Hey Music Mag - Issue 4 - February 2019

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ISSUE 04

AVA MAX The new generation’s Lady Gaga?

JAMIROQUAI’S ENDURING APPEAL Must-watch music documentaries HOW TO RUN A RECORD LABEL

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NEW MUSIC YOU NEED IN YOUR LIFE

PRS for Music members Dreamwife performing at PRS Presents

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PUBLISHER Hey Music

EDITOR’S LETTER

EDITOR Lesley Wright lesley@heymusic.com NEWS EDITOR Kristan J Caryl kristan@heymusic.com MARKETING DIRECTOR" Darren Haynes darren@heymusic.com IN-HOUSE CONTRIBUTORS" Antoinette Smith" antoinette@heymusic.com Daniella Millership" daniella@heymusic.com CONTRIBUTORS Jim Butler, Butler, Nick Jim Nick Rice Rice,and Tarak Parekh Tarak Parekh, Jessica Dais & Pip Ellwood @heymusicofficial @heymusictweets @heymusicofficial @heymusicofficial www.heymusic.com LOCATION: London

Hey Mag is published by Hey Music.

All rights reserved. Reproduction in whole or in part without written permission is prohibited. The publisher regrets that they cannot accept liability for error or omissions contained in this publication, however caused.

The opinions and views within this publication are not necessarily those of the publisher or editors. All credits are accurate at the time of writing but may be subject to change.

Even if you’re too young to remember Bros, the recent documentary about the identical twins from the ’80s boy band will suck you in. At some points it’s unintentionally hilarious as clashing brothers Matt and Luke Goss come across as mad as a box of frogs, at others it’s deeply personal and poignant as they describe the impact of falling from “hero to zero” at the hands of an unscrupulous music industry and vicious press.

Tantrums, tears and triumph – it’s got the lot, and I was unexpectedly emotionally rinsed by the end of it.

Unlike those ‘poor’ kids who signed up for Fyre festival, who were financially rinsed. Fyre: The Greatest Party That Never Happened is another documentary worth watching.

In a nutshell, it’s a lesson in how not to be a promoter.

Two things struck me while watching the Fyre doc. Firstly, who signs up for a festival – luxury or otherwise – on the back of an influencer campaign that doesn’t mention anything about the line-up? And secondly, it’s further heightened my appreciation for all the decent promoters in the world, who stage excellent – and safe – festivals, gigs and parties.

I flirted with being a promoter once upon a time. A couple of mates and I ran a bi-monthly club night at The Key, in King’s Cross, London. Being a promoter is not for the fainthearted, let me tell you. We’d have a full club and tills ringing at the bar one night, and tumbleweed blowing across the dancefloor the next. If memory serves correct, we walked away from that little sideline after two years with the grand profit of £6.95. Between three of us.

But then we never got into it for the money. Which is just as well, really.

Enjoy the issue.

Lesley Wright HEYMUSIC.COM

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CONTENTS

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NEWS What’s cooking across the UK and around the world

FEATURES 16 POP ART Is chart-topping newcomer Ava Max the new generation’s Lady Gaga?

20 KING OF COOL The sound of Jay Kay’s Jamiroquai in 2019 is unapologetically buoyant, mesmeric and kaleidoscopic 24 CLASS OF 2019 The legends being inducted into the Rock & Roll Hall of Fame 26 SISTER IN SOUND We shine the spotlight on a successful female sound engineer making her name in a predominantly man’s world

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30 TAKE FIVE Producers, bands and vocalists destined for big things 34 CITY FOCUS Party vibes in Paris 38 ESSENTIAL VIEWING Music documentaries you need to watch 42 HOW TO… Detone boss Darren Emerson on how to run a record label 44 THE DIRTY DOZEN Some of the greatest jazz pianists to tinkle the ivories

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54 48 MUSIC BY NUMBERS Stats behind legendary London club fabric 50 COWBOY HAT OPTIONAL The reincarnation of country music

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52 IN PURSUIT OF HAPPINESS Kurdish singer-songwriter Nouri gets vocal about diversity 54 BITE ME Discover the dark, glitter-filled heart of FAANGS 56 MOVIN’ ON UP Kara Marni reveals what’s on her 2019 ‘to-do’ list

BACKSTAGE 58 SHINE ON! The role of an artist manager

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UPFRONT AROUND THE UK

Photo_Prisca Lobjoy

DISCOVER: Bjarki Happy Earthday (!K7) Having been one of the key artists that helped Nina Kraviz establish her excellent Trip label, Iceland’s Bjarki has stepped out with a debut album that peels back from techno and into emotive and insular IDM. It’s awash with warped pads, icy minimalism and underwater dub to make for a truly immersive listen.

MAN ALIVE! A Man Called Adam is UK pair Sally Rodgers and Steve Jones, pivotal players in the emergence of the acid jazz and Balearic house movements of the ’90s. After working together as Discrete Machines around 2012, they make a welcome return in March with Farmarama – the first A Man Called Adam LP in 20 years – and it’s a double album full of analogue warmth and vintage synths.

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At times smooth and serene, at others more intricate and experimental, it’s a journeying album that takes you from sunset house onto blissful ambient via gently churning breakbeats. It’s a perfect post-session album run through with the warm afterglow of a night out, and one that is sure to be a go-to soundtrack this summer.

MINT CLUB TO CLOSE Anyone who has been clubbing in the UK over the last 20 years will at least be familiar with Leeds venue Mint, even if they haven’t danced at the club. It’s been home to legendary nights like Back to Basics, Technique and Asylum, inhouse promotion System and, for the last decade, the afterparty of Sven Väth’s Cocoon in the Park festival. It’s famous for its close-knit feel, punchy Funktion One soundsystem and LED light panel above the dancefloor.

The sad news is that it’s closing on 24 February but not before a final run of parties that welcomes back favourite international guests – like Seth Troxler, Ricardo Villalobos and Kerri Chandler – and plenty of the local crews who have helped put it on the map.

UNHEARD BOWIE TRACKS SLATED FOR RELEASE Few deaths in the music industry had such a universally sombre reception as David Bowie’s in 2016. The singular and pioneering musician went out in typical style too, with final album Blackstar lamenting his own passing and giving us all comfort while we mourned.

To mark what would have been the late icon’s 72nd birthday, Parlophone will release Spying Through A Keyhole, a set of nine 7” singles that includes the earliest known versions of the now legendary Space Oddity. The label says they are mostly solo recordings of a rather rough quality, with the musician backing up his own singing on guitar and piano.

The exact date of this limited release had yet to be confirmed as this issue went to press.

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UPFRONT AROUND THE UK

BRIT OF ALL RIGHT

Calvin Harris

Jess Glynne

Jorja Smith

Sam Smith

“I feel like I’ve already won and I truly mean that,” said last issue’s cover star Jess Glynne upon discovering she’d been nominated for two BRIT Awards this year. “I get to do what I love every day and just to be recognised and accepted is enough.”

With her I’ll Be There track nominated for Best British Single, Glynne is up against Florence & The Machine, Lily Allen and Jorja Smith in the Best Female Solo Artist category. Smith is also in the running for Best Breakthrough Act and Album of the Year for her critically-acclaimed debut Lost & Found.

Anne-Marie and Dua Lipa, who are both nominated in four categories, are up for 8

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Best Single, along with Ramz, Calvin Harris, George Ezra, Rudimental, Sigala and Paloma Faith and Tom Walker. While Aphex Twin, Craig David, George Ezra, Giggs and Sam Smith face each other in the Best Male Solo Artist category.

Hosted by Jack Whitehall, the Brit Awards 2019 will take place at the O2, London, on 20 February. Winners will be announced in 11 categories.

Jason Iley, BRITs’ Chairman and Chairman and CEO of Sony Music UK and Ireland, said: “These nominations illustrate what an incredible year it has been for British talent and remind us what a great time it is to be a music fan, both in the UK and beyond.”

SHEERAN IN COURT BATTLE

HUNG UP

Another day, another high-profile case of alleged musical plagiarism. Just recently, Kanye West had to pay out to house pioneer David Morales for stealing a bassline for his I Love It track. Next in the spotlight is British artist Ed Sheeran, who has been accused of copying Marvin Gaye.

Gaye’s estate has been involved in such cases before when it was Robin Thicke and Pharrell who were in the firingline for their track Blurred Lines. They lost and had to pay $7.4 million dollars to the family, and now a judge has said that there are “substantial similarities” between Sheeran’s Thinking Out Loud and Gaye’s Let’s Get It On. Sheeran denies copying Gaye in the case brought by the heirs of late producer Ed Townsend, who co-wrote Let’s Get It On with Gaye. A US jury will rule on the decision.

STORM IN A TEACUP

Seventy per cent of UK gig-goers who’ve attended a live gig in the past year believe people taking photos and videos during the event detract from the concert experience, according to a study commissioned by Eventbrite. While 69% of those surveyed said they supported minimal action to minimize the disruption of fan photography at shows, 13% backed ‘no phone zones’ at venues.

Grime artist Stormzy has hit back at festival fans bemoaning his headlining slot at this year’s Glastonbury festival. “I get it,” he said. “Only one album, where’s all the number ones? But I am the headliner and I will come and give you a headline performance.”

REDISCOVER: Maxwell Maxwell’s Urban Hang Suite (Columbia) Twenty-three years ago, this debut album from Maxwell set a new standard in romantic and adult R&B, as well as paving the way for the neo-soul revolution that followed. A slow burner that eventually went on to sell millions, it oozes the sort of vocal smoothness and synth smoochiness that made Marvin Gaye and Prince so revered, and still stands alone.

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UPFRONT AROUND THE UK

LISA LASHES SCHOOL OF MUSIC TO EXPAND

After Lisa Lashes hosted a music workshop for under 18s in Leicester, the parent of one particular attendant was so inspired she got in touch with the legendary DJ. They clicked, agreed they wanted to offer something to young people who might struggle with drugs, be involved in gangs or have special educational needs.

Just ten weeks later, the Lisa Lashes School of Music was born. Free for students and fully government funded, fellow DJs, DMC champs, press agents, health and safety officers and social media influencers are also involved in the project imparting knowledge in their areas of expertise.

“The most important part of our school is that we are fully inclusive and for absolutely anyone,” said Deborah Hewitt, founding partner and managing director. “We do get 10

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accomplished artists that just need a little fine tuning, but we also teach people with no previous experience at all and they are now playing out after 12 weeks, so we are really excited to see who will come through the door next.”

Students undertake a 12-week programme that includes DJ lessons, production, radio broadcasting, social media, website building, branding and much more. The school, based at PTS Training Academy in Northampton, has already taken in 200 students and is now planning to expand into Manchester followed

by London.

“We will have further locations released for sign-up by the middle of the year,” explained Lisa. “And we’re excited to bring the online programme, available to the world, within the next few months.”

XXXX UPFRONT

in 2019 you can help us change more lives through music At Nordoff Robbins, everything we do is about people and music. We celebrate the connection and joy music can bring to those with life-limiting illnesses, physical disabilities or emotional challenges. As the UK’s leading independent music therapy charity, we work across the UK offering vital support through our dedicated open access centres and alongside over 150 partner organisations.

Our music therapists work in schools, nurseries, hospitals, care homes, prisons and community centres, to make sure that we are reaching and supporting the UK’s most vulnerable and isolated people, when and where they need help most.

Take on a challenge We need your support to help us reach more people than ever in 2019. We’re asking people to do something amazing and take on a personal challenge to raise money for our life-changing music therapy.

There’s so many ways you can challenge yourself, including running, climbing, singing or sledging!

Have a look on our website for inspiration on how you can challenge yourself to change lives through music in 2019:

http://bit.ly/NRChallenge2019

Registered in England No. 1514616. Registered Charity No. 280960.

Registered Charity in Scotland No. SC048817 Registered Office: 2 Lissenden Gardens, London NW5 1PQ

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UPFRONT INTERNATIONAL NEWS

BACK TO BUSINESS FOR MIAMI WMC The annual dance industry meet-up known as the Winter Music Conference in Miami is a place to party, have meetings and hear the hottest new tunes for the year ahead. At least it was until it lost some of business kudos to the likes of Amsterdam Dance Event.

Taking place from 25 – 28 March this year, Miami WMC is under the charge of new owners Ultra (who host various supersized dance music festivals all around the world). Ultra are responsible for the full programming of the conference and are promising a fresh approach.

As such, it will be presented in two parts: a more exclusive, by-invitation-only ‘industry’ segment aimed at professionals in the scene, as well as an additional opento-the-public ‘access’ segment meant for curious music consumers looking to learn more about the business. It’s also relocating to exclusive new partner hotel 12

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The Faena, in Miami’s Faena District.

Music enthusiasts, artists, DJs and industry delegates from over 70 countries are expected to descend on Miami Beach and dip into a packed schedule of over 400 events, parties, seminars and workshops. An event where music, technology, education and culture meet, keynote speakers include media theorist and author Dr Douglas Rushkoff, hugely successful Dutch DJ Armin van Buuren, and acclaimed novelist and Trainspotting author Irvine Welsh in conversation with acid house originator DJ Pierre.

“It was at WMC where mega deals were done and it provided a launching point for countless legendary tracks, as well as breakthrough DJs,” said Ultra Co-founder, Chairman and CEO Russell Faibisch.

“In March 2019, WMC returns with a fully revamped programme that gets the industry back to business.”

SAVE THE DATE

NEW TECHNICS TURNTABLE UNVEILED Many have tried but few manufacturers have ever actually managed to better the industry standard and, frankly, legendary Technics turntable. The direct drive platter is adored for its sturdiness, resilience to various spills and party thrills, and reliability, whether you scratch hip-hop, mash up house or blend techno. Many of the original models made back in the ’70s are still very much in use around the world today, and the resurgence of vinyl in recent years has brought a rise in demand for the muchloved turntable.

If you fancy a brand-new pair, you’re in luck as the Japanese manufacturer has announced “the first new standard DJ turntable in approximately nine years”. The all-black Technics SL-1200 Mk7 turntable features a new coreless direct drive motor and reverse playback capability, as well as “other sound-enhancing technologies”. That said, the company admits there’s nothing drastically new about the deck. And why should there be when it has endured for so long having originally paved the way for the very existence of DJ culture itself, eh?

GO CRAZY Feeling a little cuckoo? Then get yourself along to day and night party Cuckooland at Soho Beach DXB. The party makes its debut in Dubai on 15 February, with Gorgon City (left), Dennis Cruz and Max Chapman providing the disco to house soundtrack.

The 61st annual Grammy Awards will be streamed on 10 February from the Staples Centre, in Los Angeles. Hip-hop features heavily, with Kendrick Lamar (above) and Drake the two most-nominated artists, up for eight and seven awards respectively.

Brandi Carlile earned six nominations, making her the most nominated female, with Cardi B, Childish Gambino and Lady Gaga amongst those with five nods.

’DAM GOOD DGTL Amsterdam’s Easter weekend warehouse event in the Netherlands’ capital is one of the first big festivals of the year. Taking place on 20 and 21 April this year, there’ll be headline sets from Larry Heard, Ben Klock, The Black Madonna (above), Honey Dijon, Moodymann, Maceo Plex and Bicep.

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UPFRONT INTERNATIONAL NEWS

Photo_ Kaori Tempel

THE BEAT GOES ON

Beatport co-founder Jonas Tempel has returned to the online music store as creative advisor.

The move was engineered by Beatport CEO Robb McDaniels, who said that Tempel’s knowledge of comprehensive marketing campaigns and belief in the brand would help Beatport achieve its goals for 2019 and beyond.

“Jonas has a unique perspective on DJ culture and knows what it takes to work with our community to introduce a new DJ experience,” said McDaniels.

Tempel served as Beatport CEO from 2003 to 2010. He resigned after “a heated fight with the board”. The company, which focuses primarily on electronic music, was bought by Robert Sillerman’s dance media conglomerate SFX Entertainment in 2013 for almost $59 million. After that Beatport’s fortunes changed. It posted a $5.5 million loss in 2015. SFX filed for bankruptcy in 14

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2016. It emerged from bankruptcy as a private company, renamed LiveStyle, and retained ownership of Beatport, which is located in Denver and Berlin.

Last year, Tempel told Electronic Dance Magazine: “Beatport became a toxic and misguided company. Even before Sillerman and SFX took over, the company was hemorrhaging and headed in the wrong direction.”

Tempel, who worked with Beats by Dre after his departure from Beatport, is also behind Moody Recordings and venture capital company Rokk3rFuel. He said Beatport was “thriving again” under the leadership of Rob McDaniels. “I’m honoured to play a small part in a brand I co-founded and love so very dearly,” he added.

The company is planning to launch Beatsource, an “open format” music brand serving hip-hop, pop, R&B and Latin music genres, later this year.

One of dance music’s most celebrated mix series, Global Underground has welcomed legendary instalments from the likes of Sasha, Digweed and Nick Warren. This month sees it return with a double mix from Patrice Baumel, an East German DJ who represents a different side to Berlin than the techno you might expect. It’s rather lovely.

ROSKILDE TRIUMPHS Congratulations to Roskilde which scooped the Best Major Festival gong at the European Festival Awards recently. The Danish festival also took home the award for health and safety, while the Judas Priest-headlined Wacken Open Air, in Germany, won Line-up of the Year.

Germany’s Rolling Stone Park walked off with Best New Festival and the Green Operations Award went to DGTL Amsterdam.

Photo_La Skimal

NEW GU MIX

GET YOUR GLITTER ON! After 150,000 people danced to Glitterbox’s unique blend of house and disco in 2018, the vibrant party is setting off on a 10-date world tour.

With a heavyweight line-up of the freshest disco talent and classic house heroes including Armand Van Helden, Groove Armada, Louie Vega, Purple Disco Machine, Joey Negro, Melvo Baptiste, Mighty Mouse and many more, Glitterbox will be hitting the road with its usual crew of drag queens, dancers and performers that bring the infamous party to life.

Among the dates, the Work Your Body 2019 tour hits House of Yes, in New York, on 2 March, before steamrollering into Dubai’s Soho Garden, on 22 March, the Unlimited festival, Chamonix, on 6 April, and legendary Amsterdam club Paradiso, on 21 April. All of which lead into Glitterbox’s 20-date Ibiza summer residency at Hï Ibiza.

“The label, the parties and the movement continue to gather pace, reaching like-minded music lovers around the world,” said a spokesperson for the club. “More so than ever before, this year will see new music from the Glitterbox stable, with a focus on nurturing new and emerging artists representing the new wave of talent.”

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FEATURE AVA MAX

POP

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P A R T! With her seismic voice, bold look and Sweet But Psycho track winning her fans around the world, is newcomer Ava Max the new generation’s Lady Gaga?

Words_Lucy Mapstone/PA/The Interview People

Ava

Max is buzzing. And it’s no wonder. With critics predicting a stellar pop career for the young American artist, Ava’s breakout single Sweet But Psycho has smashed its way to the top of the charts in 14 countries.

The infectious pop tune sat at the top spot of the UK Singles Chart for four consecutive weeks recently, and was finally gaining the attention it deserves Stateside as this issue went to press. As Ava held the top spot on Billboard’s Emerging Artists Chart, she made her debut on American TV with two performances – one on James Corden’s Late, Late Show, swiftly followed by an appearance on NBC’s Today Show.

Reflecting on the past few months of her life, Ava admits to a sense of disbelief, adding: “It’s definitely overwhelming. I’ve been doing this for a long time but since the song came out, it doesn’t feel like that much of a long time anymore, it feels like it happened overnight.

But it didn’t.”

Sweet But Psycho fought off stiff competition from the likes of Ariana Grande and Mark Ronson and Miley Cyrus to claim the top spot in the UK, also peaking at No.1 in other territories, including Germany, New Zealand and Sweden. Not a bad start to 2019 for anyone, let alone a newcomer.

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FEATURE AVA MAX

“It’s exciting, for sure, but I want to achieve more. I want to release more songs. I want to release an album,” gushes Ava. If you haven’t heard Sweet But Psycho or seen the video, think Just Dance-era Lady Gaga. Ava is all peroxide blonde hair and bold outfits; the track super-catchy, earworm-friendly dance-pop with a heavy dose of sass.

Her style is unashamedly pop, a bold move at a time when it’s still sometimes considered a weaker genre, and she cites her musical inspirations as The Beatles, Whitney Houston, Christina Aguilera and The Fugees.

She was first introduced to listeners as a featured artist on American electronic musician DJ Le Youth’s Clap Your Hands track last year. In early 2018 she dropped her debut single My Way followed by viral hit Not Your Barbie Girl. She released another single, Slippin’, and featured on David Guetta’s 7 album and Vice and Jason Derulo’s Make Up track as a vocalist, before Sweet But Psycho put her firmly on the map.

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To some it may seem the 24-year-old’s success has happened overnight with that one great song, but Ava insists that’s simply not the case.

“It’s been a chase my whole life,” she explains. “When I was 14, I moved to California with my mom for music because I ended up doing some [singing] competitions when I was 10, 11, 12. My mom sold her house and we came to Los Angeles from Virginia. That year didn’t go so well because LA isn’t exactly what we thought it would be.

There was a lot of disappointment.

“Then, when I was 15 years old, we moved back to the East coast and I lived there for two years, in South Carolina, before I moved back out [to LA] when I was 17 with my brother.

“So it’s been this whole chase with singing and writing songs. Then I finally met the right people after years of struggling.”

The ‘right’ person in Ava’s case was Henry Walter, aka Cirkut, a Canadian record producer who has worked with modern music icons such as Rihanna, The Weeknd,

Katy Perry and Jessie J, among others. He took her under his wing, and they started writing and recording music together before putting a song on audio platform SoundCloud.

“I got really noticed by record labels and that’s how I got signed,” says Ava. Born Amanda Ava Koci to Albanian parents, the singer-songwriter says she understands what it is to struggle, having watched her parents face uphill battles following their move to America from war-torn Albania.

In 1990, 1991, they left Albania and ended up in Paris, where where they lived in a church for a whole year. It was very hard for them, but it was beautiful also because they were in Paris .

While there, they met a lady who gave them passports and they ended up in Wisconsin – that’s where I was born. They went to America with nothing, no money, no language. It was very hard for them

“It’s been this whole chase with singing and writing songs. Then I finally met the right people after years of struggling” and I remember watching them as I grew up, struggling, working three jobs each.

Watching them do that sometimes I think, wow, I feel so lucky to be doing what I am doing.”

Ava says she “can’t wait to give it all back” to her parents, but also that she wants to carve out a persona as a bit of a philanthropist in general, alongside a hopefully triumphant music career.

“Really, I just want to help my family, my friends and people in general,” she says.

Despite being born in America, she says she is “one hundred per cent Albanian”, and that she “definitely wants to give back

to the Albanian community when I can”, adding: “It would be amazing to do a fundraising concert over there. It’s important to give back.”

But before she achieves all of that, Ava’s priority for the next 12 months is to release her debut album, as well as more singles, all the while dealing with her newfound fame.

“I definitely don’t like red carpets,” she confesses. “I go on the red carpet because I have to but I’m not a big fan. That’s not my thing. I’d rather be in the studio making music and performing.”

Of her forthcoming new album, Ava says: “I’m really excited to show everybody the next side of me. Yes, they’ve seen the Sweet But Psycho side and they’ve seen me being like that, but I want to show them more of a real side.”

She concludes, firmly resolving to stick to her pop guns. “But I also want to keep releasing more pop songs. We need more pop songs and more empowering songs. I’m just excited for people to hear more music.”

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FEATURE JAMIROQUAI

THE KIN 20

OF C

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The sound of Jay Kay’s Jamiroquai in 2019 is unapologetically buoyant, mesmeric and kaleidoscopic. dips in…

Words_Jim Butler

Esteemed

G

American man of letters F Scott Fitzgerald wasn’t wrong about many things. Watching this year’s must-see Fyre documentary, you’re reminded that Fitzgerald savagely skewered the vacuous pursuits of morally bankrupt rich American white kids in The Great Gatsby, almost 100 years before Ja Rule and Billy McFarland went loco in the Bahamas.

He was awry with one observation, however. In the notes for his posthumously published novel The Last Tycoon, Fitzgerald noted that there were no second acts in American lives (and thus, by extension, all lives). From Elvis to Madonna, by way of Kate Bush and even Take That, this pithy take on culture is repeatedly repudiated.

It was once more in 2017, when after a seven-year absence (an eternity in pop music) everybody’s favourite cosmic acid jazz-discofunkateers Jamiroquai returned with

the release of their eighth album, Automaton. The re-emergence of Jay Kay and his band seemed eerily prescient. With the world standing on the precipice of collapse, Jamiroquai’s colourful and soulful grooves proved timely.

Doubly so, when you consider the likes of Pharrell Williams, Tyler the Creator and Chance the Rapper had all spoken about the influence of Jamiroquai on their music in the intervening years.

But it was more than just about turning on the new school (okay, Pharrell would have been dancing to Canned Heat, Deeper Underground and Space Cowboy back in the ’90s).

It was about bringing some muchneeded conscious funk back to a music scene obsessed with navel gazing singer-songwriters.

Writing in the UK, music critic Kitty Empire nailed it best when she wrote: “Ultimately, you can’t shake the feeling that pop is a giant feedback loop, in which

COOL HEYMUSIC.COM

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FEATURE JAMIROQUAI

Stevie Wonder and Curtis Mayfield begat Jamiroquai and Pharrell, and the influence of Jamiroquai must have fed, consciously or subconsciously, into the aural landscapes of both Daft Punk and Pharrell.”

Speaking to Rolling Stone, Jay Kay was remarkably sanguine about his band being held up as musical torchbearers. “I mean it’s very flattering,” he told journalist Chris Weingarten. “It’s interesting, I watched the Eric Clapton: Life in 12 Bars documentary.

It’s a fascinating documentary, but listening to that you also remember that everybody got their sh*t from somewhere else.

Snippets, bits, bobs.”

Fast-forward to this year and the band’s glittering comeback shows no sign of stopping. This month Jamiroquai will return to the United Arab Emirates for the first time since 2013 to headline the second night of the Dubai Jazz Festival, on 21 February.

Then there are shows lined up in Spain, Portugal, the Czech Republic, Germany and Belgium throughout May. 22

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So what can those in attendance expect?

Well, the word that keeps cropping up in reviews of their live shows since their triumphant return to the stage at London’s Roundhouse in April 2017 is “bangers”. Jay Kay’s boys (and girls – the new additions of the band’s Cosmic Babes backing singers bring some extra sass to proceedings) might still retain the funk-jazz-soul groove that first catapulted them to fame in the early ’90s, but this has been allied to some belligerent, club-infused electronics.

A review of that Roundhouse gig was quick to point out the new electronic avenues the band now travelled, describing two of their monster ’90s hits, Virtual Insanity and Canned Heat, as “actual f***ing bangers”.

Elsewhere, 2001’s Little L single was described as a “disco thumper”, while comeback release Automaton was noted for its “robotic funk”.

The review concluded: “Trendy 25-yearolds sung along to all the lyrics, suits a couple of pints too deep clapped out of time

with abandon and the middle-aged couple in front of us fought over how to correctly dance along to a moody, dubbier version of Emergency on Planet Earth. In those moments the full spectrum of the crowd shared something special.”

Not bad for a band that has been around for nigh-on 30 years. Despite being touted

by London’s hip style press for much of the early ’90s, it wasn’t until the spring of 1993 that the rest of the UK caught up when Too Young To Die and then a re-released When You Gonna Learn relentlessly grabbed the hit parade and refused to let go. Debut album Emergency on Planet Earth topped the album charts with its blend of on-point environmentalism and funky good vibes.

Alongside Britpop, dance music and hiphop, Jamiroquai’s many-legged groove machine ruled the rest of the decade.

Albums The Return of the Space Cowboy, Travelling Without Moving and Synkronized all ascend to the higher reaches of the album charts and the band become a fixture on festival line-ups across the globe. World tours sell out, 27 million albums are shifted

“It’s every inch a classic Jamiroquai album, and then some” and awards come from the likes of Ivor Novello, the Grammys and MTV. Their music (Deeper Underground) is featured on the elephantine Godzilla soundtrack and a geeky kid in a Vote For Pedro T-shirt does a rather strange little dance to Canned Heat in Napoleon Dynamite.

Which just about brings us up to date.

Their eighth album, Automaton was described by the band as “challenging man versus machine versus planet Earth”, and full of “smooth, sci-fi grooves, soulful electro-funk and a throwback techno vibe”.

Which as well as displaying some excitingly tidy lyrical flourishes is eerily accurate.

They continued: “From the intergalactic grind of the title track to the handclap disco of first single Cloud 9, and the cruising sunshine of Something About You, it’s every inch a classic Jamiroquai album, and then some.”

That it is. Jay Kay might still have more cars than anyone will ever need but levied by the calming influence of two young children, he’s once more put the fun back into funk music. He may no longer be the dancing space cowboy on a conveyor belt, but heading up the biggest Day-Glo global groove has brought about a fresh, new moniker: The King of Cool.

When confronted with his turnabout in fortunes, the man himself was unsuitably modest.

“I was kinda quite happy, pleasantly surprised,” said Jay Kay. “That was definitely like, ‘Whoa, crikey, thank you!’”

No, thank you, Jamiroquai.

Thank you.”

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FEATURE ROCK & ROLL HALL OF FAME

CLASS OF

2019

The legendary artists and bands being inducted into the Rock & Roll Hall of Fame this year

Did you know that artists can’t even be nominated for the Rock & Roll Hall of Fame until 25 years after the release of their first record? In an increasingly disposable music scene, if an artist has retained fans and attracted new ones over quarter of a century, you can bet they’ve done something right. This year’s Rock & Roll Hall of Fame inductees are living proof of that.

The Rock & Roll Hall of Fame may be in the US but five out of this year’s seven inductees hail from the UK. The induction ceremony takes place at the Barclays Centre, Brooklyn, New York, on 29 March.

The Cure

From: UK Debut album: 1979 No. of studio albums: 13 No. of singles: 37 Quote: “I’m not a morose person; it’s just that my best songs reflect on the sadder aspects of life.”

(Robert Smith)

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Stevie Nicks

Janet Jackson

Roxy Music From: UK Debut album: 1972 No. of studio albums: 8 No. of singles: 23 Quote: Everyone in rock ‘n’ roll including myself was touched by Elvis’s spirit. I was, and always will be a fan.” (Bryan Ferry)

Def Leppard From: UK Debut album: 1980 No. of studio albums: 11 No. of singles: 60 Quote: “Some of these songs we’ve got are 35 years old and older, and we’re actually out there playing them and people really dig them.

That, to me, is a big deal.” (Phil Collen)

The Zombies From: UK Debut album: 1965 No. of studio albums: 7 No. of singles: 19 Quote: In England we only had one hit record. Around the rest of the world, we were considerably more successful.”

(Rod Argent)

Radiohead From: UK Debut album: 1993 No. of studio albums: 9 No. of singles: 30 Quote: “I know I’m paranoid and neurotic, I’ve made a career out of it.” (Thom Yorke)

From: USA Debut (solo) album: 1981 No. of studio albums: 8 No. of singles: 32 Quote: “My favourite evening is still going to a grand piano in a beautiful room with incense and candles and sitting down to write a song for the world.”

From: USA Debut (solo) album: 1982 No. of studio albums: 11 No. of singles: 78 Quote: “Singing and dancing – and all the joy that goes with performing – come from my heart. If I can’t feel it, I won’t do it.”

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FEATURE FEMALE EMPOWERMENT

SISTER IN SOUND

The go-to engineer for almost all of Coldplay’s albums and a veteran of projects including the London 2012 Olympics, Muse and the Foo Fighters, Olga Fitzroy has carved out a successful career in sound engineering Words_Kristan J Caryl

Photo_Chrissy Jones

Despite

the recent focus on gender imbalance in the work place, the music industry is still very much a man’s world. Vital work is being done to change this through initiatives such as Smirnoff’s Equalising Music and Keychange, which both encourage (mostly male) promoters to pledge a 50/50 gender balance on their line-ups by 2020 and 2022 respectively.

But a 2018 study by Dr Stacy L Smith, an associate professor at the University of Southern California, revealed that things are still pretty grim.

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After analysis of the top 600 songs from 2012 to 2017 (as defined by Billboard’s end of year Hot 100 chart for each of those six years), it was reported that only 22.4% of the 1239 total performing artists were women.

The behind-the-scenes figures are no better: only 12.3% of the 2767 songwriters credited on those songs were women. What’s more, female producers are even less common, with only 2% found in a subset of 300 songs across the same timeframe.

“On my Sound Engineering course in Glasgow there were two girls and 20 boys,” remembers Olga Fitzroy, a Berlin-born Brit

D whose accent betrays a childhood spent in Scotland. “At university it was just as imbalanced, with 20 boys and four girls.”

Now the go-to engineer for almost all of Coldplay’s albums, and a veteran of projects ranging from the 2012 London Olympics to the Foo Fighters, Fitzroy says no-one really talked about the imbalance back then.

“People just accepted it and got on with the job,” she says, while adding that her parents were just happy she’d finally given up on her hopes of becoming a rock star.

“In college, I realized you had to rely on a bunch of other people to be in a band, but

being an engineer I could just do my course work and rely on myself a bit more.”

Her attention first turned to sound engineering when doing work experience with some light and sound technicians at a theatre. She was allowed to “route signals and play on the desk” and although she was already playing classical music in orchestras, this “was a new way of working with music I hadn’t thought of before”.

These days, Fitzroy can most often be found behind the vast desks of London’s acclaimed AIR Studios or at home making Lego with her young son. After a pause HEYMUSIC.COM

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in our interview to help him find “Anakin Skywalker’s head”, she remembers taking him to the studio once and only managing to push one button in six hours. But when there alone, she can work on anything from music for TV series, film soundtracks or with artists that range from the world-famous to the freshly emerging, such as Interchange.

They are a new, all-female, 10-piece jazz band providing Olga with a challenge she is relishing as jazz is not within her usual remit.

Another recurring challenge is working with directors when artists are making videos as well as sound recordings, as she did with Dua Lipa and Martin Garrix on their 2017 hit Scared To Be Lonely. “You have to make sure you get what you want in terms of audio while the director gets what he wants from video, so that is the most common time there can be a clash of opinion,” she reflects.

“But as long as you go in positive and aren’t confrontational, you can always work out a way forward.”

Originally founded by Beatles producer Sir George Martin in 1969 and based since 1991 at Lyndhurst Hall, Hampstead – originally a church and missionary school designed in 1880 by the great Victorian architect

Photo_Chrissy Jones

FEATURE FEMALE EMPOWERMENT

Photo_Rianna Tamara

Alfred Waterhouse – AIR studios attracts the biggest names in the business. Adele, U2, Muse, George Michael, Kate Bush, Liam Gallagher, David Gilmour, Mumford & Sons and Katy Perry are among the worldfamous artists to have recorded there, while its cavernous hexagonal shaped live room is big enough to house a full symphony orchestra and choir at the same.

Crediting illustrious peers at AIR like Nick Wollage and Geoff Foster as having inspired her the most on her way up, Olga reckons being a female engineer has plenty of advantages: it isn’t necessarily how men and woman approach projects or the results they get, more the relationships they form with different artists.

“Sometimes people prefer having a woman on a project because I think they’re aware that so many men are involved and think it would be nice not to just have input from a bunch of blokes. And sometimes you get 28

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that category. “They are always brilliant and a female artist that just wants solidarity or another female in the room, while some don’t quite long projects because they try out all sorts of different avenues and ways of doing care either way.” things, so to get to the end of one of those Mostly driven by what clients want than her knowing you did it as well as you can, having own personal vision for a project, she says explored so much, is again it’s relationships “.really satisfying .’’ rather than skill sets Because Fitzroy that determine who works in one of the best people want to work “Working with a studios in the country, with. Depending on big orchestra is and on some of the the project, she can really special” finest equipment, equipment, she work either as an says she doesn’t think engineer or producer about the specific tools with varying levels of that much. Nor input, and loves the process of working on film scores. is she a hardware or digital nut, but instead “Working with a big orchestra is really someone happy to mix on her iMac using special,” she beams. “Also the level of plug-ins at home. musicianship and session musicians you “I’m always more interested in the end work with is pretty amazing. It’s those people result,” she says, before heading off to start more than the music itself that make the work on another challenging project: job enjoyable.” She includes Coldplay in assembling the Millennium Falcon.”

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FEATURE TALENT SCOUT

TAKE 5

To help you connect with the best emerging talent, rounds up five producers, bands and vocalists from the worlds of jazz, soul and house who we think are destined for big things this year

Greentea Peng

The world is in the midst of a neo-soul and R&B revival.

Internationally, Aussie Jordan Rakei has long been turning out heart melting albums and Chicago’s noname has put out two albums of dreamy, happy vocal beats. In the UK, artists like Eglo’s velvet vocalist Fatima, Manchester’s rude-girl IAMDDB and soul-edged hiphop outfit Children of Zeus are all bringing lush, heartfelt vibes to electronic music.

A new name to add to the list is South London’s candid Greentea Peng. Covered head to toe in tattoos and piercings, she has a moving sound that pairs light with dark, the creamy with the edgy. Hip-hop, grime, soul and R&B all permeate her work as she muses on breakups, anxiety and plenty of sensitive subjects in between.

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Bruce Loko

The South African house scene is said to be the largest in the world. Every township bumps to a slightly different take on the global genre, with local cultural inflections and a DIY mentality giving rise to fascinating new fusions.

Many artists are starting to get more global attention in the wake of breakout star Black Coffee really making his mark on the scene. One artist who is hot on his heels is Bruce Loko.

Loko has released on labels like Get Physical, and this month debuts on the definitive house label Freerange. His sound is enchanting and spiritual, with deep rolling house grooves sinking you into a state of hypnosis. Up top, his fluttering synths and careful effects add humid, scorched details that speak of the artist’s homeland and really stand him apart.

Chekov

Leeds has long been known as a party city but often lags behind the pack when it comes to turning out proven producers. Midland and Paul Woolford are some of the biggest recent artists, but 2019 has a new name on the horizon in the form of Chekov. Real name Laurence Huntington, this youngster has made a number of noteworthy appearances on labels like Shanti Celeste’s Peach Discs and the emerging Cong Burn.

His slow, sludgy, trippy electronics don’t easily fit in any box and make you experience weird feelings not normally associated with the dancefloor. Cult German DJ Lena Willikens gave him a deserved step up by including one of his tracks on her Dekmantel compilation early last year, and he followed it up with low-key groovers like Spring and the 110bpm banger that was Bierce. Expect more big things as the year progresses.

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FEATURE TALENT SCOUT

Violet

Portugal is the latest city to come into focus in dance music’s collective conscious. Long known for clubs and festivals like Lux and BPM, a number of new festivals sprung up there in the last few years, as well as DJ and producer collectives like DJ Marfox, who champions Lisbon’s Afro-Portuguese sound. Violet is someone who has risen through the ranks recently and, when not making beats that range from breakbeat-laced techno jams to raved-up house cuts, the 33-year-old is busy championing women in dance music.

She’s part of an all-female rap crew, turns out covers of classic tunes made solely by women and is cofounder of Radio Quantica, a platform that provides a safe haven for underground Portuguese artists and activists. Her latest move was to start her own label, naive, and it’s earned a quick reputation for a series of rugged tracks that take cues from the euphoria of UK rave and the jack of Chicago in equal measure.

KOKOROKO

As well as soul and R&B revivals, jazz music has never been cooler or more popular with young people than it is now. Gilles Peterson’s Brownswood label has a lot to answer for in that regard and continues to turn out plenty of bright new stars of the scene. London seven-piece band KOKOROKO is one such act that featured on the label’s regular We Out Here compilation. Their Abusey Junction was a surprise YouTube hit that has picked up over 18 million plays and counting.

They follow it up in March with a self-titled debut EP that channels west African jazz greats like Fela Kuti and Tony Allen, echoes Afrobeat and highlife and has tight, steady grooves bound by keys and horns. More thoughtful, deft jazz tracks and lyrical meditations also feature to make for a strong start to their careers.

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FEATURE CITY FOCUS

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PARIS PARTY VIBES

The French capital can claim to be the birthplace of the modern discothèque, but which clubs and parties are shaking the city today?

Words_Ben Murphy

Photo_Mona by David Volants

Paris

was the first city in the world to have a nightclub resembling what we know today. In 1953, Belgian chanteuse and club manager Régine Zylberberg invented the modern discothèque, replacing live bands and the jukeboxes that were commonplace then at her Parisian venue Whisky à Gogo with a pair of turntables, and decking out the space with a dancefloor and colorful lights.

She operated the decks herself to ensure there would be no breaks in the music, anticipating the nonstop music of the disco era several decades early.

Ever since, France, and the capital in particular, has maintained a strong bond with dance music, cemented by innovative French disco artists such as Cerrone, Sheila & B. Devotion and Space in the 1970s, and glamorous

Paris clubs in the ’80s and ’90s, such as Le Bains Douches and Le Queen.

In 2019, though the late ’90s boom time of the French Touch movement symbolized by artists Daft Punk, Étienne de Crécy and Cassius might be over, the Paris scene remains effervescent, thanks to a host of underground clubs that help to promote its various electronic music strands.

The most famous of them all is the long established Rex Club. Located beneath the venerable Grand Rex cinema on Boulevard Poissonnière, it was founded (in its current incarnation) by DJ and tastemaker Laurent Garnier in 1992. It has retained a vehemently subterranean booking policy through its operation and is a passionate advocate of techno in particular. DJs as varied as Jennifer Cardini, Tijana T,

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Photo_Rex Club by Alban Gendrot

FEATURE CITY FOCUS

DJ Gregory and Inigo Kennedy have all played there, with promotions such as D’Julz’ Bass Culture respected bastions of deep house.

Mona’s monthly parties take place at La Bellevilloise, a multi-purpose arts and cultural centre, which is typical of the type of venues that now dominate the Paris scene.

The Mona event differentiates itself by its strong focus on the roots of house and disco, booking DJs such as Daniel Wang,

“We always start our nights with a free dance class so that the crowd learns new moves” Nick V, Mona

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Horsemeat Disco and Karizma – and also through its focus on dancing.

“My idea was to put dance back at the centre of clubs by using the amazing energy of the local scene,” says DJ and promoter Nick V. “We always start our nights with a free dance class so that the crowd learns new moves, but above all learns how to start a night in a different way, with the positive energy of dance, which then carries itself through all the night. We host dance contests regularly inspired by vogue balls, and set up in a similar way with categories and a jury.”

One club by the Peripherique, close to the famous transport hub Gare du Nord, is La Station. It hosts film screenings and art events, and invites names such as techno maven Ancient Methods and DFA experimentalist Eric Copeland to command its large warehouse space.

Most can agree that the biggest name on the Paris club scene today is Concrete,

As far as genres are concerned, deep house of the type made and played by Apollonia, D’Julz and Djebali remains popular, but techno reigns supreme with the club scene in Paris emulating the club diet of Berlin.

However, Bérite club music is a new style to emerge from the underground scene in Paris, developed by a handful of producers mixing together the genealogy of French electronic music (from French boogie to filtered house) with the strong cultural influence of France’s African immigration, through dance music styles like coupé décalé and logobi.

a three-floor boat venue moored on the River Seine that has gained world renown and respect for its techno focused line-ups and 24-hour parties (it was the first club in Paris to garner a round-the-clock licence).

Formerly a barge used for corporate events and weddings, now it reverberates to a Funktion One soundsystem, has a heated terrace and welcomes a very high caliber of DJ, featuring selectors such as Kink, Avalon Emerson and Daniel Avery.

Photo_Wanderlust

Photo_Concrete by Dominique Julian

Photo_Mona by David Volants

STYLE COUNCIL

Also by the Seine is the striking La Cite de la Mode et du Design, a sprawling hub dedicated to fashion, art, design and music, with two restaurants and the Wanderlust club, which concentrates on cool house music: Larry Heard, Lazare Hoche and Fort Romeau have all dropped by. Heavier sounds can be heard in its basement Nuits Fauves, where tough techno and electro acts have raised the roof of an industrial space where the DJ booth is in a cage.

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FEATURE MUSIC DOCUMENTARIES

ESSENTIA VIEWIN

Searching for Sugar Man

Director: Malik Bendjelloul Year: 2012

Prepare for tears of joy in this astounding story of a real nowhere man, Sixto Rodriguez, a folk singer from Detroit who made two albums and then disappeared into obscurity. His debut album released in 1970, Cold Fact, and its follow-up Coming to Reality were artistically brilliant but, for whatever reason, commercial flops.

Rodriguez went back to being an oddjob man and labourer in the home that he referred to as a “city of victims”.

What happens next is not be spoiled here.

If you haven’t seen it yet, find it. Suffice to 38

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say that a mega fan from South Africa, who believes the rumours that Rodriguez killed himself onstage in the US by either shooting himself or self immolation, uncovers more than he dared believe.

Swedish filmmaker Malik Bendjelloul, who tragically took his own life in 2014, won the 2013 Academy Award, BAFTA Award, Sundance audience and special jury award, and many more accolades for this remarkable documentary.

AL NG

No sooner had we got over BBC Four’s Bros: After The Screaming Stops than social media went into overdrive with reactions to Netflix documentary Fyre: The Greatest Party That Never Happened, the story behind the car crash ‘luxury festival’ whose promoter landed in jail. Here are four other music docs worth watching

Mistaken For Strangers

Director: Tom Berninger Year: 2014

The internationally successful rock band The National are about to embark on a major tour in support of their fourth album. Lead singer Matt Berninger and the rest of the band – two sets of brothers – have well and truly hit the big time.

Matt’s younger brother Tom, by contrast, is floundering. He’s a lay-about metal fan who’s made a few shoestring independent horror movies and he’s living at home with his parents in Cincinatti. He’s not getting any younger and the shadow of his elder brother’s global success looms persistently over him.

As any caring big brother would do, Matt wants to give him a leg up. He invites Tom to join the tour as a roadie, but after accepting the bone he’s been thrown, Tom takes it upon himself to document the tour. What unfolds then is a window into the intricate and capricious dynamics of a close-knit band of brothers on the road. Hundreds of hours of footage accrues as Tom captures not only concerts and backstage antics, but the actual process of himself making a film about his successful older brother.

This is brotherly love, in all its myriad complexity and fragility, presented in original and honest fashion. Mistaken For Strangers is funny, meta, irreverent, surprising, heart-warming and, above all, authentic. It doesn’t matter whether you like the music of The National or not, the pleasure comes from relating to the characters in the film… they are good people doing their best with each other.

Seek this out and see why the acclaimed documentarian Michael Moore described it as “one of the best documentaries about a band that I’ve ever seen”.

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FEATURE MUSIC DOCUMENTARIES

The Last Waltz

Director: Martin Scorcese Year: 1978

Arguably the best rock documentary ever made.

In the middle of making the all-time classics Taxi Driver and Raging Bull, the legendary Martin Scorcese directed this engrossing film that preserves for posterity the farewell concert of the American-Canadian band – The Band.

Held on 25 November 1976, at the Winterland Ballroom in San Francisco, The Last Waltz is a glorious celebration of a rum gang of hard-living musicians bowing out while they still can. United to send them off in style are some of the era’s greatest musicians; Neil Young comes on stage worse for wear to say, “It’s one of the pleasures of my life to be on stage with these people,” before launching into a brittle, powerful version of Helpless, with Joni Mitchel lending backing vocals.

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The roll call of artists that grace the stage that night is something else – Muddy Waters, Van Morrison, Eric Clapton, Ringo Starr, Bob Dylan, Ronnie Wood, Neil Diamond, Van Morrison, Bobby Charles, Dr John, Paul Butterfield, Emmylou Harris, Ronnie Hawkins and The Staple Singers.

Interspersed with these leaveit-all-out-there performances are the members of The Band being interviewed by Scorcese. Peering into this behind-the-scenes world offers a glimpse of the unique camaraderie that comes from years of playing and living on the road together. “That’s what The Last Waltz is: 16 years on the road. The numbers start to scare you,” guitarist Robbie Robertson tells Scorsese. “I mean, I couldn’t live with 20 years on the road. I don’t think I could even discuss it.”

The film opens with the exhortation, “This film should be played loud!” It pays to do so.

20 Feet From Stardom Director: Morgan Nevillee Year: 2013

The 2013 Oscar-winning film from director Morgan Neville nudges the spotlight away from some of the world’s biggest stars and onto the backing artists that contribute to their best recordings and performances. Over the course of 90 minutes the film unfurls the whys and wherefores of the careers of African American singers such as Darlene Love, Táta Vega, Judith Hill, Lisa Fischer and more. Women possessed of extraordinary talent – many would argue more than the singers they stand 20 feet or more behind.

The documentary sheds light on why these sensational singers never gained

the recognition they deserved. We see how Love was cruelly suppressed by the cracked maverick producer Phil Spector, and how she throws the towel in on the music business to become a house cleaner, until a righteous comeback beckons.

Interviews with the likes of Bruce Springsteen, Stevie Wonder and Mick Jagger give testament to the indomitable spirit and stirring passion of these unsung stars. Look out for a massive goosebump moment when Merry Clayton, called out of her bed at midnight – and heavily pregnant – attends an impromptu session with Mick Jagger and Keith Richards and lays down her iconic vocals on Gimme Shelter, her voice cracking with raw power and guts as she repeatedly sings, “Rape, murder!

It’s just a shot away! It’s just a shot away!”

Listen carefully to the recording and you can hear Jagger gasping “Woo!” in response to Clayton’s energy and delivery.

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FEATURE HOW TO...

HOW TO RUN A RECORD LABEL

More than 70 releases and two album projects deep, UK DJ Darren Emerson’s independent Detone label is going strong. Here, the former member of Underworld reveals the six steps behind his label’s success

1. THE RIGHT ARTISTS The first thing any successful label needs is good quality music. At Detone we’ve been blessed with an abundance of top artists since we started the label. The music always has to be to the standard that I’ve been playing throughout my career.

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2.

THE RIGHT TEAM

Work hard at putting together a small team of the right people to move your label forward. You have to push the label to all areas of the dance music family all over the globe, and that’s not an easy thing to do. We’re now working with some amazing PR and management people that will give us a huge boost in getting our brand across. Each member of our team is a vital cog that ensures the label runs smoothly.

3. MOVE WITH THE TIMES Styles change. Acknowledge this, move with the times and try not to pigeon-hole your label’s sound too much. You must be seen to be releasing fresh sounds.

Keep up with what’s cool and look out for forward-thinking artists. We get a few different styles sent to us at Detone – techno, house, deep house – and if it’s good we’ll release it. Simple as that.

TREAT PEOPLE 5. A&R: THE RIGHT WAY At Detone, we’re very big on the way we treat people. We’re honest and transparent with everyone we work with. There’s no excuse to be any other way in an industry that’s a very hard place to make a living.

We treat everyone the same way, whether they’re a successful artist or a producer releasing their debut. People remember whether you’re a pleasure to work with and this goes a long way to securing repeat business and gaining respect from industry players across the board.

4. DISTRIBUTION It’s essential to get tracks onto the right outlet platforms for people to hear and buy your releases. The way we listen to music has changed so much. The CD is a distant memory now with the digital age fully upon us. Work with the right people to push your music into the areas where people will see it to buy or stream. You need to be seen on the front pages of digital download sites, as the first thing seen on the banners will usually get a listen. Soon everything will have to be streamed to your devices and that’s why you need the best distributor working closely with the streaming sites to gain maximum exposure and hits on your tracks.

6. BE A HAPPY SHIP Everyone involved at the label should be striving for the same goal. If everyone is happy with their role and is treated right, things will get done.

At Detone, we try and keep in contact with each other on a daily basis and push each other when needed.

Everyone respects each other so we don’t have any issues (most of the time, anyway).

For a taste of Detone, check out Japanese producer Satoshi Fumi’s Sweep Harmony EP, out now.

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FEATURE GREAT JAZZ PIANISTS

T H E

D I R T

D O Z While most people think of trumpeters or saxophonists when they hear the word “jazz”, the piano has played a crucial role in the development of jazz theory and performance.

Acting as both a solo and ensemble jazz instrument, the piano has important contributions to make in the areas of rhythm, harmony and style. Some even consider it the backbone of jazz ensembles, as crucial as the double bass that outlines the harmonic figures and the trumpet that riffs and solos on the melody.

Perhaps what’s most incredible is how jazz piano has supported the evolution of jazz over the decades, from ragtime to bebop to swing and more. Take a trip through the eras with a dozen of the greatest jazz pianists to tinkle the ivories.

1. Scott Joplin

Scott Joplin’s style represents the earliest precursor of jazz, in the form of the classic ragtime. Born around 1868 in Texas, Joplin’s works inhabit a unique space where classical music and African-American styles, such as work songs and gospels, converged.

The unique sound of ragtime, with its syncopation and joyful melodies, can’t be mistaken for anything else. Joplin’s greatest hit, Maple Leaf Rag, epitomises the genre.

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T Y

E N

Feel the lively pulse of jazz with a quick trip through the years Words_Jessica Dais

FEATURE GREAT JAZZ PIANISTS

2. Jelly Roll Morton

A few decades after Joplin’s birth, the pianist who came to be known as Jelly Roll Morton was born into a family of proud Creole heritage in New Orleans.

Morton acted as a pianist, bandleader, composer and arranger. His works embraced ragtime and early jazz, and while his claims to have invented jazz have never fully been proven, it’s certain he’s an important figure who left us with many spirited compositions.

3. Earl Hines

A fabulous pianist who made a mark on jazz history, Earl Hines, born in 1903 close to Pittsburgh, had a big band with which he performed. Yet his artistry was so strong his piano playing alone contained everything needed for a meaningful, stylized jazz performance. He’s still recognised today as the father of modern jazz.

4. Fats Waller

Fats Waller was born in 1904 in New York City. An entertainer at heart, his most popular works still hold a place in listeners’ hearts, with compositions like Ain’t Misbehavin’ and Honeysuckle Rose never going out of style. Waller’s music had no limits – he played jazz and Bach on the organ.

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5. Art Tatum

Tatum heralded a new age of genius in jazz. He was ahead of his time, a devilish improviser and a technical wizard at the piano. Born in Ohio in 1909, Tatum had an especially unique life as a visually impaired musician. He melded the styles of swing and stride, inventing creative improvisations that surpassed anything heard until then.

6. Thelonious Monk

Inimitable in personality and musical style, Thelonious Monk was in a class of his own.

His style at the piano was highly unusual, featuring dissonances and dramatic, unexpected changes within a piece. Born in North Carolina in 1917, Monk’s legacy lives on in the form of albums and tributes, as well as an institute established in his honour, which supports jazz education in public schools.

7. Hank Jones

A versatile and admired pianist, bandleader, arranger and composer, Hank Jones’ career included more than 60 albums. He also collaborated with well-known musicians like Ella Fitzgerald and Charlie Parker. Jones was particularly known for his usage of advanced harmony.

8. Nat ‘King’ Cole

Nat ‘King’ Cole’s infectious melodies and vocals will never be forgotten. Expanding beyond the sphere of jazz, Cole also appeared in films and had his own television series.

Cole experienced a high degree of racism as a black musician born in Alabama in 1919, going on to perform in the southern states of the US.

9. Bud Powell

Bud Powell signaled a new era in jazz piano: bebop! Known for his compositions and creative harmony, Powell struggled with mental health and drug abuse, which unfortunately was not uncommon in the bebop scene of this age. Alive from 1924 to 1966, Bud Powell’s music led jazz piano in a new direction.

11. Ahmad Jamal

Born in Pittsburgh in 1930, Ahmad Jamal has valued his connection to the city throughout his life. Jamal’s career has spanned many decades and he is best known for his innovative style of musicmaking called “cool jazz”. While he was inspired by bebop, his style diverges into his modern interpretation of jazz.

12. Herbie Hancock

A versatile jazz musician who joined Miles Davis’ Quintet at the young age of 23, Herbie Hancock was born in 1940, in Chicago, and demonstrated exceptional talent in classical piano as a child. He was fundamental in establishing another evolution in jazz history: postbop. Hancock’s music is extremely experimental with eclectic influences.

10. Bill Evans

Originally from New Jersey, where he was born in 1929, Bill Evans is known for his harmonic prowess at the piano, as well as his collaborations with other famous musicians like Miles Davis and Chet Baker. His musicmaking involved new harmonies, unique interpretations of old standards and masterful melodic lines.

If you’re interested in honing your jazz skills why not obtain professional instruction from a piano teacher at TakeLessons?

Their qualified instructors can give you feedback and guidance on how to improve your skills. takelessons.com

HEYMUSIC.COM

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FEATURE MUSIC BY NUMBERS

FABRIC London club fabric celebrates its 20th anniversary this year.

Since throwing open its doors in Farringdon, the venue has become an institution, championing the best underground and cutting-edge electronic music.

Adored by the DJs who play there – both established names and breakthrough – and the clubbers who flock to it every weekend, fabric has played a huge part in shaping the UK’s club culture.

“Since opening our doors for the first time in 1999 we have always put our focus on running a space that would become a home for expression and creativity in London,” say the fabric team. “Artists and dancers from across the globe have descended our staircases and established our position as both a local dance spot and international melting pot.

“We want to say thank you to everyone that’s been part of this journey over the past two decades.

So much of the world surrounding us has changed in this timespan, but your love for us has always been unparalleled. From the celebratory times to our most challenging moments, it’s your support that’s built our legacy.”

To mark fabric’s milestone year, digs out some facts and figures behind the legendary club.

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Opened: October 1999 Capacity: 1600 The venue: A former Victorian cold storage meat cellar No. of rooms: 3 Soundsystem: 1 Martin Audio soundsytem (in Room 1) and 2 Pioneer Pro Audio soundsystems Key feature: The vibrating ‘bodysonic’ dancefloor in Room 1, with its 400 bass transducers attached underneath emitting the bass frequencies of the tunes being played. In other words, more bounce for your buck No. of punters through the doors: Over 3 million No. of guest DJs: 5000+ Longest party: Since its 10th anniversary in 2009, fabric has celebrated its birthday with 30 hours of non-stop music Most no. of sets: Founding residents Craig Richards and Terry Farley have both played at the club approximately 700 times

Photos_Sarah Ginn & Nick Ensing

No. of compilation series: 3 – fabric, FABRICLIVE and the soon come new quarterly mix series fabric presents 20th anniversary specials: Expect 20 special parties throughout the year – with every DJ playing extended sets for up to 10 hours – in addition to the club’s regular events schedule HEYMUSIC.COM

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FEATURE BIG COUNTRY

COWBOY OPTIONAL

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H AT L It’s time to change your perception of country music…

Words_Pip Ellwood

Think

country music is all about line-dancing and thigh slapping? Think again. Today, the genre is attracting a younger audience, and that’s in part due to modern country music combining elements of pop and R&B into the sound, which has made it more appealing to those that previously thought all country songs were about trucks, dirt roads and Jesus.

US artists such as Sam Hunt, Maren Morris and Thomas Rhett have pushed the boundaries of the genre and achieved huge sales in the process.

Credit should also be given to the hit musical drama Nashville, which found a loyal audience and whose cast spent a lot of time touring in the UK. That show opened people’s eyes by showcasing the breadth and variety that exists in the genre.

Charles Esten, who played lead character Deacon Claybourne, kicked off 2019 with a UK tour. Last September, Australia-born, US-based, singer-songwriter-actress Clare Bowen, who played Scarlett O’Connor, also toured the UK to promote her debut album.

Around 80,000 fans will flock to London’s O2 Arena, from 8 – 10 March, for C2C – Country to Country – a festival that’s helping to shake off country’s tired old image. In its seventh year, the festival welcomes some of the biggest names in

country music and showcases homegrown British acts too.

Headlining this year’s festival are Keith Urban (8 March), Lady Antebellum (9 March) and Chris Stapleton (10 March). Over the three-day event, fans will enjoy performances from 12 artists on the main stage, with more than 50 acts putting on shows across various pop-up stages in and around the venue.

At the same time as the London event, two other C2C festivals will take place concurrently in Dublin and Glasgow, with the line-up rotating between the three cities.

The popularity of C2C has spawned other regular events for country music lovers.

Country Music Week returned to London for a second year in October, and the genre expanded outside of the UK capital with new festivals The Long Road, in Leicestershire, and Black Deer, in Kent. Buckle and Boots, at Whitebottom Farm in Skiddle, enters its fourth year in 2019 too.

But it’s not just US artists that are benefitting from the growth of country music in the UK; homegrown artists are making their mark.

The Shires, Ward Thomas, The Wandering Hearts and Catherine McGrath are four UK country artists signed to major labels and they perform well in the mainstream charts.

Country music is continuing to grow around the world too. Before arriving in the UK, C2C will head to Berlin and Amsterdam. In September, the festival will mark its debut in Australia with gigs in Sydney and Brisbane.

With country music going through something of a reincarnation, perhaps it’s time you explored the genre with an open mind.

Pip Ellwood writes for entertainment-focus.com. Find more information on C2C at c2c-countrytocountry.com.

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FEATURE NOURI

THE P OF

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Kurdish singersongwriter NOURI gets vocal about diversity

PURSUIT HAPPINESS Words_Daniella Millership

Songstress

Vivian Nouri, known professionally as NOURI, was born in a Syrian refugee camp following the bombing of her family’s home in Kurdistan. Granted refugee status in 1995, her family settled in New Zealand where she began her singing career. Now pursuing her dream with a move to the US and the release of her first single Where Do We Go From Here, the talented singer-songwriter hopes to open more doors for Middle Eastern artists.

What was the turning point when you realized you wanted to make singing your career and how did your parents react?

I was in my last year studying computer science and I was speaking to a producer in the States. He said, “It’s really now or never; you just have to come out here and record.”

I realized I had to just do it so I mentioned it to my mum. She was surprisingly supportive and told me to try it once. If I liked it then it’s meant to be. If not, I’d have computer science to fall back on.

Who has been your biggest inspiration?

My mum. She’s been the rock of the whole family. I was a Syrian refugee and we were taught how to survive, not how to live. Being able to live my dream – not only to live but live my dream – was made possible by her.

Describe your songwriting process."

Most of my songs are written in the car because I’m in my own space, no-one’s really there to interrupt me. It’s so silent in the car so I can really hear my thoughts and

dig into my feelings. The other day I wrote a song in 15 minutes and that might be my second single.

What is something you feel is missing from the music industry that you’d like to bring to the table with your music?

I haven’t seen a Middle Eastern woman in the US trying to make it right now. The music industry is really lacking Middle Eastern women and diversity – I know I can bring that. I know I can set up a platform for women and men of all races to be able to do what they love and do it in a country where it’s so competitive.

Are you hoping to become signed to a major record label?

I wanted to release my debut single independently to see what organic reaction I could get, and it really exceeded my expectations. Now I have labels wanting to sign me. I do want to be signed to a major record label because I need my voice to be heard and I know they can push it to a whole other level.

What’s next for you?

I’m releasing another single and there’s going to be an EP/album following that along with another single. A few collaborations are in progress too; I can’t name anybody right now but they’re huge.

Any advice for young artists starting out?

You have to believe in yourself. You can’t convince anyone to believe in you if you don’t believe in yourself.

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FEATURE FAANGS

BITE Discover the dark, glitter-filled heart of FAANGS

M

Words_Antoinette Smith

After

winning a TV talent show in 2011, singer-songwriter Melissa ‘Charlie’ Storwick says she’s “searched far and wide” to find herself as an artist and as a musician.

Having grown into her own skin and style, the 20-year-old LA-based Canadian morphed into FAANGS and unleashed a string of tracks under her new moniker in the second half of last year. catches up with the unconventional singer-songwriter and party monster.

When did you write your first song?

I remember writing my first song when I was 11 years old. It was about this boy who was my neighbour who smashed my heart because he had a girlfriend in grade 3. It’s probably the most depressing song I’ve ever written. I was a sad 11-year-old, I still crack up about that.

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What inspires you?

Unconventional fashion, really sad songs, film photography, any Tim Burton movie, hearing people’s life stories, the pain that I’ve been through and will go through in the future, and travelling. Kind of the weirdest mixture of things but I always pull the most beautiful music from the saddest of situations.

What’s your secret to being confident on stage?

It’s a privilege to be on stage so I have the most fun possible and never overthink things.

The key to life is never sweating the small stuff like being nervous. I just throw on a giant jacket, some platforms and own it.

“I never want to be known as someone who caters to societal standards”

Make up_Esther Kieselhof Photo_Lunch Money Studios

ME!

friend to vent about how terrified I was, and said: “This city doesn’t have teeth, it has fangs.” My friends also used to joke about the fact that I’m the worst at sleeping. I’m pale as a piece of paper and I hate the sun.

Very vampire-like tendencies. So after I sent that message I connected the dots.

Your style is so eccentric, does fashion play a part in your creative story?

I’ve always been so drawn to fashion because it pushes the limits of the average mind, it expands my creativity and it allows me to express myself in a way that sometimes I can’t express through my music.

What’s behind the name FAANGS? FAANGS came from a text My artist name FAANGS message. It was my first trip to LA, I was 17 years old, by myself, and I was so overwhelmed by the size and energy of the city. I felt like I could go everywhere and nowhere with the power of LA. I texted my

What was the inspiration behind your Love Fast Die Young track?

I wrote and recorded that song when I was 16 years old. I have this outlook on life that if you don’t follow whatever dream you have, and do whatever you want, you’re wasting your time because you could die tomorrow.

I believe in falling in love with whoever you want at whatever time, spontaneously leaving to catch a flight three hours before it takes off, buying a jacket that’s too expensive because you feel like you can’t be yourself without it, saying what you want even if people don’t accept it, being bold even if everybody’s bland, and just doing whatever the f*** you want. Because at the end of the day, we all die, and it’s the legacy you leave behind that really matters. I never want to be known as someone who caters to societal standards. I just wanna love fast and die young.

What’s your favourite city to work in?

Hands-down my favourite city in the world to work in is London. Incredible people, ridiculous style, beautiful architecture and the music scene is on fire.

What’s on the horizon?

I have some killer music lined up for 2019.

My artist project is almost complete and I have a lot of opportunities cooking up. It’s going to be a fast year; I’ll tell you that.

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FEATURE KARA MARNI

London-based artist Kara Marni reveals what’s on her 2019 ‘to-do’ list Words_Antoinette Smith

With

BBC Radio 1 Introducing jumping on her Move track in early January, it’s fair to say 2019 has got off to a flying start for Kara Marni.

From tackling cover versions – her take on the Mimmie Ripperton classic Loving You is what first piqued her manager’s attention – the 20-year-old’s first seven-track EP garnered attention far and wide.

With her soul and R&B stylings infused with pop sensibilities, Marni is a young artist on the move…

MOVIN’ ON UP Did creating cover versions of your favourite songs help you discover your sound?

Basically, my parents are very big music fans and have a huge collection of vinyl and CDs. From when I was very young, my father would always play the incredible big female voices – Aretha Franklin, Chaka Khan. When I first heard them, I was like, “Oh my goodness, I want to sound like them!”

I took to that sound, that soulfulness, and as I’ve got older it’s become part of my sound. The minute I discovered Amy, Lauryn Hill, Erykah Badu, I fused the sounds, but I hate putting myself into a box.

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Were you not scared about how people would react when you covered such iconic songs?

I always say try and stay away from the classics, then I go straight in and do a cover of Whitney! The thing is, if you put your own stamp on it, then it makes it yours, it’s no longer the original. These are the artists that have inspired me and I wanted to put something out while I was working on my own stuff to get my name out there.

How did it feel to release your first EP, Love Just Ain’t Enough?

Amazing! I’ve been working so hard and I’m so proud of it. I’m really happy it’s out there and so happy with the response. I’ve written

“Putting out those songs into the world is very scary, they’re like your babies”

about it. You have to be very vulnerable and I’m not like that in real life. But once I got to know the producers and everyone I was working with, I knew I was safe and didn’t have to be worried. Putting out those songs into the world is very scary, they’re like your babies.

Move is a phenomenal track and the video is so insane…

Move sets the tone for my new stuff. There are influences from TLC, the ’90s, but it was so much fun to shoot!

so much since then, I’m ready for the next batch of music.

Describe the creative process behind the EP. It was a collection of stuff I’d written over the years, but when I do a body of work I like to work with one or two producers.

I like working with someone I can connect with, so it feels cohesive.

What was the hardest obstacle to overcome in the process?

Being able to open up to people I don’t know that well. You can have quite raw and fresh emotions, stuff you haven’t even told friends about yet, and you’re in the studio writing

You supported Rita Ora and Raye on tour last year. How was that?

To have that under my belt is amazing.

Being surrounded by such strong females all supporting each other is really nice. I hope that one day I’ll be in a position to bring someone along [on tour] that I really believe in.

What’s your usual routine before you go on stage?

I have some crazy warm-ups, but before I go on stage I like to be by myself, to channel and centre myself.

What’s on your 2019 ‘to-do’ list?

I’d love to play [London venue] KOKO but that may take two years! I just want to keep growing, release more music, maybe another EP, and play the Great Escape Festival and Coachella. So, more festivals, more headline shows, more writing…

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FEATURE BACKSTAGE

SHINE ON! Shine Management boss David Elkabas on the role of an artist manager

My career started, like many in the business, playing instruments and in bands with friends and eventually making music with computers. I went on to do a BA Hons in Commercial Music, while promoting club events in the UK and eventually Miami, Amsterdam and Ibiza. I started selling my own records from the back of my car with friends, used my student loan to start MN2S Recordings and helped grow the MN2S brand into one of Europe’s biggest label service and booking agencies. I started putting my experience into management deals around 2014 and started Shine Management in 2015.

Today I manage Kerri Chandler, Jeremy Underground, Satoshi Tomiie, Robert Owens, Oxide & Neutrino and Kayper. I still do some consultancy for MN2S and a number of other businesses and brands.

Before agreeing to manage an artist I look at their talent and potential to grow, primarily. I look for people I can help with my experience who need help in making their talent thriving businesses.

An artist manager essentially act as a buffer between creativity and commerce and help artists navigate the business side of what they do as creatives.

It’s great creating teams and helping clients define and realize their vision and potential.

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It can be hard work at times when having to deal with challenging situations that quickly arise out of nowhere.

Some people wrongly perceive that managers don’t bring anything to the table.

Unfortunately, this is partly due to some “managers” not having real experience or expertise but there are many of us who have put the time in and really know the business inside out and can help artists develop and succeed.

The role these days is often more about marketing and strategy than record company relationships. The industry model has shifted away from recorded music revenue and many more things come into play now. The fact we have an increasing awareness about some the of the issues [like mental health issues] artists face is a positive step in the right direction and something we welcome.

An artist manager needs experience, a deep knowledge of the various aspects of the industry and the dynamics of each business artists engage with, empathy, diplomacy and strong communication skills.

Artists are now empowered to create their own brands and the role is more about responding to changes in the artist career model. As technology and the market place develops, the role of management develops with it.

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