Hey Music Mag - Issue 5 - April 2019


Hey! Grab your glitter, put fuel in your campervan and hit the road! With festival season on the horizon, our jam-packed Festival Special issue helps you make summer 2019 one to remember. Whether you want to ‘go big’ or ‘go boutique’, our UK festival guide will steer you to the best music festivals in good old Blighty. Or take flight with our pick of the coolest international festivals on the planet. What’s more, we chart the evolution of dancing in fields and there’s fun festival trivia with which to impress your mates. Elsewhere, we catch up with hot-right-now UK hip-hop stars Children of Zeus before they re-embark on their UK tour, get lyrical with songwriting genius Tim Fraser, and question whether 1989 was the best year for music – ever. Your summer planning starts here! Enjoy the issue.






The best festivals

on the planet

The evolution of

dancing in fields

Festie trivia








We celebrate your talent, value your

music and champion your rights.

To all of our songwriters and composers,

your passion is ours.

Say what you want to

say, then go to sleep

with no regrets.






Hey Music




Lesley Wright



Kristan J Caryl



Darren Haynes



Gfire M, Jim Butler,

Nick Rice, Sara Cooper,

Sophia Nyananyo 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.

Grab your glitter – it’s festival time! There’s a whole

season of festival fun on the horizon to suit all tastes

– whether you prefer the convenience of an inner-city

event, the adventure of taking to the fields or even taking off

to a brand new country for a festival fix.

Of course, the music is vitally important but, for me, that’s

only part of the festival experience. It’s losing your friends

(standard) and making new ones, plus the random sights

and comical mishaps that complete the story – and make

memories that last a lifetime.

Let’s be honest… even the best laid festival plans have a

tendency to go wrong. Everyone has a festival tale or two.

One year my friends and I thought we were really smart by

hiring a designated driver – a mate of a mate who had only

one job to do and that was to stay in a fit enough state to

drive us back from the festival in Winchester to London.

We were feeling pretty smug. Until our designated driver

locked the car keys in the boot. While we were all outside

the vehicle.

By the time we’d waited six hours in the pouring rain for

the RAC man to turn up and open the car, we were on the

verge of killing each other. We’d have smashed a passenger

window to get in except we couldn’t even find a brick.

Then there was the time I was left behind at a festival

(Winchester, again!) after my lift home departed without

me. Which was particularly unfortunate given that I lived in

Glasgow at the time.

But it all goes towards earning your rave stripes so bring

on this summer’s festival (mis)adventures!

Lesley Wright







For more than 70 years, we have represented songwriters and composers,

but since 25 March 2019, BASCA has become The Ivors Academy.

Find out more about how we support, protect and represent music

creators in the UK, and join us today.







What’s cooking across the UK

and around the world




We chart the evolution of dancing in

fields (and other strange places)


Impress your mates with some

festival trivia


Hit the road to our pick of the best

music festivals in good old Blighty


Travel further afield to one of our highly

recommended festivals on distant shores


It’s been non-stop for Children of Zeus

since the release of their debut album




40 1989

Was it the greatest year in musical

history? We make the case.


Multi-platinum songwriter Tim Fraser

on the “knack” of songwriting

48 HOW TO…

A beginner’s guide to songwriting


International Music Summit co-founder

Ben Turner’s journey through music



Stats and facts behind Elrow Ibiza



The role of a festival Production Director




DISCOVER: Kornel Kovacs

Stockholm Marathon (Studio Barnhus)

One third of the playful, inventive Swedish label collective Studio Barnhus, Kornel

Kovacs’s second album is a perfect embodiment of their sound: catchy hooks, happy

house and rolling basslines. It was written after the break-up of a relationship so has a

melancholic undertone that makes it all the more absorbing.


By now national dance music treasures,

Crazy P are one of the most spellbinding

disco live acts in the game. They’ll unleash

new album Age of Ego, on 3 May. Released

on iK7, it pairs heavy club beats with richly

layered cosmic synths, boogie basslines

and an underlying vocal theme that muses

on social media, youth politics and Brexit.

“I suppose lyrically it is political, a

reflection of the times, but with a twist of

humour and always a lot of love,” vocalist

Danielle Moore explained.

6 APRIL 2019



Pete Townshend is

branching out. He might

be best known as the

guitarist from legendary

British rock band The Who,

but November will see him

release his debut novel. The

Age of Anxiety – described

as “a great rock novel” and

“an extended meditation on

manic genius” – is a dark

tale of creativity that is part

of a grand body of work that

will eventually fuse fiction

writing with opera and

installation art.

“I’m an avid reader and

have really enjoyed writing it.

It’s tremendously exciting,”

said Townshend, who is also

in the midst of working with

his old bandmates on The

Who’s first album of new

material in 13 years.

Photo_Samuel Gehrke





Morrissey has always been a divisive character, but just

recently some of his socio-political views have been so

strong they’ve even started to turn hardcore fans away.

Musically though he will always remain a giant of the indie

world. To that end, the famous miserablist has announced

he is taking on a career-spanning Broadway residency.

The former Smiths frontman will play seven shows at the

Lunt-Fontanne Theater, in Midtown Manhattan, between

2 and 11 May.

Though the content of the shows remains to be

unveiled, it’s being described as “an intimate yet exciting

exploration of Morrissey’s expansive career from his early

days to his upcoming new record”.

The record in question is California Son, which arrives

on Etienne Records/BMG, on 24 May, and is his first

cover album.






London’s XOYO has been putting the

focus back on resident DJs for a couple

of years now. The club’s special series of

events invites big names to set up camp

at the venue for a run of weekly parties. As

well as playing themselves, they also curate

the rest of the acts at each event. Chicago

house legend Derrick Carter has been

given Saturdays throughout May under the

Shoreditch club’s Pleasurehood series.

Joining Carter for the opening night, on

4 May, will be fellow Chicagoan Honey Dijon.

Carter then plays all night long the week

after, with a disco special the following

week, then closes it down with his longrunning

Queen! night with party co-founder

Michael Serafini.

Classic Music Company co-founder Derrick

said: “My aim remains the same every week.

I come in, blow your party the f*** up, and

then break out.”

Photo_Red Bull Music


Slam are one of the most iconic techno

duos in the game and their Soma label has

long been putting out some of the genre’s

most vital material. Their Soma Skool returns

to Glasgow’s SWG3 complex, on 20 April,

with the aim of “enlightening, educating and

inspiring the minds of tomorrow in

how to achieve a career in the electronic

music industry”.

Panels will discuss everything from record

labels, promoters, clubs and radio shows to

the importance of queer artists in electronic

music, with experts and industry insiders such

as the Berlin Club Commission, BBC, Young

Marco, Jennifer Cardini, Subcity Radio and

more. A curated panel from Red Bull Music

will discuss what no rules and no boundaries

means in today’s scene, with stars like

Breakwave and Machinewoman.

There will also be Ableton masterclasses,

workshops with Pioneer, and a live demo

from Bulgarian wizard KiNK.

The conference will be followed the by

Maximum Pressure Easter 2019 party, with

Len Faki, Laurent Garnier (above left) and

many more from 6pm.

8 APRIL 2019



Despite the impact of rave

and acid house culture in the

late ’80s and early ’90s, there

were few bands who came

out of that era and went on

to become hugely successful

recording artists. Next to

Orbital and The Chemical

Brothers, The Prodigy helped

establish dance music in the

wider public’s conscious.

Their raw energy, f*** you

attitude and thrilling mix of

drum machines and guitars

stood them apart right from

the off and converted millions

of young people and teenage

misfits onto dance music

with seminal albums like

Experience and Music for the

Jilted Generation.

Front man Keith Flint, with

his inverted green mohawk

and nose rings, was a dancer

with The Prodigy to start with,

but soon got involved in writing and singing.

He was, despite his mad and dangerous

look, a very kind and caring soul, according

to those who knew him best, and someone

who was still enjoying plenty of success,

having recently toured Australia.

With his band, Flint changed electronic

music and pop culture forever, but sadly he

took his own life, on 4 March, aged just 49.

His death stunned the music industry and

The Prodigy’s legions of fans. His bandmates

described him as “a true pioneer, innovator

and legend”, and added that he would

be “forever missed”.

In an interview with The Guardian in

2015, Flint described The Prodigy as

“dangerous and exciting” and claimed

that a similar attitude was missing

from today’s music scene. “That’s why

people are getting force-fed commercial,

generic records that are just safe, safe,

safe,” he added.

This unique character may now be

gone, but his legacy will live forever.


Fat of the Land (XL)

Keith Flint was an icon of the rave generation. He was initially a dancer with The Prodigy

who eventually got involved with writing on the hit single Firestarter in 1996. It’s a track

that still lights up any club, so there’s never been a better time to revisit the electrifying

album it came from.




Mr V

Dazzle Drums Till Von Sein Nicola Cruz



DJs For Climate Action release a second

album of new music on 19 April – just ahead

of the global Earth Day.

Earth Night is aimed at harnessing the

energy of the global nightlife

scene to raise awareness and

funds for climate action. The

compilation features over 50

tracks from artists from 12

countries, including the likes of

Justin Robertson, Till Von Sein,

Little Boots, Mr V, Nicola Cruz,

The Revenge and Dazzle Drums.

DJs For Climate Action are

also throwing a series of parties

in Brooklyn and Berlin, amongst other

locations, that look to “shine light on the

challenge facing our planet and the unique

role musicians can play”. All proceeds will

fund projects focused on effective climate

solutions through direct partnerships.

“This includes work at the

nexus of renewable energy,

health and education with

Little Sun, boosting the global

climate youth movement with

Earth Guardians, and offsetting

the impact of DJ air travel with

CO2 Logic,” claimed the group.

The compilation is available

for pre-order exclusively

through Bandcamp, with

tracks landing every week up until the

album’s full release.

10 APRIL 2019

Andreea and Ben



This year’s International Music Summit in Ibiza will be cocurated

by the leading female empowerment organisation in

the music industry, shesaid.so.

The partnership is designed to help break down gender

stereotypes whilst promoting the profile of women making an

impact in the industry. IMS and shesaid.so will work together

towards gender parity at IMS Ibiza, which takes place 22 –

24 May, at the island’s Hard Rock Hotel.

“We can’t hide that IMS was created originally by six white

males, but we can change everything else around us to

promote the best in the industry from across professions,”

said IMS co-founder Ben Turner. “I hope we can encourage

more women to speak, attend, perform and help shape the

industry they love.”

This is the third year IMS has partnered with shesaid.so but

it’s the first time the organisation has been invited to co-host

the programme.

Founder of shesaid.so, Andreea Magdalina said: “This

gives us a greater opportunity to create more visibility for

women and other marginalized communities in electronic

music and beyond at one of the most forward-thinking music

conferences in the business.”

There’s a 50% discount for all shesaid.so members

attending the summit for the first time. Delegates can

experience inspiring keynote speeches and workshops, plus

powerful networking sessions.

Nicole Moudaber, Anna Tur, Charlotte de Witte, Ida

Engberg and Sophie are amongst the female DJs playing at

the summit finale, at Dalt Villa, in Ibiza Old Town, on 24 May.

(Read Ben Turner’s journey through music on page 52.)



Almost $10 billion of music

revenue in the US comes

from streaming. That’s the

findings of the Recording

Industry Association of

America’s Year-End Music

Industry Revenue Report

2018, which claims that

streaming makes up 75% of

music revenue in the US. The

figure is a 12% increase on

the previous year.

It means subscriptions to

paid services like Spotify,

Apple Music and Tidal are all

up, but so too are vinyl sales,

which now account for one

third of all physical sales.


The king of Sandidisco,

Prins Thomas is

back in April with new

record Ambitions. It’s the

Norwegian producer’s sixth

album and features a track

called Feel The Love, with

his own vocals on for the

first time ever. “It gathers

up loose ideas sketched

down on my computer or

hummed into my handheld

recorder in the last two

years,” said Thomas.






Photo_Jess Middleton

The dance music community in Australia

and around the world has pulled together

to support Melbourne DJ Phil K, who has

terminal cancer. Donations have been

flooding into a Gofundme campaign launched

to buy expensive medication that can help

prolong Phil’s life.

DJ heavyweights including Sasha, John

Digweed, Dave Seaman, Lee Burridge

and Anthony Pappa have all rallied behind

the campaign.

Digweed described Phil, who produces

as Lostep with Luke Chable and under the

Analog Stars and Digital Stars monikers

with Danny Bonnici, as “one of the best DJs

to come out of Australia”.

Phil’s technical ability is legendary

amongst his peers, and when Pioneer was

developing the first CDJs they invited Phil

to the company’s HQ in Japan for his

valuable input.

As this issue went to press, a huge 14-hour

community fundraiser was also scheduled to

take place at Melbourne venue La Di

Da, on 30 March, to further boost the

campaign fund.

Party promoters Organic Audio said Phil

was “one of Australia’s favourite DJs and

personalities”, adding: “Both his music and

passionate loving character pioneered the

way for not only a culture but a true sense

of community that goes with it.”

Chronicling his battle with cancer, Phil,

who hoped to be strong enough to play at

the benefit party, said: “I want to hang on

for as long as I can. I want to get back to

music and DJing.”

At the time of writing, his Gofundme

campaign was sitting at AUS $65,000 of

its AUS $100,000 target.

“This is what I love about the electronic

scene,” said John Digweed. “Not only

does it bring people together; it also looks

out for people in a time of need.”

You can read more out Phil’s moving

story here.

12 APRIL 2019





Ariana Grande (above),

Twenty One Pilots, The

Strokes and Childish Gambino

have been confirmed as the

headliners for this year’s

Lollapalooza festival, taking

place at Chicago’s Grant Park,

from 1 – 4 August.

Last month, it was reported

that Grande had signed over

90% of the royalties from

7 Rings to the estates of

Rodgers and Hammerstein,

after it sampled their My

Favourite Things track, from

The Sound of Music.

Love vinyl? Then don’t forget it’s Record Store Day,

on 13 April, when independent record shops worldwide

celebrate black gold culture.

Special vinyl and CD releases, and various promotional

products, are made exclusively for the day, with bands

and DJs heading to their local stores for intimate

performances, meet and greet sessions and to buy

records, of course.

“This is a day for the people who make up the world

of the record store – the staff, the customers and the

artists – to come together and celebrate the unique

culture of a record store and the special role these

independently owned stores play in their communities,”

said a RSD spokesperson.

The first Record Store Day took place on 19 April

2008. On that day, Metallica spent hours at Rasputin

Music, in San Francisco, meeting fans, and now

hundreds of artists get involved each year.

Pearl Jam are this year’s official Record Store Day

ambassadors. Guitarist Mike McCready said: “Support

every independent record store that you can. It’s a place

to learn. It’s a place to have fun. And it’s a place to

discover new music.”


London club Fabric is

off on a whistle-stop tour

of Brazil this month, as

part of its 20th anniversary

celebrations. Fabric resident

Craig Richards and Ben UFO

will represent the London

club on the three-day tour,

dropping into RARA, in Rio

De Janiero, on 18 April,

Warung Beach Club, in Itajaí,

the following night, and Sao

Paulo’s famous D-Edge

club (above), on 20 April.

Photo_The Tennessean









14 APRIL 2019

Photo_Resistance MegaStructure at Ultra Music Festival by aLIVE


this year’s festival season about to get

underway, charts the evolution of


dancing in fields (and other strange places)

Words_Nick Rice





it’s a former airfield

in Iceland, an arid

expanse of Nevada desert, a ski resort in

Austria or a sprawling farm in Somerset,

music festivals are found everywhere these

days. They have evolved over the centuries

into a mixed bag of febrile, commercially

ravenous juggernauts and humble,

regional shindigs that eschew profit-mad

untrammelled growth in favour of preserving

ethos and ethics. And everything in between.

Music festivals have boomed in the 21st

century. They are a burgeoning cultural

phenomenon. The likes of Glastonbury

and Burning Man may look a world apart

from the earliest known festivals, but the

motivation driving attendance comes from

the same source – a desire to let loose, to

temporarily throw off the shackles of ordered

society and give free reign to personal and

political freedoms. Occupying a significant

economic, social and cultural role at local

and international levels, festival-going in

the present era has crossed over from the

fringes into the mainstream.

Apollo at Delphi


All over the world the music festival

calendar is bursting. The heritage of these

events begins with the first known music

festival, which going back to the late sixth

century BC pre-dates the Olympics – the

Pythian Games. Held at the sanctuary of

Apollo, at Delphi, it concluded with a day of

musical competitions.

The element of competition endured over

the centuries. The deeply established Green

Man festival in Wales can trace its family

line back to the bardic competition held by

Lord Rhys at Cardigan Castle, in 1176. This

annual celebration of Welsh poetry, music

and performance saw periods of success

and decline until a resurgence occurred in

the mid-19th century as a response to the

controversial government reports known as

the ‘Blue Books’, which criticised the state of

education and culture in Wales.

Now it is not the performers but the

festivals that compete, striving to compile

16 APRIL 2019

Green Man, Wales

the most impressive line-ups and pushing

for an edge in a saturated market. With the

explosion of music festivals in the noughties,

two wide trajectories emerged. One includes

the community-driven smaller festival that

has either a folk or counter-cultural tradition

and shuns overt

commercialism, the

other is the mega

festival mining a

seam of intense

capital gain.

Prior to this

divergence, the

music festival had

taken many twists

and turns in its

evolution. In the late ’60s, blissed-out, free

lovin’ hippies coalesced as a counter-culture

in the US. Events such as The Monterey

Pop Festival, in the summer of 1967, and

The Fantasy Fair and Magic Mountain

Music Festival, in the same year and also in

California, signalled a growing movement.

Two years later, the groundswell culminated

in the seminal Woodstock Music and Arts

Fair – a milestone moment, the effects of

which are still rippling outwards today.

On this side of the

Atlantic, and now

in the 1970s, the

hippy idealists had

All over the world

morphed into a new

the music festival

community of newage

travellers and

calendar is bursting

rainbow warriors.

With them emerged

a phase of free

festivals, organised

and attended by these sub-cultures who

were opting out of society at large, held at

locations such as Stonehenge.

But peace and love became distorted into

a climate of dissent and anti-establishment




Ravi Shankar, Monterey Pop


resignation. Large swathes of the UK’s

youth from working class areas found

themselves with a bleak future. The lack

of prospects in Thatcher’s Britain seeded

disenfranchisement. Some sections of

the younger generations sought to find an

alternative way of living. Chipping in with

some like-minded friends to buy an old

bus and turn it into a home on wheels was

a way out of the decline being inflicted on

certain regions across the country. One such

movement of mobile urban squatters called

themselves the Peace Convoy.

It was with the Peace Convoy that the

last throes of free festivals took place at the

Battle of the Beanfield, on 1 June 1985, as

the convoy of around 600 travellers tried

to set up the Stonehenge Free Festival, in

Wiltshire, England.

Wiltshire Police Force unleashed

unprecedented police brutality and attacked

the travellers. Squads of riot police charged

buses of people trying to leave, forcing the

mobile homes to a halt and smashing them

up. Around 1300 police officers took part

in the operation and 537 travellers were

eventually arrested in one of the largest

mass arrests of civilians since WWII. One

Battle of Beanfield

year later, the passing of The Public Order

Act 1986 and subsequently the Criminal

Justice Act 1994 made the travellers’ way

of life, and the creation of free festivals,

impossible to sustain.

Although free festivals became a thing of

the past, the motivation to attend festivals

in general, to seek cultural enrichment and

to enjoy social cohesion, did not die. Music

festivals expanded to include wider swathes

of society, under the broad philosophies of

Photo_Alan Lodge

18 APRIL 2019

Festival, 1967

Photo_Jerry de Wilde

Jimi Hendrix, Woodstock, 1969

Photo_Henry Diltz

Music festivals now

make up a multi-billiondollar

industry and play

a crucial role in the

cultural economy

participation, sustainability, responsibility

and creative expression.

Music festivals now make up a multibillion-dollar

industry on both sides of

the pond and play a crucial role in the

cultural economy. The new norm is to buy a

wristband for a three or even four figure price

that entitles the wearer to access three or

four days of an event. The commercialisation

of music festivals has not been an entirely

smooth journey. A case in point is the 30th

anniversary of “peace, love and happiness”

that was Woodstock 1999. The event

was the antithesis of the ethos behind the

original festival. A perfect storm of callous

organisation, which included oppressive

heat bouncing off the tarmac at Griffiss Air

Force Base where the ill-fated anniversary

took place, exorbitant prices for tickets, food

and water, and shambolic band scheduling

triggered chaos and riots that left a charred

wasteland and shocking accounts of sexual

attacks in the bedlam.

Music festivals today are multi-cultural,

multi-generational and often multi-national,

and they have learned a lot of lessons

in terms of organisation, but many still

unashamedly focus on profit. Extra money

beyond the often-hefty ticket price is levied

for camping, parking, food, water, alcohol,

merchandise, vending, VIP access and more.

In Plato’s The Republic – his Socratic

dialogue from around 380 BC – he posits

that a powerful tyrant will eventually come

undone, suffering in the end by corrupting

his own soul. Mega festivals take note.

Perhaps there is only so far that the

rampant commercialisation of music festivals

can go before the pendulum swings and

consumer preferences opt overwhelmingly

for the more manageable grassroots events.

In 2019 there is room for both types of

festival to co-exist. So whether you ‘go

big’ or ‘go boutique’ this summer, have

a good one.






Impress your mates with some music festival trivia...


US festival Woodstock, which took place in August

1969, is widely regarded as one of the most important

events in music history. Headlined by acts like Jimi

Hendrix, Janis Joplin, Grateful Dead, Joe Cocker and

Crosby, Stills, Nash and Young, it attracted about half a

million people. Woodstock will stage a 50th anniversary

event this year at the original site of the 1969 event, in

Upstate New York. The Black Keys, JAY-Z, Robert Plant,

Courtney Barnett, The Killers, Miley Cyrus, Chance the

Rapper and many more have been booked to play.

Ultra Music Festival

started off on a

Miami beach over

20 years ago. Today,

the electronic music

festival attracts over

one million party

people to its annual

events in over 20

countries worldwide.

Photo_EDM Kevin

Farmer Michael Eavis

mounted the first

Glastonbury Festival

– then called the Pilton

Pop, Blues & Folk Festival

– at Worthy Farm, on 19

September 1970 (the

day after Jimi

Hendrix died).

Around 1500

people paid

£1 to attend.

The ticket

price included

free milk from

the farm.

Fancy a rave in an

igloo? Then head to

Snowbombing, in

Mayrhofen, Austria,

in April. Dubbed “the

Glasto of the Alps” and

celebrating its 20th

anniversary this year,

the six-day festival takes

place across many

quirky venues.

20 APRIL 2019

Australia’s Birdsville Big Red

Bash is considered the “most

remote” music festival in the world.

It takes place in the Simpson

Desert, Queensland – 1900km from

Sydney, 1600km from Brisbane and

1200km from Adelaide.

The largest festival attendance – according to

Guinness World Records – was recorded at the

Danube Island Festival, in Austria, in 2015, when

3.3 million people turned up over its three-day duration.

The music

festival industry

is worth around



globally and


to grow,

according to

research by


The award-winning EXIT festival, held at the

Petrovaradian Fortress, in Novi Sad, Serbia, was

founded in 2000 by a couple of student friends fighting

for democracy and freedom in Serbia and the Balkans.

Photo_Ales aka Dust To Ashes

Although music plays a

large part of Burning Man,

the week-long event in the

Nevada desert bills itself

as “a temporary metropolis

dedicated to community,

art, self-expression and

self-reliance”. Around 70,000

‘Burners’ create Black Rock

City and, while the event is

somewhat anarchic,

Burners abide by the 10

Principles of Burning Man.

Photo_Richard Johnson


Tramlines, Sheffield



From forest getaways to urban

hangouts and from multi-day,

multi-genre behemoths to

niche underground events, the

UK has plenty to offer when it

comes to festivals. Here’s our

pick of 10 of the best

Words_Kristan J Caryl




Cheltenham Jazz Festival

Where: Cheltenham

When: 1 – 6 May

From: £various

Info: cheltenhamfestivals.com/jazz

A tented festival village in Montpellier Gardens,

Cheltenham Jazz Festival features a Big Top stage,

the Jazz Arena, a Family Tent featuring workshops,

performances and sing-alongs, and the line-up is

curated by Jamie Cullum. It mixes up the greats with

tomorrow’s stars, plus blues and world music from

local and emerging talent.

Don’t miss: The silky tones of Gregory Porter.

Photo_Heather Shukar

Photo_Jordan Hughes




Where: Hop Farm, Kent

When: 23 – 27 May

From: £30+ day, £110+ weekend camping

Info: alfrescofestival.co.uk

This year’s Alfresco is the biggest yet in terms

of big name acts. And while the 2019 event is

spread across four day and three night stages

in the woods, the festival retains its cosy feel.

Electronic music from underground innovators like

Ivan Smagghe and Errol Alkan is paired with hiphop

karaoke, family picnic circles and luxurious

glamping options.

Don’t miss: Festival debut from wacky one-man

music-making machine Mark Ribillet.

Noisily Festival

Where: Noseley Hall, Leicestershire

When: 11 – 14 July

From: £145+

Info: noisilyfestival.com

With a focus on wellness, education, creativity

and environmentalism, Noisily plays out in the

heart of rural England. Three main stages and

various micro-venues host the music (from d&b

to dub, folk to techno) and there are also talks,

panels, discussions and healing practices in

the Mind Body Soul area. This one is all about

community, making new friendships and exploring

new acts you might not know but will soon love.

Don’t miss: Dub pioneer Mad Professor.

24 APRIL 2019

Wireless Festival

Where: Finsbury Park, London

When: 5 – 7 July

From: £150+

Info: wirelessfestival.co.uk

Wireless is a supersized

weekend event that brings the

biggest names in the world to

London. A big focus this year

is on R&B, trap and grime with

superstars like A$AP Rocky,

Migos, Travis Scott, Stefflon

Don and Future all bringing

their day-glo, hyper-real

productions and on-point raps.

Tim Westwood also represents

for some old school flavours

and plenty of gun-finger action.

Don’t miss: Current rap queen

Cardi B.


Where: Jodrell Bank

Observatory, Cheshire

When: 18 – 21 July

From: £180+ weekend

Info: discoverthebluedot.com

Bluedot makes you think as

much as dance with a full

programme of live science

experiments and technology

talks and workshops,

immersive artworks, stand-up

comedy, moon celebrations

and more. Legends like New

Order, 808 State and Hot

Chip play with jazz fusionists

Gogo Penguin and Syrian

wedding singer Omar

Souleyman, amongst many

other diverse names, all in

the truly unique setting that is

Jodrell Bank Observatory.

Don’t miss: Krafwerk’s

peerless retro-futurism.





Photo_Richard Johnson


Where: Hillsborough Park, Sheffield

When: 19 – 21 July

From: £65+

Info: tramlines.org.uk

Sheffield’s biggest annual music gathering mixes up all genres with art, performance and live comedy from wellknown

TV stars. It all goes down across four stages, with craft ales and tasty street food to keep you fuelled.

Local bands star next to international talents such as Nile Rodgers & Chic, Manic Street Preachers, Doves and

Rag‘n’Bone Man, making it one of the north’s most all-encompassing offerings.

Don’t miss: The always fun Happy Mondays.


MADE Festival

Where: Perry Park,


When: 27 July

From: £35+

Info: made-festival.co.uk

The West Midlands has

always been a hotbed for

grime and urban styles,

and this one-day gathering

celebrates all that and more.

Local heroes like Goldie and

Lady Leshurr are joined by

superstars like Dizzie Rascal

and Giggs, with d&b, house

and techno also catered for

in a blissful green space in

England’s second city.

Don’t miss: Mike Skinner on

home turf.

26 APRIL 2019





keep up to date

and to find your local store visit






Photo_Carolina Faruolo

Big Feastival

Where: The Cotswolds

When: 23 – 25 August

From: £62+ day, £152+ weekend

Info: thebigfeastival.com

A perfect festival for all the family, Big Feastival

goes down on Blur man Alex James’s farm and

mixes up music, comedy, cooking and family

entertainment. Music comes from chart-topping

multi-genre dance stars Rudimental, pop royalty

like Jess Glynn and garage legends DJ Luck & MC

Neat. Kids will love getting creative in the arts tent,

dancing in the big top and laughing to TV stars like

Mr Tumble, and adults can brush up on cooking

skills with tips from Jodie Kidd, Raymond Blanc

and Prue Leigth, amongst many more.

Don’t miss: Party starters the Fun Lovin Criminals.

Photo_moovinfestival.com Photo_51ststatefestival.com

51st State Festival

Where: Trent Park, London

When: 3 August

From: £25+

Info: 51ststatefestival.com

A must for fans of house music, 51st State covers

deep, disco, soulful, tech, garage and afro niches

across multiple stages and tens of giant bookings.

Nestled in green parkland just outside the centre of

London, this 5th anniversary edition features Dimitri

From Paris, DJ Spen & Karizma, Soul Clap, Roger

Sanchez, Todd Terry, Todd Edwards and many more

DJs, with special live PAs from Kele Le Roc, Crystal

Waters and Julie McKnight.

Don’t miss: Definitive New York house pair

Mood II Swing.

Moovin Festival

Where: Whitebottom Farm, Stockport

When: 23 – 25 August

From: £85+

Info: moovinfestival.com

Hosted at an eco-friendly farm, Moovin boasts

bespoke and boutique stages in barns, seating

on haystacks and an intimate crowd that is

utterly welcoming. Morning gong baths, yoga,

fire shows, performers and lots of local bands

join soul, bass and funk giants like Soul II Soul,

2manydjs, Big Daddy Kane, Inner City, Lee

Scratch Perry, Nightmares on Wax and Horse

Meat Disco.

Don’t miss: The worldly rhythms of Awesome

Tapes From Africa.

28 APRIL 2019


More me.

When the show is underway, your monitoring

is crucial. It keeps you connected with the

others — but above all: with yourself. We have

further developed dynamic drivers that fit

the smallest of spaces. Powerful monitoring

sound for loud stages remains precise with

solid bass whatever the sound level. Sounds

like more — like much more.






Unleash your sense of adventure and

travel further afield to one of our highly

recommended festivals on distance shores…



30 APRIL 2019

Spring Break Amsterdam








Spring Break Amsterdam

Where: Amsterdam, The Netherlands

When: 7 – 9 April and 14 – 16 April

From: £99

Info: springbreakamsterdam.co.uk

Spring Break Amsterdam is growing in popularity

every year and in 2019 the fun will be focused

on five key venues in the Dutch capital. Playing

at Melkweg, Air, Escape, Club NYX and Claire

will be over 50 cutting-edge acts from the drum

& bass, house and grime scenes, including

Rudimental, MK, Big Narstie and Jaguar Skills.

Don’t miss: Step away from the music for a

moment and into Van Gogh’s world at the Van

Gogh Museum.


Where: Mayrhofen, Austria

When: 8 – 13 April

From: £269

Info: snowbombing.com

The “greatest show on snow” returns to the

picturesque slopes of Mayrhofen for its 20th

anniversary bash and it’s shaping up to be

crazier than ever. From street parties to forest

stages, alpine lodges to reggae shacks and

even a butcher’s shop, no space is left unused

in pursuit of the perfect party. It’s why some of

the best artist in the world return time and time

again. Stormzy, Fatboy Slim, Sub Focus and

High Contrast are among the headliners this year.

Don’t miss: Give the Chairlift Speed Dating a go!

32 APRIL 2019

Photo_Benjamin Ealovega

Dresden Music Festival

Where: Dresden, Germany

When: 16 May – 10 June

From: Individual concerts from €20

Info: musikfestspiele.com

One of the most prestigious festivals

for classical music in Europe, whilst

classical is at the core of this event,

world music, jazz and dance are also

featured. This year the Glashütte Original

Music Festival Prize will be awarded

to the American violinist Joshua Bell in

recognition of his commitment to the

development of young artists. Jan Vogler,

Director of the Dresden Music Festival,

says: “Joshua has remained true to

himself and reaches classical music

fans of all generations and nationalities

with his poetic style of playing the violin.

He is one of the most charismatic and

successful musicians in the world today.”

Don’t miss: The special performances

pertaining to the centennial of the

Bauhaus movement.

Photo_Jenna Foxton

The Make-Up

Photo_Garbine Irizar


Primavera Sound

Where: Barcelona, Spain

When: 30 May – 1 June

From: €195

Info: primaverasound.es

Primavera promises a world-renowned lineup

of some of the biggest headline acts in the

business, with a wide-ranging international

selection of supporting talent to boot. With

views of the Mediterranean soundtracked by

a slew of A-list artists, it’s little wonder fans

travel far and wide to get to this one.

Don’t miss: The secret pop-up performances

– keep your ear to the ground to see the

biggest bands perform intimate gigs.

Ultra Music Festival

Where: Ultra Park, Singapore

When: 8 – 9 June

From SG$238 for a two-day pass

Info: ultrasingapore.com

There’s no stopping the Ultra juggernaut. From humble

beginnings in Miami, the US-born festival rolls into 23

cities worldwide these days. Now in its fourth year, the

Singapore edition is off the hook and this year brings

Martin Garrix, Porter Robinson, Skrillex, Jamie Jones,

Eats Everything and Josh Wink, amongst others, to the

Southeast Asia location.

Don’t miss: If we could be there you’d find us down the

front of the Resistance Megastructure.




The Yacht Week

Where: Croatia

When: Each week from 1 – 8 June through to 7 – 14 Sept

From: €550 per person for a yacht for six people with a skipper

Info: theyachtweek.com

The Yacht Week is a series of week-long floating festivals staged at stunning destinations, including Greece,

Montenegro and the Caribbean. It all began in Croatia though, and for many the original destination remains

the best. Get a group of six friends together to charter a boat, complete with a skipper and optional host, and

head off for a week to enjoy a unique itinerary of events, all united by the best electronic music out there.

Don’t miss: The Buzz Boat, a floating DJ stage complete with VOID Acoustic sound system.

Photo_ Roxana Sadvokassova

Midnight Sun Film Festival

Where: Sodankylä, Finland

When: 12 – 16 June

From: 12-ticket packages start from around €90

Info: msfilmfestival.fi/en/

Founded in 1986 by Finnish filmmakers the Kaurismäki brothers

and the Municipality of Sodankylä, this festival is utterly unique.

Experience nightless night as the sun never sets during this festival,

held some 120 kilometres above the Arctic Circle in the heart of

Finnish Lapland. An international audience joins film directors and

emerging talents from around the globe to enjoy a carefully curated

festival programme of old and new films.

Don’t miss: Looking for your music fix? Music films are given a new

spin in the karaoke screenings, and the silent film concerts alone are

worth the journey.

34 APRIL 2019

Photo_ James Patrick

Photo_ Andrew Wyatt

Burning Man

Where: Black Rock City, Nevada

When: 25 August – 2 September

From: $425

Info: burningman.org

Everyone should do Burning Man at

least once. The legendary counterculture

art event brings 70,000

‘Burners’ together to create a

temporary city in the desert, where

practically everything that happens is

created by its citizens. Check out the

jaw-dropping art installations by day,

or take part in some of the many talks,

classes or workshops, before the

terrain becomes a neon playground

after dark when most of the sound

systems and stages fire up proper.

It’s often described as “Mad Max in

the desert”. That doesn’t come half

way close.

Don’t miss: Distrikt, Robot Heart

and The Playground are magnets for

house and techno heads, but don’t

miss Carl Cox’s legendary disco, funk

and soul sunrise party at the Kasbah.

Photo_ budafest.co.uk


Where: Budapest, Hungary

When: 1 – 3 September

From: £99

Info: budafest.co.uk

Smack bang in the beautiful

city of Budapest are

hidden some of Europe’s

most spectacular venues.

Immerse yourself in

culture by day and then

party through the night at

uncommonly cool clubs and

open-deck boat parties.

This ultra-hip metro festival

is capped at around 5000

guests and delivers the very

best in house, techno, deep,

garage and bass.

Don’t miss: Sparty –

the famous, huge and

historic Szechenyi spa is

transformed into a massive

sound system. Rave on in

40-degree thermal water.

Day of The Dead

Where: Mexico

When: 1 – 2 November

From: Free

Info: dayofthedead.holiday

The Día de los Meurtos tradition has been around

for centuries. It takes place over two days, with the

aim of showing love and respect for deceased family

members. All over Mexico revellers wear dramatic

make-up and costumes, hold parades and parties

and make offerings to lost loved ones. Thanks to

cultural recognition by UNESCO, Día de los Muertos

is more popular than ever. It is so widespread that

many Mexicans anticipate it becoming as big as Rio’s

Carnival in the years to come. Lots of tourists head for

Oaxac and Pátzcuaro.

Don’t miss: Pan de muerto – or bread of the dead – a

sweet bread decorated with bones and skulls.





Photo_Dan Medhurst


36 APRIL 2019




It’s been non-stop for Children of Zeus since

the release of their Travel Light album

Words_Sophia Nyananyo


made this music hoping a

few people from our city

would hear it,” claimed Manchesterbased

outfit Children of Zeus after

wrapping up a tour of Australia and

New Zealand recently. “Who knew

we could go to the other side of the

world and have a venue full of people

singing along to every word!”

The music in question is the neosoul

and jazz to R&B and ’90s rap that

fills their critically-acclaimed Travel

Light longplayer.

Konny Kon is a DJ, MC and

beatmaker best known as one third

of Broke‘N’English, while Tyler Daley,

also known as Hoodman, went from

being respected MC to in-demand

soul singer, lending his vocals and

writing credits to music from Goldie,

LSB, Soul II Soul’s Caron Wheeler,

Lenzman, Lisa Mafia, Bugsy Malone

and more.

After their paths crossed, the pair

made a few tracks together here and

there. Since then, their sound, hype

and vibe has grown organically until

the pair decided that the “time was

right” for the release of Travel Light.

“We’ve not looked back since,”

says Konny.

catches up with Konny

and Tyler before they embark on the

second part of their UK tour in May.





What are some of the most fun things

about being on the road together?

Konny: Sometimes it’s the show itself, if

people are singing back songs or people

after the show telling us they loved it. But the

thing that we probably take away from most

of the travelling is getting to go to places we

never would have been able to. We’ve done

shows where the next day we’ve gone and

climbed mountains. We’ve got on a plane to

a place we’ve never been before. That’s the

thing I’ll be thinking about on my deathbed.

Tyler: We always end up somewhere

breathtaking and he always says the same

thing – “Rapping got us here.”

If I’d been touring this much in my younger

days I wouldn’t have been mature enough

to deal with it. A lot of artists probably

aren’t, which

is why many

end up a train

wreck. It’s a

blessing that I

get to be

a bit more

mature and

experience it.

Not to put

the sound of

Children of Zeus in a box but there’s

a lot of neo-soul, some lovers’ rock.

Growing up, what was the soundtrack

in each of your homes?

Tyler: My biological dad is Jamaican so

the reggae influence was there. My mum’s

British and she loved street-soul music.

My stepdad was a breakdancer and he was

mad about hip-hop so I started rapping as

soon as I could talk, so my background

comes from those three elements.

“From when I was around 10

or 11 years old, I started to

really obsess about music;

I was a real music nerd”

Konny Kon

Konny: My dad’s English, my mum’s from

Barbados, so I had a real mix. The stuff that I

picked up on was more lovers’ rock, reggae

and a little bit of Motown. My dad listened to

a lot of world music, he’s an old hippie.

My musical

upbringing was

more stuff that

I found. From

when I was

around 10 or

11 years old, I

started to really

obsess about

music; I was a

real music nerd.

I’m still like that –

if I find something I like I obsess over it.

You’ve received so much critical acclaim.

Where has some of the most exciting

feedback come from within the industry?

Konny: Jazzy Jeff might have been one.

Konny: Someone sent me a message

saying they played our music to Raekwon

and he loved it. Pharoahe Monch follows

us on Instagram.

Tyler: As soon as somebody says something

38 APRIL 2019

positive about you, people’s

ears open, and once their

ears are open they’re willing

to accept something. Until

then, a lot of people aren’t

paying attention and their

ears aren’t open.

You’ve worked with a lot

of really talented people,

including Goldie…

Tyler: Goldie’s the most

passionate person I’ve ever

met. I don’t really like to sing anybody

else’s lyrics. I’ve got so much to get off

my own chest, but with Goldie I was

intrigued and I decided to try and paint

this picture for him.

Going on that journey and doing things I

never usually do allowed me to learn a lot

about myself. It was a double-edged sword

where I learned so much but I was also

itching to get back in the studio for myself.

yes, and then he’d tell me we could do it

then, if we like it and it sounded good.

Once we got rid of all the rules we made

better music, and a lot of the things he’s

shown me over the last year or so I’ll

probably take with me for the rest of my life,

as far as making music goes. I don’t need

rules for making music, which opened a lot

of things up that made the album sound the

way it does.

Watch the full interview on Hey Music’s YouTube Channel


Who do you want to work with on the

next album?

Tyler: We’re not about getting people

attached to make it a bigger thing, it’s more

about making legendary quality music

to the best of our ability. That’s the goal.

Whether we walk away rich or poor, let’s

walk away being proud of what we did.

What’s the best advice you’ve ever

been given?

Konny: Most of my best advice has been

given to me in the last year and it’s come

from Tyler. If you go traditional hip-hop it’s

got lots of rules. When we made this album

I was telling Tyler we can’t do things. He’d

ask me if it sounded good, to which I’d say




Was it the greatest year in musical history?

Hell yes, says Jim Butler

40 APRIL 2019


the protestations

of small-minded

reactionary bores, music, fittingly, just like

time, never stands still. There is always

something new worth listening to. So far this

year there have been vital albums from Little

Simz, Solange, Steve Mason, William Tyler,

Ariana Grande and Helado Negro.

The key is to remain inquisitive, open to

new ideas and keep that inner 16-year-old

sense of wonderment alive. Unfortunately,

too many people stop listening once they hit

a certain age and store their musical tastes

in aspic, blithely declaring that year x, y or z

was the best year for music ever.

And yet… some years can’t help but

acquire a certain potency. Some cultural

historians and old punks (sometimes one

and the same) will refer to the scorched

earth, year zero significance of 1976.




Baby boomers hail

the landmark years

of 1966 and 1971,

when the likes of

Bob Dylan and The

Beatles helped

cement popular music as the voice of a

generation thanks to their ground-breaking

albums Blonde on Blonde and Revolver,

or when David Bowie transformed sexual

politics and just about everything else.

One could also make

a case for 1956, when

Elvis Presley’s gyrating

hips were the midwife

present at the birth

of rock & roll; 1977

(the real year punk

broke) and 1988 (the

second summer of love,

following the original in

1967, thanks to the acid

house explosion).

In each of these

cases, however, the

years in question

merely continued

– or popularised –

movements, moods

and feelings already in place. They were

neither created in a vacuum nor were they

an unmistakeable full stop on the face of

popular culture.

The year traversing 1 January to 31

December 1989 is a little different though. It

really was the year everything changed. Or

as Ian Brown, singer of the Stone Roses, one

of the year’s emblematic bands, would have

it: what the world was waiting for.

Not that you would have known this

by looking at the singles chart – often a

fundamental arbiter of cultural shifts – as

1989 dawned. There, at the top of the hit

parade in all their manufactured Stock,

Aitken & Waterman glory were Kylie and

Jason with their nauseous duet Especially

For You. The rest of the Top 10 was made

up of acts like Cliff Richard, Erasure, Status

Quo, Kim Wilde and Bros.

The year – seemingly – did not get off to

the most auspicious start. But at No.4 and

No.6 were Inner City and Neneh Cherry,

notable harbingers of what was to come.

Their dancefloor-based stylings (Detroit

house and a UK take on hip-hop inspired

club culture, respectively) demonstrated that

the underground was not only stirring but

would come to – if not take over – certainly

recalibrate the mainstream heading into the

decade that would end the century.

In 1989, youth

culture got its last

hurrah. Everywhere

you looked there were

clear and distinct

style tribes. Indie kids

could introspectively

contemplate the

meaning of existence

while listening to The

Wedding Present,

House of Love, Pixies

and The Wonder Stuff.

Goths emitted their


scents while swaying

their black and purple

uniforms to The Cure,

Sisters of Mercy and Fields of the Nephilim.

Hip-hop’s golden age was in full swing and

the year saw albums drop from De La Soul

(3 Feet High and Rising), Beastie Boys

(Paul’s Boutique), NWA foot soldier The

42 APRIL 2019

D.O.C. (No One Can Do It Better) and EPMD

(Unfinished Business), while Public Enemy

and NWA caused untold moral panics with

their uncompromising black power rhetoric.

Elsewhere, in the US at least, grunge

was beginning to bloom: Nirvana,

Mudhoney, Soundgarden and Tad all

released seminal albums.

After a decade of Thatcherism, British

youngsters wanted a new attitude of

harmony and, most significantly, a new beat

to dance to. Acid house, and its attendant

offspring, certainly gave them that. In 1989

a new Sheffield label released its first 12-

inch from the shop that gave the imprint its

name, Warp. The Forgemasters’

Track With No Name was manna

for those dancers lost in the

unrelenting rhythm of bleep. In

London, Soul II Soul hit the top of

the charts with both their single

Back to Life and the influential

album it was pulled from, Club

Classics Vol. One.

It was in Manchester, of course,

that this new spirit hit the most

memorable ecstatic heights.

Bands such as The Stone

Roses and the Happy Mondays,

alongside producers 808 State

and A Guy Called Gerald, took the rave era’s

key signifiers to bold new heights. Following

a summer recording in Ibiza, Mancunian

statesmen New Order released their Balearic

album Technique.

The incredible thing about most, if not all,

of the music mentioned is that it remained

largely hidden underground. The media had

yet to cotton on to the alluring tales from the

dark side of popular culture and this was

of course pre-internet and

social media, where nothing is

underground for longer than

five seconds.

The other aspect largely

forgotten in our post-tribe

world where the history of

recorded music is just a click

away, is how much hard


1. Beastie Boys Paul’s Boutique (Capitol Records)

2. Pixies Doolittle (4AD)

3. The Stone Roses The Stone Roses (Silvertone)

4. De La Soul 3 Feet High & Rising (Tommy Boy)

5. New Order Technique (Factory Records)

6. Nirvana Bleach (Sub Pop)

7. Soul II Soul Club Classics Vol. One (Virgin)

8. Madonna Like a Prayer (Sire)

9. The Cure Disintegration (Fiction)

10. Neneh Cherry Raw Like Sushi (Virgin)

work it was to maintain and cultivate

these cultural identities. Today, we’re all

hip-hop and indie fans. We all dance –

broadly – to the same music. Whether

that’s a good or bad thing is for

another discussion.

It was different in 1989. But things

were changing. People coming together

felt good. Taking over the mainstream

felt righteous. Cool was becoming

popular. It’s true when they

say the past is a foreign

country, they do things

differently there: 1989 is

proof positive of that and

just one reason why those

365 days deserve the

accolade of the Greatest

Year in Musical History.





44 APRIL 2019



Multi-platinum songwriter and founding

member of the Songwriting Academy,

Tim Fraser was also made a member of

Hollywood Elite Composers, in Los Angeles,

last year. catches up with Tim to

discuss his songwriting chops

Words_Darren Haynes

How did you get into songwriting?

I started off, like any young

teenager, thinking I’ve got to be

in a rock band or a pop band. My

band did quite well but I didn’t like

playing live. What I wanted to do

was just write songs.

In my late teens, I was writing

songs for artists that now seem

lost in the mists of time. They were

very big business… people like

The New Seekers. But in my early

20s I could not see myself making

enough money, quickly enough, so

I stopped [songwriting].

To cut to the next phase as far as

music was concerned – and this

is some 25, 26 years after writing

some pop hits – I went out and

bought a guitar, which I kept in my

office. After a few months, I wrote

a song or two and then I needed

to record them. I found an amazing

guy – ex Cockney Rebel keyboard

player Milton Reame-James – and

got some demos together.

Someone said to me, ‘Oh, I

know Terry Britten’. Terry is one of

Britain’s great unsung heroes of

songwriting. He’s written so many

hits – Devil Woman for Cliff Richard;

What’s Love Got To Do With It and

We Don’t Need Another Hero for

Tina Turner.

I was introduced to him in his

studio. He listened to all four

demos. A few weeks later he was

producing the latest Tina Turner

album [Twenty Four Seven]. Tina

Turner’s legendary manager Roger

Davies happened to be there and

Terry played my demo. Tina never

really chose any of the songs, it

was always her manager.




Tim’s songs have been recorded by...

Billie Myers Joana Zimmer Lulu

Louise Setara

Lost Hollow

Her manager said, ‘Tina, I like that one

[Falling], you’re doing it’. Two weeks later

she did it, two months later, it’s a gold and

platinum record.

Did you then instantly become in demand

as a songwriter?

I had no publisher, no manager, no record

label, I knew nobody. I thought I’ve got to

get out and start connecting with people.

No publisher, no manager, no record label

has ever got me a cut or a cover or an

introduction to write with an important

songwriter – I’ve had to do it myself.

Is that the case these days?

I suspect it’s even worse. This is why selfreliance

is so important.

So networking was a skill you developed

alongside songwriting?

Yes, I just started networking like crazy. You

have to be constantly swimming; you have to

stay energised about it otherwise the world

will forget you.

How do you get your songs placed if you’re

not represented or signed?

Somebody says, ‘Oh, you should meet so

and so; you’d really get on’. It’s important to

play the long game with people, they have

to know that you’re not there just to further

your career, you’re there to enjoy their

company too.

Is that the basis for any songwriting


It’s very possible that you can write a good

song with someone you don’t like but I

think you get even better songs from people

where you have that incredible connection.

You have to go in to a writing session with

somebody fully understanding and being

fully briefed about what their strengths are.

If you try and do something that they do

supremely well, you’ll cancel each other

out and it doesn’t work.

“Writing songs

is like capturing

lightning in

a bottle”

46 APRIL 2019

Marcella Detroit Ricki Lee Coulter Tammy Weis Tina Turner

You also collaborate with new and

emerging songwriters. What’s different

about working with young songwriters?

‘Emerging’ doesn’t always mean ‘young’

because I’ve heard some sensational songs

from people who are in their 50s. What I

notice with young songwriters though is that

they are constantly writing about their own

life experiences.

I see emerging writers getting so hung up

about a particular song, as if it’s the only

song they’ve got in there. Write another!

Share that one and write another great song.

If you’re overly precious with your work,

you’ll never get anything out.

Whether emerging or established, for me,

songwriting is an art.

I think it’s a knack. If you think about the

ability to write songs as a knack, then you’ll

always know your place.

What comes first – melody, a word

or phrase?

I generally like to think of a story. Just

outside of San Francisco there used to be

a big furniture warehouse. It had a big sign

over the freeway saying ‘Make it home’. I

kept that idea, that phrase, in my mind

for decades. The idea can be used for

people who are separated from their

family or their home, or for all sorts of

reasons. I’ve just finished writing that

song with Jez Ashurst and it really was

worth waiting for.

If you have a title and the title gives you

the story, and the story gives you the

chorus, and the chorus gives you the

shape of where the song is going, I think

it all follows from that.

What advice do you give students on

your songwriting courses?

I can’t advise people because writing

songs is like capturing lightning in a

bottle. It’s all a great big lottery. All I’m

doing is helping them to reduce the odds.

All I can tell them is what not to do, I can’t

tell them what to do.

Songwriting legend Tim is also a regular guest lecturer in music

copyright and music management at The University of West

London, The Academy of Contemporary Music, Guildford, and

Metropolis Studios in London. He runs The Insider’s Guide to the

Music Industry with Rita Campbell.







Dream of being a songwriter but

don’t know where to start? These tips

for beginners will help you find your

artistic flow

Words_Gfire M



Set your surroundings up for songwriting since

ideas can come at any time. You’ll want to commit

those ideas to paper, a computer or voice recorder

as soon as possible, so keep notebooks and pens

in your home, work environment and car. Even a

one-word title is worth writing down.

Know how to get to your phone’s recorder quickly

— you can sing a melodic idea or say your lyrical

idea and save it for later.

Everyone is influenced by different singers,

songwriters, guitarists, composers, instrumentalists

and so on. Make a list of some of the musicians

and songs that have meaning for you. Keep a

playlist of inspirational tunes to keep yourself

continually inspired.

48 APRIL 2019






Analysing songs you enjoy will give you an idea of some of the different

structures you can use. And as you learn to write songs, you can play around

with different types of song structures.

Example 1 – The simplest structure is that in which there is only one type of

lyric, the verse (we call it ‘A’). The classic Gershwin tune Summertime has an

A-A structure, with only two verses.

Example 2 – Songs with both verses and choruses have two types of lyrics —

we call the verse ‘A’ and the chorus ‘B’. The

famous Bob Dylan song Blowin’ in the Wind

has this type of structure – A-B-A-B-A-B.

Example 3 – Other songs are more complex.

They may have verses, choruses and a

bridge (which we call ‘C’). The Beatles’

Ticket to Ride is one of these songs with an

A-B-A-B-C-A-B structure. Listen to it here.

Jim Morrison’s handwritten lyrics of LA Woman

auctioned for £62,000



Wherever you start, it can be helpful to describe the entire scope of your song

in a single sentence. This will help you stay focused. For Ticket to Ride, for

example, the sentence could be “My girlfriend is moving away from me and I am

sad, but she doesn’t care.”

A song is a very short form of art so it is essential to tie it together with just

one idea. If you have too many ideas, break them apart and write a different

song for each idea instead of trying to pile too much into one song. You don’t

have to create an entire song in one sitting — you could just create one verse or

one chorus and keep coming back to add more lyrics as you become inspired.

50 APRIL 2019



As you experiment with different melodies and chords, this is a perfect time to use

some sort of recorder on your phone or on your computer. Try simply singing your

lyrics in different ways at least three times, then listen back to your recording and

see if you have any keepers.

You could also start with some chords instead. Play some chord progressions on

guitar or piano and record those. Then try out some melodies against those chords

using your lyrics. Or you could try both chords and melodies at the same time.

If you’re having trouble coming up with a chord progression, you could always

“borrow” one from another song. Choose a song in a similar style and tempo to

yours and combine the chords with your own lyrics. Just make sure that you don’t

copy the actual melody of your borrowed tune. Song melodies are protected by

copyright law but chord progressions are not.




Your song needs

a great title! Many

songwriters use the

“hook” or repeated

words from the chorus

as the title of the song.

Other songs use a

descriptive term as

the title that is not

contained in the

lyrics at all.



Once you’ve finished, set your song

aside for a few days and don’t think

about it. When you come back to

it with fresh eyes and ears, you’ll

be able to identify lyrics that need

tweaking, chords that need adjusting

or other small details to really make

the song pop.

Consider testing your songs out

live. Performing in front of others

— whether at an open mic night or

simply in front of your music teacher

— will help you iron out any kinks.

Another great idea is to record

your song. With technology today,

it’s easy to record your own songs

with the right software and a quality

microphone. Publish your recordings

online so potential fans, other

artists and established

people in the music

business can

hear your work

and discover

your talent.

If you’re interested in honing your songwriting skills why not obtain professional instruction from tutors at takelessons.com?






52 APRIL 2019

Co-founder of the International Music Summit and the

Association for Electronic Music, Ben Turner reflects

on his journey through music…

Words_Sara Cooper



leaders and

artists from the

electronic music world will soon descend

upon Ibiza for the International Music

Summit. Taking place from 22 – 24 May

this year, IMS will throw the spotlight onto

the “complex challenges and emerging

opportunities that really matter in today’s

ever-evolving industry”.

Now in its 12th year and considered the

start of the Ibiza season, IMS was cofounded

by Ben Turner, who has had a

long and varied career in the scene. This

is his story…

“I grew up in Oxford, England, and from

the age of 15 I wanted to be a music

journalist. At 16 that journey began with

a five-day internship in London at leading

rock music publication Melody Maker.

Along with famous music journalists back

then like Push, Andy Smith, Bob Stanley

and Dave Mothersole, we subverted the

paper with electronic music content,

introducing the DJ as a valid musician,

which had a huge impact on a lot of artist

careers and helped the genre grow in the

UK at a very pivotal point.

“Push and I co-founded Muzik magazine.

It was funded and published by IPC

Magazines (now Time Warner). The first

cover was The Chemical Brothers or The

Dust Brothers just around that time. Muzik

was trying to take the spirit of NME and

Melody Maker to dance music and not

just gush over everything being made. We

wanted to be edgy, honest and heartfelt.

“We launched in May 1995 at Tribal

Gathering and left in the summer of 2000.

I wanted to pursue a more entrepreneurial

role in the industry and also to take some

ownership of projects or properties I was

putting my whole life into. Nobody told me

about equity and IP when launching Muzik

– I was 21 years old and just happy that

a huge company was funding my dream

and our vision. Not that IPC would have

given me any ownership.

“But I was around people like James

Barton who was building his own Cream

brand, and I wanted to set along a path of

building my own concepts, properties or

participating in events created by artists

around me.

“I moved from Muzik initially to be an

Editorial Director of worldpop.com.

Worldpop went bust in the dotcom crash,

and at this point I said I’d never work for

somebody else’s company again and set

up Graphite Media immediately.




“Pete Tong is a

‘change agent’ and

one of the best brains

in our scene”

“Today Graphite is really focused on artist

management. In artist management your

work is never, ever done. You will always

be working at things, and always thinking

about things and ideas. It’s a job I love but

it’s inside of you 24/7. The most rewarding

aspect of artist management is making

projects happen and dreams come to fruition

for the talent you work with. The work is

about them, not you.

“My first management clients were A Man

Called Adam and Rob da Bank. I diversified

from the start, as Worldpop taught me so

many new skills for the digital age. I did

continue to create magazines initially – I

created the Pacha Magazine, House for

Soho House and did a number of contract

publishing jobs. I have totally put that

IMS culminates in the Dalt Villa party

part of my life to bed, as the magazine

production schedule did not work well with

representing artists and dealing with the

day-to-day issues that come up. So IMS is

my expression of editorial content today –

curating that has a magazine

feel to it.

Ben with previous IMS speaker Nile Rodgers

“My desire to help make

change came as a journalist

at Melody Maker and The

Guardian newspaper, where

I had a voice that could

influence the course of

music. I guess I continue

to think that way with the

International Music Summit,

the Association for Electronic

Music (AFEM), and with

Remedy State, our wellness

platform for people in the

entertainment industry.

54 APRIL 2019

Photo_ David Holderbach

“[IMS co-founder] Pete Tong is a ‘change

agent’ and one of the best brains in our

scene. [With IMS] we’ve created an amazing

platform for the genre and it’s rewarding to

see people enjoy it so much. I love Sonar and

Amsterdam Dance Event but felt that Ibiza

was a good place for an event of this kind.

“IMS is a powerful platform but it wasn’t

designed to have a mandate for change

in the industry. It puts the topics out there

but I felt we also needed a body to help

implement change. We put it to the vote

with the IMS delegation and when the

response was so positive myself and

Kurosh Nasseri put in the seed money

to launch the trade organisation, the

Association for Electronic Music.

“AFEM is a labour of love but I think it’s

probably my greatest contribution to this

culture and I hope it survives me and

becomes as powerful as the CMA [Country

Music Association] is to country music.

“AFEM was a miracle to come together,

to bring rivals into a room to discuss and

share issues and to find that common

ground between us. It’s almost back to

the principles of why dance music was so

special at the beginning.

“We’ve really made a stand on topics like

mental health and sexual harassment, and

credit to Mark Lawrence, our CEO, for living

and breathing a lot of this stuff day-to-day

and being the nerve centre for so much

disruption going on in our industry.

“The response to sexual harassment has

been strong; Get Played Get Paid has been

a huge success and to hear that artists are

now getting royalties through because of our

work with PROs is incredible. For me,

though, the fact that our industry can now

speak with one voice is the real highlight.”





Think clubbing has become too serious?

You haven’t been to an Elrow party.

Founded as a Sunday party in

Barcelona in 2010, the infectious fun

and madcap antics of Elrow has spread

around the world.

This year, the Elrow crew plan to touch

down in 67 cities, across 26 countries,

for 150 shows featuring a selection of

the world’s finest DJs. Of course, Ibiza

plays a huge part in those plans. Here

are some facts and stats around Elrow’s

2019 summer season on the White Isle.

56 APRIL 2019

Venue: Amnesia

Capacity: 7000

Dates: Every Saturday from

25 May – 28 September

No. of shows: 19

Themes: There are 12 themes

this year, including Rowsattack,

Nomads and Romuda Triangle

Attendance last year:

Approximately 1 million clubbers

partied hard at Elrow Ibiza in 2018

Production: More than 1000 man

hours go into making each party a

visual spectacle

Largest party props: Taxis, Barbie

Box, Yellow Submarine and the

Psychedelic Caravan

Confetti: More than 1.7 tonnes

of the stuff will rain down on the

Amnesia dancefloor before the

Elrow season is out

Actors: Around 1700 actors will be

drafted in for the season

Stilt-walkers: 300 stilt-walkers

will be living the high life

Aerial performers: 200 aerial

performers will add extra swing

Photo_Luke Taylor

Costumes: More than 1300

different costumes will keep

it flamboyant

Inflatables: It’s not a proper

Elrow party without a raft of silly

inflatables. 12,000 have been

ordered for the season. Yup, you

read that right






Indomitable character Warren Noronha

is Production Director for Dubai’s

award-winning Groove On The Grass

music and arts festival. Here, he gives

us a glimpse into what that involves…

“I’ve been tripping over wires and falling

off speakers since 1989. I started my

promoter career in Dubai with a crew of

like-minded people at a club called Catwalk,

in the Barsha area. That group of people

branched out to form Groove On The Grass

and Analog Room. My fellow promoters and

their respective brands – like Glitch, Warped

and House of Afrika – are still very much part

of the nightlife calendar here, and I love that.

“Stripped back, in my role of Production

Director I’m part politician, part creative, and

I tackle a whole lotta troubleshooting (which

includes my own mistakes!).

“For each gig, there are numerous

suppliers, partners and artists that are very

certain of how they want their projects

represented on site, and that has to fall in

line with what we see as the best way to

package the event. Managing expectations

and delivering to that end is really what the

role of Production Director comes down to.

“Having the patience of a saint helps.

Particularly in Dubai, we have to account

for the vast multi-cultural background of all

the teams we have on site. Different people

bring a different work ethic with them, and

in a venue like ours [Emirates Golf Club], the

short set-up and dismantle times due to the

nature of the space amplify the effect of any

weak links. At the end of the day, getting

the show on the road is the ultimate goal

no matter what, and that’s what our crowd

remember us for.

“The most annoying thing that can

go wrong is when the weather doesn’t

play along – yes, even in Dubai. And

it’s not just unexpected rain we have to

contend with here, the wind can whip up

sandstorms, which are a nightmare.

“There are so many elements, from

structures and creative aspects of

the event, that depend greatly on the

weather to function at 100%. When this

is challenged, we have to go that much

further to alter the experience whilst

maintaining expectations.

“I’m sure I echo the thoughts of all

event production people when I say that

every single event that comes out the box

is a proud moment because of the level

of commitment invested in each one.

There’s a sense of triumph when each gig

comes together, especially after dealing

with unexpected or unforeseen behindthe-scenes

challenges. All the stress is

worth it though when we see the crowd

interact, define and eventually make our

event their own.

“It’s been fun and challenging to see my

role grow along with the brand. Groove

On The Grass has been the best teacher

life could ever have given me. Or maybe

I’m just a masochist!”

The next Groove On The Grass takes place at Emirates Golf Club,

Dubai, on 19 April. Check grooveonthegrass.net for more info.

58 APRIL 2019



Sirena Bergman

Mashable/Vice/The Guardian/

The Independent

Cortez Bryant

The Blueprint Group

& Maverick

Troy Carter

Atomic Factory

Mathew Daniel

NetEase Cloud Music

Tracy Gardner

Warner Music Group

Helena Kosinski

Nielsen Music



XL Recordings

Dia Simms

Combs Enterprises

4 - 7 JUNE 2019

Palais des Festivals, Cannes, France

Register on midem.com







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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