An interview with
Phillippa Lusty By Chantelle Constable At the age of 15, classically trained Phillippa Lusty had already caught the attention of Dame Kiri te Kanawa. She continued to develop her talents in both singing and songwriting and recently began her own music agency. Chantelle helped us learn a little more about this exciting up-and-comer.
Between Kessenya, Bella Sorella, Dolcy Vaughn, and things we probably don’t even know about yet — what is Phillippa Lusty up to these days? As the director of Seraphina Music, my acts – Kessenya and Bella Sorella – have been taking up the majority of my time over the last year. I have been writing and arranging their repertoire, scoring the music; producing backing tracks; choreographing movement; sourcing and sewing costumes; scripting
dialogues…and so much more! Being independent is great, but everything takes a lot more time when you don’t have a large team working for you! It hasn’t left me a great deal of time for a lot else! In April this year, Seraphina Music hosted ‘A Night To Remember’ on the Battersea Barge, which was a lot of hard work, but a really successful event. The turn-out was brilliant and the audience really enjoyed the show. I acted as compere for the evening as well as singing a few solos, and two wonderful duets
with the beautiful singer Mary-Jess Leaverland. We are now in the process of editing the footage from the performance to create live showreels for both Kessenya and Bella Sorella. ‘Phillippa Lusty’ as a solo Crossover artist is taking a step back from the stage – partially because of the huge time demands on my time for Seraphina Music, and partially because of wanting to move in a completely different direction. I feel that my music has naturally grown and evolved away from the crossover genre, and sometimes you have to just ‘go with it’…And this is where Dolcy Vaughn appears! Over the last few years, I have been working on Dolcy as a sort-of secret side project. With so much going on it has been on the back-burner for a while but steadily moving from the periphery into the focus of my mind’s eye. By creating a new persona I can start afresh; creating new music, new sounds, and a new style. I have been experimenting too as a music producer in the studio with modern sounds and techniques and combining them with my heavily ingrained classical training. It’s been a pretty bumpy ride as I am an outright technophobe! I ashamedly owned my production software for more than a year before I was brave enough to even try to use it! I’m so glad now that I took the plunge – I couldn’t
have got to where I am with developing Kessenya, Bella Sorella and my own solo work if I hadn’t. Sometimes it really pays to step out of your comfort zone. I’m currently storyboarding music videos for Dolcy’s new songs to create a fun visual aspect to accompany the music. You will have already seen a snippet from my ‘Waiting’ song involving a prince, a hobby horse, and a plastic frog, and soon I hope to have a lot more in the way of eccentric videos to share with you! When writing, do you believe in nurturing the muse and waiting for inspiration to strike, or do you agree with Louis L’Amour’s philosophy, “The water does not flow until the faucet is turned on”? Sometimes inspiration will just hit you. You could be driving to the supermarket or listening to the news, and you have to just stop everything and grab a notepad, or run to the nearest piano possible. However, I don’t believe this is a way many songwriters or composers go about making a living – a job is a job and when you have to write; you write. It often helps if you give yourself boundaries and constraints under which to be creative. It sounds contradictory, but give an artist a blank canvas and say “paint me anything”, the canvas may stay blank. Give an artist limitations such as; “paint a portrait of yourself looking
happy, using only shades of green and two large brushes.” and you are more likely to get a painting. In my eyes, inspiration and stimulus come from a strict brief you have set yourself. The creative possibilities within those constraints are endless.
books and post-it notes, and I keep thinking that one day I will assimilate them into one neat and tidy place. The same can be said for experimental harmonies and chord patterns which are stored in a very similar way as my lyrics; in organized chaos.
Without asking you to reveal too many of your trade secrets – would you take us through your average songwriting process? For example, do you begin with lyrics or melody, and how long does it usually take you to complete a song?
Which came first: composing or arranging? Did you find one was a natural outflow of the other, or that they were separate disciplines you had to learn?
It always varies for me. Sometimes I look at different song structures to figure out how and why they work, sometimes I play with lyrics and try to fit them to music, and sometimes I create a motif that I can expand on. Often my songs begin at the piano – I’m not a great keyboard player, but for me, it’s the best way to experiment with sounds and sequences. For me, the sounds and sequences. For me, the best process is when the lyrics and melody happen in synergy and just grow together. Sometimes all you need is a small motif with a couple of words to send you on your way.
Ooo difficult question…The first piece I arranged was my song Guiding Light. I was really in love with Beethoven’s Moonlight Sonata 1st Movement at the time and wanted to somehow pay homage to it. That was my first venture into the world or writing and it was a long and insightful process. I took a piece of music and transformed it into something completely new. I’m sure some hardcore Beethoven fans would call my dissecting of such a masterwork as almost blasphemous, but to me, it’s a way of showing how inspired I am by the great composers who pushed music to its limits and were not afraid to go against the grain and explore new ideas.
However, I have pages upon pages of lyrics, poems, phrases, statements, and questions that I am yet to manipulate around beautiful melodies. They’re currently stored on various notepads, scraps of paper, manuscript
Studying composition at university was a real contrast. We mainly focused on contemporary techniques and ways of exploring instruments to create new sounds – we were encouraged to step outside the box of
conventional concepts of music and be as experimental and eccentric as you dare. And yet everything had to be executed perfectly – presentation was everything when preparing your orchestral scores to be played, there had to be musical structure/form/progression, and if you had created your own harmonic system, this had to be reflected consistently in the music. One thing this did was open up my mind to new concepts and ways of viewing music. Having studied classical music all my life it was invigorating to have those blinkers removed so I could suddenly see a new way of looking at the harmonic spectrum. When it comes to arranging, it is usually for other people, acts or groups, rather than myself, and again this is a skill that has developed over time alongside my composition and orchestration skills. Last year I had about 3 weeks to arrange a whole Christmas show into easily learnable vocal harmonies for an eight-piece group who were traveling internationally for a cruise line. I’ve since taken a short course in music production which has given me yet another way of looking at the writing process – both the way I am used to arranging and the method I compose are very formal, and involve sitting down with manuscript paper
and scoring out instrumental and vocal parts. In complete contrast you don’t even need to be able to read music if you compose on the computer – you can just use your ear and build from sounds that you think work together. Do you find in today’s mediasaturated society that it is easy to become over-stimulated and lose one’s inspiration to be an original artist, or does the sheer volume of competition drive you to produce more, and better music? It’s an interesting question – It’s impossible to say that anyone’s music is completely original, as we are all influenced by our surroundings, our passions, and our thoughts. In the world of Crossover, there is very little original music and artists, on the whole, seem to be performing the same music over and over. Very beautifully, might I add. In regards to today’s media-saturated society, in my eyes, the modern western world has created a monster – we’re in an age now of heightened narcissism and self-obsession where practically everyone just wants to be famous. Just because. This is exasperated by commercial pop music that seems to be churned out on a conveyer belt with seemingly hundreds of new artists appearing and disappearing from the spotlight each week, all looking and sounding the
same. Don’t even get me STARTED on the socially acceptable misogynistic music videos that accompany these songs. This saddens me when there are so many fantastic singers and musicians out there who could actually do a much better job than the manufactured pop stars who mime and use autotune. I can understand why they then lose inspiration to be artists themselves when most of the time it seems you can’t get anywhere without being owned by the record label giants – and for good reason – the cost of a professional album can go into $100,000s to get the right producers, marketing, sound technicians…the list goes on. It’s a tough world out there, but then again the same can be said for any industry. I’m not a particularly competitive person. I am passionate about what I do, but I’m of the belief that if you love the music you are making, there’s a strong chance that a lot of other people with love it too. There is a lot of competition out there, but I prefer to view it as a lot of possibilities to meet people, experience new sounds and see how music is evolving. I’m not in this search of the ‘fame monster’, nor for recognition or being remembered eternally after I die, or even to make my fortunes. I make music because it’s what is in me. Music connects us
in so many ways and it’s something really special to be able to share. Was receiving a music degree always a goal you aspired to or was it something you began to desire after pursuing a performance career? What is the most useful thing you learned at the Royal Holloway University of London that you believe you could not have learned anywhere else? Going to university was never something I was particularly bothered about growing up. My parents never pushed me in that direction and I thought it was more important to wait and take the time to think about what was best for me. You need to be ready to go to university rather than just applying because you think you ought to. I took two years out in between finishing my A-levels and going to university. During those two years, I continued my studies in music from home while working, performing and traveling when I could. Going to university gave me a fantastic grounding in music. I studied music in many different contexts making me appreciate it so much more as an intrinsic part of human nature. Not only did I study performance, and composition, my studies allowed me to gain great insight into the complex relationship between music and anthropology, sociology, politics, and power.
Besides music, when you are at university you learn a lot about yourself and more than anything, do a great deal of growing up. Are many of your behind-the-scenes skills such as “recording, mixing, and mastering” (per the Bella Sorella Facebook page) self-taught through necessity, or do you think you would be interested in those fields even if you weren’t a performer yourself? Definitely self-taught through necessity! For years I avoided that part of music like the plague – it was completely unknown and terrifying. However, you know the phrase “If you want something done well, do it yourself.” That’s something I slowly learned the hard way. As an artist, you are completely at the mercy of The Producer who can make or break a song. They determine the style and sound of your music and it is then down to their discretion to ‘get it right’. It started for me having to make practice tracks for Kessenya – the girls needed backing tracks of the arrangements I had written with guide vocal parts on top. At first, I asked a producer to make them for me, but I realized after spending far too much money on them that the end result just wasn’t good enough. So I took a crash course in music production and have
been completely self-sufficient since. I still have a lot to learn. Who are some of your influences and dream collaborators? Have any of those dreams come true for you so far in your career? Influences…so many! In regards to singing, writing, style, and persona… Kiri Te Kanawa, Anna Netrebko, Natalie Dessay, Kate Bush, Barbara Streisand, Amy Winehouse, Beyonce, Karl Jenkins, John Rutter, Andrew Lloyd-Webber, System of a Down (seriously!), just to name a few. Dream collaborators… just a really good producer who shares my enthusiasm and wants to make music happen. How did your interest in music develop, and when did you mentally decide to make it a career focalpoint? What are some other activities — whether as hobbies or professionally –that you enjoy? It’s just something I have always done. When I was very little I loved singing and would always get the school solos in assembly and the nativity play, and then when I started learning the violin, that just became my identity. I loved performing and used to do it all the time – at Brownies, in school, to family and friends. I probably sounded like a wailing cat by I didn’t care. My parents aren’t musicians so it’s always
been a self-driven path. There was never a conscious decision to make it a career, for me there just wasn’t another option in my mind. When times are hard, I look back sometimes and wonder why I didn’t study economics, maths, or science, but in truth, if you can make a living doing what you love then that is more important than anything. Your recent charity single “Dream a Dream” supports The Invictus Trust. Can you tell us about your decision to support this group in particular and any other causes that are important to you? My passions other than music are conservation and human compassion. It deeply saddens me to see what we are doing to our planet and the other animals that we share it with. I want to raise awareness of the extinction of so many species that we are causing, the loss of our precious rainforests and the destruction of our oceans and all marine life. Supporting local charities is something I believe to be really important and often the most in need of support and help. When they are smaller you can often see the difference you make for them. This charity was particularly close to my heart because it was set up in memory of a friend of mine who, already suffering from depression like so many young adults, took his own life after suffering a traumatic experience.
It was a terrible loss for his friends and family, but also highlighted the lack of care available for vulnerable people in need of help. The charity can’t bring Ben back, but it can stop tragedies like this from happening again. Which do you enjoy more: Performing live concerts, or writing and working in the studio? Hard one to call. They are so different. I suppose writing and working in the studio makes you feel like you are ‘going to work’. I sit in my office and work at the computer by day and then often perform in the evening. Performing is exciting because despite how much you plan and practice; you can never predict what is going to happen on the night. It’s wonderful to have an audience and be able to connect with them. When you are performing, you are giving people a special unique moment that can never be repeated. It can take you all over the world too, so you get to see and experience places you would have never thought of. In a way, the writing and working in the studio all leads to performing in one way or another so the two are intrinsically linked. Do you hope to communicate any particular message to audiences through your original songs? What is the most rewarding thing for you about sharing music with others?
Music is something that connects everyone. Music can be very powerful and can convey very strong messages. My music is much more anecdotal, reflective of my thought’s feelings and experiences, not always personal to me, but things that have drawn my interest. Perhaps a situation a friend experienced, or just a particular point of view. I don’t want to be aggressively political or controversial
with my music, but who knows what I’ll write next! Music for me is a gift I can give to people; it’s something I love to do, and people love to hear. The most rewarding thing about being a musician is feeling that you have brightened up someone’s day, made an event more special, or done something memorable.
Learn more about Phillippa’s music:
Facebook.com/phillippamusic
One night only
G4 By Natasha Barbieri Nearly ten years ago, the members of G4 exploded onto British television screens with their unique harmonies on the X-Factor. It was a sad day for fans when the members split to pursue their solo careers but fortunately, the man are reuniting once again for one very special concert this November. We catch up with Jonathan, Ben, Mike, and Nick.
It’s been 10 years since you were contestants on the X-Factor. Since then you have all gone on to achieve success as solo artists. What made you decide to come together for a reunion concert? Mike: A year ago I decided to approach the guys as I knew our 10th anniversary was coming up this year,
and just wanted to test the water to see if they’d be interested. I just thought it would be really fun to hang out together and sing in harmony again, and a great opportunity to celebrate what we achieved together as a group. Jonathan: Mike has been discussing the idea of a reunion show for a while
now and realizing the decade milestone, we decided that it is a wonderful excuse to recreate our trademark sound and bring our fabulous audience a night to remember. You have an incredibly supportive group of fans. Can you tell us about your favorite moments with them? Jonathan: My most memorable moment with a fan was the reveal of my face tattooed on a ladies side! She also now has our logo, my initials, song lyrics and our actual autographs on her upper back that were copied by the artist directly from our sharpie signings on her skin. The fans have always been amazing and what’s also wonderful is there continual support of us all as individuals too. They make our careers possible and for that, we are deeply grateful. Mike: I remember on our live tours, some of the fans would also tour and come to all the shows. It’s great to have that support and ultimately, it’s essential if you’re to have a successful career in such a difficult business. There are many fans we know by names and it makes for a better experience, and it’s always nice to catch up with them after a show and ask for feedback.
Jonathan, you were signed to a recording contract with Universal music and have now released a new album, “Two Hearts” with the help of your fans and Pledge Music. Do you have any advice for indie artists who are looking to finance their records in the same way? Jonathan: Pledge Music is a revolutionary way of artists taking control and cutting out the middleman, the record labels. I have been blown away by the support and success of my project and would highly recommend it to other artists out there. The key is to create and engage your fan base via whatever means possible, mainly social media these days and try and provide them with a fun and involved process of music creation that makes the once concluded album even more special to all involved. Mike, you wrote the opera, “The Miller’s Wife” which premiered last August. The opera was inspired by your own ancestors. Tell us a bit more about this exciting project and your hopes for future performances. Mike: It was an amazing experience to premiere my opera in London – such a dream come true – and it has since inspired me to start new composition projects. For The Miller’s Wife, I hope to do some sitespecific performances next summer at
windmills to give the opera it's original setting, which would make for a very special event, as it would take place outdoors with people eating picnics and bringing the local community together. Ben, you have a lot of experience performing for both popular audiences and operatic fans – two very different crowds. What would you say are your favorite parts about singing for each of them? Ben: Singing is something that you have to enjoy in order for others to enjoy it. I treat every experience the same, be it in a living room, or a major concert hall. Seeing people enjoy music and being a part of that process is the thing I look for, and that could be in any genre of music. The Royal Albert Hall was a second home for G4: I remember subsequently being booked in my own right to sing the tenor solos there in Handel’s Messiah in 2010 with The Really Big Chorus and being reminded what a special, important and historic place it is. While the reunion concert is no doubt an extremely nostalgic occasion it also reflects change with the addition of Nick Ashby. Nick, were you a fan of G4 before this event? And how did you become involved in this concert?
Nick: I’ve always enjoyed G4’s sound and style. I’ve performed with Ben many times over the last few years and enjoyed hearing about his exciting G4 days. In fact, it was he who approached me about the reunion concert after they heard Matt couldn’t be involved. Naturally, I jumped at the chance – who wouldn’t! Tell us some more about your special guests at the concert, Funky Voices. Jonathan: I am delighted that Funky Voices are joining us for this show. They really left a strong mark with me after performing together at The Princes Theatre, Clacton for a solo show in April. The energy and enthusiasm of this community choir was infectious and led me to add them to more collaborative songs on that evening which they picked up so quickly and with such sparkle that I can’t wait to recreate some of that excitement for this special show. We also have another special guest – Charlotte Jaconelli, Soprano and Britain’s Got Talent runner-up with duo Jonathan & Charlotte, who is gracing us with her glorious voice. I met and performed with her recently at the Royal Albert Hall. We hit it off straight away and have a few other shows booked together this autumn as well as the G4 reunion. We joked that it was ironic that we will be performing together since her split
with Jonathan Antoine earlier this year, creating a new Jonathan & Charlotte partnership! Jonathan, share some of the highlights of playing, “The Man” in Andrew Lloyd Webber’s “Whistle Down the Wind.” Jonathan: Whistle Down the Wind was a huge thrill and a wonderful role to get my teeth into, ‘The Man’, an escaped convict on the run from death row. Bloodstained, disheveled with long hair, beard and tattoos was not the obvious choice of role for me but I relished the experience and loved creating this powerful character live every night. The highlight for me was the intense personal training laid on for me by the producer before the show to hone my body and also the fun I had growing my beard and hair, totally transforming me and meaning I was confused for a student or even occasionally a tramp throughout the run! Mike, you have been singing professionally since you were eight years old. Was there ever a point you considered another career path beside music? Mike: I wanted to be a vet for a time as I grew up with many animals around, and did work experience at a veterinary practice when I was 16. I remember watching a dog’s hip
operation and being absolutely fascinated. Then I wanted to do set design – I remember seeing Oliver! the musical in London and being so inspired by the set I recreated the whole thing in miniature at home. But in the end, I realize that music and singing was my biggest passion! Ben, since the disbanding of G4 you have continued to pursue your vocal studies. What has been the most rewarding part of your educational journey? Ben: I consider every musical experience part of my education. My performing relationship with the Royal Albert Hall has been a special one – I’ve sung as a soloist in two BBC Proms (one with Nick!) and several other concerts, and every time it has been a wonderful experience. The final part of my education was studying with legendary tenor Dennis O’Neill at his academy in Cardiff, the Wales International Academy of Voice. I had an amazing time there, and enjoy going back to perform immensely. St. David’s Hall there has a magical aura: I sang there earlier this year as part of a 10 UK tenors concert led by Wynne Evans (Mr. Go Compare!), and I return there before Christmas to perform the tenor solos in Beethoven’s 9th Symphony. I can’t wait!
Nick, tell us a little more about yourself. Ensemble singing seems to be an important part of your career so far. Nick: Yes, it is something I’ve been doing since I was about 6 probably. I grew up in Oxford and went to University in York. Both those places are alive with choral music, and I learned a lot from their music scenes. When I graduated, I moved straight to London and have been singing there and around the world ever since. I perform a lot as a soloist as well. As far afield as Japan, and in some great venues like the Royal Albert Hall (at last summer’s BBC Proms festival alongside Ben in fact!). G4 seems to have a great balance between ensemble and solo singing. We each get chances to shine but have to be able to blend into a matching sound as well. No easy feat! Having been introduced to the world through the X Factor, how important do you feel reality television is to the music industry? Jonathan: Reality TV has become vital in the music industry now. It creates huge hype and exposure to acts of immense variety to the wider public throughout the world and this is invaluable to establish a fan base and circulate your music and ultimately create a career. What is
then vitally important is to work that career and hopefully enable it to continue and develop. This now becomes harder and harder as new acts are always around the corner. However, I feel that these shows play a very important role in the everevolving music industry and I highly recommend it to anyone considering a career in music. Nick: I think it’s great for showcasing new talent and allowing anyone who wants to potentially perform to a large audience. Though I hope that people who get rejected by these shows or are too scared to apply aren’t discouraged from continuing to make music and nurturing their musical passions. It’s by no means the only way to succeed as a musician. Mike: For some people, it can really make a difference to their career and instantly propel them into the spotlight. However, for most, it can be a short-lived experience, where they are recognized by everyone on the street but have no ongoing career and nothing to show for what they’ve done, which must be pretty souldestroying. It’s all about making the most of the experience and working out how your career will develop after the TV show finishes, as it’s the most exposure you’ll ever get as an artist and something that most artists can only dream of having.
Share with us your favorite songs (both to sing as a group and as soloists). Mike: In G4, I think my favorite is Bohemian Rhapsody as it has so many amazing memories for me of singing it with the guys, plus it was amazing when Brian May said he really liked our version. As a solo, my favorite has to be Ol’ Man River as I have been singing it for 15 years as my voice has changed and developed and it’s a great way to showcase a low voice. Jonathan: I personally loved it when we sang Bohemian Rhapsody again for the first time in 7 years! It was a wonderful nostalgia and the excitement in all our faces was tangible. We were all filled with a flood of energy as we realized that the songs we left behind many years before had reemerged with relative ease and reminded us all of the fun we will certainly have on the reunion show. I also love performing Nessun Dorma as it is one of those arias that connects with almost everyone worldwide. Young and old alike have a strong reaction to hearing it and although I’ve sung it many times on my own I am really looking forward to recreating our old G4 arrangement with the lush harmonies.
Ben: I have a pretty eclectic musical taste. I remember going to see Handel’s Messiah in Ely Cathedral when I was eight; that was the first piece I fell in love with. The first single I bought was Chumbawumba’s Tubthumping – that’s diversity right there! I think the words of a song are really important – I hope that comes across in my singing! – and so anything with a message or a story to tell works for me! Nick: My favorite song that G4 perform has got to be Creep. For me, Radiohead is the best band around. What can we expect from each of you in your solo careers after this concert? Nick: After this concert? Early retirement probably. Why bother doing anything else? Mike: I’m writing a musical and a TV drama which is taking a lot of time, plus I have various performances lined up and have my ongoing passion for restoring old buildings which I have done for about 10 years. Jonathan: I am delighted to have many varied shows scheduled before and after the reunion show all over the world including my first show in my hometown of Bognor Regis at the Regis Centre on 26th October. It is a special Remembrance
Celebration show marking 100 years since WW1 on Remembrance Sunday 9th November at Leeds City Varieties and also a fun festive season playing the Prince in Snow White at the Leeds Carriage Works before I head to perform in Hong Kong, and even Honolulu early into 2015.
too. I doubt any of us will want the show to end!
What will you remember the most about your experience with G4?
Mike: The awesomeness of four mates who enjoy singing together performing in front of people who love what they do, as well as performing as such an iconic venue that takes us back to our roots.
Jonathan: I look forward to sharing the stage with great friends for this special reunion show and reliving the fun we shared during our time as G4. The thrill of hearing the sound together during rehearsals is incredible so I just can’t wait to experience that on stage at the Barbican with fans from all over the country enjoying the moment with us
Nick: Everything! But mainly being able to perform with three other excellent singers in front of a massive and appreciative audience. It’ll be electric.
Ben: I will remember most the experiences of performing and the passion music evokes in people. We have incredibly loyal and committed fans, and it will be great to reconnect with them in November!
Interview thanks to mike and kevin
g4official.com
One Day like this
Rhydian Roberts It all began in 2007 when the world was first introduced to Rhydian – the whitehaired baritone singing a love song on the UK talent search X-Factor. Simon Cowell may have declared his audition piece “one of the worst songs I have ever heard” but Rhydian would go on to place second in the competition overall and be signed by Cowell to Sony. His debut album was named one of the bestselling by a male newcomer. Classical Crossover Magazine was able to learn more about the ambitious young baritone thanks to Joanna Burns.
Rhydian, for a young singer, you seem to have an unusually clear idea of who you are and what direction you want to pursue musically. How did you get the confidence and vision? I think I owe that to the training I had at college. I’ve been fortunate to have great teachers and guidance from a very young age. I knew at the age of 19 who I wanted to be as a singer and I found my identity as a person during the same year. One of my mottos is
‘ride the horse that got you there’. All of my success in singing prior to the TV competition was as an aspiring classical crossover singer and so I have never overlooked that. If you walk down a street and mention me to anyone, 90% of the time they say ‘the guy with the blonde hair and the classical voice’. Rarely is it, ‘oh yeah that heavy metal singer!’ A lot of artists, especially in this genre, tend to get stuck in a stage persona of “angelic” or “diva.” I
think it’s quite remarkable that you were placed on a show that really tried to define you as one thing and how you were able to turn that around by being yourself. How important do you think authenticity is for a performer, especially in the long run? That’s a very good observation. Umm, I don’t know really. I guess I hate being pigeon-holed and I’ve always been a bit of an enigma as a performer. I wouldn’t want to have the diva tagline and you’re not going to fool anyone if you give me the ‘angelic’ description! I’d rather, reliable and professional. Serious about music but keen to entertain an audience. You’ve done a few musicals so far but as yet, and correct me if I’m wrong, you haven’t played in “Phantom”. As the theme song was more or less your anthem on Xfactor, do you feel this will be an important role for you in the future? Yes totally. When the time is right I’d love to play that part. You were a rugby player growing up until you injured yourself. Do you feel that the competitive nature you cultivated in sports was easily transferred to your music?
What a great question. Yes absolutely! I miss competitive sport a lot but I absolutely transfer that to the music industry. It’s more akin to a rugby culture of competitiveness though not soccer! Calving out a career in the music game is a conundrum. It’s like solving an endless crossword or sudoku! I love the challenge. A lot of it had to do with patience and strategy. A bit like a game of rugby! How do you set goals for yourself? I write them down on a ‘to achieve list’ and then go about my business to make it happen. Your new album, “One Day Like This” is full of music that you are passionate about. How did you narrow down the tracklist? I started with songs that I knew would suit my voice. I then narrowed it down to songs that I knew the audiences would like to hear me sing. I then looked at ensuring it qualified for the classical charts and so added 4 standard classical songs that I studied at music college. One was Litanei by Schubert that I auditioned for music college with. Another was Sleep by Gurney which I included in my final year exam at college. I also included the Pearl Fishers Duet which was the song that made me fall in love with singing and music. All of the songs
have a reason as to why they made it onto the record and in the booklet I let the listener know the story behind each song. Pavarotti said that every singer needs to have 5 songs that they own. For you “Nights in White Satin” is one you those. What makes that piece so unique to you and what are other pieces you feel showcase your best qualities? Epic in nature and the arrangement is perfect for my tessitura. It had the right combination of drama and beauty that I seek in a song. You’ll find the same effect in my version of The Impossible Dream, Benedictus and To Where You Are. The other track would have to be Miserere which is a duet I do with Bonnie Tyler on this new album. I always look for drama and beauty. Bit like the girls I tend to go for I guess! What artists and albums inspire you? Prince, Tina Turner, Freddie Mercury, Simon Keenlyside, Pavarotti, and Mozart. I like any album by Jim Steinman. Opera, theatre, and rock combined! Passion personified in a song! You spent two years in pop music. What drew you back to the classical
crossover scene? Was it the need for more vocally challenging material? Yes that, but also that’s what the audience prefers from me. There are more opportunities in the classical world and it’s potentially a longer career in today’s music industry. Pop acts today usually have a maximum of a 5-year shelf life. It’s difficult to reinvent yourself as a solo Pop singer nowadays when you’re in your midthirties. That’s not the case in classical music, as most males are at their most prevalent between the ages of 38- 54 in my world. That excites me! We get to sing great songs by great composers. Pop, however, is all producer driven, mass-produced drivel today. Not for me thanks! Your look is very unique and has become a signature style. But have you felt like just trying something completely different? Yes, the album after this I may well shave off all my hair for a change. If you could have originated any popular hit, what song would it be? Happy Birthday to you. Owning the copyright to that would have been awesome! Outside of singing what is most important to you? Time in the sunshine. I love heat on
my body. Scarcely found in the UK sadly! Finally, at this stage, you’ve really tried a bit of everything. How important has having a strong technique been in allowing you to experience so many different opportunities? And what would your advice be to young singers in regards to training their voices? For me, longevity as a singer comes from a secure technique. Sure you can have success for a period of time if you do well in say Britain’s Got Talent by mimicking other classical singers. You’ll make a good replicative noise that wows an audience momentarily, but without a solid technique, you will find it hard to pull the wool over people’s eyes in the long run.
My advice to young singers would be, sing within your means. Don’t sing repertoire that’s too big for you that could potentially damage the voice. I would say do research and find a great teacher. There are plenty of terrible teachers out there so finding a good, safe one is like gold dust. For me, it was important to study all different genres of singing as there are some anatomical differences in the technique of Bel Canto which you need for opera and Belt singing which is heard a lot in musical theatre. Both have a correct way of execution but Belt is not generally taught at opera college. I’m flexible because I had tuition from the opera school and musical theatre school simultaneously. Vocal health is vital. One simple way of protecting your vocal folds/ chords is to make sure you hydrate well. I drink at Least 4 liters of water every day.
‘One day like this’ is out now
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