Hey Music Mag - Issue 4 - February 2019

FEBRUARY 2019 ISSUE 04
AVA
MAX
The new
generation’s
Lady Gaga?
JAMIROQUAI’S
ENDURING APPEAL
Must-watch music
documentaries
HOW TO RUN A
RECORD LABEL
+
NEW MUSIC YOU
NEED IN YOUR LIFE

PRS for Music members Dreamwife performing at PRS Presents
FOR MUSIC
Music wouldn’t exist without the work of songwriters,
composers and publishers. We’re here to represent them
and ensure that they are rewarded for their creations.
BECAUSE MUSIC MATTERS
2 DECEMBER 2018
prsformusic.com

UPFRONT
PUBLISHER
Hey Music
EDITOR’S
LETTER
EDITOR
Lesley Wright
lesley@heymusic.com
NEWS EDITOR
Kristan J Caryl
kristan@heymusic.com
MARKETING DIRECTOR
Darren Haynes
darren@heymusic.com
IN-HOUSE
CONTRIBUTORS
Antoinette Smith
antoinette@heymusic.com
Daniella Millership
daniella@heymusic.com
Aiez Mirza Ahmed
aiez@heymusic.com
CONTRIBUTORS
Jim Butler, Nick Rice and
Tarak Parekh
@heymusicofficial
@heymusictweets
@heymusicofficial
@heymusicofficial
www.heymusic.com
LOCATION: London
Hey Mag is published by Hey Music.
All rights reserved. Reproduction
in whole or in part without written
permission is prohibited. The publisher
regrets that they cannot accept liability
for error or omissions contained in
this publication, however caused.
The opinions and views within this
publication are not necessarily those of
the publisher or editors. All credits are
accurate at the time of writing but may
be subject to change.
Even if you’re too young to remember Bros, the
recent documentary about the identical twins from
the ’80s boy band will suck you in. At some points
it’s unintentionally hilarious as clashing brothers Matt and
Luke Goss come across as mad as a box of frogs, at others
it’s deeply personal and poignant as they describe the impact
of falling from “hero to zero” at the hands of an unscrupulous
music industry and vicious press.
Tantrums, tears and triumph – it’s got the lot, and I was
unexpectedly emotionally rinsed by the end of it.
Unlike those ‘poor’ kids who signed up for Fyre festival,
who were financially rinsed. Fyre: The Greatest Party That
Never Happened is another documentary worth watching.
In a nutshell, it’s a lesson in how not to be a promoter.
Two things struck me while watching the Fyre doc. Firstly,
who signs up for a festival – luxury or otherwise – on the back
of an influencer campaign that doesn’t mention anything
about the line-up? And secondly, it’s further heightened my
appreciation for all the decent promoters in the world, who
stage excellent – and safe – festivals, gigs and parties.
I flirted with being a promoter once upon a time. A couple
of mates and I ran a bi-monthly club night at The Key, in
King’s Cross, London. Being a promoter is not for the fainthearted,
let me tell you. We’d have a full club and tills ringing
at the bar one night, and tumbleweed blowing across the
dancefloor the next. If memory serves correct, we walked
away from that little sideline after two years with the grand
profit of £6.95. Between three of us.
But then we never got into it for the money. Which is just
as well, really.
Enjoy the issue.
Lesley Wright
HEYMUSIC.COM
3

UPFRONT
CONTENTS 16
UPFRONT
6 NEWS
What’s cooking across the UK
and around the world
FEATURES
16 POP ART
Is chart-topping newcomer Ava Max
the new generation’s Lady Gaga?
20 KING OF COOL
The sound of Jay Kay’s Jamiroquai in
2019 is unapologetically buoyant,
mesmeric and kaleidoscopic
24 CLASS OF 2019
The legends being inducted into
the Rock & Roll Hall of Fame
26 SISTER IN SOUND
We shine the spotlight on a successful
female sound engineer making her name
in a predominantly man’s world
20
30 TAKE FIVE
Producers, bands and vocalists destined
for big things
34 CITY FOCUS
Party vibes in Paris
38 ESSENTIAL VIEWING
Music documentaries you need to watch
42 HOW TO…
Detone boss Darren Emerson on how to
run a record label
44 THE DIRTY DOZEN
Some of the greatest jazz pianists to tinkle
the ivories
4 FEBRUARY 2019

UPFRONT
6
54
48 MUSIC BY NUMBERS
Stats behind legendary London club fabric
50 COWBOY HAT OPTIONAL
The reincarnation of country music
34
52 IN PURSUIT OF HAPPINESS
Kurdish singer-songwriter NOURI gets vocal
about diversity
54 BITE ME
Discover the dark, glitter-filled heart of FAANGS
56 MOVIN’ ON UP
Kara Marni reveals what’s on her 2019
‘to-do’ list
BACKSTAGE
58 SHINE ON!
The role of an artist manager
HEYMUSIC.COM
5

UPFRONT AROUND THE UK
DISCOVER: Bjarki
Happy Earthday (!K7)
Having been one of the key artists that helped Nina Kraviz establish her excellent Trip
label, Iceland’s Bjarki has stepped out with a debut album that peels back from techno
and into emotive and insular IDM. It’s awash with warped pads, icy minimalism and
underwater dub to make for a truly immersive listen.
Photo_Prisca Lobjoy
MAN ALIVE!
A Man Called Adam is UK pair Sally
Rodgers and Steve Jones, pivotal players in
the emergence of the acid jazz and Balearic
house movements of the ’90s. After working
together as Discrete Machines around 2012,
they make a welcome return in March with
Farmarama – the first A Man Called Adam
LP in 20 years – and it’s a double album full
of analogue warmth and vintage synths.
At times smooth and serene, at others
more intricate and experimental, it’s a
journeying album that takes you from
sunset house onto blissful ambient
via gently churning breakbeats. It’s
a perfect post-session album run
through with the warm afterglow of a
night out, and one that is sure to be
a go-to soundtrack this summer.
6 FEBRUARY 2019

MINT CLUB
TO CLOSE
Anyone who has been
clubbing in the UK over the
last 20 years will at least be
familiar with Leeds venue
Mint, even if they haven’t
danced at the club. It’s
been home to legendary
nights like Back to Basics,
Technique and Asylum, inhouse
promotion System
and, for the last decade,
the afterparty of Sven
Väth’s Cocoon in the Park
festival. It’s famous for its
close-knit feel, punchy
Funktion One soundsystem
and LED light panel above
the dancefloor.
The sad news is that it’s
closing on 24 February
but not before a final run
of parties that welcomes
back favourite international
guests – like Seth Troxler,
Ricardo Villalobos and Kerri
Chandler – and plenty of
the local crews who have
helped put it on the map.
UNHEARD
BOWIE TRACKS
SLATED FOR
RELEASE
Few deaths in the music industry had such a universally
sombre reception as David Bowie’s in 2016. The singular
and pioneering musician went out in typical style too,
with final album Blackstar lamenting his own passing and
giving us all comfort while we mourned.
To mark what would have been the late icon’s 72nd
birthday, Parlophone will release Spying Through A
Keyhole, a set of nine 7” singles that includes the earliest
known versions of the now legendary Space Oddity. The
label says they are mostly solo recordings of a rather
rough quality, with the musician backing up his own
singing on guitar and piano.
The exact date of this limited release had yet to be
confirmed as this issue went to press.
HEYMUSIC.COM
7

UPFRONT AROUND THE UK
BRIT OF ALL RIGHT
Calvin Harris
Jess Glynne
Jorja Smith
“I feel like I’ve already won and I truly
mean that,” said last issue’s cover star
Jess‬Glynne upon discovering she’d been
nominated for two BRIT Awards this year. “I
get to do what I love every day and just to be
recognised and accepted is enough.”
With her I’ll Be There track nominated for
Best British Single, Glynne is up against
Florence & The Machine, Lily Allen and
Jorja Smith in the Best Female Solo Artist
category. Smith is also in the running for
Best Breakthrough Act and Album of the
Year for her critically-acclaimed debut
Lost & Found.
Anne-Marie and Dua Lipa, who are both
nominated in four categories, are up for
Sam Smith
Best Single, along with Ramz, Calvin Harris,
George Ezra, Rudimental, Sigala and Paloma
Faith and Tom Walker. While Aphex Twin,
Craig David, George Ezra, Giggs and Sam
Smith face each other in the Best Male Solo
Artist category.
Hosted by Jack Whitehall, the Brit Awards
2019 will take place at the O2, London, on
20 February. Winners will be announced in
11 categories.
Jason Iley, BRITs’ Chairman and Chairman
and CEO of Sony Music UK and Ireland,
said: “These nominations illustrate what an
incredible year it has been for British talent
and remind us what a great time it is to be a
music fan, both in the UK and beyond.”
8 FEBRUARY 2019

SHEERAN IN
COURT BATTLE
HUNG UP
Seventy per cent of UK
gig-goers who’ve attended
a live gig in the past year
believe people taking photos
and videos during the event
detract from the concert
experience, according to
a study commissioned by
Eventbrite. While 69% of
those surveyed said they
supported minimal action to
minimize the disruption of
fan photography at shows,
13% backed ‘no phone
zones’ at venues.
Another day, another high-profile case of alleged musical
plagiarism. Just recently, Kanye West had to pay out to
house pioneer David Morales for stealing a bassline for his I
Love It track. Next in the spotlight is British artist Ed Sheeran,
who has been accused of copying Marvin Gaye.
Gaye’s estate has been involved in such cases before
when it was Robin Thicke and Pharrell who were in the firingline
for their track Blurred Lines. They lost and had to pay
$7.4 million dollars to the family, and now a judge has said
that there are “substantial similarities” between Sheeran’s
Thinking Out Loud and Gaye’s Let’s Get It On.
Sheeran denies copying Gaye in the case brought by the
heirs of late producer Ed Townsend, who co-wrote Let’s Get
It On with Gaye. A US jury will rule on the decision.
STORM IN
A TEACUP
Grime artist Stormzy
has hit back at festival
fans bemoaning his
headlining slot at this year’s
Glastonbury festival. “I get
it,” he said. “Only one album,
where’s all the number
ones? But I am the headliner
and I will come and give you
a headline performance.”
REDISCOVER: Maxwell
Maxwell’s Urban Hang Suite (Columbia)
Twenty-three years ago, this debut album from Maxwell set a new standard in romantic
and adult R&B, as well as paving the way for the neo-soul revolution that followed. A slow
burner that eventually went on to sell millions, it oozes the sort of vocal smoothness and
synth smoochiness that made Marvin Gaye and Prince so revered, and still stands alone.
HEYMUSIC.COM
9

UPFRONT AROUND THE UK
LISA LASHES SCHOOL
OF MUSIC TO EXPAND
After Lisa Lashes hosted a music
workshop for under 18s in Leicester, the
parent of one particular attendant was so
inspired she got in touch with the legendary
DJ. They clicked, agreed they wanted to
offer something to young people who might
struggle with drugs, be involved in gangs or
have special educational needs.
Just ten weeks later, the Lisa Lashes School
of Music was born. Free for students and
fully government funded, fellow DJs, DMC
champs, press agents, health and safety
officers and social media influencers are also
involved in the project imparting knowledge
in their areas of expertise.
“The most important part of our school is
that we are fully inclusive and for absolutely
anyone,” said Deborah Hewitt, founding
partner and managing director. “We do get
accomplished artists that just need a little
fine tuning, but we also teach people with no
previous experience at all and they are now
playing out after 12 weeks, so we are really
excited to see who will come through the
door next.”
Students undertake a 12-week programme
that includes DJ lessons, production, radio
broadcasting, social media, website building,
branding and much more. The school, based
at PTS Training Academy in Northampton,
has already taken in 200 students and is now
planning to expand into Manchester followed
by London.
“We will have further locations released for
sign-up by the middle of the year,” explained
Lisa. “And we’re excited to bring the online
programme, available to the world, within the
next few months.”
10 FEBRUARY 2019

XXXX UPFRONT
in 2019 you can help us change
more lives through music
At Nordoff Robbins, everything we do is about people and music. We celebrate the
connection and joy music can bring to those with life-limiting illnesses, physical
disabilities or emotional challenges. As the UK’s leading independent music therapy
charity, we work across the UK offering vital support through our dedicated open
access centres and alongside over 150 partner organisations.
Our music therapists work in schools, nurseries, hospitals, care homes, prisons and
community centres, to make sure that we are reaching and supporting the UK’s most
vulnerable and isolated people, when and where they need help most.
Take on a challenge
We need your support to help us reach more
people than ever in 2019. We’re asking
people to do something amazing and take
on a personal challenge
to raise money for our
life-changing music therapy.
There’s so many ways you can
challenge yourself, including
running, climbing, singing or sledging!
Have a look on our website for inspiration on
how you can challenge yourself to change lives
through music in 2019:
http://bit.ly/NRChallenge2019
Registered in England No. 1514616. Registered Charity No. 280960.
Registered Charity in Scotland No. SC048817
Registered Office: 2 Lissenden Gardens, London NW5 1PQ
HEYMUSIC.COM
11

UPFRONT INTERNATIONAL NEWS
BACK TO BUSINESS
FOR MIAMI WMC
The annual dance industry meet-up
known as the Winter Music Conference in
Miami is a place to party, have meetings
and hear the hottest new tunes for the year
ahead. At least it was until it lost some of
business kudos to the likes of Amsterdam
Dance Event.
Taking place from 25 – 28 March this
year, Miami WMC is under the charge
of new owners Ultra (who host various
supersized dance music festivals all
around the world). Ultra are responsible
for the full programming of the conference
and are promising a fresh approach.
As such, it will be presented in two
parts: a more exclusive, by-invitation-only
‘industry’ segment aimed at professionals
in the scene, as well as an additional opento-the-public
‘access’ segment meant
for curious music consumers looking to
learn more about the business. It’s also
relocating to exclusive new partner hotel
The Faena, in Miami’s Faena District.
Music enthusiasts, artists, DJs and
industry delegates from over 70 countries
are expected to descend on Miami
Beach and dip into a packed schedule
of over 400 events, parties, seminars
and workshops. An event where music,
technology, education and culture meet,
keynote speakers include media theorist
and author Dr Douglas Rushkoff, hugely
successful Dutch DJ Armin van Buuren,
and acclaimed novelist and Trainspotting
author Irvine Welsh in conversation
with acid house originator DJ Pierre.
“It was at WMC where mega deals were
done and it provided a launching point
for countless legendary tracks, as well as
breakthrough DJs,” said Ultra Co-founder,
Chairman and CEO Russell Faibisch.
“In March 2019, WMC returns with a
fully revamped programme that gets the
industry back to business.”
12 FEBRUARY 2019

NEW TECHNICS
TURNTABLE
UNVEILED
Many have tried but few manufacturers have ever actually
managed to better the industry standard and, frankly,
legendary Technics turntable. The direct drive platter is
adored for its sturdiness, resilience to various spills and
party thrills, and reliability, whether you scratch hip-hop,
mash up house or blend techno. Many of the original
models made back in the ’70s are still very much in use
around the world today, and the resurgence of vinyl in
recent years has brought a rise in demand for the muchloved
turntable.
If you fancy a brand-new pair, you’re in luck as the
Japanese manufacturer has announced “the first new
standard DJ turntable in approximately nine years”. The
all-black Technics SL-1200 Mk7 turntable features a new
coreless direct drive motor and reverse playback capability,
as well as “other sound-enhancing technologies”. That said,
the company admits there’s nothing drastically new about
the deck. And why should there be when it has endured
for so long having originally paved the way for the very
existence of DJ culture itself, eh?
GO CRAZY
Feeling a little cuckoo? Then
get yourself along to day and
night party Cuckooland at
Soho Beach DXB. The party
makes its debut in Dubai on
15 February, with Gorgon City
(left), Dennis Cruz and Max
Chapman providing the disco
to house soundtrack.
SAVE THE DATE
The 61st annual Grammy
Awards will be streamed
on 10 February from the
Staples Centre, in Los
Angeles. Hip-hop features
heavily, with Kendrick
Lamar (above) and Drake
the two most-nominated
artists, up for eight and
seven awards respectively.
Brandi Carlile earned six
nominations, making her the
most nominated female, with
Cardi B, Childish Gambino
and Lady Gaga amongst
those with five nods.
’DAM GOOD
DGTL Amsterdam’s Easter
weekend warehouse event
in the Netherlands’ capital is
one of the first big festivals
of the year. Taking place on
20 and 21 April this year,
there’ll be headline sets from
Larry Heard, Ben Klock, The
Black Madonna (above),
Honey Dijon, Moodymann,
Maceo Plex and Bicep.
HEYMUSIC.COM
13

UPFRONT INTERNATIONAL NEWS
THE BEAT GOES ON
Photo_ Kaori Tempel
Beatport co-founder Jonas Tempel
has returned to the online music store as
creative advisor.
The move was engineered by Beatport
CEO Robb McDaniels, who said that
Tempel’s knowledge of comprehensive
marketing campaigns and belief in the brand
would help Beatport achieve its goals for
2019 and beyond.
“Jonas has a unique perspective on DJ
culture and knows what it takes to work
with our community to introduce a new DJ
experience,” said McDaniels.
Tempel served as Beatport CEO from
2003 to 2010. He resigned after “a heated
fight with the board”. The company, which
focuses primarily on electronic music, was
bought by Robert Sillerman’s dance media
conglomerate SFX Entertainment in 2013
for almost $59 million. After that Beatport’s
fortunes changed. It posted a $5.5 million
loss in 2015. SFX filed for bankruptcy in
2016. It emerged from bankruptcy as a
private company, renamed LiveStyle, and
retained ownership of Beatport, which is
located in Denver and Berlin.
Last year, Tempel told Electronic Dance
Magazine: “Beatport became a toxic and
misguided company. Even before Sillerman
and SFX took over, the company was
hemorrhaging and headed in the wrong
direction.”
Tempel, who worked with Beats by Dre after
his departure from Beatport, is also behind
Moody Recordings and venture capital
company Rokk3rFuel. He said Beatport was
“thriving again” under the leadership of Rob
McDaniels. “I’m honoured to play a small
part in a brand I co-founded and love so very
dearly,” he added.
The company is planning to launch
Beatsource, an “open format” music brand
serving hip-hop, pop, R&B and Latin music
genres, later this year.
14 FEBRUARY 2019

NEW GU MIX
One of dance music’s
most celebrated mix series,
Global Underground has
welcomed legendary
instalments from the likes of
Sasha, Digweed and Nick
Warren. This month sees
it return with a double mix
from Patrice Baumel, an East
German DJ who represents
a different side to Berlin
than the techno you might
expect. It’s rather lovely.
ROSKILDE
TRIUMPHS
Congratulations to
Roskilde which scooped the
Best Major Festival gong
at the European Festival
Awards recently. The Danish
festival also took home
the award for health and
safety, while the Judas
Priest-headlined Wacken
Open Air, in Germany,
won Line-up of the Year.
Germany’s Rolling Stone
Park walked off with Best
New Festival and the Green
Operations Award went
to DGTL Amsterdam.
GET YOUR
GLITTER ON!
After 150,000 people danced to Glitterbox’s unique
blend of house and disco in 2018, the vibrant party is
setting off on a 10-date world tour.
With a heavyweight line-up of the freshest disco talent
and classic house heroes including Armand Van Helden,
Groove Armada, Louie Vega, Purple Disco Machine, Joey
Negro, Melvo Baptiste, Mighty Mouse and many more,
Glitterbox will be hitting the road with its usual crew of
drag queens, dancers and performers that bring the
infamous party to life.
Among the dates, the Work Your Body 2019 tour
hits House of Yes, in New York, on 2 March, before
steamrollering into Dubai’s Soho Garden, on 22 March,
the Unlimited festival, Chamonix, on 6 April, and
legendary Amsterdam club Paradiso, on 21 April. All
of which lead into Glitterbox’s 20-date Ibiza summer
residency at Hï Ibiza.
“The label, the parties and the movement continue to
gather pace, reaching like-minded music lovers around
the world,” said a spokesperson for the club. “More so
than ever before, this year will see new music from the
Glitterbox stable, with a focus on nurturing new and
emerging artists representing the new wave of talent.”
Photo_La Skimal
HEYMUSIC.COM
15

FEATURE AVA MAX
POP
16 FEBRUARY 2019

ART!
With her seismic voice, bold
look and Sweet But Psycho
track winning her fans around
the world, is newcomer Ava Max
the new generation’s Lady Gaga?
Words_Lucy Mapstone/PA/The Interview People
Ava
Max is buzzing. And it’s no wonder. With
critics predicting a stellar pop career for the
young American artist, Ava’s breakout single Sweet But
Psycho has smashed its way to the top of the charts in
14 countries.
The infectious pop tune sat at the top spot of the UK
Singles Chart for four consecutive weeks recently, and
was finally gaining the attention it deserves Stateside
as this issue went to press. As Ava held the top spot
on Billboard’s Emerging Artists Chart, she made her
debut on American TV with two performances – one on
James Corden’s Late, Late Show, swiftly followed by an
appearance on NBC’s Today Show.
Reflecting on the past few months of her life, Ava
admits to a sense of disbelief, adding: “It’s definitely
overwhelming. I’ve been doing this for a long time but
since the song came out, it doesn’t feel like that much of
a long time anymore, it feels like it happened overnight.
But it didn’t.”
Sweet But Psycho fought off stiff competition from
the likes of Ariana Grande and Mark Ronson and Miley
Cyrus to claim the top spot in the UK, also peaking
at No.1 in other territories, including Germany, New
Zealand and Sweden. Not a bad start to 2019 for
anyone, let alone a newcomer.
HEYMUSIC.COM
17

FEATURE AVA MAX
“It’s exciting, for sure, but I want to achieve
more. I want to release more songs. I want to
release an album,” gushes Ava.
If you haven’t heard Sweet But Psycho
or seen the video, think Just Dance-era
Lady Gaga. Ava is all peroxide blonde hair
and bold outfits; the track super-catchy,
earworm-friendly dance-pop with a heavy
dose of sass.
Her style is unashamedly pop, a bold
move at a time when it’s still sometimes
considered a weaker genre, and she cites
her musical inspirations as The Beatles,
Whitney Houston, Christina Aguilera and
The Fugees.
She was first introduced to listeners as
a featured artist on American electronic
musician DJ Le Youth’s Clap Your Hands
track last year. In early 2018 she dropped
her debut single My Way followed by viral
hit Not Your Barbie Girl. She released
another single, Slippin’, and featured on
David Guetta’s 7 album and Vice and Jason
Derulo’s Make Up track as a vocalist, before
Sweet But Psycho put her firmly on the map.
To some it may seem the 24-year-old’s
success has happened overnight with that
one great song, but Ava insists that’s simply
not the case.
“It’s been a chase my whole life,” she
explains. “When I was 14, I moved to
California with my mom for music because I
ended up doing some [singing] competitions
when I was 10, 11, 12. My mom sold her
house and we came to Los Angeles from
Virginia. That year didn’t go so well because
LA isn’t exactly what we thought it would be.
There was a lot of disappointment.
“Then, when I was 15 years old, we
moved back to the East coast and I lived
there for two years, in South Carolina,
before I moved back out [to LA] when I
was 17 with my brother.
“So it’s been this whole chase with singing
and writing songs. Then I finally met the right
people after years of struggling.”
The ‘right’ person in Ava’s case was
Henry Walter, aka Cirkut, a Canadian record
producer who has worked with modern
music icons such as Rihanna, The Weeknd,
18 FEBRUARY 2019

Katy Perry and Jessie J, among others. He
took her under his wing, and
they started writing and recording music
together before putting a song on audio
platform SoundCloud.
“I got really noticed by record labels and
that’s how I got signed,” says Ava.
Born Amanda Ava Koci to Albanian
parents, the singer-songwriter says she
understands what it is to struggle, having
watched her parents face uphill battles
following their move to America from
war-torn Albania.
“In 1990, 1991, they left Albania and ended
up in Paris, where they lived in a church for
a whole year. It was very hard for them, but
it was beautiful also because they were in
Paris.
“They met a lady in Paris that gave
them passports and they ended up in
Wisconsin – that’s where I was born. They
went to America with nothing, no money,
no language. It was very hard for them
“It’s been this whole
chase with singing and
writing songs. Then
I finally met the right
people after years
of struggling”
and I remember watching them as I grew
up, struggling, working three jobs each.
Watching them do that sometimes I think,
wow, I feel so lucky to be doing what I
am doing.”
Ava says she “can’t wait to give it all
back” to her parents, but also that she
wants to carve out a persona as a bit of
a philanthropist in general, alongside a
hopefully triumphant music career.
“Really, I just want to help my family, my
friends and people in general,” she says.
Despite being born in America, she says
she is “one hundred per cent Albanian”,
and that she “definitely wants to give back
to the Albanian community when I can”,
adding: “It would be amazing to do a
fundraising concert over there. It’s
important to give back.”
But before she achieves all of that, Ava’s
priority for the next 12 months is to release
her debut album, as well as more singles, all
the while dealing with her newfound fame.
“I definitely don’t like red carpets,” she
confesses. “I go on the red carpet because
I have to but I’m not a big fan. That’s not
my thing. I’d rather be in the studio making
music and performing.”
Of her forthcoming new album, Ava says:
“I’m really excited to show everybody the
next side of me. Yes, they’ve seen the Sweet
But Psycho side and they’ve seen me being
like that, but I want to show them more of a
real side.”
She concludes, firmly resolving to stick
to her pop guns. “But I also want to keep
releasing more pop songs. We need
more pop songs and more empowering
songs. I’m just excited for people to hear
more music.”
HEYMUSIC.COM
19

OF C
FEATURE JAMIROQUAI
THE KIN
20 FEBRUARY 2019

The sound of Jay Kay’s Jamiroquai in 2019
is unapologetically buoyant, mesmeric and
kaleidoscopic. dips in…
Words_Jim Butler
Esteemed
American man of letters F Scott
Fitzgerald wasn’t wrong about many
things. Watching this year’s must-see
Fyre documentary, you’re reminded
that Fitzgerald savagely skewered the
vacuous pursuits of morally bankrupt
rich American white kids in The Great
Gatsby, almost 100 years before Ja
Rule and Billy McFarland went loco in
the Bahamas.
He was awry with one observation,
however. In the notes for his
posthumously published novel
The Last Tycoon, Fitzgerald noted
that there were no second acts
in American lives (and thus, by
extension, all lives). From Elvis to
Madonna, by way of Kate Bush and
even Take That, this pithy take on
culture is repeatedly repudiated.
It was once more in 2017, when
after a seven-year absence (an
eternity in pop music) everybody’s
favourite cosmic acid jazz-discofunkateers
Jamiroquai returned with
the release of their eighth album,
Automaton. The re-emergence
of Jay Kay and his band seemed
eerily prescient. With the world
standing on the precipice of
collapse, Jamiroquai’s colourful
and soulful grooves proved timely.
Doubly so, when you consider the
likes of Pharrell Williams, Tyler the
Creator and Chance the Rapper
had all spoken about the influence
of Jamiroquai on their music in the
intervening years.
But it was more than just about
turning on the new school (okay,
Pharrell would have been dancing to
Canned Heat, Deeper Underground
and Space Cowboy back in the ’90s).
It was about bringing some muchneeded
conscious funk back to a
music scene obsessed with navel
gazing singer-songwriters.
Writing in the UK, music critic
Kitty Empire nailed it best when
she wrote: “Ultimately, you can’t
shake the feeling that pop is a
giant feedback loop, in which
G
OOL21
HEYMUSIC.COM

FEATURE JAMIROQUAI
Stevie Wonder and Curtis Mayfield begat
Jamiroquai and Pharrell, and the influence
of Jamiroquai must have fed, consciously or
subconsciously, into the aural landscapes of
both Daft Punk and Pharrell.”
Speaking to Rolling Stone, Jay Kay was
remarkably sanguine about his band being
held up as musical torchbearers. “I mean
it’s very flattering,” he told journalist Chris
Weingarten. “It’s interesting, I watched the
Eric Clapton: Life in 12 Bars documentary.
It’s a fascinating documentary, but listening
to that you also remember that everybody
got their sh*t from somewhere else.
Snippets, bits, bobs.”
Fast-forward to this year and the band’s
glittering comeback shows no sign of
stopping. This month Jamiroquai will return
to the United Arab Emirates for the first time
since 2013 to headline the second night
of the Dubai Jazz Festival, on 21 February.
Then there are shows lined up in Spain,
Portugal, the Czech Republic, Germany and
Belgium throughout May.
So what can those in attendance expect?
Well, the word that keeps cropping up
in reviews of their live shows since their
triumphant return to the stage at London’s
Roundhouse in April 2017 is “bangers”. Jay
Kay’s boys (and girls – the new additions of
the band’s Cosmic Babes backing singers
bring some extra sass to proceedings) might
still retain the funk-jazz-soul groove that first
catapulted them to fame in the early ’90s,
but this has been allied to some belligerent,
club-infused electronics.
A review of that Roundhouse gig was quick
to point out the new electronic avenues
the band now travelled, describing two of
their monster ’90s hits, Virtual Insanity and
Canned Heat, as “actual f***ing bangers”.
Elsewhere, 2001’s Little L single was
described as a “disco thumper”, while
comeback release Automaton was noted for
its “robotic funk”.
The review concluded: “Trendy 25-yearolds
sung along to all the lyrics, suits a
couple of pints too deep clapped out of time
22 FEBRUARY 2019

with abandon and the middle-aged couple
in front of us fought over how to correctly
dance along to a moody, dubbier version
of Emergency on Planet Earth. In those
moments the full spectrum of the crowd
shared something special.”
Not bad for a band that has been around
for nigh-on 30 years. Despite being touted
by London’s hip style press for much of the
early ’90s, it wasn’t until the spring of 1993
that the rest of the UK caught up when Too
Young To Die and then a re-released When
You Gonna Learn relentlessly grabbed the
hit parade and refused to let go. Debut
album Emergency on Planet Earth topped
the album charts with its blend of on-point
environmentalism and funky good vibes.
Alongside Britpop, dance music and hiphop,
Jamiroquai’s many-legged groove
machine ruled the rest of the decade.
Albums The Return of the Space Cowboy,
Travelling Without Moving and Synkronized
all ascend to the higher reaches of the album
charts and the band become a fixture on
festival line-ups across the globe. World
tours sell out, 27 million albums are shifted
“It’s every inch a classic
Jamiroquai album, and
then some”
and awards come from the likes of Ivor
Novello, the Grammys and MTV. Their
music (Deeper Underground) is featured on
the elephantine Godzilla soundtrack and a
geeky kid in a Vote For Pedro T-shirt does a
rather strange little dance to Canned Heat
in Napoleon Dynamite.
Which just about brings us up to date.
Their eighth album, Automaton was
described by the band as “challenging
man versus machine versus planet Earth”,
and full of “smooth, sci-fi grooves, soulful
electro-funk and a throwback techno vibe”.
Which as well as displaying some excitingly
tidy lyrical flourishes is eerily accurate.
They continued: “From the intergalactic
grind of the title track to the handclap disco
of first single Cloud 9, and the cruising
sunshine of Something About You, it’s
every inch a classic Jamiroquai
album, and then some.”
That it is. Jay Kay might still
have more cars than anyone
will ever need but levied by
the calming influence of two
young children, he’s once more
put the fun back into funk
music. He may no longer be
the dancing space cowboy on
a conveyor belt, but heading
up the biggest Day-Glo global
groove has brought about a
fresh, new moniker: The King
of Cool.
When confronted with his
turnabout in fortunes, the man
himself was unsuitably modest.
“I was kinda quite happy,
pleasantly surprised,” said Jay
Kay. “That was definitely like,
‘Whoa, crikey, thank you!’”
No, thank you, Jamiroquai.
Thank you.”
HEYMUSIC.COM
23

FEATURE ROCK & ROLL HALL OF FAME
CLASS OF
2019
The legendary
artists and
bands being
inducted into
the Rock & Roll
Hall of Fame
this year
Did you know that artists can’t even be nominated for the Rock & Roll Hall of
Fame until 25 years after the release of their first record? In an increasingly
disposable music scene, if an artist has retained fans and attracted new ones
over quarter of a century, you can bet they’ve done something right. This year’s
Rock & Roll Hall of Fame inductees are living proof of that.
The Rock & Roll Hall of Fame may be in the US but five out of this year’s seven
inductees hail from the UK. The induction ceremony takes place at the Barclays
Centre, Brooklyn, New York, on 29 March.
The Cure
From: UK
Debut album: 1979
No. of studio albums: 13
No. of singles: 37
Quote: “I’m not a morose person; it’s just that my
best songs reflect on the sadder aspects of life.”
(Robert Smith)
24 FEBRUARY 2019

Stevie Nicks
From: USA
Debut (solo) album: 1981
No. of studio albums: 8
No. of singles: 32
Quote: “My favourite
evening is still going
to a grand piano in a
beautiful room with
incense and candles and
sitting down to write a
song for the world.”
Janet Jackson
From: USA
Debut (solo) album: 1982
No. of studio albums: 11
No. of singles: 78
Quote: “Singing and
dancing – and all the
joy that goes with
performing – come from
my heart. If I can’t feel
it, I won’t do it.”
Roxy Music
From: UK
Debut album: 1972
No. of studio albums: 8
No. of singles: 23
Quote: Everyone in rock
‘n’ roll including myself
was touched by Elvis’s
spirit. I was, and always
will be a fan.” (Bryan Ferry)
Def Leppard
From: UK
Debut album: 1980
No. of studio albums: 11
No. of singles: 60
Quote: “Some of these
songs we’ve got are
35 years old and older,
and we’re actually out
there playing them and
people really dig them.
That, to me, is a big
deal.” (Phil Collen)
The Zombies
From: UK
Debut album: 1965
No. of studio albums: 7
No. of singles: 19
Quote: In England
we only had one hit
record. Around the
rest of the world, we
were considerably
more successful.”
(Rod Argent)
Radiohead
From: UK
Debut album: 1993
No. of studio albums: 9
No. of singles: 30
Quote: “I know I’m
paranoid and neurotic,
I’ve made a career out
of it.” (Thom Yorke)
HEYMUSIC.COM
25

IN SOUND
FEATURE FEMALE EMPOWERMENT
SISTER
The go-to engineer for almost all of
Coldplay’s albums and a veteran of
projects including the London 2012
Olympics, Muse and the Foo Fighters,
Olga Fitzroy has carved out a successful
career in sound engineering
Words_Kristan J Caryl
Photo_Chrissy Jones
Despite
the recent focus on
gender imbalance
in the work place, the music industry is
still very much a man’s world. Vital work
is being done to change this through
initiatives such as Smirnoff’s Equalising
Music and Keychange, which both
encourage (mostly male) promoters to
pledge a 50/50 gender balance on their
line-ups by 2020 and 2022 respectively.
But a 2018 study by Dr Stacy L Smith, an
associate professor at the University of
Southern California, revealed that things
are still pretty grim.
After analysis of the top 600 songs from
2012 to 2017 (as defined by Billboard’s end
of year Hot 100 chart for each of those six
years), it was reported that only 22.4% of the
1239 total performing artists were women.
The behind-the-scenes figures are no better:
only 12.3% of the 2767 songwriters credited
on those songs were women. What’s more,
female producers are even less common,
with only 2% found in a subset of 300 songs
across the same timeframe.
“On my Sound Engineering course in
Glasgow there were two girls and 20 boys,”
remembers Olga Fitzroy, a Berlin-born Brit
26 FEBRUARY 2019

whose accent betrays a childhood spent
in Scotland. “At university it was just as
imbalanced, with 20 boys and four girls.”
Now the go-to engineer for almost all of
Coldplay’s albums, and a veteran of projects
ranging from the 2012 London Olympics
to the Foo Fighters, Fitzroy says no-one
really talked about the imbalance back then.
“People just accepted it and got on with the
job,” she says, while adding that her parents
were just happy she’d finally given up on her
hopes of becoming a rock star.
“In college, I realized you had to rely on a
bunch of other people to be in a band, but
being an engineer I could just do my course
work and rely on myself a bit more.”
Her attention first turned to sound
engineering when doing work experience
with some light and sound technicians at a
theatre. She was allowed to “route signals
and play on the desk” and although she was
already playing classical music in orchestras,
this “was a new way of working with music I
hadn’t thought of before”.
These days, Fitzroy can most often be
found behind the vast desks of London’s
acclaimed AIR Studios or at home making
Lego with her young son. After a pause
HEYMUSIC.COM
27

FEATURE FEMALE EMPOWERMENT
in our interview to help him find “Anakin
Skywalker’s head”, she remembers taking
him to the studio once and only managing to
push one button in six hours. But when there
alone, she can work on anything from music
for TV series, film soundtracks or with artists
that range from the world-famous to the
freshly emerging, such as Interchange.
They are a new, all-female, 10-piece jazz
band providing Olga with a challenge she is
relishing as jazz is not within her usual remit.
Another recurring challenge is working with
directors when artists are making videos as
well as sound recordings, as she did with
Dua Lipa and Martin Garrix on their 2017
hit Scared To Be Lonely. “You have to make
sure you get what you want in terms of audio
while the director gets what he wants from
video, so that is the most common time
there can be a clash of opinion,” she reflects.
“But as long as you go in positive and aren’t
confrontational, you can always work out a
way forward.”
Originally founded by Beatles producer Sir
George Martin in 1969 and based since 1991
at Lyndhurst Hall, Hampstead – originally
a church and missionary school designed
in 1880 by the great Victorian architect
Photo_Chrissy Jones
Photo_Rianna Tamara
Alfred Waterhouse – AIR studios attracts
the biggest names in the business. Adele,
U2, Muse, George Michael, Kate Bush,
Liam Gallagher, David Gilmour, Mumford &
Sons and Katy Perry are among the worldfamous
artists to have recorded there, while
its cavernous hexagonal shaped live room
is big enough to house a full symphony
orchestra and choir at the same.
Crediting illustrious peers at AIR like Nick
Wollage and Geoff Foster as having inspired
her the most on her way up, Olga reckons
being a female engineer has plenty of
advantages: it isn’t necessarily how men and
woman approach projects or the results they
get, more the relationships they form with
different artists.
“Sometimes people prefer having a woman
on a project because I think they’re aware
that so many men are involved and think it
would be nice not to just have input from a
bunch of blokes. And sometimes you get
28 FEBRUARY 2019

a female artist that just wants solidarity or
another female in the room, while some don’t
care either way.”
Mostly driven by what clients want than her
own personal vision for a project, she says
again it’s relationships
rather than skill sets
that determine who
people want to work
with. Depending on
the project, she can
work either as an
engineer or producer
with varying levels of
input, and loves the
process of working on film scores.
“Working with a big orchestra is really
special,” she beams. “Also the level of
musicianship and session musicians you
work with is pretty amazing. It’s those people
more than the music itself that make the
job enjoyable.” She includes Coldplay in
“Working with a
big orchestra is
really special”
that category. “They are always brilliant and
quite long projects because they try out all
sorts of different avenues and ways of doing
things, so to get to the end of one of those
knowing you did it as well as you can, having
explored so much, is
really satisfying.”
Because Fitzroy
works in one of the
best studios in the
country, and on
some of the finest
equipment, she says
she doesn’t think
about the specific
tools that much. Nor is she a hardware or
digital nut, but instead someone happy to
mix on her iMac using plug-ins at home.
“I’m always more interested in the end
result,” she says, before heading off to start
work on another challenging project:
assembling the Millennium Falcon.”
HEYMUSIC.COM
29

FEATURE TALENT SCOUT
TAKE 5
To help you connect with the best emerging talent,
rounds up five producers, bands and vocalists
from the worlds of jazz, soul and house who we think
are destined for big things this year
Greentea Peng
The world is in the midst of
a neo-soul and R&B revival.
Internationally, Aussie Jordan
Rakei has long been turning
out heart melting albums and
Chicago’s noname has put
out two albums of dreamy,
happy vocal beats. In the UK,
artists like Eglo’s velvet vocalist
Fatima, Manchester’s rude-girl
IAMDDB and soul-edged hiphop
outfit Children of Zeus are
all bringing lush, heartfelt vibes
to electronic music.
A new name to add to the
list is South London’s candid
Greentea Peng. Covered head
to toe in tattoos and piercings,
she has a moving sound that
pairs light with dark, the creamy
with the edgy. Hip-hop, grime,
soul and R&B all permeate her
work as she muses on breakups,
anxiety and plenty of
sensitive subjects in between.
30 FEBRUARY 2019

Bruce Loko
The South African house scene is said
to be the largest in the world. Every
township bumps to a slightly different
take on the global genre, with local
cultural inflections and a DIY mentality
giving rise to fascinating new fusions.
Many artists are starting to get more
global attention in the wake of breakout
star Black Coffee really making his
mark on the scene. One artist who is
hot on his heels is Bruce Loko.
Loko has released on labels like Get
Physical, and this month debuts on the
definitive house label Freerange. His
sound is enchanting and spiritual, with
deep rolling house grooves sinking you
into a state of hypnosis. Up top, his
fluttering synths and careful effects add
humid, scorched details that speak of
the artist’s homeland and really stand
him apart.
Chekov
Leeds has long been known as a party
city but often lags behind the pack
when it comes to turning out proven
producers. Midland and Paul Woolford
are some of the biggest recent artists,
but 2019 has a new name on the horizon
in the form of Chekov. Real name
Laurence Huntington, this youngster
has made a number of noteworthy
appearances on labels like Shanti
Celeste’s Peach Discs and the
emerging Cong Burn.
His slow, sludgy, trippy electronics
don’t easily fit in any box and make you
experience weird feelings not normally
associated with the dancefloor. Cult
German DJ Lena Willikens gave him a
deserved step up by including one of
his tracks on her Dekmantel compilation
early last year, and he followed it up with
low-key groovers like Spring and the
110bpm banger that was Bierce. Expect
more big things as the year progresses.
HEYMUSIC.COM
31

FEATURE TALENT SCOUT
Violet
Portugal is the latest city to come into focus in dance
music’s collective conscious. Long known for clubs and
festivals like Lux and BPM, a number of new festivals
sprung up there in the last few years, as well as DJ and
producer collectives like DJ Marfox, who champions
Lisbon’s Afro-Portuguese sound. Violet is someone
who has risen through the ranks recently and, when not
making beats that range from breakbeat-laced techno
jams to raved-up house cuts, the 33-year-old is busy
championing women in dance music.
She’s part of an all-female rap crew, turns out covers
of classic tunes made solely by women and is cofounder
of Radio Quantica, a platform that provides
a safe haven for underground Portuguese artists and
activists. Her latest move was to start her own label,
naive, and it’s earned a quick reputation for a series of
rugged tracks that take cues from the euphoria of UK
rave and the jack of Chicago in equal measure.
KOKOROKO
As well as soul and R&B revivals, jazz music has never been cooler or more popular
with young people than it is now. Gilles Peterson’s Brownswood label has a lot to
answer for in that regard and continues to turn out plenty of bright new stars of the
scene. London seven-piece band KOKOROKO is one such act that featured on
the label’s regular We Out Here compilation. Their Abusey Junction was a surprise
YouTube hit that has picked up over 18 million plays and counting.
They follow it up in March with a self-titled debut EP that channels west African
jazz greats like Fela Kuti and Tony Allen, echoes Afrobeat and highlife and has tight,
steady grooves bound by keys and horns. More thoughtful, deft jazz tracks and
lyrical meditations also feature to make for a strong start to their careers.
32 FEBRUARY 2019

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music on the largest Chinese social media
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musicinfo.ioHEYMUSIC.COM
33

FEATURE CITY FOCUS
34 FEBRUARY 2019

PARIS
PARTY
VIBES
Photo_Mona by David Volants
The French capital can claim to be the birthplace
of the modern discothèque, but which clubs and
parties are shaking the city today?
Words_Ben Murphy
Paris
was the first city in
the world to have a
nightclub resembling what we know
today. In 1953, Belgian chanteuse
and club manager Régine Zylberberg
invented the modern discothèque,
replacing live bands and the
jukeboxes that were commonplace
then at her Parisian venue Whisky
à Gogo with a pair of turntables,
and decking out the space with
a dancefloor and colorful lights.
She operated the decks herself to
ensure there would be no breaks
in the music, anticipating the nonstop
music of the disco era several
decades early.
Ever since, France, and the capital
in particular, has maintained a strong
bond with dance music, cemented by
innovative French disco artists such
as Cerrone, Sheila & B. Devotion and
Space in the 1970s, and glamorous
Paris clubs in the ’80s and ’90s, such
as Le Bains Douches and Le Queen.
In 2019, though the late ’90s boom
time of the French Touch movement
symbolized by artists Daft Punk,
Étienne de Crécy and Cassius might
be over, the Paris scene remains
effervescent, thanks to a host of
underground clubs that help to
promote its various electronic
music strands.
The most famous of them all is the
long established Rex Club. Located
beneath the venerable Grand Rex
cinema on Boulevard Poissonnière,
it was founded (in its current
incarnation) by DJ and tastemaker
Laurent Garnier in 1992. It has
retained a vehemently subterranean
booking policy through its operation
and is a passionate advocate of
techno in particular. DJs as varied
as Jennifer Cardini, Tijana T,
HEYMUSIC.COM
35

FEATURE CITY FOCUS
Photo_Rex Club by Alban Gendrot
DJ Gregory and Inigo Kennedy have all
played there, with promotions such as
D’Julz’ Bass Culture respected bastions of
deep house.
Mona’s monthly parties take place at
La Bellevilloise, a multi-purpose arts and
cultural centre, which is typical of the type of
venues that now dominate the Paris scene.
The Mona event differentiates itself by its
strong focus on the roots of house and
disco, booking DJs such as Daniel Wang,
“We always start our
nights with a free dance
class so that the crowd
learns new moves”
Nick V, Mona
Horsemeat Disco and Karizma – and also
through its focus on dancing.
“My idea was to put dance back at the
centre of clubs by using the amazing energy
of the local scene,” says DJ and promoter
Nick V. “We always start our nights with a
free dance class so that the crowd learns
new moves, but above all learns how to start
a night in a different way, with the positive
energy of dance, which then carries itself
through all the night. We host dance contests
regularly inspired by vogue balls, and set up
in a similar way with categories and a jury.”
One club by the Peripherique, close to
the famous transport hub Gare du Nord,
is La Station. It hosts film screenings and
art events, and invites names such as
techno maven Ancient Methods and DFA
experimentalist Eric Copeland to command
its large warehouse space.
Most can agree that the biggest name
on the Paris club scene today is Concrete,
36 FEBRUARY 2019

Photo_Concrete by Dominique Julian Photo_Mona by David Volants
STYLE COUNCIL
As far as genres are concerned, deep
house of the type made and played by
Apollonia, D’Julz and Djebali remains
popular, but techno reigns supreme
with the club scene in Paris emulating
the club diet of Berlin.
However, Bérite club music is a new
style to emerge from the underground
scene in Paris, developed by a handful
of producers mixing together the
genealogy of French electronic music
(from French boogie to filtered house)
with the strong cultural influence of
France’s African immigration, through
dance music styles like coupé décalé
and logobi.
Photo_Wanderlust
a three-floor boat venue moored on the
River Seine that has gained world renown
and respect for its techno focused line-ups
and 24-hour parties (it was the first club in
Paris to garner a round-the-clock licence).
Formerly a barge used for corporate events
and weddings, now it reverberates to a
Funktion One soundsystem, has a heated
terrace and welcomes a very high caliber of
DJ, featuring selectors such as Kink, Avalon
Emerson and Daniel Avery.
Also by the Seine is the striking La Cite de
la Mode et du Design, a sprawling hub
dedicated to fashion, art, design and music,
with two restaurants and the Wanderlust
club, which concentrates on cool house
music: Larry Heard, Lazare Hoche and Fort
Romeau have all dropped by. Heavier
sounds can be heard in its basement Nuits
Fauves, where tough techno and electro acts
have raised the roof of an industrial space
where the DJ booth is in a cage.
HEYMUSIC.COM
37

FEATURE MUSIC DOCUMENTARIES
ESSENTIA
VIEWIN
Searching for Sugar Man
Director: Malik Bendjelloul
Year: 2012
Prepare for tears of joy in this astounding
story of a real nowhere man, Sixto
Rodriguez, a folk singer from Detroit who
made two albums and then disappeared
into obscurity. His debut album released in
1970, Cold Fact, and its follow-up Coming
to Reality were artistically brilliant but,
for whatever reason, commercial flops.
Rodriguez went back to being an oddjob
man and labourer in the home that he
referred to as a “city of victims”.
What happens next is not be spoiled here.
If you haven’t seen it yet, find it. Suffice to
say that a mega fan from South Africa, who
believes the rumours that Rodriguez killed
himself onstage in the US by either shooting
himself or self immolation, uncovers more
than he dared believe.
Swedish filmmaker Malik Bendjelloul,
who tragically took his own life in 2014,
won the 2013 Academy Award, BAFTA
Award, Sundance audience and special jury
award, and many more accolades for this
remarkable documentary.
38 FEBRUARY 2019

L
G
No sooner had we got over BBC Four’s
Bros: After The Screaming Stops
than social media went into overdrive
with reactions to Netflix documentary
Fyre: The Greatest Party That Never
Happened, the story behind the car
crash ‘luxury festival’ whose promoter
landed in jail. Here are four other
music docs worth watching
Mistaken For Strangers
Director: Tom Berninger
Year: 2014
The internationally
successful rock band
The National are about to
embark on a major tour
in support of their fourth
album. Lead singer Matt
Berninger and the rest
of the band – two sets
of brothers – have well
and truly hit the big time.
Matt’s younger brother Tom, by contrast,
is floundering. He’s a lay-about metal fan
who’s made a few shoestring independent
horror movies and he’s living at home with
his parents in Cincinatti. He’s not getting
any younger and the shadow of his elder
brother’s global success looms persistently
over him.
As any caring big brother would do, Matt
wants to give him a leg up. He invites Tom to
join the tour as a roadie, but after accepting
the bone he’s been thrown, Tom takes it
upon himself to document the tour. What
unfolds then is a window into the intricate
and capricious dynamics of a close-knit
band of brothers on the road. Hundreds of
hours of footage accrues as Tom captures
not only concerts and backstage antics, but
the actual process of himself making a film
about his successful older brother.
This is brotherly love, in all its myriad
complexity and fragility, presented in
original and honest fashion. Mistaken
For Strangers is funny, meta, irreverent,
surprising, heart-warming and, above
all, authentic. It doesn’t matter whether
you like the music of The National or not,
the pleasure comes from relating to the
characters in the film… they are good
people doing their best with each other.
Seek this out and see why the acclaimed
documentarian Michael Moore described it
as “one of the best documentaries about a
band that I’ve ever seen”.
HEYMUSIC.COM
39

FEATURE MUSIC DOCUMENTARIES
The Last Waltz
Director: Martin Scorcese
Year: 1978
Arguably the best rock
documentary ever made.
In the middle of making
the all-time classics Taxi
Driver and Raging Bull,
the legendary Martin
Scorcese directed this engrossing film that
preserves for posterity the farewell concert of
the American-Canadian band – The Band.
Held on 25 November 1976, at the
Winterland Ballroom in San Francisco, The
Last Waltz is a glorious celebration of a rum
gang of hard-living musicians bowing out
while they still can. United to send them
off in style are some of the era’s greatest
musicians; Neil Young comes on stage worse
for wear to say, “It’s one of the pleasures of
my life to be on stage with these people,”
before launching into a brittle, powerful
version of Helpless, with Joni Mitchel lending
backing vocals.
The roll call of artists that grace
the stage that night is something
else – Muddy Waters, Van Morrison,
Eric Clapton, Ringo Starr, Bob Dylan,
Ronnie Wood, Neil Diamond, Van
Morrison, Bobby Charles, Dr John, Paul
Butterfield, Emmylou Harris, Ronnie
Hawkins and The Staple Singers.
Interspersed with these leaveit-all-out-there
performances are
the members of The Band being
interviewed by Scorcese. Peering into
this behind-the-scenes world offers a
glimpse of the unique camaraderie that
comes from years of playing and living
on the road together. “That’s what The
Last Waltz is: 16 years on the road. The
numbers start to scare you,” guitarist
Robbie Robertson tells Scorsese. “I
mean, I couldn’t live with 20 years on
the road. I don’t think I could even
discuss it.”
The film opens with the exhortation,
“This film should be played loud!” It
pays to do so.
40 FEBRUARY 2019

20 Feet From Stardom
Director: Morgan Nevillee
Year: 2013
The 2013 Oscar-winning
film from director
Morgan Neville nudges
the spotlight away from
some of the world’s
biggest stars and onto
the backing artists
that contribute to their
best recordings and
performances. Over
the course of 90 minutes the film unfurls
the whys and wherefores of the careers of
African American singers such as Darlene
Love, Táta Vega, Judith Hill, Lisa Fischer and
more. Women possessed of extraordinary
talent – many would argue more than the
singers they stand 20 feet or more behind.
The documentary sheds light on why
these sensational singers never gained
the recognition they deserved. We
see how Love was cruelly suppressed
by the cracked maverick producer
Phil Spector, and how she throws
the towel in on the music business
to become a house cleaner, until a
righteous comeback beckons.
Interviews with the likes of Bruce
Springsteen, Stevie Wonder and Mick
Jagger give testament to the indomitable
spirit and stirring passion of these unsung
stars. Look out for a massive goosebump
moment when Merry Clayton, called out of
her bed at midnight – and heavily pregnant
– attends an impromptu session with Mick
Jagger and Keith Richards and lays down
her iconic vocals on Gimme Shelter, her
voice cracking with raw power and guts
as she repeatedly sings, “Rape, murder!
It’s just a shot away! It’s just a shot away!”
Listen carefully to the recording and
you can hear Jagger gasping “Woo!” in
response to Clayton’s energy and delivery.
HEYMUSIC.COM
41

FEATURE HOW TO...
HOW TO RUN A
RECORD LABEL
More than 70 releases and two album
projects deep, UK DJ Darren Emerson’s
independent Detone label is going
strong. Here, the former member
of Underworld reveals the six steps
behind his label’s success
1. THE RIGHT ARTISTS 2.
THE RIGHT TEAM
The first thing any successful
label needs is good quality
music. At Detone we’ve been
blessed with an abundance of
top artists since we started the
label. The music always has to
be to the standard that I’ve been
playing throughout my career.
Work hard at putting together a small team
of the right people to move your label
forward. You have to push the label to all
areas of the dance music family all over
the globe, and that’s not an easy thing to
do. We’re now working with some amazing
PR and management people that will
give us a huge boost in getting our brand
across. Each member of our team is a vital
cog that ensures the label runs smoothly.
42 FEBRUARY 2019

3.
MOVE WITH THE TIMES
4.
DISTRIBUTION
Styles change. Acknowledge this, move
with the times and try not to pigeon-hole
your label’s sound too much. You must
be seen to be releasing fresh sounds.
Keep up with what’s cool and look out
for forward-thinking artists. We get a few
different styles sent to us at Detone –
techno, house, deep house – and if it’s
good we’ll release it. Simple as that.
It’s essential to get tracks onto the right
outlet platforms for people to hear and buy
your releases. The way we listen to music
has changed so much. The CD is a distant
memory now with the digital age fully upon
us. Work with the right people to push your
music into the areas where people will see
it to buy or stream. You need to be seen on
the front pages of digital download sites, as
the first thing seen on the banners will usually
get a listen. Soon everything will have to be
streamed to your devices and that’s why you
need the best distributor working closely
with the streaming sites to gain maximum
exposure and hits on your tracks.
5. 6.
A&R: TREAT PEOPLE
THE RIGHT WAY
BE A HAPPY SHIP
At Detone, we’re very big on the way we
treat people. We’re honest and transparent
with everyone we work with. There’s no
excuse to be any other way in an industry
that’s a very hard place to make a living.
We treat everyone the same way, whether
they’re a successful artist or a producer
releasing their debut. People remember
whether you’re a pleasure to work with
and this goes a long way to securing
repeat business and gaining respect from
industry players across the board.
Everyone involved at the label should
be striving for the same goal. If
everyone is happy with their role and
is treated right, things will get done.
At Detone, we try and keep in contact
with each other on a daily basis
and push each other when needed.
Everyone respects each other so we
don’t have any issues (most of the
time, anyway).
For a taste of Detone, check out Japanese producer
Satoshi Fumi’s Sweep Harmony EP, out now.
HEYMUSIC.COM
43

T H E D I R T
FEATURE GREAT JAZZ PIANISTS
D O Z
While most people think of trumpeters or saxophonists when they hear the word “jazz”,
the piano has played a crucial role in the development of jazz theory and performance.
Acting as both a solo and ensemble jazz instrument, the piano has important
contributions to make in the areas of rhythm, harmony and style. Some even consider it
the backbone of jazz ensembles, as crucial as the double bass that outlines the harmonic
figures and the trumpet that riffs and solos on the melody.
Perhaps what’s most incredible is how jazz piano has supported the evolution of jazz
over the decades, from ragtime to bebop to swing and more. Take a trip through the eras
with a dozen of the greatest jazz pianists to tinkle the ivories.
1. Scott Joplin
Scott Joplin’s style represents the earliest
precursor of jazz, in the form of the classic
ragtime. Born around 1868 in Texas, Joplin’s
works inhabit a unique space where classical
music and African-American styles, such
as work songs and gospels, converged.
The unique sound of ragtime, with its
syncopation and joyful melodies, can’t be
mistaken for anything else. Joplin’s greatest
hit, Maple Leaf Rag, epitomises the genre.
44 FEBRUARY 2019

Y
E N
Feel the lively
pulse of jazz
with a quick trip
through the years

FEATURE GREAT JAZZ PIANISTS
2. Jelly Roll Morton
A few decades after Joplin’s birth, the
pianist who came to be known as Jelly
Roll Morton was born into a family of
proud Creole heritage
in New Orleans.
Morton acted as a
pianist, bandleader,
composer and
arranger. His works
embraced ragtime and
early jazz, and while
his claims to have
invented jazz have never fully been proven,
it’s certain he’s an important figure who left
us with many spirited compositions.
3. Earl Hines
A fabulous pianist who
made a mark on jazz
history, Earl Hines, born in
1903 close to Pittsburgh,
had a big band with which
he performed. Yet his
artistry was so strong his
piano playing alone contained everything
needed for a meaningful, stylized jazz
performance. He’s still recognised today as
the father of modern jazz.
4. Fats Waller
Fats Waller was born in 1904 in New
York City. An entertainer at heart, his
most popular works still hold a place
in listeners’ hearts, with compositions
like Ain’t Misbehavin’ and Honeysuckle
Rose never
going out of
style. Waller’s
music had
no limits – he
played jazz
and Bach on
the organ.
5. Art Tatum
Tatum heralded a
new age of genius in
jazz. He was ahead
of his time, a devilish
improviser and a
technical wizard at the
piano. Born in Ohio
in 1909, Tatum had
an especially unique
life as a visually impaired musician. He
melded the styles of swing and stride,
inventing creative improvisations that
surpassed anything heard until then.
6. Thelonious Monk
Inimitable in personality and musical style,
Thelonious Monk was in a class of his own.
His style at the piano was highly unusual,
featuring dissonances and dramatic,
unexpected changes within a piece. Born in
North Carolina in 1917, Monk’s legacy lives
on in the form
of albums and
tributes, as well
as an institute
established in his
honour, which
supports jazz
education in
public schools.
7. Hank Jones
A versatile and admired pianist, bandleader,
arranger and composer, Hank Jones’ career
included more than 60 albums. He also
collaborated
with well-known
musicians like
Ella Fitzgerald
and Charlie
Parker. Jones was
particularly known
for his usage
of advanced
harmony.
46 FEBRUARY 2019

8. Nat ‘King’ Cole
Nat ‘King’ Cole’s infectious melodies and
vocals will never be forgotten. Expanding
beyond the sphere of jazz, Cole also
appeared in films and had his own
television series.
Cole experienced
a high degree of
racism as a black
musician born in
Alabama in 1919,
going on to perform
in the southern
states of the US.
11. Ahmad Jamal
Born in Pittsburgh in 1930, Ahmad Jamal has
valued his connection to the city throughout
his life. Jamal’s
career has spanned
many decades and
he is best known
for his innovative
style of musicmaking
called “cool
jazz”. While he was
inspired by bebop,
his style diverges
into his modern
interpretation
of jazz.
9. Bud Powell
Bud Powell signaled a new era in jazz piano:
bebop! Known for his compositions and
creative harmony,
Powell struggled
with mental health
and drug abuse,
which unfortunately
was not uncommon
in the bebop scene
of this age. Alive
from 1924 to 1966,
Bud Powell’s music
led jazz piano in a
new direction.
12. Herbie Hancock
A versatile jazz musician who joined
Miles Davis’ Quintet at the young age
of 23, Herbie Hancock was born in
1940, in Chicago, and demonstrated
exceptional talent in classical piano as a
child. He was fundamental in establishing
another evolution in jazz history: postbop.
Hancock’s music is extremely
experimental with eclectic influences.
10. Bill Evans
Originally from New Jersey, where he
was born in 1929, Bill Evans is known for
his harmonic prowess at the piano, as well
as his collaborations
with other famous
musicians like Miles
Davis and Chet
Baker. His musicmaking
involved
new harmonies,
unique interpretations
of old standards
and masterful
melodic lines.
If you’re interested in honing your jazz skills why not obtain
professional instruction from a piano teacher at TakeLessons?
Their qualified instructors can give you feedback and guidance on
how to improve your skills. takelessons.com
HEYMUSIC.COM
47

FEATURE MUSIC BY NUMBERS
FABRIC
London club fabric celebrates
its 20th anniversary this year.
Since throwing open its doors in
Farringdon, the venue has become
an institution, championing the
best underground and cutting-edge
electronic music.
Adored by the DJs who play
there – both established names and
breakthrough – and the clubbers who
flock to it every weekend, fabric has
played a huge part in shaping the
UK’s club culture.
“Since opening our doors for the
first time in 1999 we have always
put our focus on running a space
that would become a home for
expression and creativity in London,”
say the fabric team. “Artists and
dancers from across the globe
have descended our staircases and
established our position as both a
local dance spot and international
melting pot.
“We want to say thank you to
everyone that’s been part of this
journey over the past two decades.
So much of the world surrounding
us has changed in this timespan,
but your love for us has always been
unparalleled. From the celebratory
times to our most challenging
moments, it’s your support that’s
built our legacy.”
To mark fabric’s milestone year,
digs out some facts and
figures behind the legendary club.
48 FEBRUARY 2019

Opened: October 1999
Capacity: 1600
The venue: A former Victorian cold
storage meat cellar
No. of rooms: 3
Soundsystem: 1 Martin Audio
soundsytem (in Room 1) and 2
Pioneer Pro Audio soundsystems
Key feature: The vibrating
‘bodysonic’ dancefloor in Room
1, with its 400 bass transducers
attached underneath emitting
the bass frequencies of the tunes
being played. In other words, more
bounce for your buck
No. of punters through the
doors: Over 3 million
No. of guest DJs: 5000+
Longest party: Since its 10th
anniversary in 2009, fabric has
celebrated its birthday with 30
hours of non-stop music
Most no. of sets: Founding
residents Craig Richards and Terry
Farley have both played at the club
approximately 700 times
No. of compilation series: 3 –
fabric, FABRICLIVE and the soon
come new quarterly mix series
fabric presents
Photos_Sarah Ginn & Nick Ensing
20th anniversary specials:
Expect 20 special parties
throughout the year – with every
DJ playing extended sets for up to
10 hours – in addition to the club’s
regular events schedule
HEYMUSIC.COM
49

OPTIONAL
FEATURE BIG COUNTRY
COWBOY
50 FEBRUARY 2019

HAT
It’s time to change
your perception of
country music…
Words_Pip Ellwood
Think
country music is all
about line-dancing and
thigh slapping? Think again. Today, the
genre is attracting a younger audience,
and that’s in part due to modern country
music combining elements of pop and R&B
into the sound, which has made it more
appealing to those that previously thought
all country songs were about trucks, dirt
roads and Jesus.
US artists such as Sam Hunt, Maren
Morris and Thomas Rhett have pushed the
boundaries of the genre and achieved huge
sales in the process.
Credit should also be given to the hit
musical drama Nashville, which found a
loyal audience and whose cast spent a
lot of time touring in the UK. That show
opened people’s eyes by showcasing the
breadth and variety that exists in the genre.
Charles Esten, who played lead character
Deacon Claybourne, kicked off 2019 with
a UK tour. Last September, Australia-born,
US-based, singer-songwriter-actress Clare
Bowen, who played Scarlett O’Connor, also
toured the UK to promote her debut album.
Around 80,000 fans will flock to London’s
O2 Arena, from 8 – 10 March, for C2C
– Country to Country – a festival that’s
helping to shake off country’s tired old
image. In its seventh year, the festival
welcomes some of the biggest names in
country music and showcases homegrown
British acts too.
Headlining this year’s festival are Keith
Urban (8 March), Lady Antebellum (9 March)
and Chris Stapleton (10 March). Over the
three-day event, fans will enjoy performances
from 12 artists on the main stage, with more
than 50 acts putting on shows across various
pop-up stages in and around the venue.
At the same time as the London event,
two other C2C festivals will take place
concurrently in Dublin and Glasgow, with the
line-up rotating between the three cities.
The popularity of C2C has spawned other
regular events for country music lovers.
Country Music Week returned to London
for a second year in October, and the genre
expanded outside of the UK capital with new
festivals The Long Road, in Leicestershire,
and Black Deer, in Kent. Buckle and Boots,
at Whitebottom Farm in Skiddle, enters its
fourth year in 2019 too.
But it’s not just US artists that are benefitting
from the growth of country music in the UK;
homegrown artists are making their mark.
The Shires, Ward Thomas, The Wandering
Hearts and Catherine McGrath are four UK
country artists signed to major labels and they
perform well in the mainstream charts.
Country music is continuing to grow around
the world too. Before arriving in the UK,
C2C will head to Berlin and Amsterdam. In
September, the festival will mark its debut in
Australia with gigs in Sydney and Brisbane.
With country music going through
something of a reincarnation, perhaps it’s time
you explored the genre with an open mind.
Pip Ellwood writes for entertainment-focus.com. Find more information
on C2C at c2c-countrytocountry.com.
HEYMUSIC.COM
51

THE P
FEATURE NOURI
OF
52 FEBRUARY 2019

URSUIT
Kurdish singersongwriter
Nouri gets
vocal about diversity
Words_Daniella Millership
HAPPINESS
Songstress Vivian
Nouri,
known professionally as Nouri, was born in a
Syrian refugee camp following the bombing
of her family’s home in Kurdistan. Granted
refugee status in 1995, her family settled in
New Zealand where she began her singing
career. Now pursuing her dream with a move
to the US and the release of her first single
Where Do We Go From Here, the talented
singer-songwriter hopes to open more doors
for Middle Eastern artists.
What was the turning point when you
realized you wanted to make singing your
career and how did your parents react?
I was in my last year studying computer
science and I was speaking to a producer in
the States. He said, “It’s really now or never;
you just have to come out here and record.”
I realized I had to just do it so I mentioned it
to my mum. She was surprisingly supportive
and told me to try it once. If I liked it then
it’s meant to be. If not, I’d have computer
science to fall back on.
Who has been your biggest inspiration?
My mum. She’s been the rock of the whole
family. I was a Syrian refugee and we were
taught how to survive, not how to live. Being
able to live my dream – not only to live but
live my dream – was made possible by her.
Describe your songwriting process.
Most of my songs are written in the car
because I’m in my own space, no-one’s
really there to interrupt me. It’s so silent in
the car so I can really hear my thoughts and
dig into my feelings. The other day I wrote
a song in 15 minutes and that might be my
second single.
What is something you feel is missing
from the music industry that you’d like
to bring to the table with your music?
I haven’t seen a Middle Eastern woman
in the US trying to make it right now. The
music industry is really lacking Middle
Eastern women and diversity – I know I can
bring that. I know I can set up a platform for
woman and men of all races to be able to do
what they love and do it in a country where
it’s so competitive.
Are you hoping to become signed to a
major record label?
I wanted to release my debut single
independently to see what organic reaction
I could get, and it really exceeded my
expectations. Now I have labels wanting to
sign me. I do want to be signed to a major
record label because I need my voice to
be heard and I know they can push it to a
whole other level.
What’s next for you?
I’m releasing another single and there’s
going to be an EP/album following that along
with another single. A few collaborations are
in progress too; I can’t name anybody right
now but they’re huge.
Any advice for young artists starting out?
You have to believe in yourself. You can’t
convince anyone to believe in you if you
don’t believe in yourself.
HEYMUSIC.COM
53

FEATURE FAANGS
BITE
M
Discover the dark, glitter-filled
heart of FAANGS
Words_Antoinette Smith
After
winning a TV talent show
in 2011, singer-songwriter
Melissa ‘Charlie’ Storwick says she’s
“searched far and wide” to find herself
as an artist and as a musician.
Having grown into her own skin and
style, the 20-year-old LA-based Canadian
morphed into FAANGS and unleashed
a string of tracks under her new
moniker in the second half of last year.
catches up with the
unconventional singer-songwriter
and party monster.
When did you write your first song?
I remember writing my first song when I
was 11 years old. It was about this boy who
was my neighbour who smashed my heart
because he had a girlfriend in grade 3. It’s
probably the most depressing song I’ve
ever written. I was a sad 11-year-old, I still
crack up about that.
What inspires you?
Unconventional fashion, really sad songs, film
photography, any Tim Burton movie, hearing
people’s life stories, the pain that I’ve been
through and will go through in the future,
and travelling. Kind of the weirdest mixture
of things but I always pull the most beautiful
music from the saddest of situations.
What’s your secret to being confident
on stage?
It’s a privilege to be on stage so I have the
most fun possible and never overthink things.
The key to life is never sweating the small
stuff like being nervous. I just throw on a giant
jacket, some platforms and own it.
54 FEBRUARY 2019

“I never want to be
known as someone
who caters to
societal standards”
E!
Your style is so eccentric, does fashion
play a part in your creative story?
I’ve always been so drawn to fashion
because it pushes the limits of the
average mind, it expands my creativity
and it allows me to express myself in a
way that sometimes I can’t express
through my music.
What’s behind the name FAANGS?
My artist name Faangs came from a text
message. It was my first trip to LA, I was
17 years old, by myself, and I was so
overwhelmed by the size and energy of the
city. I felt like I could go everywhere and
nowhere with the power of LA. I texted my
Photo_Lunch Money Studios
friend to vent about how terrified I was, and
said: “This city doesn’t have teeth, it has
fangs.” My friends also used to joke about
the fact that I’m the worst at sleeping. I’m
pale as a piece of paper and I hate the sun.
Very vampire-like tendencies. So after I sent
that message I connected the dots.
What was the inspiration behind your
Love Fast Die Young track?
I wrote and recorded that song when I was
16 years old. I have this outlook on life that if
you don’t follow whatever dream you have,
and do whatever you want, you’re wasting
your time because you could die tomorrow.
I believe in falling in love with whoever
you want at whatever time, spontaneously
leaving to catch a flight three hours before
it takes off, buying a jacket that’s too
expensive because you feel like you can’t
be yourself without it, saying what you want
even if people don’t accept it, being bold
even if everybody’s bland, and just doing
whatever the f*** you want. Because at the
end of the day, we all die, and it’s the legacy
you leave behind that really matters. I never
want to be known as someone who caters
to societal standards. I just wanna love fast
and die young.
What’s your favourite city to work in?
Hands-down my favourite city in the world
to work in is London. Incredible people,
ridiculous style, beautiful architecture and
the music scene is on fire.
What’s on the horizon?
I have some killer music lined up for 2019.
My artist project is almost complete and I
have a lot of opportunities cooking up. It’s
going to be a fast year; I’ll tell you that.
HEYMUSIC.COM
55

FEATURE KARA MARNI
London-based artist
Kara Marni reveals
what’s on her 2019
‘to-do’ list
Words_Antoinette Smith
With
BBC Radio 1 Introducing
jumping on her Move track
in early January, it’s fair to say 2019 has got
off to a flying start for Kara Marni.
From tackling cover versions – her take
on the Minnie Riperton classic Loving You
is what first piqued her manager’s attention
– the 20-year-old’s first seven-track EP
garnered attention far and wide.
With her soul and R&B stylings infused
with pop sensibilities, Marni is a young
artist on the move…
MOVIN’ ON UP
Did creating cover versions of your
favourite songs help you discover
your sound?
Basically, my parents are very big music
fans and have a huge collection of
vinyl and CDs. From when I was very
young, my father would always play the
incredible big female voices – Aretha
Franklin, Chaka Khan. When I first heard
them, I was like, “Oh my goodness, I want
to sound like them!”
I took to that sound, that soulfulness,
and as I’ve got older it’s become part of
my sound. The minute I discovered Amy,
Lauryn Hill, Erykah Badu, I fused the
sounds, but I hate putting myself into
a box.
Were you not scared about how people
would react when you covered such
iconic songs?
I always say try and stay away from the
classics, then I go straight in and do a cover
of Whitney! The thing is, if you put your
own stamp on it, then it makes it yours, it’s
no longer the original. These are the artists
that have inspired me and I wanted to put
something out while I was working on my
own stuff to get my name out there.
How did it feel to release your first EP,
Love Just Ain’t Enough?
Amazing! I’ve been working so hard and I’m
so proud of it. I’m really happy it’s out there
and so happy with the response. I’ve written
56 FEBRUARY 2019

“Putting out those
songs into the world
is very scary, they’re
like your babies”
about it. You have to be very vulnerable
and I’m not like that in real life. But once I
got to know the producers and everyone
I was working with, I knew I was safe and
didn’t have to be worried. Putting out those
songs into the world is very scary, they’re
like your babies.
Move is a phenomenal track and the video
is so insane…
Move sets the tone for my new stuff. There
are influences from TLC, the ’90s, but it was
so much fun to shoot!
so much since then, I’m ready for the next
batch of music.
Describe the creative process behind
the EP.
It was a collection of stuff I’d written over
the years, but when I do a body of work
I like to work with one or two producers.
I like working with someone I can connect
with, so it feels cohesive.
What was the hardest obstacle to
overcome in the process?
Being able to open up to people I don’t know
that well. You can have quite raw and fresh
emotions, stuff you haven’t even told friends
about yet, and you’re in the studio writing
You supported Rita Ora and Raye on tour
last year. How was that?
To have that under my belt is amazing.
Being surrounded by such strong females all
supporting each other is really nice. I hope
that one day I’ll be in a position to bring
someone along [on tour] that I really
believe in.
What’s your usual routine before you go
on stage?
I have some crazy warm-ups, but before I
go on stage I like to be by myself, to channel
and centre myself.
What’s on your 2019 ‘to-do’ list?
I’d love to play [London venue] KOKO but
that may take two years! I just want to keep
growing, release more music, maybe another
EP, and play the Great Escape Festival and
Coachella. So, more festivals, more headline
shows, more writing…
HEYMUSIC.COM
57

FEATURE BACKSTAGE
SHINE
ON!
Shine Management boss David Elkabas
on the role of an artist manager
My career started, like many in the
business, playing instruments and in
bands with friends and eventually making
music with computers. I went on to do a BA
Hons in Commercial Music, while promoting
club events in the UK and eventually Miami,
Amsterdam and Ibiza. I started selling my
own records from the back of my car with
friends, used my student loan to start MN2S
Recordings and helped grow the MN2S
brand into one of Europe’s biggest label
service and booking agencies. I started
putting my experience into management
deals around 2014 and started Shine
Management in 2015.
Today I manage Kerri Chandler, Jeremy
Underground, Satoshi Tomiie, Robert Owens,
Oxide & Neutrino and Kayper. I still do some
consultancy for MN2S and a number of other
businesses and brands.
Before agreeing to manage an artist I
look at their talent and potential to grow,
primarily. I look for people I can help with my
experience who need help in making their
talent thriving businesses.
An artist manager essentially act as a
buffer between creativity and commerce and
help artists navigate the business side of
what they do as creatives.
It’s great creating teams and helping clients
define and realize their vision and potential.
It can be hard work at times when having to
deal with challenging situations that quickly
arise out of nowhere.
Some people wrongly perceive that
managers don’t bring anything to the table.
Unfortunately, this is partly due to some
“managers” not having real experience or
expertise but there are many of us who
have put the time in and really know the
business inside out and can help artists
develop and succeed.
The role these days is often more about
marketing and strategy than record company
relationships. The industry model has shifted
away from recorded music revenue and
many more things come into play now. The
fact we have an increasing awareness about
some the of the issues [like mental health
issues] artists face is a positive step in the
right direction and something we welcome.
An artist manager needs experience, a
deep knowledge of the various aspects
of the industry and the dynamics of each
business artists engage with, empathy,
diplomacy and strong communication skills.
Artists are now empowered to create
their own brands and the role is more
about responding to changes in the artist
career model. As technology and the market
place develops, the role of management
develops with it.
58 FEBRUARY 2019

HEY UPFRONT
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