TRACK REVIEW: Eva Lazarus – Bad News



Eva Lazarus 


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PHOTO CREDIT: Amanda Thomas


Bad News





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Bad News is available at:


Drum and Bass; Soul; Reggae; R&B


Bristol, U.K.


1st March, 2017


THE more I learn about music and see…

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festival line-ups announced; the more interested I become in female artists. I have already talked about festival line-ups and will do that again very soon – and why it might be time for a female-only alternative. I want to look at Eva Lazarus and why she is someone deserving of big love. Before I talk about her specifically, I want to look at those who blend ‘older’ and ‘newer’ genres; collaborations with an array of different artists and the honour of playing big festivals early on; a little about Bristol, young, black female artists and bringing showmanship to music. It is a really hard thing coming into music and making a long go of things. You start with a blank page and are expected to create sounds out of nothing. You can go down one of three routes. To start, you can fit in with the mainstream and create music that aims at charts/Pop radio stations etc. I will name no names – mainly because I don’t listen to that sort of music – but we all know the acts that want instant success and the approval of the mainstream – not really looking to create anything enduring, meaningful and original. That is fine if you want to go down that route because it is, rather worryingly, becoming prevalent and popular. Another possibility is following your idols and combining elements of their sound – together with some original content. That is okay, so long as you do not wholeheartedly replicate their music. Again, many are doing this and, depending on those artists employed, can be rather interesting. So long as we do not get a lot of copycats and sound-alikes, it can add something interesting to music. The third, and less popular option, is starting from scratch and coming up with something truly special. That is the hardest to do and the reason it forms the minority share of the pie-chart. Artists like Eva Lazarus, more on her soon, have that popular appeal but do not make music for the mainstream: she creates songs that brims with original personality and a unique perspective. What fascinated me about her, and those like her, are the genres mixed together.

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I hear so many new acts provide rigidly stiff and inflexible compositions: tunes that have no resonance and fade into the ether. Either that or you get something processed beyond any recognition. With Lazarus, there is that determination to unite various times of music into something sweet, heady and sentient. Eva Lazarus, onto the lady of the hour, puts together Reggae, R&B and Jungle together with some Hip-Hop and Pop. She has clearly been influenced by Hip-Hop queens such as Beyoncé, Lauryn Hill and the legends of Jungle music. Borrowing a bit from U.S. and British artists, it is a fascinating blend of sounds, scents and suggestions. I know a lot of artists mix genres together but it takes a lot of skill to be able to do and make it reach the masses. So many expend little thought and clumsily bodge something together. With Eva Lazarus, she has grown up on so many different styles of music and brings this all to her sounds. I hear a lot of artists that put Soul with R&B but few that splice in some Jungle and Hip-Hop heaviness. What you get is something edgy and urban with some accessibility and passion. Trying to describe and define it is difficult so it is best left to the listener – listen to the music and let it do what it needs to do. The reason I bring this theme up is because when that chemical reaction is just so, the effects can be quite sensational. It is no coincidence Lazarus has been clutched to the chest of national radio stations like BBC Radio 1.  I will allude more to that soon but want to suggest to new artists, those who might be unsure how to proceed, look to Eva Lazarus as someone doing things right. She wants to be appreciated by the masses but is not willing to dive into the tepid waters of the mainstream. Instead, one hears something with edge, sexuality and fight: her latest track, Bad News, could easily get radio play from BBC stations 2 and 6 – hopping across age brackets and tastes with ease.  Lazarus has played ‘6 Music before but I am not sure whether it was Bad News that was spun. She is, at the moment, more primed to the youth market of Radio 1. Many there are connecting with her oldskool Jungle vibes and that chart-read sound – again, not submitting to easy tastes but providing something that speaks to the younger demographic.

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I’ll talk about festivals soon but want to mention Radio 1 and the sort of people Eva Lazarus has hooked up with. In the past, she has worked with everyone from Stanton Warriors, Dub FX and Serocee. Those name might draw some blank stares but trust me, they are at the vanguard of ultra-cool and trendy. These guys have helped Lazarus get her music to their fans but, more interestingly, show the young heroine is able to bond with a selection of different talent. There are few who could easily compare Etherwood and Danny Byrd, yet she has managed to easily vibe with both – sounding natural, on-point and completely authoritative. It is the confidence and power she exudes that reminds me of idols such as Beyoncé. I bring her name up like a cat brings up fur balls: some might find it nauseating but it has to be done. To me, she defines modern-day female-driven music. That ability to not only mix it with the boys but highlight feminism, empowerment and pride – owning the stage and blowing the speakers off in the meantime. Lazarus’ music is a little different but still has that emphatic nature and command. I know she will continue to harmonise with other producers/artists and that will be interesting to see. It is a hard trick to pull off: have the skill and energy to fit in with other talent but create your own solo material. I feel it is important to collaborate with others because it brings your voice/music to wider audiences. Not only can you attract new fans but learn something too. Lazarus is brilliant and putting various sounds together but has doubtless taken something away from artists like Gotsome and Mr. Woodnote. They, in turn, would have learnt from her and brought that into future sounds. It is simpatico that strengthens each artist and gives them additional confidence. Whether Lazarus is collaborating with others in the future remains to be seen but I am sure she is. I reckon there are many established acts she dreams of sparring with: given her current rise and material, that dream might become a reality. I see her voice sitting well with artists like James Blake – fitting into that dreamy Electronica and Soul – and newcomers like Skepta and Stormzy. Whatever she has in mind, it is going to be fascinating watching her evolve and expand.

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Eva Lazarus has already dropped a mixtape and has the new single out. I wanted to look at Radio 1 and stations that help promote artists. They have been keen to extoll her virtues which does not surprise me. That station does play a lot of mainstream artists: a tonne of crap that could easily have sat on the studio floor. When they get it right, in this case, they unearth and back artists that have genuine futures and provide stunning music. Again, and apologies for mentioning her like a sacred prayer, but Billie Marten is a contemporary that proves the point. Huw Stephens has backed her at Radio 1 and had her in for sessions. Her music is Folk-based and has that melodic, calmer vibe. Most Radio 1 fare is quite vibrant, Pop-based and chart-yearning. Marten is someone who would not normally hang with a Radio 1 act: that makes their patronage impressive and unexpected. Add to that the fact she has been championed by Radio 2’s Dermot O’Leary and Jonathan Ross; ‘6 Music’s Lauren Laverne and local radio – covering the whole spectrum and showing how universal and malleable your music is. I am not sure whether Lazarus has been played by Radio 2 and 6 but that will surely come. The fact Radio 1 have played her music accounts for her growing fan numbers and gig opportunities. Not only has that illustrious attention expanded the horizons for Lazarus but, debatably, made her a great target for festival organisers. I want to look at this more but am interested in Glastonbury. Recently, I ranted at the festival for not headlining music that had any edge or cool. They have become a bit mainstream and reduce the best and most original acts to the smaller stages – Foo Fighters and Ed Sheeran are not the most original or exciting choices, are they?!

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I doubt Lazarus gives a flying f*** who is headlining or did when she played the festival. To get onto a stage where she was watched by thousands of people would have ranked as one of her fondest memories. It is pleasing hearing so many young artists given the chance to play at Glastonbury. That kind of chance is not to be sniffed at or seen as a natural right. You need the right mix of appeal, talent and stage presence to be able to entice the Glastonbury crowds. Eva Lazarus was a hit when she played and won them with her natural command and confidence. We often overlook showmanship – or a less gender-specific word – and how important that is. I am not suggesting everyone needs to be Freddie Mercury but at the same time, a bit more energy than, say, Ed Sheeran is a good idea. It is hard to strike but having an affinity with the crowds and a sense of performance gets the music out more directly and strongly. I see too many live performances rather dormant and lacklustre on stage. Even if you are a Folk act, let’s say, you can still impress with a sense of beauty, beguile and tenderness. Too many showcase little personality or nuance whatsoever. Eva Lazarus is noted for her stage presence and brings that into her music too. Listen to a song like Bad Blood and you sense that physicality; an artist moving around the microphone and letting the emotions overtake her. Nothing is fake or forced: she exudes so much vibrancy, electricity and passion through her vocals. Perhaps big performances (like Glastonbury) has inspired her in the studio but she had that natural ability from the very start. The festivals want performers that can get the crowds up and involved; have them all bonded and seduced by some incredible music. If you are unable to project and compel then you will not be invited back again. Say what you want about bands like Coldplay – I am not a fan, let’s put it that way – but they know how to put on a show. I am always interested in artists that get into my bloodstream and get the body moving. Eva Lazarus not only does this but makes the heart skip in all sorts of ways – accelerated by her vivacious and energetic tones but buckled by the smoothness and sensuousness she can exude. I’m minded to expand more on this in the conclusion but will move on.

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My point about festivals will, ironically, be the headline act of the introduction: until then, a little on Eva Lazarus and where she hails from; the reasons Bad News is so special. In writing this review, I almost stated Lazarus was based in London. It seems like a natural thing to type I forget, rather ignorantly, musicians hail from other parts of the U.K. Starting her life in the Midlands; she has travelled to Bristol and is eating up the heritage and sounds of the city. I won’t, like I have done before, go into all the great Bristol artists through time – you can do your own Internet research. Regardless, I think that is why one hears so many interesting sounds fused together in her music. Sure, London or Manchester artists can do this but it is that mix of older Jungle and modern Soul which, I feel, is inimitably the work of Bristol. Consider some of the legends like Massive Attack: an act who brought everything from Soul, Jazz and Jungle into their best albums. I would be tempted to see Eva Lazarus lend her voice to a Massive Attack-esque song. I could envisage a modern-day Karmacoma or Unfinished Sympathy with her as the singer. I digress but am fascinated by Bristol as a city and how it has influenced music as we know it. There is still a big Hip-Hop/Trip-Hop movement there but not the sort of explosion we saw in the ‘90s. Instead, we have great Rap artists and some interesting Pop acts: a myriad of artists who should put the city firmly in the mindset. I feel Bristol does not quite garner the same attention as cities like London. Maybe there is less going on there than was but I don’t think that is the reason. New talent like Eva Lazarus will help with reappropriation and canvasing: she is one of those acts you’re fascinated by and want to learn more about. She has her ear to the ground and very much in-tune with U.S.-British Soul; fantastic R&B and some awesome Reggae-cum-Jungle combinations. Bad News is as strong as it because of where she is. Lazarus gets a first-hand view of the modern Bristol talent but is connected to the past masters. In addition, she is touched by Soul greats and the, one would imagine, vast and vivid record collection she was raised on.

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I am angry about the state of modern festivals and award shows – more on that soon – but feels a connection to young black artists in this country. I have already written pieces about gender and racial imbalance today but want to return to that point. I am not saying there is out-and-out racism in the music scene but would suggest the rise of artists like Skepta and Stormzy – raising the profile of Grime and Urban music in this country – will not effect as much change as one would imagine. It is was great seeing Skepta scoop the Mercury Prize last year; encouraging hearing Stormzy deliver a blistering album – his peers like RAY BLK and Anderson.Paak have been lauded by poll-makers but have struggled to get where they are. It is hard for women to get their voices heard in today’s climate but equally perilous for black artists. You look at the festival bills and the award shows and it is still very much the white majority. Specialist ceremonies like the MOBO Awards concentrate on black music but they are in the minority. The fact Eva Lazarus has had her music played in the film Brotherhood, you’d think, would make her stand out and get those all-important award show nominations. Her music is award-worthy but you imagine she will take years to get the same opportunities as her white peers. I don’t know, really. It appears plenty want change and equality but those in charge – the record labels and organisers – are a little hesitant. It is scary and risky changing the game but it is something that needs to be done. It is not a case of pandering but not being exclusionary and elitist – in a way, promoting a sense of ignorance and bigotry. It is a hot topic so shall not go into it too much. The hungry young black artists of the U.K. are creating some of the finest music in the world so deserve a big piece of the cake. In recent months, offerings from Loyle Carner and Nadia Rose have pricked my senses and filled my imagination. Both artists tread different paths but are equally deserving of those award show nods. So too does Eva Lazarus on sheer merit alone. One hopes the restrictions imposed will be lifted because there are angered voices out there who want changes. That brings me, neater than usual I must say, to the state of our biggest festivals.

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PHOTO CREDIT: @dominika_scheibinger

I suggested we need to have festivals that are female-only. Many have suggested, given the sexism in many award shows, dividing categories into Best Artist – not having separate gender categories. Maybe this comes at a risk – maybe males will dominate that – but it seems there are too many divisions and not a fair balance. Award shows are still heavy with boys and do not give women of music a fair platform. This needs to change but the issue is not exclusive to award shows. The festivals we hold each year have eye-catching photos with their list of artists playing on various stages – how many women do you see on the posters? There are, I would guess, more female artists than male in current music. If the mainstream focused more on male artists, not entirely true, is that an excuse for having more boys topping festival bills? Consider some of the best music of last year and there will plenty of female-made albums in there. In the last few weeks, albums from Laura Marling and Julie Byrne are worthy of festival places. Do you think those two artists will be high up the pecking order of next year’s major festivals? Marling is someone I assume should be headlining Glastonbury: considering Ed Sheeran has snuck in there, how is he better or more deserving than her?! He isn’t but that is the way things are going. Festivals are still a white-boys-only club that seems to put women and black artists onto the smaller stages. Booking should be based on merit and potential; stop thinking about history and what has gone before. Seeing how well Eva Lazarus is doing; she is someone I would see fitting comfortably onto the main stages at Glastonbury in the coming years. You put her against a like-minded, similar-themed male artist and who is more likely to get that call? You know the answer so cannot say there is little sexism and unfairness now. Does that mean we need to have a female-only festival?

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Something I’d suggest would be uniting international (female) artists into a major festival – putting black artists high in the mix and creating something positive. Perhaps call it Sister Acts – or something less crap – but it would feature female artists around the world across a multitude of genres. You could bring together heavyweights like Beyoncé and Laura Marling together with newcomers like Eva Lazarus and RAY BLK. Even bands like Warpaint deserve a chance to shine and there are many other entrants I could name. Not only do I think it sends a positive message out to the music world: it would give a chance for female performers a chance get the bill billing. Some would say that is sexist but it is, from my standpoint, the opposite of that. What is happening now is sexist: making women more included would be an evolutionary and sane leap forward. In time, that would give other festivals chance to reflect and make positive moves. As I type this, the sparks and fuse is lit; the idea is formulating – hopefully, I can start something at least. We are at a point where we are less progressive and equal than we were decades ago. We are so developed in other areas but when it comes to gender; there needs to be a lot of work done. I am not suggesting a single festival can remedy the malady but it would be a start. I have this lingering fear the likes of Eva Lazarus, regardless of immense talent, have to wait in a long queue before they get the same rights as the boys. I shall leave my anger aside but hope Lazarus, a new song in tow, manages to break down some walls and, at the very least, find her way on one of the bigger stages. She has already had that Glastonbury gig on her C.V. so it can’t be long until she moves up the ladder and plays headline spots. Bad News is a bold and emphatic statement of what she is about and where she is headed.

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In the past few days, Lazarus has appeared on the Gardna X Kreed E.P. where she lent her vocals to the track, My Show. Performing alongside J. Man and Parly B.; it is an assured performance that shows she can step into someone else’s song and sound like it is her own. I stated this earlier on: Lazarus is one of those artists able to take her voice where she needs to and make any song sound completely intoxicating and entrancing. There are examples of this all over her SoundCloud page but it is the original, Bad News, that has brought me to her. The start of the song has a mix of Urban and Reggae vibes. It seems like the nature of ‘bad’ and ‘good’ is explored in a song that sees the heroine lusting after her man. She is, as she confesses, bad news for the guy but wants to change that. It is not revealed why she is causing problems and so destructive. Maybe her spirit is rebellious or she sees life in a different way. Whatever the circumstance, it is creating a relationship that is eventful and never boring. That composition has Calypso/Reggae –smooth to it but some Drum and Bass elements. It is a combination of relaxed and sun-kissed with a bit of spunk and flair. In a way, I get hints of Anna Meredith and Rihanna; there is a little bit of 1970s Reggae with some current-day Soul. It is an intriguing blend that makes the music ready for summer and festival-ready – the words have their own course and cause different projections. Lazarus’ voice is firm but has passion and tenderness underneath. That Drum and Bass influence really comes in very sharp. The beats race as the electronics warp, vibrate and echo: mixing with a sweeter, yet authoritative, voice and it creates something quite electric. It seems like the boy himself is bad news. As the chorus attests; he is somebody who has his flaws and faults but it does not seem to be a big problem. Lazarus is embracing that imperfection and seems engrossed and enraptured in the moment. It is a bracing and spirited chorus that has that rushing and banging background; the vocal repeats the coda – “I know that you’re bad news” – and really gets the body moving.

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What interests me is the difference between the chorus and verse. To start, the song was very much in the areas of Soul and Reggae. It was a chilled and sweet-vibe. The voice kicked back and documented the flaws and drawbacks of our heroine and hero. It was a fascinating balance of vulnerability and power that switches in the chorus. When that compositional blast erupts; the song steps up a notch and Lazarus seems dreamy, surrendering but aware. She is accepting of the fact her man is not ideal but maybe it is his bad side that is really turning her on. Our heroine cannot get over the way the boy makes her feel. They are both bad for one another but it is that familiarity and commonness that is bonding them. She does not want to move on and have a conventional love: he seems drawn to her unpredictable nature. Into the next verse, the compositions not quite as foreboding and compacting. The beats loosen whilst the electronics more refined and restrained. It allows a bit of flow and energy to come in – after a chorus that was slamming, domineering and dangerous. As the song progresses, you start to imagine who the hero is and how they got together. It is never revealed just why the guy is so bad and why the heroine is drawn to him. I guess there is that common D.N.A. but one assumes both have form when it comes to faithfulness and loyalty – perhaps they cheat or not as dedicated as you’d imagine. Perhaps they roll with the girls (and boys) and like to have a bit of fun. Maybe there is a reckless streak inside them that causes arguments and poor judgement. Whatever the origins, you follow the story and get inside a young woman in the grip of a full-blown passion. As things start to draw into the latter stages; that electronic sabretooth tiger comes back in for the attack. It is quite common for Drum and Bass songs to have that echoed-vibrating sound but rarely is it mixed with notes and vocals that suggest soul and affection. I hear a lot of Drum and Bass songs backed by direct vocals that are all business and do not have that underlying tenderness. Lazarus brings her influences in and blends Soul and Reggae strands into a fiery and blitzing Drum and Bass template.

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What will catch most listeners is the effectiveness and simplicity of the chorus. That acceptance of reality and the fact the two are quite similar – not in an ideal way. Perhaps the relationship burned bright or maybe it was a sense of getting together once in a while. Lazarus never reveals whether the two are together or whether they are hooking up when they can. Maybe that is the real issue: both caught in a loveless and unexciting relationship. It is clear they can provide something to one another nobody else can. The chorus is the dominant feature and something that dominates the skyline. Lazarus’ voice skips and repeats as she enforces that message once more. I have talked about how good Lazarus is and how she could headline a festival. In terms of sounds, Drum and Bass tends to be reserved for specialist festivals – if it does get to Glastonbury, it tends to be on the smaller stages. Bad News is neither an out-and-out Drum and Bass song or anything else. It mixes genres to create something new and exciting. You get blends of Soul, Pop and Reggae; sprinkled with some Urban touches and that Drum and Bass whole. It is a fantastic song that manages to get inside the head and stay in the memory. It appears Lazarus is in fine form at the moment and you know more material will follow. She has the backing of other artist and proves she is fine a collaborator as she is when stepping out solo. I would love to see more songs come through; a chance to know more about a rare talent that seems intent on success and longevity. I know Eva Lazarus will go far: songs like Bad News prove she has the talent and voice to remain on the scene for many more years to come.

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I will, as I ordinarily do, revise my early points in closing this review. Before I do, I wanted to look ahead and see where Eva Lazarus is heading. It might take her a little bit to be one of the mainstream (credible end of) artists but she will get there. The next few months will see her busy on the road: getting her music out to the willing punters. On 1st April she plays Bussey Building in London across to Hereford (The Venue) on 7th. From there, she has dates in Bristol and London; playing Hull on 3rd June – you can see her official website for all the details. Impressively, she takes to YAAM in Berlin on 9th June before, tiringly, getting to Scotland to play Eden Festival the following day. After that, there is a bit of a rest but she will head to Jersey and Croatia between August and September. Those international dates will be important and bring her music across the waters. I am not sure whether there is an E.P. or album planned for this year but you’d imagine touring will get in the way. Perhaps 2018 is the year we will see an Eva Lazarus album hit the shelves. Her much-lauded track Flash Your Lighter was used on Brotherhood and picked up by Radio 1; she has followed that with her, I think, finest track that shows just what she is capable of. I would love to see a full-length record that brings together all the sides of Eva Lazarus. That will come, but for now, she is building her fanbase and keeping busy. Bad News is another one of those songs that will be picked up by a mass of radio stations and people – perhaps making its way onto T.V. or film.

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I have talked about festivals and how they are a boys’ club. That is not just my view but the observations of so many different sites and music fans. There have been blogs and articles dedicated to the topic. In the same vein, the lack of black faces at these festivals has been brought up. In that Venn diagram of prejudice is an artist like Eva Lazarus: as a black female performer, how does she get a chance to play the big stages? I know she’s performed at Glastonbury but can you see her headline in years? She probably deserves to but one wonders whether that will happen. It is something that needs to be raised and discussed at length. Maybe the problem stems to people like me: journalists who review mostly-male artists. It is not a conscious decision but, mostly, I get sent submissions from the boys. In terms of the girls, it is quieter than I would like. Perhaps, then, the issue stems from a nervousness and sense of inferiority: thinking they would not get attention and support of they reached out. In truth, there is this tug-of-war going on between the men of record labels and festivals and women in music. The only way to break it is to make small, positive changes: vocalising opposition to current practice and suggesting practical solutions. We cannot stand by and judge others who promote racism and sexism when, in an industry and all-encompassing as music, there is a low-level sense of discrimination causing such division and egregiousness. One of the most impressive things about Eva Lazarus (among many others) is her sense of style, stage command and passion. Recalling those big-voiced Soul legends of the past: she is able to project enormous emotion from vocals that do not necessarily need to break the scales. On the other hand, there is an alluring smoothness and purr to be discovered; rich tones and so many different ideas packed in there.

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Coming from Bristol there is already that need, I feel, to prove yourself. British music is pretty London-centric so anyone outside the capital, geographically and commercially, seems a little detached. We forget how rich the nation is in regards wonderful music. Bristol has been producing world-class artists for decades and does not look like it will stop anytime soon. Maybe there has been a dynamic shift from the 1990s’ Trip-Hop explosion but, in a good way, some of that debris and radiation has lingered – a half-life that will remain for many years. Eva Lazarus must have been inspired by artists like Massive Attack – even though she was still in the Midlands, I think, when they came to prominence. Right now, I am looking at the city and seeing a lot of variation. Idles, a band I have featured before, have transformed from an Alternative group to a proper Punk outfit over the years. Back in 2015, the band headlined Stagfest and played at The Fleece (supporting Danish group, Iceage). They are going from strength-to-strength and responding to the vibrant heartbeat of Bristol. If there are few artists carrying on the legacy of Portishead and Massive Attack; that is not to say quality and innovation has deserted the city. Rebecca, again, she has grown in stature the last couple of years, has been backed by BBC Introducing and has created tear-strewn live shows with songs like Coma Boy hitting the mark. She is recording and planning new material so somebody worth watching. Similarly, Goan Dogs produced their first U.K. tour in 2014 and have been growing in strength and potential ever since then. With many Bristol acts, you have that blend of innovative tracks and originality. There are fewer artists aiming at the mainstream: a real sense of potential coming through – maybe a new wave and rush of Bristol wonder influencing the music scene. We often overlook Bristol and assume the best days are gone. That is not true and Eva Lazarus is the epitome of that. Away from London – free from the crowded streets and heavy competition – there is a sense of freedom and community there.

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As one would suspect, Eva Lazarus relies on patronage from stations in London like BBC Radio 1 but has travelled up and down the country performing. That is increasing this year and will take her from the ranks of promising-newcomer to just-shy-of-the-mainstream. I hope she does reach those levels because she can start to effect some change in the charts. There is still a reliance on manufactured Dance and Pop: some genres have gone in reverse and show less innovation and promise than they did a couple of decades back. Maybe that is just how things go but I think some discipline and intervention needs to take place. Shake up the charts and how they are organised; get festivals and award ceremonies altered and make music a more quality-based, gender-blind boiling pot – where black artists and minorities are given the same chances. Eva Lazarus, as a skilled black female performer knows there are obstacles (others do not face) but is continuing to record and strive. Bad News is her on full-attack and aiming high. It is an impressive song that shows what a range she has. That blend of Soul and R&B pokes through; a little hint to Jungle and Pop – so many colours and little details all in. Essentially, it is the perfect song for the long days: it makes you think and feel better but packs a bit of punch to it. It is artists like Eva Lazarus who will manage to make cracks in the ice-block of modern music: break down those barriers and imbalances we have. With many of her peers in the same boat; we can start to see real change and bigger opportunities for female musicians. When it comes down to it, isn’t that really…

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WHAT every good person wants?


Eva Lazarus

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