Hey Music Mag - Issue 4 - February 2019


Hey you! Welcome to the fourth issue of Hey Mag! Discover more about Ava Max, the super-fresh newcomer who’s slayed charts worldwide, how Jamiroquai have super-charged their kaleidoscopic funk grooves, and meet the Kurdish singer born in a Syrian refugee camp who wants to put diversity on the music industry’s agenda. World-renowned DJ and Detone boss Darren Emerson (ex-Underworld) offers his six tips to running a successful record label, while we've sussed out the best underground parties in Paris, and trawled the archives to bring you a selection of must-see music documentaries. From new artists you need to hear to music legends past and present, the February issue has it all. Enjoy the issue.




The new


Lady Gaga?



Must-watch music







PRS for Music members Dreamwife performing at PRS Presents


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.






Hey Music




Lesley Wright



Kristan J Caryl



Darren Haynes




Antoinette Smith


Daniella Millership


Aiez Mirza Ahmed



Jim Butler, Nick Rice and

Tarak Parekh







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







What’s cooking across the UK

and around the world



Is chart-topping newcomer Ava Max

the new generation’s Lady Gaga?


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


We shine the spotlight on a successful

female sound engineer making her name

in a predominantly man’s world



Producers, bands and vocalists destined

for big things


Party vibes in Paris


Music documentaries you need to watch

42 HOW TO…

Detone boss Darren Emerson on how to

run a record label


Some of the greatest jazz pianists to tinkle

the ivories






Stats behind legendary London club fabric


The reincarnation of country music



Kurdish singer-songwriter NOURI gets vocal

about diversity


Discover the dark, glitter-filled heart of FAANGS


Kara Marni reveals what’s on her 2019

‘to-do’ list



The role of an artist manager





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


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.




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.





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.





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.”





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.



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.”


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.






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


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:


Registered in England No. 1514616. Registered Charity No. 280960.

Registered Charity in Scotland No. SC048817

Registered Office: 2 Lissenden Gardens, London NW5 1PQ






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




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


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?


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.


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.


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.





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


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


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.



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.



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





16 FEBRUARY 2019


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


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.




“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


“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.”






20 FEBRUARY 2019

The sound of Jay Kay’s Jamiroquai in 2019

is unapologetically buoyant, mesmeric and

kaleidoscopic. dips in…

Words_Jim Butler


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





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.”






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)


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)






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


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




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.”





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.


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.





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.


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

Are you an Artist?

Do you own a Record Label?

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Music in China

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In China, traditional Western social media

channels are not available. Promote your

music on the largest Chinese social media

channels like Weibo and Tencent.




34 FEBRUARY 2019




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


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,




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


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.


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.






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



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”.




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.






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



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





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.




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.






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



Feel the lively

pulse of jazz

with a quick trip

through the years


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


with well-known

musicians like

Ella Fitzgerald

and Charlie

Parker. Jones was

particularly known

for his usage

of advanced


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


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


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





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






50 FEBRUARY 2019


It’s time to change

your perception of

country music…

Words_Pip Ellwood


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.






52 FEBRUARY 2019


Kurdish singersongwriter

Nouri gets

vocal about diversity

Words_Daniella Millership


Songstress Vivian


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.






Discover the dark, glitter-filled

heart of FAANGS

Words_Antoinette Smith


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”


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.




London-based artist

Kara Marni reveals

what’s on her 2019

‘to-do’ list

Words_Antoinette Smith


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…


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…






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









W W W . P O I N T B L A N K M U S I C S C H O O L . C O M

For course enquiries call +44(0)20 7729 4884 or email admissions@pointblankmusicschool.com


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