Bringing a Voice to Female Musicians
GODIVA. M u s i c M aga z i n e
Where her roots really lie
ALICE MERTON HAVVK • ALICE JAMES • NINA NESBITT • PALE WAVES
FREE APRIL 2019
GODIVA. M u s i c M aga z i n e
Bringing a Voice to Female Musicians
The Team EDITOR ◆ Libby Long ◆ SUB EDITORS ◆ Maria Galea ◆ ◆ Allison Long ◆ CONTRIBUTORS ◆ Larissa Harrington ◆ ◆ Joe Harries ◆ DESIGN ◆ Libby Long ◆
Where to find us @GodivaMagazine
godivamagazine@gmail.com www.godivamusicmagazine.com
CON TENTS AL I C E M E RTO N
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TV REVIEW I N D U S T RY I N S I G H T “ H OW TO ”
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I N T R O D U C I N G : H AV V K LIVE REVIEW L I S T E N U P : P L AY L I S T OPINION AL B U M R E V I E W s ab o u t
ALI C E M ERTON 9
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Cover Feature
WHERE
roots
HER
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LIE WORDS: LIBBY LONG
Alice Merton With frequent moving around the world the backdrop of singersongwriter Alice Merton’s adolescence, the influence behind certified platinum debut single ‘No Roots’ is clear.
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orn in Frankfurt to British parents, the musician spent most of her childhood in Canada and England. The former proved useful in aiding the songwriter in her musical conquests – it was here that Alice learnt classical piano and partook in singing lessons. Relocating to her birth-country of Germany in her teenage years proved pivotal to the singer’s musical success. Picking up a guitar and writing her first songs here before finally settling in the UK has left Alice with a keen understanding of universal cultures. When discussing how her cultural upbringing has affected her musicality, Alice confirms that “it has taught me to adjust to different atmospheres and to be more open to new sounds.” Although her family now reside in Bournemouth, the singer is based in Berlin. While always finding her way back to Germany, the singer confesses to being excited to tour in the UK “it feels special to play in cities near my home”. Subsequent to the release of debut album MINT back in January, Alice is now preparing to headline her first tour of the UK in March. Playing five dates across the country, including London’s Scala, fans can expect “a fun evening with songs that make them want to get up and move.” Despite Alice not understanding the success of her hit single ‘No Roots’, the singer admits that the song is still her favourite to play live as she loves “watching people’s faces just light up.” This isn’t her favourite song on the album, though, that spot is reserved for ‘Learn to Live’. Alice enlightens that this track explores her fear of everything “I’m not ever going to enjoy my life” she confesses.
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As a contradiction, the singer struggles to pick a highlight in her career thus far as “there have been so many incredible highlights.” Finally, she settles on playing Jimmy Fallon’s The Tonight Show and James Corden’s The Late Late Show. For Alice, accomplishments haven’t just come in the form of talk shows. ‘No Roots’ took the singer into the top 10 singles charts in 10 countries and gained Gold status in America. As well as this, she has toured with the likes of Vance Joy and The Killers. The latter was a big deal to Alice as she cites the band as a major influence and confesses that she would “love to collaborate with [The Killer’s frontman] Brandon Flowers.” With ‘No Roots’ gaining multiple airplays on BBC Radio One, follow-up single ‘Lash Out’ sneaked its way onto the BBC Radio Two playlist. Now onto her
third single from MINT entitled ‘Funny Business’, the singer has taken creative decisions into her own hands. Directing the music video herself, she informs of always having an interest in the film industry, even considering working as a screenplay writer. She adds “I loved this experience of directing.”
“I don’t do funny business” Having featured on fellow singer-songwriter Tom O’Dell’s track ‘Half as Good as You’, Alice confirms her love for his musical talents. However much she enjoyed the “wonderful
experience”, the singer is much more used to working alone. Founding her own record label, Paper Planes Recordings International, in order to release MINT ensured musical freedom on the debut record. This is evident, as her worldly progressive pop sound is splattered all over the album. It seems to work too, as she has racked up an impressive three million listeners on Spotify at the time of writing. The future seems bright for Alice Merton. Ironically, ‘No Roots’ has laid her foundations well for a strong career. Her feisty attitude helps too and although nothing is set in stone, there is one thing the singer can promise us “I don’t do funny business.” Alice’s self-directed video for new single ‘Funny Business’ is out now. Catch her on tour across the UK in March.
Dates of Alice’s UK and European Tour
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Girls Supporting Grils
MusicBlog
LOOK AT HER GO
This website hopes to shine a light on the many women who make up the music industry, as well as getting to know more the past, present and future state of women in music.
lookathergo.co.uk @lookarhergoblog info@lookathergo.co.uk
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Look At Her Go is a university project by a BA(HONS) Music Journalism student, Maria Galea. It was born out of the need to learn more about the importance of women in the music industry, and as a means to know more about the industry that she want to be part of.
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this eens fix Real Qu ns. Check out ow her’s cr s venture. ot ch ea girl bos
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music belongs to women as much as it does to men.
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In The Know
THESE WOMEN ARE HERE TO MAKE YOU
DANCE.
Slowly, women within dance music are stealing the spotlight, gaining the recognition they deserve in a male dominated industry. Never has the scene lacked incredible talent, yet the industry’s unfair structure has hindered female visibility.
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owever, with collectives such as SIREN, Discwoman and Female:Pressure creating a safe space for those unrepresented within dance music, as well as global icons such as The Black Madonna, Peggy Gou and Honey Dijon, there is hope that new surges of talent will continue to burst on to the scene; proving that dance music belongs to women as much as it does to men. There is countless female talent creating waves within the scene right now; not only in terms of production and DJing, but also behind the scenes. New York city based promotor, Discwoman are an equality-championing musical militia, bringing only the best selectors within the dance sphere to over 15 cities worldwide. Co-founder Umfang is playing clubs and festivals in all corners of the globe showcasing the harsher sounds of electronic music,
mashing together relentless techno and electro. The collective have also booked the likes of Octo Octa, Shanti Celeste and Peach. The latter is responsible for ‘Silky’, one of the top tracks of 2018 - it is fast paced yet gentle and rousing, with nostalgic mid-point vocals that float above the beat. Her biography on Resident Advisor simply reads “ball of energy”, and this is all that needs to be said about Peach. This particularly translates within her DJ sets where you can expect to hear pumping house, high octane techno and electro, as well as a dash of euphoric breakbeats. It is far too common for DJs to appear bored and stiff behind the decks, but Peach couldn’t be further away from this. Constantly bouncing around the DJ booth and smiling like a kid before Christmas, the London based Canadian is clearly in the scene for the right reasons.
San Francisco’s Avalon Emerson is colourful. Everything she touches unveils creativity and innovation, whether that be her glowingly flamboyant DJ sets, emotional journey-like tracks, or the visually pleasing videos that accompany them. Her most iconic track ‘The Frontier’ juxtaposes a murky, galloping 4x4 techno beat with floaty synths that denote images of an infinite desert. The track feels as if it is yearning for something, perhaps reflecting back to simpler times. Utilising her creativity in a new realm, Emerson has recently launched new site Buy Music Club, which encourages DJs to share their favourite tracks on Bandcamp, a platform which as she notes, “actually pays people”. She is continuing to build her reputation as an incredible DJ and all-round amazing creative. You can catch her at Sonar Reykjavik, Primavera Sound and AVA Festivals this summer.
START HERE Avalon Emerson – One More Fluorescent Rush // Helena Hauff – C45p // Shanti Celeste – Days Like This // Karen Gwyer – The Workers Are On Strike // Octo Octa – Fleeting Moments Of Freedom (Wooo)
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WORDS: JOE HARRIES
T V Review
WORDS: LIBBY LONG
With tickets costing an arm and leg, plus selling out every date within minutes, not all fans were able to make it to Taylor Swift’s eputation Stadium Tour. Thankfully, Netflix has our backs (like they always do) and has hosted a movie-version of the tour’s second Dallas date for our viewing pleasure.
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his show was evidently important for Swift, as she tells the crowd that she is the first musician to play the 105,000 capacity AT T stadium in the Arlington/Dallas area for two consecutive nights. Also explaining to the doting audience that she has been playing in the region since she was 15, this film really caught a moment in musical history. Opening with a variation of negative press clippings onscreen, accompanied by voiceovers from the press, the video ends with “let’s talk about Taylor Swift’s reputation.” ‘… eady For It ’ erupts through the stadium as Swift and her fierce backing dancers enter the stage. Shots of the crowd, some sobbing and some singing along, show the dedication to the singer despite recent attempts to tarnish her reputation. Split into six distinct sections, the performance covers every one of Swift’s alter egos. Demonstrated through various outfit and lighting changes, the first act’s theatrical essence plays host to the most recent – “dark Taylor.” Warrior-like dancers with smoke and flames validate perfectly that the old Taylor is very much “dead.” Slow motion shots of highly choreographed dance routines allow viewers to take in every aspect, from dramatic drumming to girl-power prowess. Following ‘I Did Something Bad’, Swift finally breaks into a smile and welcomes the cheering crowd to the eputation Tour. “It’s more than beautiful… it’s gorgeous”, she tells the audience, who subse uently explode into applause. ‘Gorgeous’ proves to be a fan favourite. Despite Swift’s band looking like they stepped right out of Spinal Tap, they can’t help but
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IMAGES: TUMBLR @DOWNTOWNLOCKS
dance along to ‘Love Story’ as they emerge onstage to play the track. Visuals of the band members who couldn’t make the stage is a nice touch to the documentary, giving credit where it’s due. It seems no expense was spared for this tour, as sets range from giant snakes to gold thrones. Floating stage parts allow the singer to be transported all around the huge stadium to additional platforms at the rear. She explains to the crowd why they were all given light-up wrist bands before entering – “I want you to know I can see you all, even at the very back row.” The musician’s love for her fans is evident as she plays older track ‘All Too Well’ due to high demand. Swift’s musical flexibility is also boasted throughout the evening as she switches from pop (‘Shake It Off’) to trap (‘King Of My Heart’) to simply a guitar (‘Dancing With Our Hands Tied’) or a piano (‘New Year’s Day’). Despite this, the minimalism of Swift’s song writing is evidenced through a variety of mashups of old and new tracks. 1989’s hit ‘Style’ is infused with ‘You Belong With Me’, Fearless’ ‘Should’ve Said No’ is intertwined with anthemic ‘Bad Blood’ and a touching rendition of ‘Love Live’ (dedicated to the crowd) is laced with flecks of ‘New Year’s Day’. The high production value of reputation tracks shine through as the performers really put on a show. With crowds ranging from teens with their families, young couples and groups of friends, Swift ensures everyone is catered for. Mixing sass-filled tracks such as ‘Blank Space’ with Broadway style routines throughout ‘Getaway Car’, acrobats fling themselves from staging reminiscent of scaffolding. Splashing around in a water fountain for the final mash-up ‘We Are Never Ever Getting Back Together / This Is Why We Can’t Have Nice Things’, pure enjoyment is personified through Swift. The performers bow to the ever-cheering audience as the show comes to a close.
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It’s more than beautiful… it’s Gorgeous
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Leaving her everything on stage, video cameras catch the heart-wrenching moment as the singer appears backstage, hugging her parents. As the credits roll, Swift’s softer side is shown through a series of rehearsal clips. Funny anecdotes are combined with shots of fans leaving the stadium, looking as if they are longing for more. Although £150 might seem a bit much for a concert ticket, Netflix’s account of the show will have you wishing you’d splashed out. Singing in your bedroom just isn’t the same as screaming your lungs out with 100,000 other Taylor Swift fans.
Industry Insight
Production Manager
ALICE JAMES
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WORDS: LIBBY LONG
Production Manager at the Apollo in Hammersmith, stage managing festivals such as Reading and Lovebox, directing the indie event known as Bushstock and teaching part time at a music college in London is keeping industry insider Alice James busy. From her first job as a Receptionist to her ever-growing impressive rĂŠsumĂŠ, Alice gives her best advice to aspiring women working in the music business.
Manager the rest of it the year for around 4 years. I then came off the road and went into a venue as a Technical Manager at The Forum in Kentish Town, which at the time was owned by MAMA, so it was a natural transition. For three years I worked there, ran Bushstock, and Stage Managed at festivals until I moved to the Apollo. Currently I work full time here, teach at music college BIMM London, Production Manage a series of festivals called Smoked and Uncut and Stage Manage at Reading, Download, Latitude, Lovebox, and Citadel among others.
Firstly, introductions – who are you and what do you do? I’m the Production Manager at the Apollo in Hammersmith. I Stage Manage and Production Manage various festivals, and for the last four years I was the Event Director of a small indie festival called Bushstock. What experience do you have in the industry? I started in a recording studio as a Receptionist when I was 16. At the time it felt like my only option to get into learning about sound. I started assisting on sessions in the evenings there, and by 18 I was recording and running sessions as an Engineer. I then went into live sound, then toured after that for a few years building up experience in the live industry. I worked some small festivals, until I eventually left audio behind and became a Tour Manager. From there I worked for a festival company called MAMA, now owned by Livenation, on the Production Team throughout the summer, and toured as a Tour Manager and Production
I barely give
INDUSTRY SEXISM
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How did you get to where you are today? By taking all the work I could, fitting jobs around other jobs. The first year I worked for MAMA I was an intern, so to afford the internship I worked as a Production Manager for a small 150 cap venue where I’d work on the door in the evenings, with my laptop sat there advancing shows for the next few weeks. I’ve never had just one job. Mostly because I love my work so I like doing new things, but also because you gain experience much faster that way.
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Industry Insight Have you experienced any sexism in the industry? If so, how did you overcome it? Yes, too many times to count really. Saying that, it happens extremely rarely now, and I’m not sure whether that’s because I’ve become more senior in my position, or because the industry really is changing. I think perhaps it’s a bit of both! I just tend to ignore it. If you know your worth, then it doesn’t really matter. It used to affect me when I was younger, but now I barely give it more than a brief roll of the eyes…
and there’s only three women. One is me, one is a junior camera runner and the other is an artist’s liaison rep. It’s an old rock artist though, so it’s to be expected. When we had Bannanrama here, they had a mostly all female crew which was nice.
Has being female stopped you getting jobs or opportunities in the past? Perhaps it did when I was very junior, but this is 12-14 years ago now, so the industry has changed a lot since then. It doesn’t now as I’ve got the experience and contacts I didn’t have back then. If I didn’t get a job for any reason, I always figured I’d get another eventually and just kept trying. I played the long game! Do you believe there still to be a lingering sexism in the industry? I think it exists to a point. With people who aren’t used to there being women around and in specific sectors - rigging, electricians and pyro technicians are so rarely female. But I now know lots of female Production Managers, Tour Managers and sound and lighting Engineers. Having said this, I’m currently working a show of roughly 70 people on site (between crew, touring production and cameras)
What advice would you give to young females hoping to get into the music business? Just keep going. There will be points where you wonder why you bother. But if you love this, if you truly love what you do, then you just have to keep going. Find someone to give you advice if you need it. There is a great organisation (they have a Facebook page) called Women in live music, which is a safe space to ask questions and get advice. It’s a brilliant resource that didn’t exist when I was younger. I wish it had!
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What keeps you being a strong female? What or who are your inspirations? There is a female Production Manager who manages the Pyramid stage at Glastonbury, which for me, career-wise, is something to aspire to. I know her from the Mercury Music Prize, which is held at the Apollo, and she’s ace. Also one of my closest friends Siobhain Brackenridge, who is a promoter rep, is an inspiration. We met doing small tours together around seven years ago, and her career has skyrocketed. She’s just worked with Britney Spears and Mariah Carey in arenas, and is out doing stadiums with Rod Stewart this year. I’m super proud of her and what she’s achieved. We prop each other up a lot. What’s next for you in your career? That’s a difficult one. It has to be either going into an arena, or back into festivals. I love it at the Apollo, and we are trying to develop some new projects here which are really exciting. Also I’m really interested in sustainability and I am part of a global programme to make venues and festivals more sustainable through AEG (The company I work for). I think trying to work with that somehow would be brilliant. It’s difficult to know where to go once you’ve met a big career goal, which for me the Apollo definitely was. I like to keep doing festivals though so I have the option to move in any direction when I do choose the take the next step.
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“How To”
C R E AT E T H E
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Girls Night Out
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P L A Y L I S T
rom choosing the pre-drinking destination, to ensuring every musical taste is catered for, making the ultimate G.N.O playlist is a lot of pressure. Listen up resident friendship group DJs – this is how to get the girl-power party properly going…
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>>>
“How To”
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WORDS: LIBBY LONG
Figure out the vibe – are you headed to your local Pop World for a night of cheesy classics, or to a Fabric-style rave? This is essential for deciding what type of songs you need for your playlist.
Choose where to have pre-drinks – again, this is crucial. If you’re having it at Sarah’s then you better have some Britney, but if you’re at Lucy’s you need to keep it PG in case her mum wakes up.
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Text the Group Chat asking for recommendations – Pleasing the crowd is all part of being the resident DJ in your friendship group. This is all well and good until someone suggests ‘#SELFIE’ by The Chainsmokers, at which point you decide your knowledge of music is superior. Name the playlist – often overlooked, the name of the playlist can determine how well it goes down with your peers. Think of something funny that will resonate with the whole group.
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Browse Spotify for your party bangers – despite knowing your music taste is impeccable, Spotify is always useful for those tunes even you forgot about.
Throw in a couple of Guilty Pleasures – Everyone loves Madonna, right?
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Decide on the order – again, often ignored with Spotify’s love for the shuffle button, but equally as important as the other steps. Deciding what songs lead well into others to keep the party vibe running all night long is vital in ensuring Amy doesn’t end up asleep before the taxi arrives again.
Spend the entire week listening to the playlist to get yourself pumped – banger after banger to see you through the working week. You just know Jessica and Sophie are doing the same.
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Ward off your peers from skipping any tracks during pre-drinks – spending the entire time sat by the laptop to ensure everyone takes in every song you so perfectly crafted together.
Cave in to peer pressure and allow a change – fineeeee Holly you can put on that R&B Jam from 2003. To be honest, it should have been in the playlist.
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Introducing
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There is so much imbalance and injustice for women.
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Indie-grunge inspired DIY outfit HAVVK’s frontwoman Julie talks new music, their upcoming tour, starting from the ground up and inequality in the music industry... “I tried to call you at five, but I forgot the UK dialling code!” Julie Hawk promises. “I ended up reaching some random guy in Germany” she continues in her signature Irish twang. Although originally born in Ireland, the singer and HAVVK frontwoman has since made Berlin her home. The change from a solo artist to fronting a band has made all the difference in Julie’s confidence, as she explains; “I didn’t enjoy the experience of being the main point of a project.” From here, HAVVK was born.
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Introducing
M
eeting producer, guitarist and cowriter Matthew Harris half a decade ago and becoming a “circle of open-mic singers” formed the idea in Julie’s head. Having the same musical influences – namely garage indie-rock music – left the duo wondering why they weren’t a band in the first place. Initially a four-piece, the relocation of HAVVK to Berlin saw the quartet become a trio, with Sam Campbell on drums and Julie taking over on the bass. Up next was creating a record label. Julie explains that a DIY approach to music is the only option for those trying to break into the business. With major labels pumping money into safe investments, “artists who are a box-fit”, leaves a gaping space in the industry for smaller musicians to take a ground-up approach. “People still want to hear music” she explains, “if we don’t a DIY attitude, then we won’t be able to get that music to people’s ears”. Veta Records, the band’s independent label, wasn’t just the obvious way to make music, but a “fundamental step in getting to wherever you want to go.” Being surrounded by so much talent also inspired the creation of the record label. Adam Peters, known by his stage name of Diver, and Maria Kelly are just some of the musicians signed to Veta Records. It seemed the right thing to do, as the band were already self-producing, communicating with PRs, running their social media accounts and working with videographers – all the things that a record label does. Putting a stamp on their music, both their recorded releases and live events, was pivotal to Julie and fellow bandmates in ensuring their hard work didn’t go uncredited. The freedom of running your own label, and hence having all the control of the music produced, is allowing HAVVK to release a full LP later in the year. In fact, the trio intend to put out two albums in 2019, evidence of just how hard they are working. With the first half of the record due in the May and the second following the summer, the year appears to be a busy one for Julie.
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Introducing
Only two months into the year and the band have already filmed two music videos (“in 48 hours… we didn’t sleep much!”) and released two new tracks. Julie reveals that one of the videos will include a live mural in the background and the other a choreographed routine “we put in as much work as possible.” It seems innovative creativity is an integral part of the band’s character, as they prepare for a UK tour alongside the album release in May. Julie confesses that the band’s music is “certainly very politically charged” and describes their sound as “mathematical and atmospheric.” Inspired by Sleater-Kinney and Radiohead, live music is what drives the band to work harder. The raw passion and skill demonstrated throughout a live performance really opens the band’s eyes to how much dedication it takes to break the industry. This is something they hope to bring to their own tour, incorporating the political attitudes the music presents. The tour, aptly named the Drawn Together Tour, will see collaborations between HAVVK and other female-fronted and non-binary projects. Julie explains that “we wanted it to be something connected with local communities through our mission to see more equality in music.” Equality, especially within music, is something that the singer feels very strongly about. Rock and Indie music are genres
“we put in as much work as possible.”
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typically identified with male performers. Being a female in this industry is hard and seems to be improving slowly but steadily. Admitting that initially she felt like “an impostor”, simply talking with other women in the same situation has helped immensely. “I didn’t give myself credit for the work I was doing, as I just felt lucky to be one of the girls who get to do it” Julie enlightens, continuing “that’s crazy because I should acknowledge the extra work you have to do.” Despite seeing improvements to gender equality, Julie confirms “there is so much imbalance and injustice for women.” The industry seems to be listening, however, with much talk about festival line-ups. “At least it’s newsworthy now… it’s a step”, the singer laughs. Despite receiving rave reviews from the likes of Noisey and Clash, Julie admits that she doesn’t know if the band will ever break into the mainstream. If fact, HAVVK aren’t really bothered by the press. Whilst they do appreciate having nice things said about their music, the trio would much rather get real-time feedback from fans. Engaging with fans allows a long-term foundation to be built, which can “take you to the next level.” What is the next level for HAVVK? Heading back to the UK for the tour, visiting cities that they’ve never been to before with the hopes that this is practise for a European, maybe even an American tour is in the immediate future. “I’d love to get to the point where the label is my only job”, Julie confesses. Although working with other artists is important in the longterm plan – the singer admits that she would feel disappointed if the only thing happening in her life was HAVVK. After all, DIY is all about “getting others’ music out there as well.” Listen to HAVVK’s new single ‘Birds on a Wire’ now. Catch them on their UK tour in May.
Live Review
O2 Arena, London
WORDS: LIBBY LONG
Preluding The 1975 is no easy feat. It is, however, made effortless by Manchester foursome Pale Waves. Headed by memorable front-woman Heather Baron-Gracie, the singer and rhythm guitarist lets the music do the talking as the band waste no time pleasing the crowd with hits such as ‘Television Romance’ and ‘There’s a Honey’. Clearly influenced by fellow Dirty Hit record label pals The 1975, Matt Healy’s production is evident throughout the short but sweet set. ‘Noises’ sees the thrashing guitars ignite an array of strobe lighting, as Baron-Gracie’s distinctive vocals echo around the 20,000 capacity venue, pitch perfect as if straight from their debut album. Having only released My Mind Makes Noises late last year, the quartet radiate professionalism. Drummer Ciara Doran is tight with fellow-band members as Pale Waves finish an excellent set, leaving the crowd perfectly warm for the night’s headliners.
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Discover more tracks! Godiva Music Magazine
Listen Up
You spoke, we listened. You picked the below genres as your favourites, enjoy these girl-power anthems.
LISTEN UP! Here at Godiva, we pride ourselves on knowing the best music in the business. The female voice is our specialist subject - here we have complied a definitive list of perfect listening for the indie girl to the pop princess.
Rock
INDIE
Courtney Barnett Pedestrian at Best ◆ Goat Girl The Man ◆ Dream Wife Hey Heartbreaker
POP Ariana Grande 7 Rings ◆ Nina Nesbitt Colder ◆ BLACKPINK DDU-DU DDU-DU
The Playlist
Alexandra Saviour Mirage ◆ HAVVK Birds on a Wire ◆ Pale Waves Drive
R&B
SZA Broken Clocks ◆ H.E.R Every Kind Of Way ◆ Mahalia I Wish I Missed My Ex
DANCE
Hannah Wants What I Want ◆ Peggy Gou It Makes You Forget (Itgehane) ◆ Avalon Emerson One More Fluorescent Rush
Opinion
here have been some iconic rock bands making waves in generations past and present. Despite their success, upon further research and inspection it seems to be a genre dominated by men. The overall essence of rock is a plethora of everlasting fashion moments, destroying one’s guitar or layers and layers of “guy-liner.” But, where are the female rock goddesses? Women have also been imperative to building the rock scene, but they haven’t always been acknowledged for it. Five albums into her 15-year career, Hayley Williams, lead singer of Paramore, is one of the most iconic poppunk vocalists. Being signed to Atlantic Records at the age of 14, the original plan was
to make her a solo pop artist. After refusing, she headed into the pop-punk genre.
for keeping the grunge scene alive has helped her remain relevant within the genre.
Two years later, at just 16 years old, Paramore’s debut album All We Know Is Falling was released. In 2007, Paramore produced their second album Riot! and with the success of the singles ‘Misery Business’, ‘Crushcrushcrush’ and ‘That’s What You Get’ the album was certified as Platinum in the United States.
Producing over 40 top-50 hits and selling more than 140 million records, both as a member of Fleetwood Mac and as a solo artist, Stevie Nicks is one of the best-selling music acts of all time. She was named one of the 100 Greatest Songwriters of All Time and also inducted into the Rock and Roll Hall of Fame in 1998 with Fleetwood Mac and as a solo artist in the same year. She is the first woman ever to be inducted into the Hall of Fame twice.
We can also take a look into the alternative rock and grunge scene with the crown sitting atop of Courtney Love’s head. Her career spans across four decades as she rose to prominence as the lead vocalist of Hole, a band she formed in 1989. Her wild personality and passion
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If Elvis Presley is the king of rock and roll, I hereby name Stevie Nicks as the Queen. When it comes to the rock genre, there needs to be more light shed on the inspirational women.
Rock is a genre dominated by men
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WORDS: LARISSA HARRINGTON
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WOMEN OF ROCK
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Album Review
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CONTEMPORARY PERFECTION
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The Sun Will Come Up, The Seasons Will Change
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NINA NESBITT Towards the conclusion of the record, the songwriter cannot conceal her balladeering roots with tracks ‘Things I Say When You Sleep’ and ‘Last December’ indicating Nesbitt’s love for storytelling. The latter is remnant of Taylor Swift’s 2012 Red era, using the power of music to express pure sorrow only the coldest of hearts would not empathise with. The album reads as a self-reflection of the singer’s adolescence, with the title track and first single ‘The Moments I’m Missing’ dripping with nostalgia. As the sound of trickling water soundtracks the record, the visually stunning accompanying video on Spotify leaves Nesbitt emanating vulnerability. Giving her life to the album proves rewarding for the songstress as the record allows the listener the feeling of knowing Nesbitt wholeheartedly. A new type of sounded feminism, The Sun Will Come Up is for the women who have loved and lost, but grown because of it.
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WORDS: LIBBY LONG
ollowing a string of undeniably catchy singles, the singer-songwriter turned pop princess Nina Nesbitt’s The Sun Will Come Up, The Seasons Will Change is contemporary perfection. Somewhat of a concept album, the record explores love and heartbreak, effortlessly using girl power as the ultimate catalyst for rejuvenation. Lead single ‘Loyal to Me’ and follow-up ‘Colder’ demonstrate Nesbitt’s new song writing technique to be flawless. Focussing first on melody, then later revisiting lyrics, appears to be the model formula for writing captivating, stuck-in-your-headall-day chart hits. Outside influences run riot on the album as it oozes 90s sass-filled, girl-band vibes. Quoting Destiny’s Child and TLC as direct stimuli, similarities between Nesbitt and Britney Spears seem more appropriate as the Latino-R&B fusion of ‘Love Letter’ and empowering ‘The Best You Had’ aid the singer in her battle for the title of Queen of pop.
Album Review
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dripping in sass
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t is no secret that Ariana Grande has had a hard time. Following the death of her exboyfriend Mac Miller back in September, the singer vowed to take a break from music. Calling off her engagement to Pete Davidson in the subsequent month couldn’t have been much easier. For many, this might have been the icing on top of the hiatus-shaped cake. Although the singer broke her oath of musical silence in favour of the iconic girlpower anthem, ‘thank u, next’, elements of her heartbreak seep through on the hotly anticipated album of the same name. On the surface, the record is dripping in sass, and emanates a sense of new found poise. Dig a PICTURE: ERIC RAY DAVIDSON FOR COSMOPOLITAN
thank u, next
ARIANA GRANDE I
little deeper, however, and tracks such as ‘fake smile’ and ‘ghostin’ reveal the skeletons still haunting Ariana’s closet. Her outright contradictions are admirable, as the relatable ‘needy’ is directly tailed by ‘NASA’. Trap-infused tracks ‘break up with your girlfriend, i’m bored’ and ‘7 rings’ are highlights, exemplifying the singer’s aptitude to get what she wants. Ariana’s customary impressive vocals are paired with high production values, blending elements of contemporary R&B with attractive pop hooks. With this, thank u, next is the perfect illustration of how to seize your moment.
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WORDS: LIBBY LONG
About
About the
E d i t o r
Born on the south coast of Devon, Godiva Editor Libby Long now resides in London. It is here that she is undertaking a BA(Hons) in Music Journalism. Her feminist roots made a female focussed magazine the obvious choice for her university final project. Having an eclectic musical taste ensures there to be something for everyone in the first issue of the magazine.
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About
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An allusion to the legend of the au-naturale young equestrian, a Godiva refers to a beautiful and perhaps mystical young woman
Where to find us @GodivaMagazine
godivamagazine@gmail.com www.godivamusicmagazine.com
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COMING SOON www.godivamusicmagazine.com/events