enter clubs, since there’s a huge audience there. He’s also a huge believer in trying new things, so he was advising me to step outside of my comfort zone. I took his advice seriously, and was challenged by it. I asked myself, ‘how can I attract an uptempo audience into my world while staying authentic to my style?’ That’s what I did with ‘Obsidian’.

The project is uptempo, yet your lyrics and storytelling still pull focus.

Thank you for saying that. For me it’s the biggest compliment when people comment on my lyrics because storytelling is so important to me.

A lot of people compare me to Sade. I get it, and it’s a huge compliment, but in many ways it’s a disservice to both of our writing to continuously draw this parallel. Sade is timeless, and deserves to receive her flowers on her own for the legend that she is.

Who are some of you biggest musical inspirations?

Whenever I get asked about my inspirations I always talk about Sting because of his writing. I was always drawn to him lyrically. It’s a dream of mine to collaborate with Sting, his melodies have always inspired me.

What’s your favorite Sting song?

‘Fragile’ is my favorite. I was listening to it recently and decided to check if he had any co-writers for the track. I discovered he was the sole writer, which immediately made me a bigger fan. I really believe he’s a genius.

“Healing can be very dark at times. You may feel like there isn’t an end to what you’re feeling, but there certainly is.”

PHOTO CREDIT: Brandon Bowen and Megan Courtis

On ‘Obsidian’ you address themes including healing, the resilience of love, and rebirth after heartbreak. What made you want to discuss these topics on your debut album?

I only make songs that are personal and honest. During that time, I used ‘Obsidian’ as a diary. The songs echo what I was dealing with in my own life. 

How did the release of those emotions help towards your personal healing?

I’m still healing. With every month the pain gets easier to deal with. When I look back, I respect the fact that I have survived some of my most depressing moments—moments I’ve had to push through to get to where I am today.

Healing is so huge. I didn’t want the whole album to be about heartbreak and sadness. I wanted to shine a light on hope so people know that they also deserve better.

Can you tell us about the song you performed for COLORS?

‘Nothing Sweeter’ was written by Liz Rodrigues and James Bryan while I was recording ‘Obsidian’. The track didn’t quite fit the album, and I knew it needed its own moment. Since it’s such a vulnerable song, I wanted to find a special place to perform it live.

I wanted to add an plifting song to ‘Obsidian’, but at the time I couldn’t wrap my head around something positive. Liz encouraged me to see the heartbreak as a lesson, and to be open to creating songs about love again; to manifest the love I want. That’s what ‘Nothing Sweeter’ is.

Is there a particular lyric from the song that resonates with you?

The opening line, ‘you flow through me, moving me’. I improvised this melody in the studio with the guitarist performing alongside me. It feels very personal.

If you could send one message to our listeners, what would it be?

Healing can be very dark at times. You may feel like there isn’t an end to what you’re feeling, but there certainly is. Whenever you are going through the darkest parts, know the end is near”.

Someone I cannot recommend highly enough, the wonderful Naomi Sharon can look back on a 2023 that saw the release of the acclaimed Obsidian. Reviewed by, among others, Medium and A Book Of, there was a lot of love for a special artist. This year could be an even bigger one for her. Make sure she is on your radar. I genuinely feel she is poised for remarkable success. A wonderful artist that should be….

HEARD by everyone.

____________

Follow Naomi Sharon

Official:

https://naomisharonmusic.com/

Instagram:

https://www.instagram.com/naomisharon/

TikTok:

https://www.tiktok.com/@naomsharon

Twitter:

https://twitter.com/NaomiSharon

Spotify:

https://open.spotify.com/artist/27WVFBOddxovimxMmBN4fb?si=nMOAzztHTNCZGDGLBCayJQ

YouTube:

https://www.youtube.com/channel/UCZ9LCpSoCsTMtxa7Zm274XQ

Facebook:

https://www.facebook.com/naomisharonw/

FEATURE: Silenced and Ignored: Misogyny in Music: An Urgent and Alarming Moment for the Industry

FEATURE:

 

 

Silenced and Ignored

Misogyny in Music: An Urgent and Alarming Moment for the Industry

_________

NOT it came as much of a shock…

PHOTO CREDIT: Karolina Grabowska/Pexels

to find that a new report and findings show that the music industry still favours men. It is a boys’ club where women are silenced or not believed if they report sexual abuse, harassment and misogyny. It is interesting that I read a social media post today that said misandry (hatred against men) by feminism is a myth. That feminists have the same attitude towards men as other men. This idea that there are man-hating feminists all over the world has been grossly exaggerated. However, it is clear that misogyny is very much alive and well. The music industry is decades behind other industries when it comes to protecting women and ensuring that there is equality. Even if there are some areas moving ahead regarding parity and recognition, one of the most serious and dark areas of music, sexual assault and ensuring women are safe, is in grave danger of not moving at all. An industry still run by men that protects men. The BBC reported on what MPs were told in a new report that shows the extent of the issue – and why urgent action needs to be taken:

“The music industry is still a "boys' club" where sexual harassment and abuse are common, MPs warned in a report.

The Women and Equalities Committee said musicians have to sit beside sexual abusers at parties and events, due to a "culture of silence".

It makes a series of recommendations to tackle the problem of misogyny, but also said that a shift in the behaviour of men is needed.

The government said the industry must ensure "a safe working environment".

The report by the Women and Equalities Committee follows an inquiry into misogyny in the music industry, which began in June 2022.

The cross-party group of MPs concluded that the issue was "endemic" and called for urgent action to tackle it.

The inquiry heard evidence from people including the former BBC Radio 1 DJ Annie Macmanus, who said there was a "tidal wave" of revelations about sexual assault in the music industry waiting to be told.

The broadcaster and writer said there was an "unbelievable" number of stories that have not yet emerged, and warned the industry was "rigged against women".

Singer and former X Factor contestant Rebecca Ferguson said in her evidence that misogyny in music was just "the tip of the iceberg".

She said bullying and corruption was allowed to happen, and said she had been told rapes were going unreported.

IN THIS PHOTO: Annie Macmanus/PHOTO CREDIT: Stephanie Sian Smith

The committee warned that non-reporting of sexual harassment and abuse was high, and that victims who did speak out struggle to be believed or face losing their career.

They said female artists are routinely undervalued and undermined, endure a focus on their physical appearance in a way that men are not subjected to, and have to work far harder to get the recognition their ability merits.

"Much of the evidence we received has had to remain confidential, including commentary on television shows and household names," the report said.

"That is highly regrettable but demonstrates the extent of the use of NDAs [non-disclosure agreements] and the culture of silence."

It said women in the music industry have had "their lives ruined and their careers destroyed by men who have never faced the consequences for their actions".

More broadly, the MPs also said women face a lack of support and persistent unequal pay, and warned these issues are worse for women who already face racial discrimination.

In 2021, a BLiM (Black Lives in Music) report found that racism in the British music industry was "serious, upfront and personal".

IN THIS PHOTO: Rebecca Ferguson/PHOTO CREDIT: Getty Images

Misogyny is 'endemic'

The report by the Women and Equalities Committee makes a series of recommendations to try and tackle misogyny and discrimination in the music industry.

The MPs called on ministers to amend the Equality Act, to ensure freelance workers have the same protections from discrimination as employees, and to improve protections for people facing intersectional inequality.

They also recommended the government legislate to impose a duty on employers to protect workers from sexual harassment by third parties.

The committee also urged ministers to prohibit the use of non-disclosure agreements in cases involving sexual abuse, sexual harassment or bullying.

Other recommendations in the report include increasing investment in diverse talent, and improving pathways to careers for women working in the industry.

The report welcomed the establishment of a single, recognisable body, the Creative Industries Independent Standards Authority, which it said would help to shine a light on unacceptable behaviour in the music industry.

But the committee cautioned it is "not a panacea for all of the problems in the industry" and "time will tell whether it has the powers required to drive the changes needed".

The committee chair, Caroline Nokes, said women's potential "should not have limits placed upon it by 'endemic' misogyny which has persisted for far too long within the music industry".

She said the report focuses on improving protections and reporting mechanisms, and on making reforms.

"However, a shift in the behaviour of men - and it is almost always men - at the heart of the music industry is the transformative change needed for talented women to quite literally have their voices heard and be both recognised and rewarded on equal terms."

A government spokesperson said: "All women should be able to work in a music sector which is free from misogyny and discrimination. The industry must do all it can to ensure there is a supportive and safe working environment and to address any imbalances of power that exist.

"The government will carefully consider the Committee's recommendations, and it is right that the industry is taking action through work led by Creative UK and the formation of the Creative Industries Independent Standards Authority”.

PHOTO CREDIT: MART PRODUCTION/Pexels

The report can be seen here. You should read the full report that shows the extent of the issue. The Summary makes it clear that the music industry is not doing enough to correct a decades-long ill and problem. Whilst women in the industry are speaking out, those in charge are not doing enough to make sufficient change:

“Women working in the music industry face limitations in opportunity, a lack of support, gender discrimination and sexual harassment and assault as well as the persistent issue of unequal pay in a sector dominated by self-employment and gendered power imbalances. Despite increases in representation, these issues are endemic and are intensified for women faced with intersectional barriers, particularly racial discrimination. There are legislative steps the Government can take to help tackle some of these concerns. The Equality Act should be amended to ensure freelance workers are provided with the same protections from discrimination as employees, section 14 of the Act should be brought into force to improve protections for people facing intersectional inequality. The Government should legislate to impose a duty on employers to protect workers from sexual harassment by third parties, a proposal the Government initially supported and then rejected last year. We received distressing evidence on the impact of non-disclosure agreements on victims of discrimination, harassment and abuse. Victims with little agency in the process are threatened into silence by organisations seeking to protect their reputation and the perpetrators of abuse who work for them. Victims described to us of being told they would suffer reprisals if they failed to sign what was put in front of them, often without independent counsel. The Government should urgently bring forward legislative proposals to prohibit the use of non-disclosure and other forms of confidentiality agreements in cases involving sexual abuse, sexual harassment or sexual misconduct, bullying or harassment, and discrimination relating to a protected characteristic. The Government should consider a retrospective moratorium on NDAs for those who have signed them relating to the issues outlined above”.

There has been a lot of reaction to these findings. I am not surprised to read the horrifying statistics and testimony. What is shocking is that we have to keep reading this. An industry dominated by women is also one watching them being harassed, abused and silenced. There is something quite warped when you think of everything that they give to music. Rather than them being celebrated, made equal, made safe and like they belong in the industry, it seems like this is not the case. How long is it going to take until a boys’ club built around misogyny is tackled and eradicated?! There does need to be a revolution. Change will not be instant. There is a lot to rectify and rebuild. What is evident is that things are broken and need fixing. Going back to the report, there is also the nature of equality across festivals and playlists. Women are not heard and seen. An entire report that clearly highlights how women are having to face to much discrimination and barriers:

“2023 saw a landmark year for female artists in the UK; seven of the top 10 tracks and 13 of the top 20 were by women. Nearly half (48.5%) of the tracks that reached the Top 10 of the weekly Official Singles Chart were by female artists, either solo or as part of a collaboration. This represented their highest annual share of Top 10 hits this century.8 However, behind these achievements, which are to be celebrated, lies a wider picture of deeprooted underrepresentation of women in key roles in the music industry. 7. Women represent less than a third of top-selling artists in music and only 14% of songwriters.9 In 2022, just 187 women and non-binary people were credited as either producer or engineer on the top 50 streamed tracks in 14 genres, compared to 3,781 men.10 Of all songwriters and composers who received a royalty in 2020 from their music being streamed, downloaded, broadcast, or performed, only one in six (16.7%) were women. Most recently, in summer 2023, only one in 10 headliners at music festivals in the UK were women. Responding to criticism of the lack of female headliners at the Glastonbury festival, Emily Eavis, co-organiser of the festival, who has long advocated for balanced line-ups, voiced her frustration at the lack of female artists being signed and supported: We’re trying our best so the pipeline needs to be developed. This starts way back with the record companies, radio. I can shout as loud as I like but we need to get everyone on board”.

I will leave it there. I am going to write more about this in the coming weeks. I wanted to react to a new report presented to MPs. The Women and Equalities Committee presenting the Misogyny in Music report should, one hopes, be a wake-up call. An alarm to the industry that things need to change. The more we read about misogyny, abuse and discrimination, the more women who will leave the industry. There have been a series of recommendations made as to how change can be affected. Steps and ideas that will, hopefully, be taken on board to ensure that the huge issue of misogyny ends. Maybe this tide will finally turn. It has been long overdue! This year needs to be one where…

WOMEN are a priority.

FEATURE: Spotlight: Flyana Boss

FEATURE:

 

 

Spotlight

PHOTO CREDIT: SJ Spreng

Flyana Boss

_________

EVEN if they are a new name to me…

the magnificent Flyana Boss have a growing and loyal fanbase. They are a Hip-Hop duo from Los Angeles consisting of Bobbi LaNea Taylor and Folayan Omi Kunerede. The duo signed to Atlantic Records in 2021. Maybe not as known and played in the U.K. and other countries as they should be, I want to bring in some interviews from Flyana Boss. There are a lot of interviews with Flyana Boss to choose from! Their name derives from the fact that they wanted to use a famous name. Halle Berry was the first I think. They then decided on Diana Ross and adapted that to get to Flayana Boss. The viral success of You Wish took them to new levels. They have famous fans in Missy Elliott and Megan Thee Stallion. Their latest single, Candyman, is another gem. I hope that there is an E.P. or album later this year. I will start with an interview from Ones to Watch. Last year was a big and dizzying one for Bobbi LaNea Taylor and Folayan Omi Kunerede:

“They’ve collected well-earned accolades, with “You Wish” hitting #1 on the US Spotify Viral 100 chart and countless celebrities, including Timbaland and Lupita Nyong’o, acknowledging them as peers. But the most profound, immeasurable accolade is the solace they’ve provided young Black girls too stunned by shame to live in the fullest expression of their awkward color. With pointed ear tips and fluorescent braids, they’re platforming weird in a way I wish little me got to witness but beams with pride knowing the generation ushering in is.

Sitting across from the two fairies come alive, there’s an impenetrable vibration between the two, a magnetism that heightens in charge when they’re together. With synchronized responses and mirroring astrology, the secret ingredient to their inevitable stardom is home-cooked love. With blinding smiles and eyes full of wonder, they keep the inner children within each other safe and leave everyone around them drunk with giggles.

We had the honor of discussing everything with the duo destined for stardom, from braiding their own hair to running around Drake’s house (pending Aubrey’s approval, of course.)

Ones To Watch: Congratulations on how big of a moment you guys are having right now! Have you gotten the time to breathe it all in?

Folayan: It really went from 0-100. I haven’t had my big cry moment yet and I’m a big crier. I’m waiting, like when is it going to happen?

Bobbi: Yeah, we’re both big criers. I’ve had a couple baby cries here and there, but I want that one that’s like, “THANK GOD I FINALLY DID WHAT I CAME ON EARTH TO DO.”

On your knees, ripping off your shirt, Ray J style.

Bobbi: Exactly. That hasn’t happened yet but I’m sure it will.

You’re taking over in a way that I think is important particularly for Black girls to witness, because you’re not pretending to be anything other than yourselves. And now you got the girls talking bout Kanekalon! What role does your hair play in your sense of expression?

Folayan: We both braid our own hair! Like we’ll just take two days off and be like, “We’re braiding our hair.”

Bobbi: A big part of our life is braiding our hair. We both feel a lack of self when our hair isn’t done. Like when neither of us is ready to change our hair we’re like, “Ugh, I hate myself.”

My brain shut off after you said that you braid your own hair.

Folayan: Yeah, my mom had a braiding salon when I was little! She had me doing other people's hair when I was like, 14 or 15?

Bobbi: I was a silk press girl for a long time. I didn’t know what to do with my curls.

It’s giving Kamala.

Bobbi: Exactly! It wasn’t until I started to accept my curls that I had to figure out how to do my hair. But I always had a knack for braiding, I used to braid my niece’s hair and my doll’s hair. I’m better at doing my own hair than anyone else, though.

Folayan: She can cornrow her own hair! I haven’t unlocked that skill yet. I’m not a parter. Like even when I do my own hair, I just grab.

Bobbi: I’m a big parter, parting is very important to me. This is where we differ.

Describe your “weird girl” style, who are some of your OG pioneers?

Bobbi: Our aesthetic is weird Black girls who are cute and rap.

Folayan: Missy Elliott was a big influence for sure, for both of us. Also Lizzo.

Bobbi: Tierra Whack was a big inspiration for us too. Rico Nasty, Doja Cat.

Missy Elliott shouted you guys out, didn’t she?

Folayan: WOW! Wow.

Bobbi: We haven’t fully sat in it. It’s so crazy and outrageous. Someone tweeted her a video of us and Missy replied “Fun!” and we both lost it”.

Big names already in the U.S., Flyana Boss have tour dates around North America. I hope that there is an opportunity for them to come to the U.K. soon. Teen Vogue chatted with Flyana Boss last year about their TikTok fame and rise to prominence. An act that everyone needs to watch for this year. They are going to go on to bigger and better things. They are definitely a hungry and ambitious duo. Make sure that you connect with them and listen back to the amazing music they have put out so far:

“Flyana Boss are plotting world domination. “We want to create a whole Flyana Boss world,” the pair tell Teen Vogue over brunch in L.A., joined by their videographer Evan Blum, who brings to life their instantly-iconic running video format. With the recent virality of their single “You Wish” on TikTok, that shouldn’t be too hard.

Bobbi LaNea and Folayan, who make up the hip-hop duo Flyana Boss, exude Black girl joy. Sitting at an outdoor table at Bacari in Sherman Oaks, Folayan is wearing her signature elf ears with dangling Cowerie shells and African beaded earrings. She’s giving a pan-African wood nymph vibe in a beige knit crop top, her hair nestled on top of her head in a messy bun and orange wrap with two single braids in the front secured at the bottom with wooden beads and seashells. Her style is effortless.

“What happened to the braids you had yesterday?” asked their publicist after seeing her new 'do. “It’s a wig,” she replied. The multi-faceted performer has become known for her eye-catching hair choices. That all tracks when at the end of brunch Folayan drops the bomb that her mom, a well-known and accomplished hair braider in Dallas, used to braid Erykah Badu’s hair. Folayan would sometimes help.

The yin to each other’s yang, Bobbi LaNea is effortlessly cool in a matching gray knit set, with her signature Herschel fanny pack slung across her chest. “Herschel needs to sponsor us, someone needs to reach out,” LaNea jokes. In a blink-and-you’d-miss homage to one of her inspirations Whoopi Goldberg, LaNea wears a pair of stud earrings with a picture of Ciely from The Color Purple on them. “They’re from Etsy,'' she tells me as I snap a quick picture.

The duo’s unique styles in both fashion and music have become a Flyana Boss calling card. You never know what fashion moments they’ll give, or where the next line in one of their catchy pop-culture reference-filled bars will take you. “When we're writing just us two together, I'll yell out something hard, she’ll yell out something,” LaNea says. “She'll say that's hard, I'll say that's hard, and we'll write it down and put it in the verse.”

That was the same formula used for “You Wish.” Working with up-and-coming producer Marky Style — “He touches everything we work on,” says Folayan — and writer Ellrod, the duo felt safe and heard. Skeptical about working with writers given past experiences with co-writers who didn’t cater to the duo’s vibe, their collaboration with Ellrod was a refreshing experience. “He matched our weird,” Folayan adds.

Their weird has impassioned millions with schoolyard lyrics like “Hello Christ?/I’m ‘bout to sin again/I said I love you to that man but I’m not feelin’ him/I’m made of sugar, spice, kanekalon and cinnamon/Me and my bestie are the same/Like a synonym.” A calling card to Black girls everywhere and a meme in one, this verse and their accompanying running videos haven’t slowed down with their cultural impact. In the few weeks since we sat down in Los Angeles, the pair have since been featured on billboards in Times Square, snagged featured spots on Spotify and Youtube, and let the girls who don’t know in on what kanekalon means (Black girls, we know).

At their truest heart of hearts, Folayan and LaNea are two Black girls living their dreams of making music and inspiring other young Black people to be unapologetically themselves. Born in Dallas and Detroit respectively, they met in L.A. at the Musicians Institute on Hollywood Boulevard. The duo wouldn’t become besties or start making music together until later when Folayan moved to California and they had a reunion that was the creative spark that formed Flyana Boss. Since then, they’ve been a dynamic bestie duo looking to make people laugh and experience intense bouts of joy whenever they listen to their music.

Along with millions of viewers, the duo has already caught the eyes of icons like Lupita Nyong'o recreating the video in Paris, Keke Palmer posting on her Instagram story, and Missy Elliott — who the day before we meet went on a multi-tweet thread defending them against haters who had a problem with the multiple video releases for their single “You Wish.”

“It means a lot. Words can't describe it, you don't even have the words for it, but it means so much because we grew up loving and admiring her,” LaNea says of Elliott’s acknowledgment and support.

This was a part of the catalyst for the video's virality across socials; people hate-shared the videos, complaining about their “repetitiveness.” That’s how I initially found them — they’d been RT’d in my feed by another Black woman clapping back at haters and trolls on the girls' behalf. “Protect Flyana Boss at all costs” has become a rallying cry among Black women online who see these girls as trailblazers, doing what they love and having fun”.

I will wrap up quite soon. There is an interview from Allure that caught my eye. Even though there is a lot of focus around You Wish, Flyana Boss’ other songs are just as compelling and strong. Marking them out as one of the most consistent and astonishing acts in the world. I am really excited to hear and see where they head as we move through this year. In September, Flayana Boss put out the E.P., hello christ? i’m bout to sin again. It is one that I would recommend everyone checks out:

“In the weeks since its Spotify debut, “You Wish” has charted in the Viral 50 playlist both in the USA and globally. And as a result of all this buzz, Flyana Boss's follower count has rapidly grown by hundreds of thousands, allowing them to officially enter the 1-million club on TikTok in July.

Beaming, the music school classmates turned viral rap duo can hardly contain their excitement. “We had this process before where we would tease a song and… see what the reception is like” Folayan says. LaNea chimes in to finish her sentence: “[‘You Wish’] was good from the moment we first teased it, so we knew it was going to do well…”

“But we didn’t know it was going to be like this,” Folayan exclaims. “We didn’t know our whole life would change,” LaNea adds. “TikTok has helped every song we’ve released. ‘You Wish’ is just like an astronaut on its own — it’s just out of this world.”

Since the viral success of “You Wish,” one of two songs featured on their new EP, Make It a Double, LaNea and Folayan have been on a constant swivel between their overflowing DMs, getting recognized on the street, and processing the brand deals that are rolling in.

While the duo’s vivacious performances and subsequent rise to the top might make you think they’re just a couple of extroverts taking over the rap world, the sudden publicity has been an adjustment for LaNea and Folayan, who both admit to being introverts.

“We’re introverts who like to perform, so a lot of this is very performative but in the most unique sense possible; the most authentic sense possible,” Folayan says. “We just balance it out with sleeping a lot or taking naps…”

“Or avoiding socializing,” LaNea adds.

“It’s a weird thing to be an introvert in this industry, but we have each other which is really nice — we give each other grace to just say no sometimes,” Folayan says.

Considering the duo has been performing together for the past four years , their balanced approach seems to be working.

At this point, you might expect me to make a casual mention of the girls’ ages; a throw-in stat used as an adjective to further illustrate just how wow-worthy their sudden rise to the top has been. While LaNea and Folayan undoubtedly have the baby faces of someone you’d expect to still be in school, if not just graduated, the pair is adamant about keeping their ages to themselves. Prior to our chat, their team made it clear that they weren’t looking to discuss their age, and it’s a veil they’ve consistently upheld throughout other interviews and online. The duo has posted a number of videos skirting followers’ questions regarding their age and comments about how young they look”.

There is love for them here in the U.K. NME are among those who have shown a lot of love and respect for the mighty Flyana Boss. They are an act that everyone needs to check out. Do go and spend some time with the music of Flyana Boss:

“You both share a great sense of humour – where does that from?

Folayan: “I’ve been getting my humour from Bobbi.”

LaNea: “Back when we first met,  said that somebody told her that she wasn’t funny and I think they’re the biggest liar on the face of the earth. She makes me laugh so much. But I will say I’ve always tried to be funny my whole life. Ever since I was a little kid, humour was a bridge for me, especially connecting to my dad and my brothers. I had to make them laugh to get their admiration and attention and affection.”

You’ve described yourselves as “two weird Black girls”. What’s the weirdest thing about you?

LaNea: “We call ourselves weird because we don’t fit like a stereotypical mould of whatever a Black girl is supposed to be – which I think is every Black girl, but we’re just outwardly projecting. We’re not whatever you think a Black girl should be. But I mean, we both have little quirks. I don’t like cheese. People think that’s weird about me.”

Folayan: “I usually wear my ears of some sort. I don’t have them on today because I left them at home.”

Folayan, where did you get the idea to wear elf ears?

Folayan: “I wanted to wear elf ears for a really long time, but I didn’t feel comfortable doing it. I was like, ‘Is it too weird?’. There was someone that worked at a dispensary with me, they wore elf ears, and they’re a cute Black girl too. I was like, ‘Oh my God, I can do it too!’. So they really influenced me to start just wearing them out everywhere. The ears just make me feel like the mystical creature that I feel like inside – and that makes me very happy.”

PHOTO CREDIT: SJ Spreng

Bobbi, you’re always carrying a bag in your videos. What’s in the bag?

LaNea: “I need to get a new bag. Everyone’s like, ‘Y’all got brand deals, why are you still wearing the same dingy bag?’ [laughs] Let’s see. I have hand sanitiser. My wallet. Some Vaseline – I hate to be ashy. Some manuka honey lozenges, keys and a pen. I had a mask in here up until last week. And a scrunchie.”

The Flyana Boss challenge has popped off. Have you ever nearly got kicked out of any locations for filming it?

Folayan: “So L.A. Fitness gym, that was on Hollywood Boulevard. We just decided not to ask for permission, but to ask for forgiveness. We had someone go up to the front desk and distract everyone. Her name is Julie – love Julie – and we just ran through it.”

LaNea: “The whole clip takes 25 seconds so you don’t have to ask for permission because by the time they’re yelling at you, we’re done.”

Folayan: “We went to Disneyland – we thought we were definitely gonna get kicked out. We thought everyone was gonna have a problem with it.”

LaNea: “That’s the only place we didn’t want to get kicked out or banned from because we love Disneyland”.

View this post on Instagram

A post shared by FLYANABOSS (@flyanaboss)

I am going to end with an interview from COMPLEX. Interviewed before they put out their latest E.P., Flyana Boss spoke about the viral running videos for You Wish, their origin story, and what's next. It is fascinating seeing these future legends take shape. A name that will sit alongside the biggest Hip-Hop names of today. There is no stopping them:

“What is the biggest misconception about you all? 

F: I'd say the industry plant one.

BL: Yeah, it's really annoying. Who plants industry plants? What garden is this? We both are from working-class families. We didn't have industry connections. We moved from our towns to L.A. to make our dreams come true, and somehow it happened.

F: Yeah, we met our managers four years ago. And they helped us put out our first song. Yeah, and then they started a JV with Atlantic. We were all just working at it.

Twitter/@rae_vans

What even is an industry plant? 

BL: I don't fully know either. And before we got called this, I thought maybe there was such a thing, but it’s not. You plant yourself — the industry can’t plant you.

F: You can have a lot of money and put a lot of money towards your stuff, and it still doesn't go viral, because that's how the algorithm works.

What are you two currently working on? 

F: A lot more music. Yeah. That's pretty much it.

BL: We want to go on tour.

F: Real bad… Brand deals are in our DMs.

BL: Yeah, they're percolating manifestation.

Are you all working on an EP or an album of any sort? 

F: We're not quite sure. We just know we're gonna have more releases this year.

BL: We want to build the Flyana Boss world. But we’re not sure what form it is — if it's a single project or album, we don't know yet. We're still running.

What would you name your fan base? 

BL: We were just talking about this in the car.

F: We want them to name themselves, because that's more authentic. But a couple of names that have crossed our timelines is Bossies, Besties, Fly Girls.

BL: Someone wrote the Sprinters. But we’re not going to run forever.

F: Yeah, my legs can’t.

Is there anything on your bucket list of career goals? 

F: Tour.

BL: I want to do the Super Bowl.

What is the most important thing people should know about you right now? 

BL: We're best friends in real life. That’s not fake. This is literally the best friend I've ever had in my life. And I'm so grateful to be on this journey with her.

F: I love you so much. We always have this moment when we look into each other’s eyes, and we start crying.

BL: Yeah, we love each other. We love doing this, and we're really grateful for everything that has happened to us recently”.

I can recommend that everyone spends some time with Flyana Boss. They are a name that may be unknown to some. I have not heard them much on U.K. radio. The Los Angeles dup are something very special. Go and follow them on social media and investigate their music. This year is going to be among their busiest yet. Fans around the world keen to see them play. This incredible music force are primed for…

WORLD domination.

____________

Follow Flyana Boss

Official:

https://www.flyanaboss.com/

Instagram:

https://www.instagram.com/flyanaboss/

TikTok:

https://www.tiktok.com/@flyanaboss

Twitter:

https://twitter.com/flyanaboss

YouTube:

https://www.youtube.com/channel/UCwv-B-7FDgC9VIFzqCiwN-Q

Spotify:

https://open.spotify.com/artist/0CLW5934vy2XusynS1px1S?si=_oAysqOeSCalgBdxxCYRlQ

Facebook:

https://www.facebook.com/flyanabossofficial/