Albert Man


IN my quest to discover solo musicians that have the potential to go…

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all the way in this industry: sometimes I scour the desert floor without so much as a quick thirst quench. With regards Albert Man, you have rivers and oceans of potential – enough to not only quench the senses but drown the body. Not only has he recorded at Pete Townshend’s barge studio (Grand Cru Studio) but played gigs at Caffe Nero – as part of a series promoting promising artists in the country. I chat to Man about his upbringing and past music; how his forthcoming E.P., Nothing of Nothing Much, will differ from his album, Cheap Suit. He provides frank, detailed and illustrative answers: talking about his Christmas plans and working with Rews’ Collette Williams – another duo (with Shauna Tee) who will be owning large parts of 2017.


Hi Albert. How are you? How has your week been?

Good, thanks. Just been busy promoting the new E.P. and rehearsing for my last gig of 2016: supporting HamsandwicH at The Borderline on the 6th of December. I just played a solo gig at Caffe Nero at Heathrow Terminal 2 last Sunday too – which is always fun as they have a nice grand piano there for me to play. Last night, I heading to a gig at the Bedford in Balham – Caffe Nero are presenting three emerging artists. It’s a night off for me though so I’ll just have a beer and enjoy the show!

For anyone new to you and your music: can you introduce yourself, please?

I write piano-led, melodic Pop songs and am based in London. I write Classic Pop and have been likened to that of Ben Folds, Billy Joel; Adam Levine, Randy Newman and Elvis Costello (to name a few). I’m very much involved in the London Music scene having played over forty gigs in London in 2016. I released a four-track EP in 2015; an eleven-track album earlier this May and have a new six-track EP coming out on February 3rd, 2017 – which is already available for pre-order on iTunes (

You are half-German and born in Manchester – but now reside in London. Where is the best place for music would you say? Is there a huge difference between German and British audiences, for instance?

I’ve never actually lived in Germany but have toured over there with previous bands. The German audiences are really receptive and you get the five-star treatment.

London is great for music: every night of the week you can watch live music somewhere. This also means the London music scene is oversaturated and the audiences are sometimes less receptive just because they’re spoilt for choice.

I think you can build a good local following in smaller towns around the country. Manchester is a big city too and has a strong music scene as well, though. I’ve only ever played one gig there (at Night and Day).

London must be a wonderful city for new musicians. What it like from a creative standpoint and is it a relief venues like Fabric have survived – does that give you hope in the venue scene there?

Music Venue Trust held a night at the Roundhouse called Fightback (back) in October this year – to support the live music scene to try and protect U.K. grassroots music venues. It’s really important that these venues stay open and that London remains one of the world’s most culturally-rich cities – especially for music. There are always venues and musicians to play with in London which is great. I love learning about other musicians as much as I enjoy playing my own gigs.

You have recently played #BLOGTOBER and some great gigs this year. Which stands in the mind as particularly memorable?

Some of my favourite gigs of the year would include my recent gig at The Hospital Club – for Vin’s Night In – The O2 Priority Lounge before Muse (got a free ticket to the show too!); Jimmy’s Farm for his Harvest Festival; The Verdi Room at the Royal Albert Hall; Sofar Sounds in Liverpool; the Coffee Music Project final at 229 The Venue; The Grand Social over in Dublin and Oxjam Clapham Music Festival at The Sun. I’ve recently started playing with a band so that’s always more fun. I’m hoping my next gig at The Borderline supporting HamsandwicH is going to be a highlight too!

Cheap Suit is your album (released this year). It gained huge praise and lauded by radio and critics. Were you surprised by the reaction and what has the reception been like – from the live audiences – towards the record?

It was really nice to have the record praised by radio and music blogs. It was loads of work so I’m just glad the people who heard it seemed to like it.

It means a lot and makes the late nights all the more worthwhile! 🙂 I even got it pressed onto vinyl too which I have always wanted to do so very happy about that. People seem to like the songs when I play them live. It’s funny how you have your favourites and then someone will come up after the show and tell you the one they really liked. It’s always something different from what you think and what other people have said.

 Nothing of Nothing Much is your forthcoming E.P. What can you tell us about the songs/themes on the E.P. and what was it like recording at Pete Townshend’s barge studio?

The barge studio was great. It’s such a relaxing studio with wood panelling on the walls and ceiling. You also get loads of natural light in there which isn’t always the case with a lot of studios in central London. Apparently, you could go off sailing and still record though I think it’s mostly stationary these days. There are a couple of upbeat tracks and three ballads.

I Feel Like Dancing is the first single and it’s about how music is all you really need to have a good time and take your mind off any crap that might be happening in your life. Diamond in the Rough came out of a co-write and is about a relationship where the woman in question chooses money over love. Shotgun was written during the height of summer this year – and really captures the essence of summer for me. It’s just a fun upbeat track about going for a ride in the sun with that special someone.

You Had Me at Hello is a heartfelt ballad about how time gets the better of us all and how nice it would be to go back to the first “hello” with the one you love. It’s recorded with Collette Williams on backing vocals and – who also played drums on the tracks. Her vocal is quite high in the mix, though – so it almost sounds more like a duet. I really like how it turned out: it’s always fun coming up with ideas in the studio.

Do You Think About Me? was the first song I wrote from this collection and is about the pain and regret that comes with a relationship breakup. My songs don’t tend to come from personal experience; I just like to make up a story or situation and get creative with it.

How would you say the E.P. differs from Cheap Suit? Is there a stylistic/sound change or can fans expect something quite similar?

I think it’s quite different. There’s different musicians playing on both and the songs from Cheap Suit spanned quite a long time – so even on the album, there are songs which feel quite different. The E.P. was all written quite quickly and recorded even quicker (in just three days). The album took about a year from recording to releasing.

I wanted to get this E.P. done faster. I think the new songs are a bit more grown up: I’ve tried to write songs that people can connect with more than with some of my earlier stuff.

Working with a producer meant the tracks perhaps sound a bit different too, the album was all self-produced.

I believe the E.P. started as a live session in Dublin with a group of local musicians. How come you were in the city and what was the first song you recorded for the E.P.?

My wife and manager, Manoja, is really good at making connections and earlier in the year we had some photos taken by Dara Munnis: a Dublin-based photographer who’s really well connected to the music scene in Dublin. I had a gig at the Grand Social in Dublin this past August and Dara helped set up a recording session at his house with a bunch of local musicians – performing my track You Had Me at Hello whilst we were there. This version is now a bonus track on the E.P. and you can watch the session on my YouTube channel: It’s one of the highlights of the year for me. It was good fun playing with those guys and enjoyed collaborating on the parts just on the same night.

 You Had Me at Hello finds you working with Rews’ Collette Williams – who I am very aware of. What was it like working with her and which other musicians can we expect on the record?

Collette is really nice and great to work with. She just got it straight away. We were recording drums with her for an entire day – having only a couple of hours for her to lay down some vocal tracks. She has an amazing voice, too (which was a bonus)!

Dara came over from Dublin and recorded piano on one track and Sarah Lynch – who was also part of that recording session out in Ireland; came over too to put some violin on the tracks. We had Joe Garvey who is another singer-songwriter on the London circuit come and join us for an evening to put vocals and guitar on a track I co-wrote with him. The producer, Rhys Downing, put guitars on all the tracks and worked solidly for three days on the E.P. It’s always great to work with a producer you trust and get on with so well.

Critics have compared you to everyone from Adam Levine to Billy Joel. Which artists were important you growing up?

David Bowie was really important to me growing up and still is now. I used to record songs from Labyrinth onto tape recorded from the T.V. I was always a fan of The Doors too – maybe because of Ray Manzarek keyboard playing. I’ve always liked a bit of Elvis – especially that ‘68 Comeback Special and I visited Graceland a few years back. I was really into my Manchester bands as well when I was younger; Joy Division and the Stone Roses. I love glossy American bands like Huey Lewis and the News, too. It’s a wide range and all of these have been influential to me.

One of the things that amazes me is how professional and full your press release is – how much information is available to the media. Do you think too few artists expend this effort and consideration?

It’s hard to know really. A lot of stuff you send out for reviews (etc.) is all done privately so I’m not really sure how other artists approach it. It really does take a lot of time though and you really have to spend a lot of time on it. If you as an artist can’t be bothered making what you have to offer as appealing and as easily accessible as possible then why should anyone take the time to try and find out what you’re all about. The social media stuff is obviously out there for everyone to see and interact with, and it is a lot of work, too.

Again, I think you need to do it and you reach more people than you think with it. You also need to know more than just how to play and sing.

Today’s D.I.Y. ethos is so necessary in order to make an impact. You need to make and edit your own videos: record and mix your own music, create your own artwork and graphics; take care of your own website as well as be your own P.R. and press agent.

It’s just impossible to pay for someone else to take care of all that and to be honest – nobody is going to care as much about it as yourself.

Who are the artists you are tipping for success in 2017?

You already mentioned Rews earlier, and in addition to them, I would say Craig Gallagher and The King’s Parade. I think these guys are only going to get bigger in 2017.

It is almost Christmas time once more. Where will you be spending it this year? Any presents high on the wish-list?

I’m obsessed with wires and cables. I love having spare cables and extra XLR leads and adapters that I’ll probably never use but may need one day. I also like buying stuff for my live sound or home studio. I’m looking into a portable sixteen-track recorder at the minute to record some live gigs easily – so I’ll get Santa on the case! Amazon seems to sell everything I need these days so Amazon gift vouchers for me would be the way forward to anyone listening ;). Christmas will be spent between Manchester and London. Looking forward to seeing the family.

Is there any particular advice you’d provide new musicians coming through?

Like I said before: you need to do everything yourself. If you don’t know how to do something such as make a video: you can learn how to do it. You don’t have to be an expert in any of it so long as you know the basics.

Also, work with a manager who really believes in you and is proactive at getting you gigs and putting your name out there. Try to make everything you do as professional as you can.

I see so many badly-recorded live videos with awful sound and just think that nobody will think you’re any good. Most important of all, don’t let anyone or anything get you down. Work hard and be true to your music, people will start to notice and appreciate it.

Finally, and for being a good sport, you can select any song you like (rather than one of yours as I’ll do that) and I’ll play it here.

David Bowie – Cat People (Putting Out Fire). The original version from the movie Cat People rather than the re-recorded version on the album Let’s Dance. I’d only ever heard the Let’s Dance version until I watched Tarantino’s Inglourious Basterds for the first time – I was completely hooked.


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PHOTO CREDIT: Arnab Ghosal Street Photography













THERE are a lot of wonderful duos coming through and it got me…

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thinking about which ones will making an impact in 2017. I have a list of the ‘likely’ candidates and you can place SIIGHTS right near the top of that list. Toni and Mia (from Scotland and Ireland respectively) met last year and have already forged a sister-like bond. Dance is their latest single and an incredible, addictive and memorable track. Plans are afoot for a future E.P. – as the girls discuss in the interview – but I was keen to find out how they have reacted to the reception gained so far; how they differentiate themselves from the other duos out there and what it was like recording in L.A.


For those new to your music: can you introduce yourself, please?

Yes, of course. We are SIIGHTS. We are a duo from Dublin and Scotland. Our names are Mia Fitz and Toni Etherson.

Being from two different countries (Toni from Scotland; Mia from Ireland) how was it you got together? Have you known each other for years or did you come together by chance?

We met in L.A. last year while Mia was on tour with Hozier and Toni was in the studio writing for another artist.

It may be something you have been asked before but that band name. Where did that come from?

Well. We wanted the name to represent something, and for us, SIIGHTS represents vision and looking forward – which we feel is important.

There are a lot of duos coming through right now. What distinguished SIIGHTS from the pack would you say?

Well. We write/record everything ourselves and Mia produces everything and plays all the instruments in the studio herself. We both sing lead vocals on our tracks also.

Musically, we both have very diverse tastes and backgrounds so we feel that results in us creating a really unique and fresh sound.

Dance is your latest video. What can you tell us about the song and the idea behind the music video?

Well. The video is centred around the importance of self-expression and having the courage to follow your dreams. We wanted to make a video that would hopefully help to inspire people to get up and try to do whatever it is that they have always wanted to do – or whatever dream they have. Life is short and it’s not about having to be the best at something it’s about having the courage to try.

The track was one of the first tracks we ever worked on together in the studio in L.A. so we thought it would fittingly be a nice intro to SIIGHTS.

Mia. You played all the live instruments on that track. Was it a difficult process and do you have any hard choices – with regards which guitars to use and the sound you wanted to create?

Yes, it can sometimes be hard to narrow down ideas in the studio especially when you’re on a roll with a track, but usually, if a part is working you know straight away and vice versa!

The song has already received praise and great feedback. Has that been a surprise to you at all?

We have been really blown away by the response to Dance so far and are so grateful to everyone who has supported us so far.

You recorded out in L.A. What was that experience like and is it a place you’d like to record in more?

Yes, definitely; we both love L.A. and find it’s a very creative place to work. We plan on spending more time there next year and being back in the studio there again too.

Dance has that great old-skool Funk and gets the feet moving. Can we expect a future E.P. and will upcoming songs have the same sort of vibe/inspiration as Dance?

We have been working hard on lots of new music and some collaborations too. We hope to have an E.P. out 2017.

Thinking about Dance and its emphasis of self-expression: do you think it is important musicians express themselves and not hide behind labels/producers?

We definitely think it’s important, for people in general, to express themselves the best way they know how. Being able to truly embrace yourself and be comfortable in your own skin is the most invaluable thing in life.

For artists, sometimes they need help to bring to life the ideas they have and collaborating with producers and labels can sometimes be a great way of achieving that.

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What kind of musicians did you each grow up listening to?

Toni: As a teenager, my fave album was Brandy – Never Say Never and then I went through a phase of listening to The Rolling Stones, Oasis & Bob Dylan. I have a very diverse C.D. collection (L.O.L.)!

Mia: I grew up in a very musical family so as a child I was always around music and was exposed to a lot of different styles. My dad is a classical pianist. So, from listening to music like that to listening to artists like Stevie wonder, Michael Jackson; The Meters and The Beatles – who I think are really timeless.

If you each had to select one album that has been most important to you: which would they be and why?

Toni: Brandy – Never Say Never. I’d pick this album as I was just really discovering my voice at the time when I was introduced to this album by my big sister. I think it had a lot to do with how and why I sang.

Mia: I have a really soft spot for the album Simple Things by Zero 7. I definitely (also) loved Songs in the Key of Life by Stevie Wonder and Californication – by Red Hot Chili Peppers -growing up.

Christmas is almost here. How will you both be spending it? What is top of your Christmas present/wish-list?

We have had a very hectic year and so Christmas is going to be a well-deserved few days off for us.

I think we will eat lots of nice food and spend time with our families. We have some really exciting things happening in 2017 so we’ll be getting ready for that also.

Finally, and for being good sports, you can each select any song you like (not yours as I’ll include that) and I’ll play it here.

Toni: London Grammar – Shyer 

Mia: The Meters – Just Kissed My Baby








INTERVIEW: Moviestar







THERE are bands that are quite ordinary and traditional and there are…

DESIGN BY: Kyle McClenahan

those that are, well, quite unique. Norway’s Moviestar definitely fall into the latter camp. Some might call them ‘quirky’ whilst others might grope for different synonyms. You cannot deny they stand out from the crowd and bring character, colour and oddity into music. Fireball is their latest single and one that was released to coincide with International Day for Elimination of Violence Against Women. The guys talk about that release – and why marking that day was so important – and why eradicating domestic violence is so vital – raising awareness and stemming the torrent of abuse levied against (predominantly) women. The band also discusses their new music and future plans; an insight into their weird and wonderful world – and how they come up with song ideas.


Hi, guys. How are you? How has your week been?

For us, it’s been a busy, hectic (fun and tiring) week. We have been preparing, promoting; rocking and rolling; organising the first screening and release party of our two music videos, Monroe and Fireball.

Now Infinity Vik has gone off to Los Angeles to do further research for our holy documents – which present earthlings call ‘music’.

For those unfamiliar with your music: can you introduce yourself, please?

We are future peace fighters from the planet Fenriz: sent back in time to retrieve the stone, and in doing so, we hope to avoid the devastating civil war on our planet – which destroyed all cultural heritage of our long passed home planet, Terra (Earth).

I am interested in the band member names/nicknames and how they came about. Where did those (unusual and vivid) names come from?

As we are from the future, and therefore have no need for names, everything is communicated by telepathy on unique emotional addresses – we needed to find fitting names to represent our powers and abilities. Infinity Vik is the noble guardian of time; The Octopus Goddess is the keeper of the  cosmic interval calculator and Anaconda is a man of extreme love (revered by all female earthlings).

We had to borrow bodies as we do not have physical bodies ourselves. We found a few extraordinary musicians from the band Evolution and Vik.

They were more than happy to go into this exchange program with us.

I believe the band is based in Norway at the moment. Are you all based there or do you sort of travel all around?

Yeah. We sort of came from the future through wormhole technology of The Octopus Goddess. Unfortunately, she only works for travelling back and forth in time. So, when we have to go on tour here in the present age we have to use your airplane machines.

Fireball is your latest song/video and was released to coincide with International Day for Elimination of Violence Against Women. How did the band become involved with that and why is that particular cause/day so important?

We see there is much suffering and primitive behaviour amongst humans today: war, racism; sexism, pollution etc. – all important causes. But this one is basic: the integration of Yin and Yan. An especially important cause as the balancing of your male and female enigma is the key to solving your other problems – therefore, crucial to the evolution of your race. This cause  is challenging to talk about since so many of you are affected by it on some level: either yourselves or by witnessing or through a friend. It is difficult to know what to do or how to help because most often violence against women happens close to home with loved ones.

This creates an extreme paradox swamped in shame where the ‘villain’ is not an easy target. You cannot blame the government, the terrorists – or some other external authority called ‘THEM’. The ‘villain’ may very well be the one you love therefore you become powerless and shameful.

Today, more women are killed by their partner or ex-partner than by anyone else. We must vocalise, we must talk; we must spread consciousness.

That is the only way to overcome the shame because there is help out there for both victims and offenders. And, if ever we are to eliminate violence against women, we must also help men who execute violence in terminating such behaviour.

Do you think enough musicians become involved in days/projects like this? Should artists be more socially involved to similar causes?

Yes, for the sake of mankind’s future. The goodness is potentially stored in the holy code of your D.N.A. This is the time. The new paradigm where the course of mankind have come to a fork in the road: it could end in terrible decay or become accelerated in heightened levels of evolution at the Interstellar Academy (a fun place to hang out by the way – you would all like it!). Moviestar have come with Rock ‘n’ Roll to help you achieve the latter scenario.

Dear dudes and dudettes, the first rule is: all men and women must finally stand together. Only then can we bring an end to suffering, hatred and all kinds of evil.

By being involved and socially aware we can bring all wrongdoings to an end. We say to the other Rockers ‘n’ Rollers, our friends: do not hide your poetry but Speak Up! Loud! Turn it up to 11!

Can you tell us about the song and what it is about? Who came in with the song idea originally?

The song was not an idea or a concept. It was a direct transmission from Infinity to Viktoria. It was written in the blink of an eye as the song already existed. Viktoria Winge was the one who received it. She is now the physical vehicle of Infinity Vik.

The song came the night after Natalia Strelchenko’s death. The song is based on her story and dedicated to all that experience domestic violence. Not only was Natalia a friend of Viktoria: she was also an artist, exceptional as such, up-and-coming; living in the U.K. and playing on main stages worldwide – leaving her mark in the Classical music community. Potentially, she could have become one of the most amazing female concert pianists of our time. This was not only a crime against women but also a crime against art.

It is hard pinning down your sound and the genres you play in. How would you define the Moviestar sound or is it too varied and wild to tame?

These are the best names to describe our music and our charisma: Sci-Fi-Rock, Space-Blues; Punk-Poetry, and Twin Peaks Ballads. But, if you think that all sounds too weird and inaccessible: Electro-Pop-Rock.

Can we see any more music from you in the coming months? Any albums or E.P.s planned?

We have recorded a new holy document (full album recording) which is being processed through tape machines and echo chambers right as we speak. It will be extremely helpful to mankind; plus also extremely commercial as a bonus.

We promise that you will be able to sing along to all the songs, and in doing so, grow closer to the being you aspire to be.

Take us back to the start and the moment you all came together? How did the band form? Were you all friends from way back?

As we said: we are not from way back but from way ahead. We did not come together. We were chosen; based on our credentials, powers and strengths (and sent back as a team). In arriving on Terra (Earth) we found the best way to reach out to people was to form a music team – what you present people call ‘a band’.

In terms of the musicians and artists turning you on at the moment: which would you recommend to us to seek out?

Evolution and Vik, Gallowhill; Steve Reich, Van der Graaf Generator; Bob Hund, PJ Harvey; Prefab Sprout, Sergei Rachmaninov; LCD Soundsystem, King Krule; Hollywood Hillbilly Music, Maesa; Rosa Pullman, St. Vincent; Cocorosie, Joanna Newsom; Bjørk, The Stranglers; The Animals, Foals; Mum, Kaliber; Jimmy Driftwood, Screamin’ Jay Hawkins…and the list goes on (and on and on and on)…

Apologies if you have been asked the question (thousands of times) before. Given the band name I have to ask: if you could each be a movie star, which would they be and why? 

Apology accepted. The question is wrong. We do not claim to be gods but we are very good archaeologists and we  speak the Sanskrit-Amerika of the old gods – which is one of the  reasons we were sent back.  Our band name is a gesture of honour and to fit it in but we do not claim to be movie stars.

If we had to choose one then Infinity Vik would be Nikola Tesla – without whom mankind would not have accelerated into free energy and telepathy.

Octopus would have Elvis Presley: because he is the King of Rock ‘n’ Roll – and her secret dream about being a man.

Finally, Anaconda would be Dolph Lundgren because of his high I.Q. and action acting skills. Anaconda could do with some I.Q.!

Is the band planning on coming to the U.K. at all? Have you ever played in the country before?

Yes! The U.K. is our kind of ‘K.’ We played before for the U.K. people with great success! U.K. people understand the gravity of our mission – therefore they clap their hands together A LOT! So we will come back for the release of our first Holy Document no.1 in the month of May. We will begin our U.K. tour at the Hope Festival – a very important location (there will be a sign in the sky sometime between your years of 2017 and 2030 ). Then, we will continue to other important locations in the U.K. We have also visited the Parisians – the City of Angels – and all the Norsks of course.  We also hope to meet the Spaniards.

Christmas is coming up. Are you spending it at home and what is top of your Christmas wish-list?

Of course. We are  kind of homeless now; refugees from the future. But we will be O.K. No border policies anywhere on future folk.  SO, The Octopus Goddess and Anaconda are having a Norwegian Christmas whilst Infinity Vik will travel to L.A. to do some kind of classified political research.

We are all very excited to experience this Christmas for the first time.

Our Christmas wish-list is to find The Stone

Finally, and for being a good sport, you can select any song and Ill play it here (not one of your own as Ill include that).

Yes! As we come so far (far far) from the future we are on some level very (very very) old. We think Losing My Edge by LCD Soundsystem is appropriate!


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PHOTO CREDIT: Tee ‘JustSo’ Soulful




BEFORE they have some time to recharge over the Christmas period…

Deliah will take in Bristol’s The Square Club and Manchester’s Fallow Café. The Liverpool-based duo’s current single, Better the Devil is gaining impressive reviews and connecting with their fanbase. Born out of a time of tension and doubt: it is a song that shows how individual and strong they are. The guys – when I put the interview to them – were in typically witty and self-deprecating mood. They discuss their new music and whether we can expect anything more in 2017; the albums that have influenced them the most and how they came together. Their connection, playfulness and affection show through – surely a duo that will enjoy big success in the next year.


Hi, guys. How are you? How has your week been?

Hey! We’re great thanks. It’s been a hectic week post release but we’re getting through it with coffee and… mince pies.

For those new to your music: can you introduce yourself, please?

We (Michelle & Alex) are Deliah. Some would call us R&B; some would say Soul and some would say Pop. Jazz has been mentioned once or twice – I’m not too sure why, though. We personally would say it’s a little heavier than Soul and pulls from influences such as Nao, Shakka and Lauryn Hill.

You two met at university and have been on the rise ever since. Can you remember that first meeting and did it take long for you two to find that shared connection?

We actually met for the first time in our audition for uni. We were forced into a room with five other musicians and told to write a song in an hour.

Alex, being characteristically hangover during that period eased the tension by starting with some wonderfully lazy chords and I fumbled out some melodies over the top.

We bumped back into each other on the first day of uni. and been making music ever since.

Liverpool is where you hail from. The city has an incredible history of music. Who are the current bands/artists of Liverpool you recommend we investigate more?

SPXKEN, SPXKEN, SPXKEN. I couldn’t advise you more to check these guys out. They are doing some lovely things with Spoken Word! Another artist you may have heard about already is Halem – an Electronic duo. Those guys are on the up.

Better the Devil is your new single. What can you tell us about it and its origins?

We wrote this song about two years ago and it bloomed from a time filled with self-doubt. There were plenty of other pitiful songs that came out that time too but Better the Devil stuck out as a giant ‘F*ck-You’ to all of the outside factors and people who were pushing against us.

The lyric “It’s not your job to hate and suffocate what you don’t know” is aimed at that particular type of power-fuelled person who we’ve all encountered at some point in our lives – the type of person who makes it their job to judge your art.

Even today, the song still holds it’s meaning for us and I think always will. I guess it’s a sarcastic take on oppression.

What are your hopes for the single? What do you want to achieve from it as musicians?

The song has surpassed a lot of expectations we set for it already. I suppose every musician wants to further his or her career with every release; and although that is obviously very important to us, we chose this song because we hoped that we could connect with people – to share experiences with as many people as possible. It is the perfect song to introduce Deliah to new people.

When it comes to songwriting: does one of you bring the idea to the table and it’s worked on? How does the process come together?

Our process has always been pretty simple: Alex writes the music; I write the melodies and we write the lyrics together. We find that’s the best way to go about it since I can’t work Logic and Alex doesn’t have my range (haha).

Marble Heart is your previous single and gained huge acclaim. Was that quite pleasing to hear – how did it come to feature on The Only Way is Essex?

We’re with an amazing Liverpool-based publishing company called Sentric and they must have pitched it out on our behalf. We had no idea until after it was aired. Alex was thrilled to sit through an episode of T.O.W.I.E., though.

Recently you have supported Maverick Sabre and played to a capacity crowd. What have been your favourite memories from this year?

Getting to watch Maverick Sabre do his thing from the side of stage – after just supporting him – was a pretty good high as was playing the main stage at Watchet Festival.

But we would both have to say that creating Better the Devil has been our favourite memory of the year.

Every person who has worked on this release has been so invested in its success. We have worked with so many talented and creative friends and that is very important to us.


Looking forward: can we expect any new releases from Deliah?

We’re already in the process of creating the next release so you will hear more about that in the New Year…

Taking things back and I love the textures and colours that go into your music. What sort of musicians are you both influenced by? Who are the current artists making an impact on your own music?

Currently, we’re listening to a lot of lazy R&B. We’re big on The Sound You Need E.P. as well as Shakka’s new E.P. (although I prefer Lost Boys). We recently went to see Nao live so that has left a lasting impression too. But our influences are a whole different story: Alex is into heavy stuff like Deftones and I listen to a lot of Classical soundtracks; so its pretty eclectic.

I know you have performed around the country and have more dates to come. How have you found the live crowds and is there anywhere you’d love to perform but haven’t been able to?

We love performing live; it’s the best part of the job – and our live sound differs slightly from our recorded sound.

We have two incredibly talented session musicians with us so it’s a good show. Crowds always react really positively to our live set: I think it’s because it’s something they’re not used to hearing – or it could be because we open with a speech from The Network.

Looking at press shots and hearing the music; it seems like you two have a great connection. Do you hang a lot outside of music and what is the best asset/aspect of each would you say (in terms of personality traits)?

We live together (along with our bassist and drummer) so as you can imagine it’s a pretty musical household – and we spend the majority of our time together. Alex is a pessimist and I’m an optimist so when were not arguing about who’s right we have a good balance.


I am always curious to know which albums inspire various musicians. If you each had to select three albums – that have been most important – what would they be and why?


Rage Against the Machine – Rage Against the Machine: Because it had a message: it fused genres and every song is as good as the next.

Kendrick Lamar – Good Kid, M.A.A.D. City: It pushed the boundaries of Hip-Hop so much that it’s hard to remember what it was like before it. Kendrick is so clever with his lyrics and satire that sometimes you forget just how strange and innovative the music is.

Electric Light OrchestraOut of the Blue: I was brought up on E.L.O so I have always had it engrained in me that music can be as catchy as it is clever. Jeff Lyne was a genius at creating great orchestral walls-of-sound to go behind a simple hook in a chorus.


The Theory of Everything Soundtrack: It just makes me calm… and I need that.  

Fleetwood Mac Tango in the Night: It makes me feel nostalgic. My mum listened to this album constantly and still does; so it’s a great way to feel connected to her.

Lauryn Hill The Miss Education of Lauryn HillThe vocals hit you hard! It’s all about the vocals.

As you can tell, I’m more about the feelings associated with music unlike Alex who is all about the math. Maybe that’s why it works so well.

Christmas is almost here. How will you both be spending it? What is top of your Christmas present/wish-list?

Alex will be in Cambridge and I will be in little old Liverpool. We’re travelling to Vietnam in January so I think a good backpack is at the top of both our lists!

Is there any advice you’d like to offer any upcoming musicians looking to follow in your footsteps?

Keep going. Persistence is everything. Make sure you’re as good as you can be at what you do and then continue to learn more.

We’re still at the start of our career so we haven’t got heaps of advice but if you stay sane you’re already winning. Oh, and don’t do drugs – it’s not cool anymore.

Finally, and for being good sports, you can each select any song you like (not yours as I’ll include that) and I’ll play it here.

Alex: I’ll pick Earth Song by Michael Jackson because I’m not sure – but I think it might be the greatest song ever written…

Michelle: I’ll go for Mura Masa Ft. Nao – Firefly.  Because, when she played it live, I almost died!


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INTERVIEW: Sherry Jacoby





Sherry Jacoby


I do love Canadian musicians so it is wonderful finding out…


about Sherry Jacoby. The Toronto musician’s debut E.P., My Light, was released recently and showcases a stunning talent with an original voice. Jacoby tells stories and employs metaphors to assess and define human emotions – vivid soundscapes and musical paintings; lyrics we can all relate to. From ballad-driven songs to uptempo Rock numbers – an artist that has few boundaries and huge ambitions. Jacoby talks about that E.P. and what she has coming up; the music scene in Canada and how songwriting has been therapeutic to her.


Hi Sherry. How are you? How has your week been?

Great! I’ve been spending time rehearsing for my next show, recording new songs and songwriting. I’m feeling very grateful that I have the opportunity to pursue this dream of mine.

For those new to your music: can you give us a little introduction, please?

I’m a Pop singer/songwriter from Toronto, Canada. I have a passion for telling personal stories through my songs. I’ve often heard (from people) that my voice sounds like Natalie Merchant from the band 10,000 Maniacs.


My Light is your debut E.P. (out now). What was the inspiration behind recording it? Have you always wanted to bring one out?

Recording my music was a dream of mine for a long time.

I’ve been songwriting since I was a teenager and I’ve always had a passion for singing. Gradually, as I gained more experience and more confidence, I wanted to take this next step of releasing my E.P.

In terms of the themes and subjects explored on the E.P.: what type of things influenced the songs?

All of the songs are based on my own experiences. The theme of love underlies the entire E.P. but each song addresses a different aspect of it. I wanted to capture the range of emotions that are felt before, during and after a romantic relationship.

Living in a Dream is my favourite song from the album. Can you tell me a bit about the story behind that?

I wrote Living in a Dream while I was in Cuba – sitting on the beach with my ukulele. The song was inspired by that surreal feeling you get in the beginning of a new relationship. I tried to capture what it’s like in the honeymoon phase where everything feels like a dream.

You use metaphor and imagery to capture human emotions through your music. Was songwriting/E.P. writing quite cathartic and did it teach you anything about people around you and the wider world?


Songwriting has always been like therapy for me. It’s an outlet for my deepest thoughts and feelings.

The biggest compliment is when someone comes up to me and tells me that they can connect to a song that I’ve written. Songwriting has taught me that we are never alone and that so many of our most personal thoughts and feelings are also felt by other people.

PHOTO CREDIT: Open Eye Studio

You are based out of Toronto. It is one of those areas that breed terrific music. Do you think a lot of non-Canadian press sources overlook the city and ignore it to an extent?

There’s so much great talent in Toronto and I think the world is definitely starting to take notice. There are so many bands and artists from Toronto that are well-known around the world.

There are so many different bands and artists coming out of Toronto. Are there any you recommend we check out at all?

There are so many talented artists and bands to choose from! Common Deer and July Talk are great local bands that I’ve seen live in the past year.

I can imagine Canada is a completely different way of life – compared to living in the U.S. or U.K. What are the communities and people like? What is it like for a musician growing up there?

Toronto is one of the most multicultural cities in the world which makes it a very interesting and exciting place to live.

The music community in Toronto is so welcoming. I’ve met many supportive and talented musicians through open mic nights and songwriting meetups. They make the big city feels like home.

In terms of all the gigs and memories you have experienced this year: which stand out in the mind?

My E.P. release show was an incredible experience. It was my first time playing my songs live with a full band.

I also used to host an open mic. at a place called Kensington Lodge. I have fond memories of the intimate setting and the welcoming atmosphere.


Talk to me about your heroes and heroines. Which singers and musicians did you grow up listening to?

I grew up listening to a variety of genres but my favourite was Pop/Rock. Some of my favourite bands included Paramore, Jack’s Mannequin and Panic! at the Disco. The music festival Warped Tour was my first concert experience. I was fourteen years old and I remember being blown away by the world of live music.

If you could select a few albums that have meant the most to you – which would they be and why?

Very tough choice!

It depends on the day and my mood but I have very fond memories of listening to these three albums:

Vance Joy’s Dream Your Life Away – In this album, Vance Joy beautifully captures the complexity of emotions that are present in love and relationships. Fire and the Flood and Georgia are heartfelt songs that I can never get tired of listening to.

Of Monsters and Men’s My Head Is an Animal – I love the imagery in this album. Whenever I listen to this album, I imagine a mystical forest – it’s very soothing. And there’s just something about duets with male and female vocals and beautiful harmonies!

Paramore’s self-titled album – I’ve always admired Hayley Williams’ vocal and songwriting abilities. In this album, Paramore weren’t afraid to experiment with new sounds and genres. I love that a choir joins in at the end of the song Ain’t It Fun – and that there’s three short ukulele interludes in the album.


What does the coming year hold in store? Any new material or plans to tour internationally?

I’ve been working on lots of new material.

I hope to release a new single in February as well as my first music video!

Christmas is fast-approaching. You staying in with the family or have any plans? What is top of your present list?

I’ll be staying in with my family to celebrate Hanukkah and I’m also looking forward to visiting the Christmas Market in Toronto. In terms of presents, anything music-related would make me happy. I would love to get a new ukulele.

Can you offer any advice to new singers/musicians coming through?

Try new things and don’t let fear of the unknown hold you back.

It’s cliché but I think it’s true that the magic happens outside of your comfort-zone.

Finally, and for being a good sport, you can select any song you like (other than your own as I’ll include that) and I’ll play it here.

First Date by Darelle London.


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INTERVIEW: Scott Quinn




Scott Quinn


BBC has just revealed its longlist of artists they are tipping for…

music success in 2017. There are notable omissions: one such name is Scott Quinn. With a song like Delicate in the music galaxy – surely that oversight will be rectified very soon. Having (recently) been tipped for success by Billie Marten – who Quinn talks about – there is a lot of excitement around his current moves. Few artists have a voice imbued with such gravitas, velvet and passion – an instrument that resounds and resonates in the soul. A busy and multi-talented Yorkshire songwriter: Quinn’s career trajectory is seeing him rub shoulders alongside some big names. I was excited to find out more: the scene in Yorkshire and (who Quinn) is inspired/moved by; what 2017 holds for him and plans for this Christmas.


Hi Scott. How are you? How has your week been?

Very good thanks. It’s been a crazy few weeks – with the new release – but it’s all been very exciting!

For those unfamiliar with your music: can you introduce yourself, please?

My name is Scott Quinn and I am a songwriter/producer. My music is probably best described at Electro.-R&B-Pop.

I wanted to start off and talk about Yorkshire. It is a county with immeasurable musical endeavour – and some of the most innovative artists in the world. Are you surprised Yorkshire does not get more attention as a county?

Yorkshire is definitely a breeding ground for incredible and diverse talent. From alt-J and Soft Cell to Corinne Bailey Rae; Zayn Malik and Kaiser Chiefs – to name some of the larger names.

There’s a huge, bubbling melting pot of talent and I feel our county is a great incubator of new talent.  I think more and more eyes and ears are focusing on Yorkshire for amazing new music – and I hope that’ll only increase!

Having reviewed artists all around Yorkshire, it seems like each town/locale has a different flavour. Being Harrogate-based, how would you say it differs to somewhere like, say, Leeds or Bradford?

I would agree that some towns/areas have a different sonic edge to others, but at the same time, I see so many diverse acts coming out from all over Yorkshire. With such easy access to a wide range of genres and styles online these days; it’s easy to see influences from far and wide affecting local music in a great way. Harrogate for a while was very ‘Indie-Pop/Rock’-orientated and I was in such a band called The Dukes of Bevington. More recently though there is a real mix of genres coming out of town: from Folk to Metal and Electro.-Pop.

Image result for scott quinn music

Before I come to your own music, I know you are one of the co-founders of Little Less Known (a filmmaking collective). How did you get involved with that and how important is filmmaking to you as an artist/musician?

I have a passion for making things: whether that’s composing music, creating furniture from driftwood or building businesses!

Little Less Known was started as a bit of a passion project with two good friends of mine, Ben Richards and Sandy Wright. We started filming short, high-quality videos promoting some of the best independent businesses in our local area and beyond.

Bearing in mind that we’ve never had any real formal training in film etc., it was great to see that people enjoyed our style of shooting and editing. We quickly started receiving commissions for a diverse range of content and are very fortunate to say that we have worked on some great projects for a number of awesome independent businesses and charities  – and the odd video for  larger companies such as Visa!

For me, as long as I am making something and being creative in doing so, I am happy.

On Twitter, you recently put a shout-out to the people of Leeds and Harrogate to try the STAMP app. – which you co-founded; it urges users to experience their city/town and record their experiences. What has the initial response been like and, again, how did you become involved with something like that?

STAMP is an exciting new tech. start-up that spun off of Little Less Known. We (L.L.K. plus two other talented chaps) are building a discovery app. that will help people find some of the best-hidden gems and revolutionise the way we review and interact with those places. Alpha testing starts next week and once the feedback from that round has been collated and absorbed the Beta should follow not long after! Watch this space.

Delicate is your new song and (in the vocals) I hear embers of James Blake and Anthony Hegarty (Anohni). How did that voice come to be that magic and which singers/artists inspired that?

Well firstly, thank you for the compliment! I’ve always been fairly bold with exploring the higher end of my vocal range (falsetto). I think a lot of guys are pressured to ‘not sing like a girl’ (haha) but I always found it gave me a unique edge in my music and I enjoy challenging myself.

I’m definitely influenced by James Blake: I love his music. I was also recently asked after gig whether I was Sampha (genuinely).

Safe to say I was flattered: I am a huge fan of his also.

The song looks at mortality’s reality and making the most of things – not squandering precious emotions on irrelevancies and negativities. Can you remember the moment Delicate’s spark was lit? Do you think too few musicians concentrate on love/themselves and ignore such important songwriting subjects?

The writing process for Delicate is all a bit of a blur. To be honest, it kind of fell out of my head. It’s one of the first songs I’ve written that I feel completely invested in. The subject matter of ‘working to live, not living to work’ is a huge mantra of mine in my everyday life and it’s been amazing seeing so many other people connecting with the song (one person actually quit their job after listening to the track!?).  I think people in general, not just musicians, often neglect themselves and their wellbeing. I recently launched a campaign with Help Musicians U.K. called ‘M.A.D.’ (Music and Depression).

The aim of the campaign is to not only raise awareness for mental health in the music industry but also put our money where our mouth is – actually make positive change within the industry to improve mental well-being and the education around it.

Is Delicate the start of a new E.P. or album perhaps? Can we expect a new Scott Quinn record in 2017?

Delicate is the first of a number of new releases: the next will hopefully be in Jan. of 2017!

I’ve got a bunch of awesome tracks up my sleeve and I’m excited to share them.

I have been working with an incredible producer called Jamie Reddington (Sound of Fractures) who has helped me take my music and sound to the next level. He’s a very talented guy and I am very fortunate to be working with him!

Delicate’s music video is eye-catching and accomplished. You directed it with Jason Odle. Whose concept was it and how long did it take to put the video together?

I got the idea for the video while on the tube in London. Having played with super slo-mo for my previous release (There for You) I thought it would be great to capture all the expressions and emotions of the people I was passing. I started to research the idea and discovered that there was incredible series called Stainless by Adam Magyar had  achieved the idea I had but to a much higher standard that I could ever have hoped for.

In the end, we were really pressed for time and with only a few days until deadline Jason (my manager) and I jumped in a van, strapped a super-slo-mo camera into the passenger seat and captured a bunch of footage from around Harrogate, Leeds and Manchester. I then edited the video within a few hours and released it the next morning!

Music is becoming less and less visually-orientated as an art-form. Do you fear, in an age where music videos are essential, a lot of bands/artists are not expending necessary thought and effort? Do you feel music videos are becoming too expensive, perhaps?

I think it is easier than ever to produce a high-quality video – the only thing you need now is an iPhone and a great idea.

I personally feel music videos aren’t as popular as they used to be but I do enjoy a well put together bit of visual content to accompany a kick-ass track.

At the end of the day, though: it’s all about the music.

Are there any artists – either Yorkshire-based or nationally – you recommend we check out and investigate?

I actually run a record label with my manager Jason called Ont’ Sofa Records (you may have heard of our YouTube channel for stripped back, live sessions of up-and-coming artists). We have a small but mighty roster of artists and people we work with. New music coming from these lovely folk in the New Year:

Isaac Tyler, Talmont; Laura Riganti and Ella (Denton).

I ask this of many people but (inconceivably) if you had to take three albums to a desert island with you which would they be and why?

Ooooo; that’s a tough one!

  • Stevie Wonder’s Greatest Hits
  • Fleet Foxes
  • James Blake

All artists I love and I think those three albums offer a decent mix of music to listen to …wait, do I get to take a record player too?! (What is this; Desert Island Discs?! – Sam)

Just recently, Billie Marten – when asked by BBC Music – tipped you as her ‘One to Watch’ in 2017. That is quite an honorific! How did that news make you feel?

I was so touched and chuffed when I saw that Tweet come through.

I have known Billie for a few years now and it’s been incredible to see her career soar!

It’s always great to be recognised for your music but it’s even better when it’s from friends 🙂

I have reviewed and interviewed Billie this year (and wrote a feature/included her as one of my ‘Top Ten Albums of 2016’) and was stunned by her debut album, Writing of Blues and Yellows. To me, it is the best album of this year. What are your thoughts on her album and how heartening is it seeing a fellow Yorkshire musician making such big strides so early?

Billie is such an incredible talent and her album was a stunning example of this. Her writing is stunning and her voice so captivating – just beautiful.

Us Yorkshire folk are proud enough as it is just to live in this county – never mind when one of our own makes a success of themselves! Billie is going to go so far and I’m excited to be witness to it.

She is obviously inspired by your music. Is there any chance you two might collaborate in the future perhaps?

Funnily enough, we are actually booked in to write together this week which will be a lot of fun. I love co-writes and collaborating with talented artists.

Christmas is coming up. Are you spending it at home and what is top of your Christmas wish-list?

I will be spending Christmas in the (hopefully snowwwy!) hills of Nidderdale with my parents. All I wish is for a relaxed and happy Christmas surrounded by loved one – it’s the simple things in life that are important.

For anyone looking to follow in your footsteps: what advice would you offer up to them?

Write, write, write. Be daring and listen to your instinct.

Don’t aspire to be like anyone else – they’re already doing it. Make music you love, and if it’s good, people will find it. BBC Introducing is also an amazing platform for getting your music heard. My debut solo release made it onto Radio 1 and it kick-started my music career.

Finally, and for being a good sport, you can select any song and I’ll play it here (not one of your own as I’ll include that).

I am reallllllyyy enjoying Blood on Me by Sampha at the moment. It’s a tuunne!


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THERE are few musicians out there as daring, candid and innovative…

ARTWORK: Onam Yahav

as ADI. I have been following her career for years and always stunned each time she releases a track. Her latest single, Dreamin’, is another step forward and evolutionary move from one of the music world’s brightest new talents. Experimental beats and exhilarating colours; swooping electronics and electrifying vocals – an ADI song is always an aural adventure. With an E.P. (Dreamin’) out I ask the Tel Aviv-based artist what her plans for 2017 are; whether the Israeli music scene is underappreciated and whether she has plans to come to London.


Hi ADI. How are you? How has your week been?

I’m good, thank you! My week was pretty busy: I had three shows, a rehearsal and a few sessions – but I like staying busy so it’s good.

For those fresh to your music: can you introduce yourself, please?

Sure. I am ADI: a producer-singer originally from Jerusalem – today living in Tel Aviv, Israel. I make R&B-Electronica with Hip-Hop elements and I travel quite a lot.

Dreamin’ has just been released. Can you tell us about the single and what inspired it

I wrote this song while I was going through s*it in my personal life and I was just trying to be as honest as possible and not filter anything – so it turned out pretty exposed.

It deals with my fears and my anxieties while being in a relationship. I had the pleasure to produce this one with the amazing Eric Dingus – who also produced a few Drake song – and I asked KDC to add a verse on it – cause I felt like it needs a manly touch. He totally killed it.

Eric Dingus produced the track. How did you come to meet him and what was it like working with him? What did he add to your music would you say?

The funny/amazing thing is Eric and I never actually met in real life. We Skyped once and talked via emails but it’s been so great working with him. He took the song to a whole new level and added quite a few synths. and bass that made it sound dark-ish (and I love it). He totally got the vibe of the song.

 You have released various E.P.s, singles and mixtapes. Would you say what you’re recording now is your best work and how has your music evolved since the early days?

It’s kinda hard to define what’s good and what’s not good but I can def. say that my new work is by far the thing I’m most proud of – it really tells my story; no masks and I feel like it tells my story and reveals all the different layers of my personality.

I used to be scared to talk about my weakness: today I see it as the strongest thing there is. I am ‘proud’ of my weakness: I talk about it, share it, and as a result, I create something good out of the bad.

So, I guess the main difference in the music is the fact that it’s more honest and mature.

Pink Pillz – ADI’s previous single – gained a huge amount of praise and looks at taking anti-depressants and tackling depression. Was that a hard song to write or was it quite cathartic?

It felt really good to just be able to talk about this issue out loud and stop acting as if everything is perfect. It wasn’t hard for me ‘cause I just felt like there was no other way for me – I couldn’t keep on acting and it just got to a point where I felt like I just HAVE to be me and talk about the real s*it that bothers me. I also tried to talk about it with a bit of sarcasm and not make it super-heavy – and to approach it kinda like how rappers talk about drugs and alcohol. I think it’s pretty obvious in the song.

Dreamin’ (E.P.) is going to explore tougher subjects and issues not often raised in music. Do you feel too few musicians address important, everyday topics through fear they are taboo and harsh?

I actually think it started changing lately – Kid Cudi is an amazing example of being to talk about these issues and I think he did an amazing thing by saying to his fans “Listen, I’m going through shit; I got mental issues but I’m gonna help myself for a change”. This is such a big deal; especially in the Hip-Hop scene where everyone is trying to act like everything is perfect. So many people said that his music and his honesty have saved their lives. This is amazing. I really hope that my by talking about those issues in my music my fans will really be able to understand that it’s ok. And that they don’t have to be perfect ‘cause perfect is boring.

 Your new material is your first for a couple of years. As you say, it was a necessary hibernation. What compelled the career-break and was the ‘time off’ helpful personally and creatively?

I just really needed some time off to understand how I’m going to create something that really represents who I am.

I felt like I was stuck in a loop: making things that didn’t really feel right and when I met people they were always telling me that I’m so different in real life than how I portray myself in my music – and it just drove me crazy (L.O.L.). So, I had to take some time to be in the studio; play with my machines and computer; experiment and create things that are a bit more experimental (like the track Chinatown for instance) and push my boundaries in general. It was extremely helpful – both personally and creatively.

You are based out of Tel Aviv. It has a stunning and rich music scene. Do you think it gets overlooked by the media in favour of areas like London and L.A.?

I think most people are just not aware enough of the things that happen here and I can understand why. It’s pretty far away from everything.

But once they start digging in they realise that there’s so many amazing musicians and artists around here.

Who are the Tel Aviv/Israeli artists you recommend we investigate?

There are quite a few: Ben Blackwell, Atar Mayner; Mo Rayon, Michael Swissa and a few more.

I hear shades of M.I.A. and Radiohead in your music. Who were the musicians you grew up listening to? Which artists are currently listening to?

I grew up listening to Radiohead, Björk; M.I.A., Mum; Sigur Rós (and more) but it totally changed (L.O.L.). Today, I listen to Travis Scott, Kid Cudi; Kanye West, Skepta; Migos, Lil Uzi Vert; ASAP Mob and those type of artists. Kinda different, huh?

Given your work rate and the commitment you give to music: what do you do to unwind and decompress from the demands of music?

I go dancing with friends mainly – and just hang out and have fun.

Have you got any plans – personal or musical – for the coming year? Can we expect more material perhaps?

After the release of the E.P. I’m gonna release my debut album! I’ve been working on it for quite a while now and it’s still in the making but I’m extremely excited about it.

Hopefully it will be out in the middle of next year.

I know you have a great fan base here in London (and the U.K.). Have you any plans to come play over here in the future?

I love London and my fans over there are dope A.F. – I can’t wait to be back and play some shows/festivals over there (hopefully after the release of the E.P.).


If you had to select three albums – the ones that have meant most to you – what would they be and why?

Keith Jarrett – The Köln Concert: never heard anything that moved me like this album.

Travis Scott – Days Before Rodeo: the most innovative Hip-Hop production in my opinion; so unique and inspiring.

Radiohead – Kid A: that’s the album that made me wanna become a producer.

Christmas is almost upon us. How will you be spending it and what is top of your Christmas wish-list?

Haha. Thing is I’m Jewish – we don’t celebrate Christmas (L.O.L.). But i wouldn’t mind getting some presents to be honest..

Is there any advice you’d like to offer any upcoming musicians looking to follow in your footsteps?

As cliché as it may sound: don’t try to fit in – stand out!

Finally, and for being a good sport, you can select any song you like (not yours as I’ll include that) and I’ll play it here.

Travis Scott – Biebs in the Trap


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FEATURE: The Ones to Watch 2017: Part Two





The Ones to Watch 2017: Part Two


AFTER yesterday’s list of wonderful musical talent…

I have been compelled to come back and compile another list – I still have one more left to go! From Canadian, U.S. and Australian talent; wonderful acts across the U.K. – a thorough run-down of the artists who will be making sensational music in 2017. This year has been full and surprising: that is going to increase and augment in the coming months. With so many new musicians coming through it can be hard deciphering the good from the bad – I have given it a pretty good shot! I have followed the artists (below) and seen them grow: put my thoughts on paper and fallen for the music and been seduced. Have a look and listen to the fifty-or-so artists below and keep your eyes on them – talent that will light up 2017.



PHOTO CREDIT: Patrick Ford & Jenni Davis


Lydia Baylis – Pop/Alternative, London


Laura Oakes – Country/Pop, Liverpool


Hamilton Leithauser + Rostam – Alternative/Indie, New York, U.S.A.



Ellene Masri – Jazz, Nevada, U.S.A.


Ingrid Witt – Electronic/Pop, Stockholm, Sweden


Nightwolf – Electronic/Alternative, Bedfordshire, U.K.


Them & Us – Synth.-Pop/Electronic/Dance, London, U.K.


The Vim Dicta – Psychogroove, Los Angeles, U.S.A.


Katie London – Pop/Soul, London, U.K.


Echo Arcadia – Indie-Pop/Rock, Edinburgh, U.K.


NYNA – Pop, London, U.K.



This Modern Hope – Indie, London, U.K.


NINA – Synth.-Pop/Synth.-Wave, London, U.K.


Bear Feathers – Alternative, Brighton, U.K.


MissDefiant – Electro.-Pop, London, U.K.


Bird – Alternative-Pop, London, U.K.


SALT – Alternative-Rock, London, U.K.


Dana McKeon – Beatbox/Electronic-Pop, Malta


Gemma Louise Doyle – Opera/Classical/Pop, London, U.K.


Emmecosta – Post-Club, Göteborg, Sweden


Bree Taylor – Pop, Toronto, Canada.


Taylor Noelle – Pop, Nashville, U.S.A.


PHOTO CREDIT: Tourmaline Berg

Van T – Indie-Folk, Cape Town, South Africa




Three Kings High – Indie-Rock, Bristol, U.K.


I.V – Alt.-Rock, London, U.K.


PHOTO CREDIT: Linda James Parrott

Katie Buxton – Nashville, U.S.A.


Amy & the Engine – Pop/Indie, New York, U.S.A.


Oh Malô – Indie-Rock, Boston, U.S.A.


The Franklys – London, U.K.


Bull Funk Zoo – Funk/Indie/Blues, Dubai, U.A.E.


ISSIMO – Pop/Ska/Jazz, Bradford, U.K.


Matt Gresham – Pop, Rockingham, Australia


Baby Queens – R&B/Soul/Pop, Cardiff, U.K.


IV Rox  – Pop, London, U.K.


PHOTO CREDIT: Without a Landmine

Megana – Pop, Surrey, U.K.


Liz Loughrey – Power-Soul, Toronto, Canada



Bianca Rose – Soul/Folk, London, U.K.


Knuckle – Blues/Punk, Huddersfield, U.K.


Scott Quinn – Alternative-Pop/Electronic, Harrogate, U.K.


Joshua Luke Smith – Hip-Hop, Bath, U.K.


PHOTO CREDIT: Anne Campbell

Jasmine Rogers – Acoustic/Rock, London, U.K.


Allusondrugs– Rock/Alternative, Castleford, U.K.


Alexandra Amor – Pop/Soul, Florida, U.S.A.



Vanessa Forero – Indie-Folk, Brighton, U.K.


Kirbanu – Pop/Alternative, Adelaide, Australia


Image result for billie marten

PHOTO CREDIT: Victor De Jesus

Billie Marten – Folk, Rippon, U.K.



FloodHounds – Rock/Indie, Sheffield, U.K.


Tom Bem – R&B/Electronica, London, U.K.


Natalie Gray – Pop/Rock, London, U.K.



Little Sparrow – Alt.-Folk, Manchester, U.K.


MYRNA – Pop/Soul/Alternative, Mons, Norway


PHOTO CREDIT: Jay Wennington

Chapter and Verse – Alt.-Rock, London, U.K.


TRACK REVIEW: Ruben – Sad Face






Sad Face





Sade Face is available at:

12th November, 2016



Surrey/London, U.K.

The E.P., Only the Young, is available at:


ONE of the things that grinds my gears is how many genuinely new and…

innovative musicians struggle hard to get their voices noticed. I will start with that point as it is something that really gets to me. I hear a lot of bands and solo artists emerge who offer nothing fresh and worth talking about. Too often, these artists get raised to giddy heights and elevated above their peers. It may sound like a personal rant but it is meant to get people thinking and changing their attitudes. I know we all have our personal tastes but there are artists who are struggling to get the acclaim they deserve. My featured artist is one such musician who has a solid following but should be getting more people into his tent. It is not just his attitude and organisation skills that make me think that – the music itself is finer and more stunning than a lot out there. Going back to the original point and I have seen so many different acts get to the mainstream only to fade away. It seems those who work hardest – and take longest to get to the critical precipice – are the best music has on show. The reason I raise this point is because many musicians are quitting before they get their dues. Waiting for someone to give them a break – or get their crack at the big leagues – it is disheartening seeing wonderful musicians have to call time. If you think about it; how many great artists do you know have ended their career because they are struggling for recognition. This is not meant to be a morbid foreshadowing for Ruben but he is someone who will continue to strike and impress. Deserving of serious acclaim and proper respect: I know he will keep pressing and transcend to the mainstream in years to come. Before I raise a couple of new topics, let me introduce Ruben to you:

Ruben is a London based singer songwriter creating his own electronic pop music.

He has a degree in Film Production and it is his love of cinema that influences his music, taking on a cinematic tone that is often whimsical and also haunting.

He released his debut EP “Only The Young” in November 2016 and gained radio play with the lead single (of the same name) from Eagle3 radio.

Ruben has performed his songs live in numerous venues including Cafe 1001 in Brick Lane, Trinity Bar in Harrow and The Island Queen in Islington.

He notes artists such as Lana Del Rey, The Killers, The Pet Shop Boys and The Smiths as his influences.

Looking at Ruben and he is already making big strides to ensuring survival and growth. Before I come to look at Pop and the music he plays, it is worth applauding the attitude and approach he has to music. There are few new artists as disciplined and hard-working as him. If you look at his official website (link at the bottom of this review) it is informative, easy to navigate and impressive. I have lambasted some musicians who feel it unnecessary to have an official website – often relying on the listener to scrape together the social media pages (of the artists) and only get a little insight into them. Ruben keeps his biography clear and concise: providing some reveal into his heroes and the music he plays; where he has come from and where he might be headed. That is what you need from a musician in this day and age. There is no needless loquaciousness and filler; you get all the information you need and his links. Also, and if by serendipitous magic, you get photos and images of Ruben. I still see too many artists throwing together some (rather poor) live shots and the odd Smartphone-generated images and that is about it. If you want to succeed and get people invested you have to do better than that. I am not suggesting each new act have a shiny and dazzling website with lots of photos and music – just something that gives the new fan what they want and keeps them hooked. In Ruben’s case, there are some fantastic images and all his social media links on the site; his social media pages are updated regularly and full; he keeps his fans informed and updated. This might sound like an uninteresting topic but essential for any musician reading. With Ruben, here is someone who knows what it takes to succeed and is making big strides. I, as a reviewer, have all I need at my fingertips and do not struggle for information. As 2017 approaches, we are looking to the future and the artists that will start making moves. Given Ruben’s organisation and assured social media pages: it gives him a great chance of catching prominent ears; getting his music to the hands of some big labels. I am not sure what his plans are for the coming year but he is capable of creating lasting impressions.

I shall come to Ruben’s current (and past) sounds in a minute, but for now, it is worth looking at Pop as a genre. Again, this is a path I have trodden before but felt sage to revisit. I know ‘Pop’ has a reputation as being somewhat inferior and predictable. The same way Rock music cannot be easily defined and predicted: Pop is even harder to narrow and get a sense of. Many people (quite wrongly) assume Pop is what we hear in the charts and on the lesser radio stations – because it is ‘popular music’. That is a rather subjective definition of music: just because a lot of people listen to stations like Capital’ and Radio 1 does not mean it is any good – I shall leave my argument and personal tastes aside. I feel Ruben could get played on those stations but is much more suited to the suave and cool side of the dial – making his way to ‘6 Music, perhaps. I know a lot of artists that make it onto that station and will reach a much broader and discerning demographic – those who know their music and have finer tastes. Whether he favours the sounds and route of local radio – again, something I detest – or has a love of the likes of ‘6 Music; that will be interesting to see. What I mean, and circling it back, is his music has that adaptable nature and quality inherent. Pop gets a bad rap because of cheesy artists and mass-produced bands. If you listen to Ruben’s music you get cinema and widescreen beauty; sweeping scenes and something emotive and grand. If you listen to the likes of Lana Del Rey then you get a sense of what Ruben is about. Whilst not exactly the same; Del Rey’s music has that quality and class that her peers lack – able to cross boundaries and appeal to a huge number of people. I feel Rock has become stagnated whereas Pop continues to evolve and mutate.

I am not sure what it is but Pop artists are a lot more agile than we give credit for. It seems like there is more room to work and campaign compared with other genres. If you throw in Electronic shades or fancy something more Folk: Pop allows you that freedom and opportunity. Looking at Ruben and you get romanticism and honesty; there are electronic elements but a leaning towards something immediate and honest – an artist that puts his soul out there and wraps I in some of the most affecting sounds I have heard in a while. It is challenging sticking with a musician who is going to go the whole way, but with Ruben, the first steps are very promising. I opened by complaining about those who get undeserved attention – this applies to Ruben indirectly. Is social media numbers are not as high as you’d like and he should have more people in his camp. Such is the quality and originality of his music you feel many people are missing out. Ruben himself is campaigning and working hard but the media/stations should be doing more to assist. I know next year will see the bigger stations pay attention and his stock will rise considerably. Were he performing run-of-the-mill Pop and addressing the same old themes – broken hearts and cheating exs – then I would not pay such mind to his work. As it stands, Ruben is one of the mist mature and intelligent Pop acts I have heard in a long while and bringing a sense of occasion and innovation to the genre. This all comes out in new work like Sad Face and Only the Young. His new E.P. (Only the Young) is catching attention and being lauded by his fans. You never get a sense of a man primed for the charts and making music for committees and labels. There’s that individuality and personality that is very much his own; songs that appeal to wide sectors and the lasting impression is of someone that knows where he wants to head.

Only the Young is a four-track E.P. that brings together a range of different themes and subjects. I have investigated the title track previously and its themes – something serious, thought-provoking and deep. In the remainder of the E.P. one gets insights into love and young regret; you have loneliness and sallow countenance – a human looking for answers and affected by the harshness of the world. That is not to say the E.P. is negative and dark: there is a mixture of emotions and plenty of light to be found. Even in the most introspective numbers you get rousing instrumentation and sounds; a voice that continues to seduce and buckle the knees. I usually spend this section comparing an artist’s current work against their older stuff. Only the Young is the debut E.P. from Ruben and the first taste of the young Pop artist. I cannot compare Ruben’s old and new stuff but, on the basis of the E.P., can already hear immense confidence and assuredness. You get no nerves and rough edges: every song races and explodes with authority and professionalism. It sounds like Ruben has been recording for years and this is his third or fourth E.P. The production is quite polished – but never overly so – and you get so many nuances across the four tracks. The title track is, perhaps, the most memorable and accomplished but Valentina and Lonely City ensure the E.P. finishes with two fantastic songs. It (Only the Young) is tight and focused but leaves you wanting more. Throughout, you hear a young artist in his element and inspiring throughout. The songs are not your average heartbroken-moan-and-made-for-the-charts song that once heard is instantly forgotten. Instead, one received a song that channels deep and compels you to keep coming back and listening. A full, stunning and memorable E.P. from an artist that has a long future ahead.

Sad Face is the current single from the E.P. and a song I was keen to jump on. The opening notes have a lullaby/music box charm to them. You get plinking, balletic notes that pirouette and dance gracefully around the stage. Gentle and pure; you get caught in the beauty and tenderness that unfolds. I was not expecting such a slight and mesmeric sound to open the song – maybe something more rousing and bracing. That is a wonderful thing: being subverted and hearing something really unexpected. So many other Pop artists would go for hard and hitting electronics and phat beats – negating subtlety and shoving the song down your throat. Rather than go to fourth base and overlook seduction: Ruben flirts with the listener and does not go racing straight in – I’ll drop that analogy now! In essence, Sad Face perfectly ascribes and defines itself without a word being sung. There is a somberness and tear-stained sound to the introduction but you get romance and immense beauty. Ruben comes to the microphone with little composition adornment and layering. His voice is sonorous and serious but has a smoothness and purity to it. Our hero wonders whether (his sweetheart) misses him and what went wrong. You wonder who is being ascribed and the reasons behind the break-up. It is another unexpected turn and something that keeps the song fresh and mobile. The E.P. (Only the Young) has promotional shots of Ruben throwing Polaroids into a canyon – dispensing with past memories and eradicating the past. This is something that runs throughout Sad Face. You have a young man that is bravely asking questions; perhaps afraid of what the answer might be. Asking his lover if he’s missed and thought about – maybe answers will never come. Rather than succumb to cliché and trope, you have a song much more bespoke and personal than the predictable fare of his peers. In the opening stages, you can almost hear and see the backstory and relationship – where the two came from and the machinations of the love.

Maybe the truth is not straight-forward but the questions very much are. I was intrigued whether there was another person responsible for the break-up or whether things just ran their course. Perhaps that is the meaning of the song: never revealing the full truth and allowing the listener a chance to interpret. As beats start to chomp and canter into the song; the hero investigates his naivety and wonders whether he was foolhardy. Walking crowds he is always imagining his former love – faces that look the same but aren’t; always shocking and upsetting. It is a feeling many heartbroken people get after a relationship ends: they always see their former lover in other people or want to see them; yearning for reconciliation and missing them hugely. That comes through in the song and your heart goes out to the hero. As the lyrics progress, Ruben asks whether he has been naïve and a little short-sighted. Thinking the relationship would last; there is that aftershock now it has ended. Many musicians attest broken love but do so without necessary gravitas and originality. Not only are the lyrics more interesting and personal than you’d expect: the vocal is out front and has a candour and emotional nakedness you do not get from a lot of artists. The chorus is the most immediate part of the song and will get you singing along instantly. “This is what a sad face looks like” it is said. Ruben is picking the pieces from the broken bond and trying to piece the puzzle back together again. Almost mocking and taunting his former lover: getting them to look at his face and the emotions you can see.



Despite the near-jokiness of the words – jabbing at the former partner and the result of the heartlessness – the sentiment and delivery comes directly from the heart. You never sense a man making light of his lot: always hitting hard and letting the listener into his heart. Despite weighted words and serious subject matter; the composition is rousing, light and delicate. The percussion continues to pound but you get tender notes and elliptical sides – keeping the song uplifted and energised. That is what Ruben does so well: he can balance dark and light but keeps the song concise and focused. Sad Face has charm and memorability but is one of the most affecting and personal songs from Ruben. The hero wants to give things another chance but that might not be possible. They are off in the city and making moves; perhaps hooking up with other guys and not thinking twice about things. Ruben is sitting at home and wondering how to make things right: whether his former love is thinking of him and thinking of reconciliation. It is that sense of mediation and solution that makes the song so appealing. Ruben never casts blame and goes on the attack: he is looking for repair and wants things back how they were. That is quite a refreshing attitude to a post-break-up song – not being accusatory and showing some maturity about things. It is heartbreaking and open; tragic but hopeful – you feel like they could get back together. The chorus comes back in and seems more relevant and revealing the second time around. It is never rush-delivered and fast; paced so the words can be heard and resonate. You let the words wash over you as you picture the scenes unfolding. Ruben is at home thinking things over whilst his love, in a city undisclosed, is going about their life and living their day. It is agonising to think they might not be paying as much mind to the break-up as Ruben – just going through their day without a care. That seems unlikely but it is worth mentioning. That chorus comes back and keeps riding: the mantra and business statement that becomes heavier and more relevant each time. By the end, you wonder whether the duo ever got back together or at least affected some sort of conversation – opened the channels of communication at least. If Sad Face is a break-up song that sifts through the ashes; there is hope things can go back to how they were – Ruben always imbues light into his songs. Sad Face is a stunning song – and one of the highlights of the E.P. – that is hard to forget and compels you to listen to over again.

There are not many artists out there like Ruben. I have been following his music for a little while now and watching him grow and strengthen. Sad Face is his latest song and one that you know will capture many hearts. I mentioned radio stations like ‘6 Music and how Ruben could get some airplay there. Sad Face has a sound that will not only appeal to their listenership but get into the hearts of the Pop purists. You get energy, youthfulness and vibrancy with Ruben but, as the song shows, plenty of maturity, insight and soulfulness. I know he has just released an E.P. but one wonders how 2017 will unfold. I could imagine Ruben bringing an album out and something full-length. Such is the momentum and inspiration he has now it will be interesting to see. In terms of gigs, he is performing across London at the moment and making sure the capital knows what he is about. Playing smaller venues and open mic. nights: more of the same for the coming years. With the likes of Fabric reopening; there are chances for Ruben to play and there is more hope and faith in the London music scene – more than there was when Fabric was closed. As we stagger into the New Year, many will want positivity and happiness to reign – given the crappy year we have just gone through. In that respect, musicians will be stepping up and ensuring the listener is given something nourishing and comforting. Ruben has made big strides this year and improved from his earliest days. A confident young man who has a well-stocked social media portfolio and a professional website. He knows music is as much about business and image as it is music and personality. If you have a professional-looking website and seem serious then more people will come to you.

Before I wrap things up, I will look at the initial points and why Ruben is someone we should all look out for. Not only is Sad Face a stunning new cut but it results from months of preparation and hard work. I have seen few artists that put the grind in and are constantly on the move. Modern music is defined by tireless campaigning and long hours; getting your name out across the nation and really having to graft. Ruben is someone ready for the task and challenge: he has that passion and love for music. Nobody can deny him of resting on his laurels as he continues to record and perform. I mentioned how many musicians do not have a great set of websites and are ignorant to that side of things. If you are trying to discover a musician then you instantly go to the Internet. If you rock up on someone’s Facebook page and there is nothing there – how likely are you to stick around and be impressed? Many bands/artists have a couple of snaps and the odd link – that is pretty much it. It is disheartening and something that puts me off investigating further. I am not saying this is the reason artists fail but it is part of the reason at least. Ruben knows he has to be visible in order to attract and has created accessible and informative sites – his official page is one of the best out there. Couple this with music that gets inside the soul and compels you to listen more and you have a modern-day artist that has what it takes to go all the way. Pop is a genre that is always subject to discrimination and snobbiness: something that is starting to be redressed this year to an extent. Depending on your tastes and preferences; you have so many different options in modern Pop. It is not all chart music and generic-sounding fluff. Pop is becoming much more serious and provided with huge options and range. Ruben straddles other genres and splices Electro. candour with the gentleness and purity of Soul; cinematic energy and something quite exciting – mix this into the pot and you have a very spicy and exciting recipe.

I know the young man will have his own goals but I would like to see Ruben take his music across the country. London is a vital market – and given his proximity to the capital that is understandable – but there are towns and cities that would welcome Ruben in. I know the larger areas – Manchester, Leeds and Liverpool – would take him to heart and opportunities even further north. Maybe financial constraints are a factor but one cannot deny the popularity Ruben could achieve. So far, London is falling under his spell but there are lands and markets yet to conquer. Sad Face – and the Only the Young E.P. – bursts with quality, excitement and passion. You have a musician that has the ammunition and personality to challenge the standing order and make his name heard loud. I have grown weary of many of the so-called ‘future’ of Pop music. Too many rely on Auto-Tune and armies of writers to pen their music. If you look at who is top of the album charts – Little Mix at the moment – and you have a band that has little musical skill and hordes of writers behind them – not the most gifted in terms of vocals. I love girl bands – the legends like Destiny’s Child and En Vogue – but feel too many of today’s crop lack the bite, talent and appeal of the 1990s’ giants. Little Mix are indicative of so many Pop artists making their way through. You get those that are more edgy, interesting and appealing but they are becoming fewer. Ruben is a breath of fresh air against this tide. A unique talent who takes control of his material and does not need ranks of producers/writers to make him sound like him. In an X Factor world, he is providing sober spotlight to those who lack talent – Ruben is showing how it should be done and how good he is.

Before I close, let’s consider his current sounds and where Ruben could head. I mentioned the possibility of touring but I could see Ruben being celebrated in nations like the U.S. I know I say it about so many review subjects but it holds true here. The U.S. is sending their musicians here – a cultural exchange programme in a way – but they have a love and affection for our finest talent. Ruben could get a few dates over there and really carve out a name for himself. Maybe finance is a factor but demand surely won’t be. There are those out there that would love to see him: if that is fulfilled, who knows how far Ruben can go? The U.K. is taking Ruben to heart and he is reciprocating with fantastic music. The coming year will be an exciting and busy one for the young talent and a chance for him to ascend to the giddy heights of the mainstream. If he does get there – or takes a couple more years – Ruben can be an ambassador for Pop and just what can be achieved; the importance of taking control and not shelling out music to other writers and producers. Sad Face is invariably a personal song that comes from a young man both open and intriguing. There is enigma and mystery with Ruben but a man who opens his soul and wants to bring the listener in. I implore people to immerse themselves in the Only the Young E.P. – it is available on SoundCloud – and one of the best E.P.s I have heard in the last few months. Solid, refined and expert; loose, exciting and multi-layered – so many different strands and themes; a singular artist that you are damned to ignore. Congratulations to Ruben and his fantastic year: let’s hope this continues into 2017. Sad Face is the latest revelation from a sensational artist that has a great future ahead. Many artists have a very uncertain future but Ruben has a bright and prosperous one ahead…

THAT is for sure.


Follow Ruben








FEATURE: The Ones to Watch 2017: Part One



26/11/2016 the ones to watch 2017: PART ONE MUSICMUSINGSANDSUCH 


The Ones to Watch 2017: Part One


WE are heading into the New Year with a candid mix of…

hopefulness and anxiety. There has been some music-related heartache and loss; we have witnessed some incredible albums and truly awesome moments – quite a balance from one of the most memorable years in recent memory. New musicians and talent are exciting and showing just what the future holds in store. With other publications and sites collating their ‘Ones to Watch 2017’ I thought I’d pitch in. In this first part, I put together some of the bands, artists and D.J.s I feel will be having a productive and accomplished next year – those we should all be keeping an eye out for.


D.J.s and Producers


Carly Wilford – D.J./Entrepreneur, London


Roxi Yung – Singer/Musician/D.J., London


PHOTO CREDIT: @nathalietheryphotog

Siggy Smalls – D.J.




Elena Ramona – Pop/Dance/EDM, Surrey, U.K.


CASSI – Dance/House/E.D.M./Trance, Surrey, U.K.


INDIYA – Pop/Soul, London, U.K.


Michelle O Faith – Soul/Pop/Alternative, London, U.K.


King No-One – Indie-Rock, York, U.K.


Next State – E.D.M./House/Electronic, Surrey, U.K.


Boston Building – Pop/Alternative, London, U.K.


SIIGHTS – Pop, Ireland/Scotland, U.K.



Signal – Rap/Hip-Hop, Basingstoke, U.K.


Saints Patience – Classic-Rock, London, U.K.


Ellie Rose – Pop, London, U.K.

Chess Galea – Pop/Soul, Surrey/London, U.K.


PHOTO CREDIT: Emilia Buggins

Catherine Okada – Pop/Alternative, London, U.K.


Chenai Zinyuku – Soul/Pop/Electronic, London, U.K.


Majik – Electronic/Chill, London, U.K.


Emily Mac – Blues-Rock, Toronto, Canada


PHOTO CREDIT: @aaron_f_arteaga

Snoh Aalegra – Romantic-Soul, L.A., U.S.A.


Lola Coca – Hip-Hop/Ska/Pop, London, U.K.



PHOTO CREDIT: Robin Clewley

XamVolo – Soul, Liverpool/London, U.K.


Bee – Pop, Indie, London/Surrey, U.K.


PHOTO CREDIT: Timothy Ward

Jen Armstrong – Pop/Soul – London/Leeds, U.K.


PHOTO CREDIT: @boringlandscapes

Miles Glyphers – Rap/Hip-Hop, Sydney, Australia



Rews – Alternative-Rock/Pop, London, U.K.


Ruben – Pop, Surrey/London, U.K.


IDLES – Post-Punk/New Wave, Bristol, U.K.


Lulu James – Soul, South Shields, U.K.


PHOTO CREDIT: You Magazine

Earl – Soul/Blues, Alaska, U.S.A., London, U.K.


Diamond White Riots – Indie/Alternative, Doncaster, U.K.


Duke of Wolves – Rock/Alternative, London, U.K.


Laura Saggers – Buckinghamshire, U.K. /Los Angeles, U.S.A.


Words & Noises – Alternative-Rock, London/Manchester, U.K.


Lewis Fieldhouse – Americana-Pop, London, U.K.


Lánre – African-Folk/Soul/Root, London, U.K.


I Am Willow – Pop/Cinematic, Valetta, Malta/London, U.K.


Yotam Mahler – Pop/R&B/Soul, Tel Aviv, Israel


Image result for toothless ed nash

Toothless – Indie/Alternative, London, U.K.



ADI – Tel Aviv, Israel