Beautiful to Me
Beautiful to Me is available at:
Pop; Soul; Alternative; R&B
6th January, 2017
The album, 1869, is available at:
I’m Ready (Intro)
Hard to Handle
Ready to Roar
Because We Can
Beautiful to Me
Wherever You Are
No, You Can’t Go
8th April, 2016
THE past few days have been quite eye-opening for a number of…
different reasons. In the fleshpots of music; there are roués and profligates that have been suggesting, with a foolish tongue, there is no imbalance in the music scene. I have interviewed many female stars that claim there are equal rights for men and women – and those who take the opposing view – but I cannot help look at the discrepancies in the trade. Before I come to my featured artist, I want to look at female artists and their worth – through the prism of diversity and compositional variation – and those ardently and vehemence putting female-created music on the map; reinventions of Soul and Pop (employing cross-decade influences in modern music) and songs that contain punch, vigour and energy – how vital that end of the spectrum is; how under-represented it is too. I have written recent pieces that look at gender and racial imbalance in music and was quite entrenched. The latter saw I look at recent successes (2016’s finest albums) and how many black artists appear in the end-of-year lists; the struggles they still face to gain equal footing with their white counterparts. The former, a more in-depth study, showed how few women are employed behind studio desks and in management roles – and how many female musicians struggle to get gigs and equal billing to men. There is still a divide and a huge gap between men and women in music. You only need to look at most festival lineups to know where for art I speak. That discourse is for another time but my point is this: female artists are producing music that outranks and outdoes (in my humble view) that of their male colleagues. Last year provided some stunning albums from female musicians – this year looks set to continue that trend. What I love about female artists, as a contrast to the boys, is how varied and accomplished they are across multiple genres. I am not suggesting, dare I incur their wrath, the boys of music are unexceptional and rather limited.
PHOTO CREDIT: @historiq
There are certain genres – notably Pop, Soul and R&B – I find more appealing and engaging in the hands of the girls. Maybe the boys have more experience of Rock and harder-edged/noised genres (but that may be a generalisation) whereas female musicians are much more authoritative and skilful when providing in the aforementioned genres. In fact, when these genres are performed (female artists) bring in Rock and Alternative edges alongside Rap, Hip-Hop and assorted styles. My point is, and focusing down here, you get more value for your money and bang for your buck with female artists. The fact they have to fight for the same rights as the boys could be the middle-aged-white-boys’-club mentality that pervades and festoons the fabric of music. I know it is a divisive subject but one that demands ackowledgement. Last year, both in the mainstream and underground, I was delighted by how many female-produced albums remained in my mind. That may seem patronising and reductive but it is not intended to be. Across the reliable foothold of Folk; the unpredictable avenues of Pop – the underrated and sensual colours of Soul and R&B – we (as consumers) were treated to some absolutely world-class music. If we aim for anything in 2017 it is to bring about reappropriation and reapportionment: give female artists their due and ensure they have the same opportunities of male musicians. The Soul music went deeper whilst Pop banged harder. Albums from Beyoncé (Lemonade) and Julia Jacklin (Don’t Let the Kids Win) were among my favourite of 2017: brand-new musicians gave me much to think about. It is impossible to name all the once-heard-never-forgotten female artists I encountered but there were some true future legends. That brings me, rather ‘neatly’, to Chess Galea. I have known her for a while – she was one of my first reviews back in 2011 – and have been following her trajectory since that time. 1869 is her debut album (released last year) and showed what a talent she is. Before I continue on, let me introduce her to you:
“Known for her exotic looks and her rich voice full of attitude;
Chess is an artist, a songwriter, dancer, and top-line melody writer. Growing up in Malta, she began learning piano and music theory at aged 5 and was surrounded by classical music and Queen records. She has developed a 4 octave vocal range.
The 90’s pop explosion sparked her love for pop music and a little later on, she discovered EDM. Chess studied at the Academy of Contemporary Music in the UK and since then she has solely managed to gain radio airplay in 3 countries including Australia, Malta and the UK. Not forgetting to mention a number 1 in the Maltese radio charts, ‘Stilettos’.
She has also been busy with TV and radio appearances as well as featuring in some influential magazines both printed and online. Some to mention are: Creation 5, After Nyne and Times of Malta.
Chess also works collaboratively with DJ’s and artists from all over the world, including a Ministry of Sound DJ, Xenia Ghali, and recently well-known DJ Dario Synth. Chess has released 2 EP’s – Babygirl and Tuxedo – and both projects were the result of 2 successful kickstarter campaigns where she received donations from all over the world. Her 2nd EP Tuxedo, managed to get her radio airplay on BBC Introducing, where the single Vanity was described as ‘a cracker of a tune!!!’ by the presenter. Her tracks have also been featured on Best of British Unsigned podcast.
Chess performed these EP’s at the Bedford, Balham and many other significant places in London such as The Luxe and The Old Queens Head, Islington and festivals around the UK. Other big performances include Bay Music Awards, which had an audience of 4,000, and The Farson’s Beer Festival, which had an audience of 2,000“.
Since her earliest work – the E.P.s Babygirl and Tuxedo – I have seen an evolution and maturation of an artist without compromise and limitation. The confidence that runs through 1869 is deeply impressive. Beautiful to Me, which I shall come to very soon, is one of the more reflective and tender albums tracks – it still has an underlying force and passion that is hard to overlook. What I love about Galea is her ability to retain a unique sound but offer something new with each record. Some of the best female-made Pop/Soul of last year – from Beyoncé to Sara and Tegan; across to Noname, Solange and Jenny Hval – had huge adventurousness and did not stick to templates and protocol. Daring, diverse and ambitious: the sort of music that gives the genres huge credit and support. There are those who turn their noises up at Pop: assuming it will be Auto-tune and generic; the ‘musicians’ talent-free and inane. Likewise, Soul and R&B is still seen as fairly niche and reserved for a certain ‘type’. Artists like Chess Galea are making (the genres) more accessible whilst providing music of the highest order. Her previous E.P.s have shown promise and quality (I will concentrate on them in more detail later) but 1869 is her first full-length release. With its intriguing title – a specific and important year? A mix of sexual legality and adventurousness? Something random, maybe? – and a crop-load of exceptional songs, it has provided Galea a whole new audience. She has been busy promoting the album (not just in Britain but the U.S. and Malta) and looks set to have a fantastic 2017. What I admire about her music is three-fold. For starters, there is that exceptional voice. There are shades of her heroes/heroines – Freddie Mercury’s belt and power; Christina Aguilera’s rapture and beauty with some Prince soulfulness and lioness tease – but that arrives from years of study, work and dedication.
The songwriting across 1869 is consistent, personal and hugely engaging. Compositions/themes switch from sexual and alpha female (Hard to Handle for one) to more introspective, self-examining moments. Piano lines skip and bounce one moment; more elegiac and paradisiac. Percussion slams at once before hissing and calming the next; electronics take inspiration from 1980s Pop and the modern-day charts. If strident mandates such as Ready to Roar and Hard to Handle take guidance from Aguilera, Lady Gaga and, perhaps, Michael Jackson (circa. Dangerous); Beautiful to Me, Missing Person and Wherever You Are takes in other influences. Artists that want to succeed, remain and inspire need to employ a variegated palette whilst not losing their focus and identity. Chess Galea does this professionally and easily. There are no false moves or incongruent mashes – everything she does is HER music; she owns every territory she steps into. You get delightful flecks of Michael Jackson’s finest-there albums (Thriller, Bad and Dangerous) with some of Prince’s mid-career gems. In addition, there are hearty nods to modern Dance and Pop – ramped-up and explosive electronics with phat beats – and some sexual, sweat-dripping sassiness. Being a fan of Soul legends and R&B groups; Galea employs these sounds in her own work. What you get, and evident in 1869, is a bold and multi-talented young woman who wants to succeed and remain. Not only is she a great original writer but someone whose interpretative talents are stunning. Whether covering Pink Floyd (a spot-on and captivating rendition of The Great Gig in the Sky can be found on YouTube) or Etta James: you imagine it is her own song, such is the personal touch she provides the music. Going back to my opening topic – female musicians provided fewer chances than their male peers – Chess Galea is one of those underground, unsigned artists who deserves prominence and attention. In years to come, she could well headline big festivals: it is vital artists like her are given equal and appropriate support in the early days. Her unwavering tenacity and dedication to music will see her succeed but is wonderful hearing the music she is putting out there – so addictive, appealing and borderless.
Before I come to investigate Beautiful to Me, it is interesting seeing how Galea has progressed as a songwriter. Over the past couple of years (give or take) there has been two original E.P.s.; a covers collection and singles released to the world. Babygirl was my first encounter with the singer-songwriter and a stunning glimpse into her songwriting. Redemptive, spirited numbers like TTT (Things Take Time) and Breathe are born from a source of strength, fortitude and courage. The songs paints positive messages and provide uplifting sentiments. Storm, at that point, was the most evocative and striking song Chess Galea has ever produced and, along with the E.P. companions, a song that remains in the mind and intrigues with its depth and meanings. The production was polished but not too slick whilst the compositions ranged from subtle piano-led snippets to more rousing passages. Tuxedo followed and was, compared with Babygirl, a bolder and more ‘womanly’ offer. If Babygirl was a young woman finding her feet and offering hope: Tuxedo is the woman kicking out and much bolder. Consequently, the production is richer whereas the compositions more varied and brash – employing more Dance, Jazz and Soul elements. The title track is a sing-along swagger with pizazz, strut and attitude. Vanity fleshes this out and looks at general vanity and looks-obsession in society. Whether directed at a certain type or a single figure; the claws are out and we see a new side to Galea. Both E.P.s are hugely impressive and nuanced but the development, in terms of themes, confidence and experimentation, is huge. Proof, if ever it was needed, of a songwriter unwilling to repeat herself and come off predictable. Galea’s Covers collection took in Etta James (At Last) and uncovered her smoky, sensual Jazz tones. A note-perfect rendition of Pink Floyd’s The Great Gig in the Sky sends shivers through the spine (Galea a dead ringer for Clare Torry) whilst All That Jazz could have been a perfunctory, pointless cover: as it is, it is reinvented and full of feistiness and charm. That collection shows how good an interpreter Galea is and the affinity she has for various genres and decades.
The diversity and genres explored in Covers directly feeds into 1869. A debut L.P. can be daunting yet 1869 is nerve-free and wonderful full. Babygirl’s sweetness and Pop sensibilities can be detected alongside Tuxedo’s top hat kick and black-lipstick-and-sharp-tongue kiss. You get (in 1869) sexuality, passion and intensity with calm, inspiration and personal revelations. The genres explored in Covers sees 1869’s songs exploring new territory and taking risks. You hear bits of Etta James and her contemporaries with Showtune pizazz and theatrics; Natural Woman-esque (that song was included) softness and spellbind – all of her past work has gone into the album. Beautiful to Me could have been penned by Carole King and you sense her spirit, alongside some of Galea’s idols, were watching over her when the song was written. With each record, she becomes a more rounded and ambitious songwriting. That ambition should never be deterred and I am sure she will continue to evolve with each subsequent record. There is not a huge time gap between Babygirl and 1869 but in terms of scope, production sound and compositions, there is a big one. 1869 brings in more styles and genres whilst the lyrics look at everything from love and deceit to self-confidence and ambition. It is Galea’s declaration and mission statement and one that distinguishes her from many of her (inferior) peers. Beautiful to Me is one of the album’s standouts and effortlessly combines allure and sensuousness with wisdom and heart. In an album like 1869 – with so many bangers and upbeat, sing-along anthems – many would struggle to create something contrasting both thematically and sonically. The fact Chess Galea sounds as assured on the song as she does on any other proves what a talented performer she is. I know/hope one or two other singles emerge from the album because, not only because of the stunning, visually arresting videos, there are a few songs that deserve special focus (Missing Person is a number that would benefit a video release).
If you are listening to Beautiful to Me, I would advise watching the song’s video. It is a romantic and scenic opening – Galea in a number of lush and exotic-looking locations; looking wistful and contemplative. The rumination one sees in the video is felt in the song’s openings notes. The electric guitar chords are quite serious and strident but not too overbearing. There is a sense of delicacy and trepidation (in the guitar) but a definite sense of urgency. Before the first notes have been sung you feel involved in the song and invested in its mood. Our heroine elicits some smooth and sensuous vocals (wordless but pure) that are silky but have a soulfulness running right through them. The lyrics are delivered with care and attention: you feel she is addressing the song to a lover or a friend who has been through the mill. The opening line (“A gentle heart that’s made of glass”) suggests a sensitive soul who feels the weight of the world and all it bears. It is the guitar notes, river-like and pointed, that create an undercurrent of romance and velvet. It is hard to describe but you get caught in the guitar and what it is saying – even though the notion and performance are quite subtle and level-headed. The blend of that and the chocolate-like vocal creates an atmosphere of beauty and seduction. Our heroine is clearly directing her words, as becomes clear at this stage, to someone very previous. They challenge her mind and make her dreams possible: she is not sure why they are so beautiful (to her) but she is caught in a haze. Maybe there are many reasons – or there is no true champion – but a combination of things. Juxtaposing some of the more rousing and sexual songs on the album – where the heroine is in control and at her vixen best – this is the other end of the romance spectrum.
PHOTO CREDIT: @historiq
There is no prurient interest or impure thoughts: a song that pays tribute to someone who means a lot to her. In that spirit, the vocal is as affecting and intimate as any Galea has put onto tape. It is hard running through the adjectives and descriptions (the voice is like honey or treacle; it has an enticing and entrancing effect) one can apply to the vocals: it is a stunning and intense performance. With every Chess Galea song, you have that authority and layered sound. Her voice is never simple or one-dimensional; always so much detail and emotions go into every performance. Her hero lifts her up and ignites that smile; makes her push and press for things and gives her the motivation to keep going. Many would say, if they were being insulting, the words are insincere and a little corny. There are artists that run through a cliché dictionary of romantic expressions. They will recycle every long song out there and include every trope in the book. That is not the case with Galea who provides a very personal and meaningful take on the love song. She does not run through hyperbole and over-exaggeration – her boy will not move every mountain and she is not reborn – instead, there is that thankfulness and happiness. So many love songs deal with recrimination and petty accusations so it is refreshing and unusual hearing a song that has a very pure and untainted heart. A happy bond and happy woman can be found throughout Beautiful to Me. When you realise there are going to be no negatives, you dive into the song’s waters and immerse yourself in the unfolding story. The song is kept quite light and uncluttered to allow the purity of the emotions to shine. Instead of clutter the song with big beats and fizzing electronics: there is a tremulous string sound that sits with electric guitar. It is gorgeous but never full-on; it backs and augments the vocal whilst adding physicality. I have said this in other reviews but a great composition is one that adds something to the song both physical and emotive without stealing focus or being too slight. Beautiful to Me has a perfectly balanced score. It is consistently passionate and intimate but has a degree of yearning and pining. A celebration of a proper and honest bond; you cannot fault the song’s intentions and convictions. Knowing, or suspecting at least, who is being referred to, it is rewarding finding a woman comfortable in life but never resting on her laurels. She has found love and a true companion but is never settled and resting – always hungry and taking her music as far as she can.
I have mentioned the song’s video which is lush, beautifully shot and directed. It was made by Anomaly Films and Pineapple Media and the perfect visual representation of the song. Whilst its locations look idyllic and Paradise – not sure where it was shot but there are some beautiful shots and landscapes – the heroine has the look of a 1950s Hollywood goddess in some shots – more modern and casual in others. Our girl’s indecision is emphasised in the chorus: she is trying to decide why her man is so meaningful to her. Of course, I have naturally assumed the song documents love and a special other. Maybe there is a message to friends or relatives that have supported her. I naturally assume it is a love song but the lyrics are general enough they can be tied to a parent or girlfriend. Following the sweetheart line of thought and you can just hear that smile shine from the microphone. Few musicians have sounded as relaxed and confident when delivering a song. Small wonder as Beautiful to Me takes the heart out of the chest and lays it right on the table. There are no sworded details or painful memories; few unhappy sentiments – what you get is praise, thanks and affection. Though Beautiful to Me lacks the energy, killer hooks and stomp of 1869’s opening tracks; it is a song that shows Galea’s true range and histrionics. She is expert when belting out songs like a Soul diva. Few are more comfortable when owning the microphone with their soul bursting from their loins. Beautiful to Me takes things down and shows how much control and discipline Galea has when performing a gentle and dreamy number. Towards the three-minute mark, the guitar and strings become more intense and add more weight and intensity to the vocal. Caught up in the stunning visuals – among the historic monument and beautifully appointed balconies – it is hard not to be envious of Chess Galea. The stunning video accompanies the song wonderfully but gives you a glimpse into a very classical and romantic world – one many of us would like to live in forever.
The final moments find the song’s mandates being reiterated and underlined. Trying to sift through the embarrassment of riches might seem like boasting but there is never any suggestion of insincerity or braggadocio – a young woman safe and secure and relieved to be with someone who brings the best from her. Some beautiful high notes and breathy runs complete the song and add extra poignancy and beauty to the track. It is a perfect way to conclude things and get Beautiful to Me into your head. The song is wonderfully aided by a video that is less a promotional tool and more a production. The cinematic shots and wonderful views find Galea bonding with the surroundings and enraptured by the hot sun and panoramic vistas. Directed by Fabrizio Fenech (Roger Zammit executive producer) it is a simple story arc but that is just what the song requires. Getting back to the main attraction and Beautiful to Me is Chess Galea at her most positive and happy. There are none of the anxieties and fears of some of her earlier work – when she would be casting her tongue at rather deplorable types – and pains of some of 1869’s tracks. Across the album you get some harsh realisations and hard memories surfacing; brilliantly bold and sassy numbers and club-ready anthems. Here, we see the young musician showing her affection and appreciation for someone who means a lot and has turned her life around. Whether the track is purely for the ears of her man – or can be shared with friends and family – I am not certain. Regardless of interpretation, you have a song that could easily find its way on the playlists of the nation’s most influential radio stations. It will capture and appeal to younger, Pop-driven minds but resonates with people like me – those who prefer non-chart music and older sounds. Sparring vintage with modern is a hard feat (and one few do with satisfaction) but Chess Galea is a songwriter who keeps things simple so her music speaks to as many people as possible.
Last year was a busy and memorable one for Chess Galea. Not only did she release 1869 but (she) managed to take her new music to the U.S. and Malta (her home nation). Performing across London, an area she has a lot of fans, and Surrey (where she lives) it ensures her music is getting to as many ears as possible. Her music has been played on local radio and there is a real fan-base amassing. She is one of those artists that has worked her way from the bottom and resolutely overcome any obstacles in her way. In terms of strength and passion, there are few musicians quite as single-minded as Galea. She has that instilled love of music and wants to record and produce for as long as possible. I have been following her since her early days and am astonished by her confidence and development. Babygirl was her first E.P. and was solid and impressive. The title (and cover) projects images of a lover, perhaps ingénue, with a very modern aesthetic – messages that implore hope and courage but have a deep and romantic heart. 1869 is the most overt and mature offering from the Maltese musician and blends the innocence and introspection of her debut E.P. with the more candid and impassioned swagger of Tuxedo (the follow-up E.P.). Her songwriting is at its peak but you feel there is a lot more to come. I am not sure whether there is another album in the pipeline but I would not be shocked to find an E.P. coming along. Whether that addresses love or casts its gaze at the wider world, I am not sure. Being Chess Galea, there is likely to be that mix of pumped-up Soul/Pop jams and smoother, silkier Soul numbers. I adore the fiery offerings from 1869 but have a lot of affection for Beautiful to Me. It is a mature and heartfelt song that is not limited to a demographic. Many Pop/Soul artist tend to develop their music to a particular audience.
Whether that is the young and ‘trendy’ listeners of BBC Radio 1 or slightly older patrons of BBC Radio 2 – you can hear a song/album and know what kind of station will spin it. The thing with Galea is that adaptability and nimbleness. Some songs, the more electric and sexual offerings, speak to the younger listener whilst the more tender songs are able to seduce those of a more sensitive disposition. To be fair, her music is universal and not reserved for narrow tastes. That does not mean 1869 is an album for that lacks identity and cohesion. Every song is the work of a singular artist who wants to be remembered for her own talents as opposed to anyone else’s. Beautiful to Me reflects that and makes you wonder who inspired the song. I have tried to uncover that; it is great hearing an artist sounding so comfortable and self-assured right now. That has come from committed touring and a real hunger for music. I expect this year will find Chess Galea continuing to perform around London and the south-east but her sights will be set further afield. Having already performed in New York and Malta; one feels more international dates will be forthcoming. I am not sure whether Galea is interested in performing abroad but one feels, with management or direction with her, she could score some great gigs. She has that support in Malta but you just know more U.S. dates could come. Having dipped her toe in New York, one imagines dates across the West Coast would be likely (L.A. for example) in addition to dates in other states/areas. Aside from America, there is the potential to do well in Europe. I have seen similar artists fare well in Germany, France and Italy; one must not discount the lure and right-over-the-other-side-of-the-world allure of Australia. I ran a recent piece detailing the great music, old and new, that has arrived from Melbourne. That is a city that has a huge scene and ample opportunities. She (Galea) would find a warm and nurturing environment in Melbourne. Aside from that, there is Sydney and Hobart as possible Australian destinations.
PHOTO CREDIT: @dk__photos
In fact, a mini worldwide tour could happen at some point in the future. The only restriction will be money and how much disposable income is available for such far-reaching ambitions. Demand is certainly not a restriction as those cities/nations would welcome Chess Galea with open arms. I am starting to sound like a proxy tour manager a bit here! The music (she makes) mixes popular and familiar strands but provides a glimpse into a very rare and special artist. You hear songs like Beautiful to Me, and many across 1869, and are transported somewhere special. Whether that is down to the rich and seamless production; the incredible compositional concoctions or that direct and commanding lead vocal, I am not sure. Maybe it is a blend of all three because Galea is starting to see her stock rise. There are ample opportunities to perform around the U.K. and, like I have said, London will be vital. Having filmed and recorded big cover numbers (like The Great Gig in the Sky) there is an opportunity to play at larger venues alongside a range of musicians and backing singers. I know of a few very beautiful and atmospheric London venues she should play and would get under the microscope of some big radio stations and industry types. The modern mainstream scene has some great artists playing but there’s that Pop star-shaped hole that needs filling. Sure, there are artists that mix Pop and Soul but few that remain in the mind and last – certainly in this country at least. There is no reason to suggest Chess Galea could not be that person that occupies the vacancy.
Before ending this I want to first recommend you spend some time with 1869. The album was released last year but is proving popular with fans and new listeners – the reason Beautiful to Me is released as a single months after the album release. The fourteen-track L.P. is bursting with colour, passion and huge hooks. It is the sheer energy and variation on offer that impresses most. The songs do not reserve themselves o particular tastes and will hook those who like their music a bit Jazz-y and snarling. I opened by talking about female artists – how they are still not on a level footing with their male peers – and the effectiveness of splicing decades-old artists/sounds with modern elements. Chess Galea is an artist who admires legends like Prince, Michael Jackson and Etta James with newer acts Christina Aguilera and Lady Gaga. You get a little bit of each in everything she does. Her influences are not worn on the sleeve but you detect their D.N.A. throughout 1869. Beautiful to Me might owe more to U.S. acts Aguilera and Gaga but that is the beauty of her music: each song crosses into new territory. A lot of modern artists, male and female, are so limited with their music. They stick to a certain genre/topic and do not waver throughout their careers – which are often shorter than they should be. Galea does not focus solely on love or female emancipation; she keeps her songbook open and diverse – that extends to her vocalisations and compositions. We know there are fewer opportunities in music for women and they have to shout louder to get their voices heard. This injustice/imbalance can be seen in award voting panels and in studios; at large festivals and right across the board. In terms of quality (female artists) are right up there with the male colleagues, and in a lot of cases, far superior. That is true in genres like Pop and Soul.
Whether it is a natural affiliation; I am hearing some fantastic female artists across Pop and Soul. That extends into Folk and it is outrageous there is a natural sexism in music. Many would argue there isn’t but the facts speak for themselves: there are far fewer women in musical executive roles and in the studios; far less attention paid to female producers and those working behind the scenes. In terms of musicians, there needs to be more awareness and changes made. The festival line-ups are boy-heavy whilst the best female-made albums often take second-place to those created by men. Chess Galea is not waging a gender war but someone who is showing what she is made of. She does not need to prove her worth and quality (she has already shown how good she is) but when it comes to those big venue bookings and true recognition you have to wonder when that will come. I excited to see where she will head in the next few years as she has that inborn, natural flair and star quality. Being familiar with Galea, no nepotism in this review you understand, I know how much work goes on in order to get the music together. Many of us assume artists just throw something together, perform and then watch the pounds come in. From C.D. covers to booking gigs to radio interviews: so much graft and work go into things. When you consider all that, and the professionalism and quality of 1869, you are willing Chess Galea to succeed. This year is going to be a pivotal and vital one for the young performer. Right after the debut album, there is that increased demand that that first, really big hurdle has been negotiated. Galea is a songwriter always inspired and busy so I know something will appear at some point. She is making big strides; not only because of her natural talent and passion but the music she grew up listening to. Those ‘70s/’80s Soul and Pop giants filled her child ears; the ‘90s/’00s U.S. Pop queens compelled and soundtracked her formative and all goes into a heady, tantalising brew. Given the encouraging reaction Chess Galea received in 2016, this year provides an opportunity for her to rise, shine and conquer. It is a chance…
SHE will not squander.
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