Five Favourites: Sophie Jamieson

Having received acclaim from the likes of Brooklyn Vegan, The Line Of Best Fit and Under The Radar, London-based artist Sophie Jamieson has now shared her exquisite second album, I still want to share, via Bella Union. Reflecting on themes of love and its many meanings, the album showcases Jamieson’s ability to create stirring celestial soundscapes with an added orchestral splendour. Rippling with the soaring raw emotion of her rich, resonant vocals, alongside an immersive shimmering musicality, it’s a beautifully heartfelt collection.

We think one of the best ways to get to know a band is by asking what music inspires them. So, following the release of I still want to share, we caught up with Sophie to find out about the five albums that inspired the writing of the new album the most. Read about her five favourites, listen to the album, get tickets to see her live and watch the beautiful new video for ‘I don’t know what to save‘ below.

Anna B Savage – in|FLUX
It’s hard to overstate the impact this album and this artist have had on me. Sometimes you hear a voice or a song that sounds familiar in a bodily way, but that also opens a door into more daring territory. Everything Anna does feels so… physical. Tangible, clutchable. There’s so much life bubbling through this record, so many sounds, such a sense of play, but with direction, earnestness, confidence, heart. It came out just after we’d begun recording. Something about its attitude crept into ideas I brought into the studio. One day we were working on ‘Baby’ – I said to Guy, I want some weird, bending sound here. Something loose – I found myself playing him ‘Crown Shyness’ which has this roar bubbling away through it, unsettling you. Inspired by that we detuned the guitar from note to note with some effects to create a similar sense of elasticity. We actually managed to put some kind of bending note into almost every song. I think a lot of Anna also crept into ‘How do you want to be loved?’ The moments of strangeness and grittiness amongst warmth and rich melody in this record played a big part in what I felt able to want from my own music.

Angel Olsen – Big Time
I’ve hammered this album pretty hard. It’s definitely one of my favourites of all time. I’m finding it hard to pin a finger on what has been most inspirational, because my album was written over four years and recorded over one. I’ve taken in a LOT of music over that time. But looking back, this record sank deep into my consciousness about six months before I went into the studio. The simplicity, the imperfections, the space. It’s epic, and intimate, also light, full of love, and full of tears. Angel sounds like she’s crying most of the time. I think the albums I love and learn from span the full breadth of the human heart and capacity within whatever they are exploring. That means touching upon highs as well as lows, and leaving space for hope. There’s a drum part I find sooooo satisfying and bouncy in ‘All The Good Times’ and I think that might have crept into the drums for ‘I don’t know what to save’. This record set a beautiful example for me that songwriting doesn’t have to reinvent any wheels or say anything other than what is. It also showed me the power of what a voice can do, when you let it come out as raw as this.

Daughter – Stereo Mind Game
A theme is emerging – the albums that came out during recording time couldn’t avoid coming into the studio with me. I’ve been a huge Daughter fan as long as they’ve been going. Elena’s understated vocals and gut-punch lyrics have driven me since my earliest songs. I couldn’t say what exactly fed into my album from this one but I know it’s there. This is a perfect record. I believe Elena worked almost obsessively on it for years, and scrapped some or all of it and started again… Perhaps just knowing that I feel deep love and appreciation for the level of attention to detail, the crafting of energy, push, drive, space. I think Daughter have always tickled the part of me that wants to be overwhelmed by music, and overwhelm a listener myself. If I had to find a detail that inspired me, it would be a part of ‘Dandelion’ where there’s another bendy note (!) which is a guitar in reverse reverb with loads of gain I think, it sounds like a revving engine. I was obsessed with it. I think it fed into a sound in ‘Welcome’ that revs up an octave between the verses. 

Hannah Cohen – Pleasure Boy 
This is the odd one out choice for me. My only one here not released in 2023 (it’s from 2015), Hannah’s 3rd album, Welcome Home is actually in probably my top three albums of all time. Though I wouldn’t quote its influence here as much as this one. I don’t find myself listening to this album much because it feels lonely, and I guess it reminds me of a particularly painful time I was going through when it was released. But I brought this record into the studio as a reference, because there is a spikiness and a fragility about it, as well as a hard kind of strength. It’s a contradictory combination that I guess I recognise in myself. It’s also just full of what feels like unrequited longing. I think it’s stayed with me, quietly, over the years, in my bones somewhere. I’m listening to it now, and it actually hurts. Like when you stick a finger somewhere really tender. I guess that’s what I’d love to do with my music.

Feist – Multitudes 
This was released around halfway through recording, shortly after I broke up with the person who has loved me best in my life, which plays out in ‘Your love is a mirror’ and ‘I’d take you’. This record really made me look at myself. I’m not sure why. There’s a line in ‘Hiding Out In The Open’ which echoed the song I’d already written: “the mirror in another’s eyes / that’ll get you every time / there are a thousand different ways to hide”. I was absolutely grabbed by this song, and the other stripped back ones on the record (‘Redwing’, ‘Love Who We Are Meant To”) in which the arrangement is so intimate and touchable, the recording is so alive. It really raised the stakes for how close you could get to the listener’s ears, and with those uncomfortable truths. I think it fed into “I’d take you”, which I wrote and recorded at home over a weekend that summer. This album really feels like a reckoning with something foundational and elemental. It does that with very little and also a lot, the dynamic range is enormous, and the sense of space is constantly morphing and bewildering. I love that.


Huge thanks to Sophie for sharing her Five Favourites with us! Watch the beautiful video for ‘I don’t know what to save’ below.


I still want to share, the new album from Sophie Jamieson, is out now via Bella Union. To celebrate, catch Sophie live this month – all dates and tickets here.

mariangelicalaneLeave a comment

INTERVIEW: Jasmine.4.t

Having just released her exquisite debut album, You Are The Morning, Manchester-based trans artist jasmine.4.t not only featured as one of our own ‘Ones To Watch’ for 2025, but has been receiving tonnes of acclaim over the last few months from publications such as Pitchfork and The Line Of Best Fit, with her latest single ‘Guy Fawkes Tesco Dissociation’ being featured on BBC 6Music’s A List. With the album released via Phoebe Bridgers’ record label, Saddest Factory, it reflects on both the camaraderie and isolation that can be a part of transfeminine life with a stirring glistening emotion. A heartfelt ode to queer friendship, it sparkles with a truly captivating majesty throughout. Whilst it may still only be January, it’s already a definite contender for album of the year.

After catching Jasmine and her band’s stunningly moving performance at The Old Blue Last a couple of weeks back, we were able to have a chat with her about the album, her inspirations and the challenges facing trans artists in the industry, and society in general. Have a read, make sure you check out the album now, and also please consider donating to the Solidarity Fund she mentions at the end of the interview.

Hi Jasmine! Welcome to Get In Her Ears! How are you doing today?
Hi! Thank you! I am very sleepy after getting up at 3:45am to fly to the Netherlands for some shows, but super excited about all that’s going on with my album coming out and the reception it’s receiving. I’m currently on my way to Groningen with my bandmates Eden and Emily, and we are all buzzing.  

Are you able to tell us a bit about what initially inspired you to start creating music?
My uncle left me his guitar when he sadly died by suicide when I was in year two. My dad got me some chord books and I loved learning Jimi Hendrix as a kid. I heard Elliott Smith’s From A Basement On A Hill when I was a teenager, and I deep-dived into his catalogue – my dad borrowed all his CDs from the library and copied them for me. I did the same thing with Iron & Wine. I always wrote alongside learning other people’s songs, and I played in various grunge and punk bands.

I love the glistening energy and raw emotion of your songs, but who would you consider to be your main musical influences?
Elliott Smith and Iron & Wine as I’ve mentioned are big influences, but I think my main influence is Adrianne Lenker. I love her writing, her voice and, in particular, her guitar playing. I am listening to her Instrumentals album right now, it’s my favourite!

You’ve just released your debut album You Are The Morning, which is super exciting! The album reflects on feelings of queer belonging, love and connection, particularly within the trans community – are you able to tell us a bit more about the themes that run through it and the experiences that inspired it?
You Are The Morning is a message of queer hope and solidarity. The songs were written shortly after I came out to those around me, which didn’t go so well. My marriage ended, I tried to move back in with my parents, and when that failed I was homeless for a period. I left Bristol to stay with friends in Manchester where I found community. I fell in love with trans people and met my chosen family, who gave me the strength I needed to start my transition. You Are The Morning is about queer people’s capacity for solidarity but also for change, how we change ourselves and the world around us to bring a brighter future. 

The album’s being released on Phoebe Bridgers’ record label Saddest Factory Records, which is awesome! How did this come about, and what does it mean to you to have been able to work with someone like Bridgers?
I opened for Lucy Dacus in Bristol on her first Europe tour, and we got on really well. She invited me to be tour support for her second album (Historian) tour in Europe – around when my debut EP came out – and we became close and stayed in touch, sharing demos through lockdown. When I got the demos together for the record, I was considering self-releasing, but Joe Sherrin (MOULD/SLONK/Fenne Lily) suggested I submit them to Phoebe Bridgers for Saddest Factory consideration. I didn’t hear back immediately, so I asked Lucy to play the songs to Phoebe if the moment presented itself. I heard back a few months later from Lucy that she had played the songs to Phoebe in the car, and Phoebe was on the phone to her manager discussing signing me! I couldn’t believe it. I opened for boygenius when they came to the UK, and the next day I signed with Saddest Factory. All three members of the band – Lucy, Phoebe and Julien – produced the record. It was a dream come true for me, I’m such a huge fan of theirs, as a band and as solo artists. I feel so lucky. 

And, to record the album, you travelled over to the US to record at the legendary Sound City Studios! How was this experience for you?
Yeah, it was unreal! We had such a good time. I made this band of entirely trans women in Manchester and the label flew me and two of my bandmates – Eden O’Brien and Phoenix Rousiamanis – out to LA. We recorded over two very intensive weeks in that iconic studio. It was such a healing experience, it felt like the hope I wrote into the album the year before was not in vain, because this was on its way. 

I was lucky enough to catch you and your wonderful band live last week at The Old Blue Last – such a beautifully immersive and moving set, thank you. How do you generally prepare for live shows, and what do you enjoy most about them?
Thank you! It was such a nice crowd and my first time playing at that venue. I had such a good time. Travelling as a band of trans women can be stressful at best and dangerous at worst – so before shows we try to relax and hang out together to get in the mindset to perform. The girls are all unbelievably funny, and we don’t take it too seriously. But we know, should anything happen, we have each others backs. Usually, my chosen daughter Yulia Trot comes on the road with us, and her main job is to keep us all safe. Horrifyingly, she has been wrongly imprisoned for her alleged part in dismantling an Israeli weapons factory, on remand until her trial in a year. It is scary going into this year of intense touring without her, but me and the girls are a family and we take care of each other. Hanging with the girls is definitely the best part of playing live. 

Has there been a particular gig you’ve played over the years that stands out as a highlight?
I think my favourite ever show was when we played in the basement of a community favourite pub in Manchester, The Peer Hat. It was for a night that me and some friends organised for the Just Do The Thing transfem meet-up. It was so awesome to play a night of all transfem artists for a majority transfem audience in a packed sweaty basement. 

And, when you’re out on tour, or playing shows, are there any particular essentials that you like to take with you to keep you going?
I always wear my bracelets from my long-distance partners to remind me of their love and support. I always wear at least one Adrianne Lenker hoodie (I’m wearing two right now). I usually take some time before shows to relax and listen to some Adrianne Lenker also.

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
It’s a pretty shit time to be a trans woman in this country. It’s very unsafe; we are constant targets of violence and harassment, besides the common experiences of homelessness and mental health issues caused by continued interaction with systemic transphobia. We have seen the rise of TERFism, a transphobic brand of fascism perpetuated by figures – including JK Rowling – which has led to a huge backslide in trans access to healthcare. This has been compounded by scare tactics in papers – including The Guardian – when reporting about trans healthcare. Recently, Wes Streeting banned the use of life-saving puberty blockers for trans children, when suicide rates for this demographic are extremely high and rising, while our community mourns the highest recorded rate of violent deaths of trans people. This is the backdrop against which we are trying to make our way as artists. I have been lucky enough to have an incredible manager, Jen Long, who has helped keep me safe and I’m surrounded by people I trust. I have a mostly female and largely queer team. But this industry is very male-dominated at all levels, and from my experience pre-signing, trying to navigate it alone, we trans women encounter friction at every turn. Compounded by the everyday shit that trans women have to deal with, it’s no wonder we are so underrepresented in this industry and in society at large. This has intersections with disability rights and racial injustice – those of us who do break through are almost always white and abled. I am disabled (by society’s failure to meet my ME and POTS related needs), though I pass as abled and I think without Phoebe’s seal of approval and without my white and abled-passing privilege, I would still be struggling to get shows. I think a lot of these issues go beyond the struggle for trans women’s equality in the music industry, but it is just societal ills at work and it affects all of us. I think things are definitely improving at a grassroots level, and I definitely feel cared for by the venues I play, but there’s only so much that small venues, indie labels and promoters can do.

And are there any other new artists that you’d recommend we check out at the moment?
My favourite band from Manchester is Ether Mech. They’re fronted by my friend Vivian, a trans woman I look up to and one of the first people I met when I moved to Manchester. I also love Mould, their new stuff is incredible and they’re so good live. I really enjoyed The Pill and Fuzz Lightyear’s sets at the Old Blue Last show also!

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention?
I’m really looking forward to touring this year but I am feeling worried about doing it without my daughter Yulia. If anyone is able to, please donate to her Solidarity Fund to help us support her in prison, visit her, and help her get back on her feet when she is out. You can donate here.

Huge thanks to Jasmine for answering our questions, and please do consider donating to help Yulia.


You Are The Morning, the debut album from Jasmine.4.t is out now via Saddest Factory Records. Listen / buy now.

mariangelicalaneLeave a comment

INTERVIEW: Aisha Badru

Having released her debut album back in 2018, Nigerian-American artist Aisha Badru has since been reflecting on themes of love, loss and personal growth in her sparkling alt-folk offerings with a distinctive effervescent grace. Now, with the release of her brand new album, The Sun Still Rises, her hope is to combine these personal reflections with more of a collective awareness. To reach people through her beautifully stirring creations; to soothe emotions and offer a cathartic accompaniment to her listeners’ self-care routine.

Following the release of her exquisite new album, we caught up with Aisha to discuss the release, the inspirations behind it, and her own personal practice of self-care and wellness. Have a read, and make sure you have a listen to The Sun Still Rises now!

Hi Aisha! Welcome to Get In Her Ears! How are you doing today?
I’m doing well, thank you! I recently made a big move from Florida to Massachusetts. While I loved my time in Florida, I’m excited to experience the seasons again. I’m originally from New York, so it feels like a return to my roots in some ways.

Are you able to tell us a bit about what initially inspired you to start creating music?
In the early stages of my career, heartbreak was my main motivator for creating music. Writing became a way for me to cope and prove to myself that I was worthy. At 25, I found myself at a pivotal crossroads in my life. On the one hand, I was pursuing a relationship with someone who was emotionally unavailable, and on the other, my music was starting to gain traction. I realised I had to choose between the two, and ultimately, I walked away from the relationship to focus on my music. That relationship was really hard for me to let go of because it symbolised letting go of my old self who had low self-esteem. With that said, the unfolding of my music career has always been a spiritual journey for me — a way to discover my worth, while also reminding my listeners of theirs.

I love the lilting energy and sparkling emotion of your songs, but who would you consider to be your main musical influences?
It’s always a bit tricky for me to pin-point specific influences because I’ve listened to such a wide range of music over the years. But I’d say my earlier work was heavily influenced by folk and acoustic music, especially for how they convey emotion and tell stories in such a raw and intimate way. More recently, I’ve been increasingly inspired by artists and groups that use their music to explore themes of collective healing, resilience, and community. For example, I admire the work of the vocal collective Beautiful Chorus, who create music that fosters peace and connection, and Rising Appalachia, whose songs tell powerful stories of resilience and social consciousness. Ultimately, I’m inspired by music that speaks to the heart and encourages emotional growth as well as planetary healing.

You’ve just released your second album The Sun Still Rises, which is super exciting! I’ve been told that you’d like your music to be “soothing and medicinal” – are you able to tell us a bit more about this and any themes running throughout the album?
With my music, my intention is to offer both consolation and encouragement, especially during times of self-doubt or emotional struggle. Throughout the album, I’ve focused on themes of hope and renewal. It’s about finding peace amidst the chaos and remembering that, even in our darkest moments, there’s always a path forward.

And how would you say the process of recording the album has differed from your previous releases? 
The process of recording The Sun Still Rises was different in that I was much more focused on creating an album with a clear intention around mental health. While my previous releases were also purposeful, this album felt more deliberate in terms of the themes I wanted to explore.  

The theme of wellness and self-care seems to be very important to you. What are the key ways you practise this in your own day-to-day life?
I practice wellness in my day-to-day life by being mindful of how what I consume affects my wellbeing – whether it’s food, social media, music, news, etc. I make adjustments as needed to ensure I’m absorbing things that nurture me and promote a sense of inner peace, clarity, and empowerment. Another essential practice is limiting my time on my phone, which has been really grounding and helps me be more present.

And how would you say this feeds into your songwriting?
My songs are deeply influenced by how I practice self-care in my own life. I strive to create music that uplifts, drawing on the messages and lessons that have guided me along my journey. By prioritising my own wellbeing, I’m able to channel that positive energy and wisdom into my music.

It seems like you’re very busy at the moment – with being a songwriter and a mother of twins -, but are you planning on touring the album at any point soon?
While I’m not planning a traditional tour, I do want to focus on more intimate, curated performances that align with the themes of wellness and connection. This past summer, I had the opportunity to perform at the wellness festival Mycelium, and it was such a meaningful experience. It reinforced my desire to create spaces where music and mindfulness intersect.

And when you’re out on tour, or playing shows, are there any particular essentials that you like to have with you to keep you going?
Water! So many times I forget to hydrate sufficiently, especially when I’m tired and rather reach for coffee.  

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
I don’t think the overall mainstream industry has changed much, but marginalised artists are gaining more power by moving away from established systems and finding new ways to connect directly with their communities. For example, social media and independent platforms give artists the ability to build their following and engage with fans without relying on traditional gatekeepers. From my perspective, this decentralisation is important, as it allows greater autonomy and economic freedom.

And are there any other new artists that you’d recommend we check out at the moment? 
She’s not necessarily a new artist, as she’s already accomplished a lot in her career, but I highly recommend checking out Alysha Brilla. Her message of empowerment and healing really resonates with me. She has a unique sound that spans multiple genres and is always pushing boundaries with her art.

Huge thanks to Aisha Badru for speaking to us!


The Sun Still Rises, the new album from Aisha Badru, is out now via Nettwerk. Download / buy here.

mariangelicalaneLeave a comment

LIVE: Julien Baker – Earth, Hackney (19.11.2024)

A bitterly cold and wet Tuesday night in November; what better time to venture alone to immerse myself in some beautiful, emotion-filled live music… ? My first time at Earth in Dalston, I feel grateful to be able to see three such esteemed artists in this deceptively intimate space. 

After queuing in the rain for a while, I arrive in time to catch most of GIHE fave Katie Malco’s opening set. Reflecting on her recent US tour with Soak and her failings at booking appropriate / warm / safe accommodation, as well as all her gear going up in flames in a rehearsal space earlier this year, it seems she’s had a bit of a bad run of it lately, but this is no way takes away from her engaging charisma and charm as she delivers her captivating indie-folk ballads. Playing alone without a band, she still manages to create a rich scuzzy splendour and immersive gentle emotion with the sparkling heartfelt grace of songs like ‘Brooklyn’ and ‘Babette’ – the latter of which she normally sings alongside Soak, who is due on stage shortly. 

Touching on themes of self-discovery, queer identity and the housing crisis, Irish artist Soak delivers a set of new songs; each glistening with a stirring raw emotion. As their distinctive vocals float alongside lilting melodies, each offering tugs at the heartstrings with an achingly beautiful sense of nostalgia. Grateful I finally got to witness their delicately impassioned sounds live, I’m also left intrigued to hear more about the time that they were backstage on tour with Katie Malco and someone was “playing a saw like a violin and singing ‘Wonderwall’”… 

I’m not sure how I really expected to feel seeing Julien Baker live for the first time. An artist who I’ve listened to – and sought comfort in – probably almost every day for the last few years, my expectations and emotions were running pretty high. Amongst a crowd of predominantly young people accompanied by their parents, I wonder if it’s normal for a woman of my age to feel this much resonance with the music of someone like Baker, but as soon as she takes to the stage (beginning the set with my most favourite song), all worries cease and I’m instantly reassured. When music moves you this much, what does age matter? I’m a 38 year old queer woman and I need this beautiful aural catharsis in my life. As the swirling crescendo of piano and guitar soars throughout ‘Appointments’ alongside the melancholy raw emotion of Baker’s vocals, I feel my heart gently shatter and tears start to dampen my cheeks. But I also feel an unexpected sense of calm; a comfort in the relatability of the feeling and meaning behind the song – an unspoken sense of unity with the other damp cheeks I see glistening around me. And that is the beauty of music this honest and powerful; however old or young you may be, you can find comfort in what it has to say. 

Continuing to completely captivate the crowd with songs spanning her career, including the quiet desperation of 2019’s ‘Red Door’ and shimmering splendour of 2021’s ‘Relative Fiction’, Baker succeeds in immersing us fully. Although her anxiety is evident between songs – “Sometimes I get really nervous and can’t see my fretboard” -, when she’s delivering each heartfelt offering, her focus seems entirely intact, the raw emotive power of her vocals never faltering. And despite describing the experience as “like a stress dream”, I feel far from stressed at being able to bear witness to such exquisite musicality and refreshingly honest lyricism. In fact, I think there’s a subtle empowering strength to exposing one’s vulnerability through the stark emotion that emanates from each and every song. 

From crowd favourites like 2017’s ‘Shadowboxing’ to the glitchy whirring soundscapes of 2019’s ‘Tokyo’, each resonant lyric ripples with an effervescent grace. From the heartbreaking personal introspection of ‘Sprained Ankle’ to the fizzing lilting energy of ‘Bloodshot’, each sparkling melody gently takes hold, leaving 14 and 38-year-olds alike equally spellbound. 

Whether playing with or without her excellent full band, Baker succeeds in creating a soaring majestic splendour; a swirling raw emotion that envelopes her audience, offering a comforting catharsis. Having to leave the venue a few minutes early to catch a train, I realise it feels almost like leaving a therapy session; feelings have been shared, tears have been shed – I feel understood, I feel lighter. So, thank you Julien Baker for opening up to us, for creating music that is so honest and relatable; so soothing and empowering. So damn beautiful.

Words: Mari Lane / @mari_getinherears
Photos: Abi Chilton / @abi.chilton

mariangelicalaneLeave a comment