ALBUM: Gaptooth – ‘Sharp Minds, Raised Fists’

Gaptooth – singer, songwriter and producer Hannah Lucy – wears her influences on her sleeve (quite literally, if you check out the video for ‘Post-Patriarchy Disco’). And, like the feminist punk bands she loves, Sharp Minds, Raised Fists has purpose and a pure punk attitude. Yet the poppy synths, crunchy guitars and electro beats make it feel accessible, too.

And accessibility is everything when your message is so important. Gaptooth’s impassioned lyrics are a call to arms; a rallying cry against the patriarchy and capitalism. It’s hard not to get fired up by them. In ‘Red flags’, you feel and share her anger: “We wanna stay sexy and not get murdered,” she sings, “We’re still walking home with our keys in our fists.”

‘They Cut, We Bleed’ is peppered with samples from marches arranged by the feminist direct action group, Sisters Uncut. It feels ground-breaking and powerful. Meanwhile, ‘I Am Not My Productivity’ is an anti-capitalist anthem for anyone who feels like work is sucking the life out of them. And God, there’s a lot of us!

Sharp Minds, Raised Fists includes some more personal songs, too. ‘Mixtape Song’ and ‘Why I Left You Standing Outside Pizza Express’ offer an insight into both Hannah Lucy’s life and what it means to be a woman or non-binary person today.

This is an accomplished, important record. It sounds great; a real triumph of song-writing, performance and production. But more than that, it feels like Sharp Minds, Raised Fists could really inspire and empower people. It could soundtrack a movement.

You know the old adage about how everyone who attended the Sex Pistols gig at the Free Trade Hall in Manchester started a band? Similarly, perhaps this record will make people start a revolution.

Sharp Minds, Raised Fists is out 11th October. Pre-order on Bandcamp now.

Vic Conway

Photo Credit: Keira Anee Photography

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Track Of The Day: Jemma Freeman and The Cosmic Something – ‘Keytar’

Having previously wowed us with their kaleidoscopic offerings, including EP Someone Else To Blame and the powerful hypnotic energy of singles ‘Helen Is A Reptile’ and ‘Find A Place’, GIHE fave Jemma Freeman and The Cosmic Something has now shared a brand new single.

Inspired by a frayed childhood and fractured memories, ‘Keytar (I Was Busy)’ oozes the distinctive soaring majesty of Jemma’s vocals and swirling, twinkling hooks, creating a colourful slice of psychedelia, filled with raw emotion and an energised electro twist. Of the track, Jemma expands:

“… my mum died when I had just turned 21 and this song tries to communicate across astral planes and ages, switching aspect between mother and child, present and past feelings, making sense of none of them and trying to hold on to it all.”

‘Keytar (I Was Busy)’ now comes complete with an accompanying trippy video of the band venturing through the Woolwich Tunnel. Of the video, Jemma explains:

“Made in collaboration with filmmaker Taylan Mutaf over the course of half a year and edited across continents the video itself serves as a nonsensical time-capsule, Taylan is traditionally a documentary maker so there is an irony that we have made a document to an imaginary time, in a mythical tunnel and shot with deliberate abstraction.”

Oh Really, What’s That Then? , the new album from Jemma Freeman and The Cosmic Something, is out 18th October via Trapped Animal Records and Cargo Records. Pre-order here. Catch Jemma Freeman and The Cosmic Something live at the launch party on 3rd October at Set, Dalston. 

Mari Lane
@marimindles

Photo Credit: Suzi Corker

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GIHE Behind The Scenes: Southbank Centre’s Alex & Phoebe

Here at Get In Her Ears, we’ve been committed to promoting female identifying and non binary bands and artists for a while now, so we thought it was about time we also focus on those amazing womxn working hard behind the scenes in the industry!

The first in a new series of features looking at womxn Behind The Scenes, Mari popped over to her favourite space in London, Southbank Centre, to have a chat with Alex Shaw and Phoebe Gardiner, who are both responsible for promoting a lot of the incredible gigs and events that are held there.

Find out about all the hard work they do, and all the fantastic events happening at Southbank Centre below…

Hi Alex & Phoebe, welcome to Get In Her Ears! Can you each tell us a bit about yourselves and how you got started working at Southbank Centre?

Phoebe: I’ve worked in the creative industries since I graduated, or even before I graduated, and ended up specialising in Communications and PR pretty much because I like talking about stuff I love. I had always wanted to work at Southbank Centre. I love it. I performed here in the Royal Festival Hall a few times when I was younger with a choir I was in, and even conducted some of the Orchestra Of The Age of Enlightenment in the Clore Ballroom as part of a school project. When the job came up I had to go for it. I never thought I’d get it as I didn’t have any specific gigs PR experience, but I must have won them over!
Alex: I’ve always been really interested in the arts, and when I came to London to study I was really able to explore more – I see a lot of theatre, gigs and art in my spare time and honestly don’t think I could work in any other sector. Before working at Southbank Centre, I worked for an agency specialising in Arts PR which gave me the opportunity to really be thrown into working on a vast amount of campaigns, from the London National Trust arts projects to fringe theatre. I learnt a lot about managing press and clients in a short space of time, and realised where my passions lay! I really care about accessibility in the arts and that’s why I decided to apply for the role here at Southbank Centre: I get to work on such great gigs by well known and up-and-coming artists and, as a charity, I’m proud to work for an organisation where accessibility is at the forefront of programming here. It’s also  home to so many great youth projects including Tomorrow’s Warriors, Kinetico Bloco, and ZooNation Youth Company. I love the idea of a piece of coverage achieved by me inspiring someone to discover something new. I think experiencing arts in this big and busy capital is so so important and ties us together.

You both work in press for Southbank Centre, can you explain a little about what your job entails?

P: I’m Press Manager for Gigs & Contemporary Music and – working with Alex – we’re responsible for being on top of all the gigs happening here at Southbank Centre and securing media coverage that spreads the word about the brilliant and diverse music programme at our venues (Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, and even on occasion, the Hayward Gallery).
A: As press officer, I share my time and focus between individual gigs, and keeping in touch with external PRs to support all artists coming here as much as possible. Alongside Phoebe, I also look after the day to day logistics of any press elements of a gig, including running the press desk and looking after photographers/filming on the night.
P: We also manage the PR and media campaigns for a tonne of exciting projects across the year, which can be anything from a series supporting emerging artists, to Meltdown – the longest-running artist-curated festival in the world.

What’s your favourite part of your job?

P: I love the days when I’m on my feet, dashing around the site, overseeing filming or a photoshoot, or running a press night. Or navigating backstage with artists, getting them to interviews. I love Meltdown festival; the whole site comes together and it’s thrilling.
A: There’s so many different elements! I love meeting artists and listening to their interviews, but I also enjoy meeting journalists for a catch up and then of course, actually getting to experience the amazing music here.

And do you have a least favourite part…?

P: It’s tempting to want to shout about everything that is going on here when actually we have to think about the larger strategy and the overall story of the programme.
A: There is SO much going on here that we have to be strategic with our comms and we can’t always spend as much time as we’d like on certain projects. I’d love to clone myself so I could make it along to everything!

I’d imagine you have no difficulty promoting such an iconic space, but how do you normally go about approaching press to cover events at Southbank Centre?

A: It really depends on the show – Southbank Centre programmes such unique events that we’re always having to bring new ideas to the table and target a range of audiences which keeps our approach fresh. The breadth of the offering here means one moment we’re working to secure coverage for a global superstar and the next, a completely unknown name – so we have to think creatively and flexibly. It keeps us on our toes for sure! The advancement of digital is an amazing thing (and crucial to our work), but with so much information out there, we also do a lot to make sure all information about the programme is available and easily accessible for journalists. 

Southbank Centre is my favourite space in London (in the world, really!), and consistently puts on an eclectic range of incredible events. How are events normally curated, and such a range of artists and events selected? Is it quite a rigorous process?

A: Our artistic team is incredibly collaborative and we are lucky to have Bengi Ünsal as Head of Contemporary Music at Southbank Centre and Lexy Morvaridi as Contemporary Music Programmer at the helm. They have such an amazing knowledge of the music scene and do a brilliant job at bringing a diverse range of cutting-edge artists from all genres around the world to our venues. Inclusivity and access is at the heart of everything Southbank Centre does, as is ensuring equality across our programme. 

Some of the best events/gigs I’ve ever been to have taken place at Southbank Centre (including seeing JD Samson and Mykki Blanco at MIA’s Meltdown Festival in 2017, Josh Homme at James Lavelle’s Meltdown in 2014, Laura Marling at Guy Garvey’s Meltdown in 2016, and Peaches at Royal Festival Hall last month!) – what have been your particular highlights since working there?

A: How to choose – there’s so much! My highlight here so far was seeing Moses Sumney perform in Royal Festival Hall last year. I was already a fan, but his voice was unimaginable live and he held the audience in a hypnotic trance for his entire set.

Southbank Centre may not be the first place people think of for more heavy/rocky gigs! But it’s hosted some of the most raucous artists including Iggy Pop, Peaches, Nine Inch Nails and lots more… How are these kind of events managed in such a historic, seated space?

A: That’s a good question. We have such a fantastic events and production team here who are the best in the business: they rise to every challenge and are experienced with dealing with the more high energy, daring gigs like Peaches in Royal Festival Hall last month! The venues themselves – despite being amazing historic buildings – are constantly updated to ensure the set-up is top of the range and able to accommodate musicians from all genres. As you’ve noted, we’ve seen everything from Nine Inch Nails to the hypnotic music of Stranger Things! The refurbishment of Queen Elizabeth Hall and Purcell Room in 2018 very much focused on improving access and infrastructure to enhance the experience for audience and performers alike.

Some of the spaces within Southbank Centre have recently been refurbished, can you tell us a bit about what changes have been made, and how this has affected the space?

A: Key for gigs has been the ability to transform the Queen Elizabeth Hall Foyer into a 1000 capacity space making Southbank Centre one of the only venues providing 2am licensed music on the South Bank. It’s now home to Concrete Lates – our monthly late night event in partnership with Boiler Room. In November, one of the stalwarts of the London jazz scene, and key member of UK jazz renegades Sons of Kemet, Theon Cross, will perform with a large band as Concrete Lates joins forces with EFG London Jazz Festival.

How have you found being womxn in the music/event industry? Are there any obstacles you’ve come across because of your gender?

A: I’m lucky enough to work with inspiring women all around me – in management positions within the press team, in the programming team and in the event management team. They all encourage me to aim high and prove there need not be a ceiling. It is noticeable to me though that there is a big inequality present in the music industry still. I’m very aware of my privileged position here in that sense, and that I am very lucky to work for an organisation that is so conscious of equality within their workforce. I do feel it’s so important that initiatives exist like PRS Foundation’s Keychange, and that we all take responsibility for helping others into the industry. Southbank Centre also hosts a regular industry Women In Music breakfast which I think is brilliant – you always leave feeling empowered and part of a growing community of powerful women!

And what advice would you give to other people wanting to get into the events industry?

A: Just to work hard and be willing to put yourself out there. People underestimate the value of being open and friendly too – you never know when you might want to reconnect with someone you’ve met in the past.
P: Network, ask advice, find a mentor, do your research!

As well as hosting events from some of the biggest names in music, Southbank Centre seems to consistently champion newer artists (as with your futuretense showcase), are there any upcoming bands/artists who’ve played there recently that you’d recommend?

A: Southbank Centre is really committed to developing artists and supporting the creative industries. We had the launch of futuretense with BBC Music Introducing earlier this month – a new initiative for audiences to discover their next favourite band for free, every Friday from 6pm – and I was blown away by Nikita Bassi’s performance. She had the most beautiful, powerful voice and her music was a brilliant fusion of cultures. I’d definitely recommend a listen and and booking to see her live now before she breaks.

Anything else you’d like to mention?

A: Thank you for taking the time to speak to us! We love working with Get In Her Ears and look forward to following this series.
P: And come on down to Southbank Centre! Over 40% of our programme is free, so we’re always encouraging people to come take a look at what’s going on; you never know what you might discover.

Thanks so much to Alex and Phoebe for answering our questions and being the first of our ‘Behind The Scenes’ feature! Find out more about everything going at Southbank Centre here.

Photo Credit: Jon Mo / @jonmophoto

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PLAYLIST: September 2019

Festival season is over, but new-album-release-season has only just begun! We’ve been overwhelmed by the amount of new music we’ve heard in the first few weeks of September, so we’ve selected a fraction of the finest tracks for you to delve in to. Take some time to scroll through our track choices and make sure you hit play on the Spotify playlist link at the bottom of the page…

The Big Moon – ‘Your Light’
With its catchy chorus, buoyant melodies and feel-good lyrics; ‘Your Light’ is the perfect boost for anyone who’s feeling blue about the current state of affairs. The band performed their synchronized cycling in the accompanying music video in the Essex countryside, and they look at ease singing along to their brand new tune. Their new album Walking Like We Do, is set for release on 10th January 2020 via Fiction Records. (Kate Crudgington)

She Drew The Gun – ‘Trouble Every Day’
Having blown our minds earlier this year at Cro Cro Land, The Wirral’s She Drew The Gun have now shared a new re-interpretation of Frank Zappa’s ‘Trouble Every Day’. Propelled by a raw emotion and impassioned grit,  Louisa Roach’s smooth, distinctive vocals blast out the all-too-poignant, poetic lyricism. With a seething energy and politically-driven tension that builds with each note, it’s a sincere, empowering anthem for our troubled times. (Mari Lane)

Ski Lift – ‘Comfortable Here’
The debut single from London’s Ski Lift, ‘Comfortable Here’ offers an angst-driven diatribe railing against the perceived mundanity of adulthood, while simultaneously surrendering to it. With the distinctive, crystalline emotion of Benji Tranter’s vocals alongside the twinkling harmonies of Anna Vincent (Heavy Heart), it’s an utterly infectious alt-pop anthem for our times. (ML)

SASSY 009 – ‘Thrasher’
“​My music has never been a reflection on happiness​” explains SASSY 009, but her sound is far from melancholy. On ‘Thrasher’ she combines enchanting vocals, jagged synth textures and dense beats to create a transient, anti-party anthem. (KC)

Ella – ‘Esmé’
I am sooo into this track! Fusing modern electro and historic jazz into a dream soundscape, Ella is absolutely killing it. There is also an acoustic video version of this track which is definitely worth checking out. (Tash Walker)

Joviale – ‘Struggle Cuddle’
The wonderful Joviale released her debut EP Crisis via Blue Flowers earlier this month, and like all of the tracks that feature on it, ‘Struggle Cuddle’ is wonderfully sweet and poignant. Her headline show has been re-arranged for Folklore in Bethnal Green on the 12th December, with support from Laura Groves and Fauci. Grab your tickets here. (KC)

Keren Ilan – ‘Take Her Down’
I cannot and will not stop talking about Keren Ilan who is one of my favourite artists at the moment. Her EP This Morning, Yesterday dropped a month or so ago and I just love it, already a big fan of the title track, for this month’s playlist I’m choosing ‘Take Her Down’ also from the EP but almost the inverse of This Morning, Yesterday but just as good. (TW)

Jorja Chalmers – ‘Human Again’
Australian multi-instrumentalist Jorja Chalmers has played with Bryan Ferry for the past decade, and now she’s sharing her solo LP Human Again on 20th September via Italians Do It Better. The eponymous single is an intoxicating affair, with Chalmers’ charming vocals floating above cinematic synth textures. Bliss. (KC)

Chelsea Wolfe – ‘Deranged For Rock & Roll’
Chelsea Wolfe released her new album Birth Of Violence earlier this month, and I spent an entire evening fan-girling over its haunting beauty (read my review here). It features this track ‘Deranged For Rock & Roll’, which smolders with moody confidence. “These songs came to me in a whirlwind” explains Wolfe about her new music, and what a turbulent, devastating whirlwind it must have been. It’s a privilege to be able to weather the storm with her. (KC)

Nova Twins – ‘Vortex’
Amy & Georgia have unleashed this belting new single ahead of their sold out show tonight (18th September) at Sebright Arms. Full of their trademark thunderous, distorted bass lines and in-your-face lyrics, ‘Vortex’ will be the live highlight of their set. (KC)

Breakup Haircut – ‘Why Can’t I Be Cool Enough To Move To Berlin?’
Taken from their brand new EP What Did You Expect, I Got It Off The Internet?, Breakup Haircut’s ‘Why Can’t I Be Cool Enough To Move To Berlin?’ showcases perfectly what this band are all about. Having formed just a few months ago at First Timers Fest, they deliver joyous lo-fi punk with witty lyrics that are guaranteed to put a smile on your face. Catch them live for us at The Finsbury on 11th October! (ML) 

Chartreuse – ‘Three Days’
Chartreuse a four-piece band from the Black Country and this track, ‘Three Days’ was my Track of the Show on Hoxton Radio a couple of weeks back. What a great start with this debut loose-limbed, country kissed soul music. Just lovely. They’ll be playing at EartH in London on 30th October, get down there. (TW)

Mexican Radio – ‘Night Of The Nihilist’
With their third album due out later this month, Berlin-based Mexican Radio pride themselves on their visceral energy and quirky unique, ‘uniformed’ style. Complete with pumping beats and glitchy electro hooks, latest single ‘Night Of The Nihilist’ is an intense, energy-fuelled synth-punk anthem with shades of the likes of LCD Soundsystem. (ML)

GHOST CAR  – ‘Awkward’
‘Awkward’ by Ghost Car is such a strong slice of garage rock, from right here in East London, made up of Clara, Laura, Maria and Maeve. It is their latest single and they tell us to expect a whole load more of that bubblegum badassery from their upcoming album! (TW)

Rapsody – ‘Ibtihaj’
My current obsession. North Carolina artist Rapsody recently released her album Eve, a poignant collection with each song dedicated to a different influential black women. Featuring Wu Tang’s GZA, ‘Ibtihaj’ is probably my favourite track from the album and is named after Ibtihaj Muhammad, a fencer who won a bronze medal at the 2016 Olympics, and was the first American Olympian ever to compete while wearing a hijab. I just love this song’s immersive groove and all it represents! (ML) 

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