Introducing Interview: Izzie Walsh

Having received acclaim from the likes of BBC Radio Two’s Bob Harris and BBC Introducing Manchester, alt-folk artist Izzie Walsh has just released her eclectic new EP, Ideals. Flowing with a twinkling, uplifting energy, the EP showcases Walsh’s emotion-strewn rich vocals and a soaring, catchy musicality.

We caught up with Izzie to find out more… Have a read!

Hi Izzie Walsh, welcome to Get In Her Ears! Can you tell us a bit about yourself?
I love to perform on stage and create music that I hope connects with people. I like to try new food and go for a beer or two. And occasionally go running to balance my calories out!

How did you initially start creating music?
I was quite late to the game and only started creating music when I was 17. It all came about when I started learning the guitar and then I realised I could hold a tune singing as well. 

Your new EP Ideals is out today – congratulations! Can you tell us what it’s all about? Are there any themes running throughout the EP?
This EP is about how ideally the world could be a different pace to what it is now – for both others and myself. It addresses themes of class escapism, and the impact of modern-day capitalism. 

You’ve been compared to the likes of Wallis Bird and Lisa Hannigan, but who would you say are your main musical influences?
My main influences at the moment are Margo Price and Stevie Nicks, but I also love big band sounds, ranging from the likes of Arcade Fire to Slipknot. 

How is your local music scene? Do you go to see lots of live music?
Yes! The local music scene in Manchester is great. It can sometimes be bogged down by the next reincarnation of The Stone Roses typical indie boy band scene, but there is always an alternative and culturally different act to go and see if you take the time to find them. The open mic scene is great as well! 

And what can fans expect from your live shows?
They can expect brand new songs as well as the classics – I want to bring high energy and high musicianship to lay the foundations of my touring show for years to come. I think the best artists at the moment have the ability to translate their recorded medium into an entertaining show and that is what I aim to do!

As we’re a new music focused site, are there any new/upcoming bands or artists you’d recommend we check out?
Yes, definitely! Check out Toria Wooff, Harriet Rose and Chloe Foy. All incredibly talented females creating some amazing music and making their mark on the industry.

And how do you feel the music industry is for new artists at the moment – would you say it’s difficult to get noticed?
It is extremely difficult to get noticed, especially if you are different to the norm. In the past it seemed the more unusual you were the more you got noticed, but now I feel as if the industry are just looking for really safe bets. As you would expect money plays a huge factor as well in terms of the advertising side of things. 

Finally, what does the rest of 2021 have in store for Izzie Walsh?
Besides the tour I am going to hunker down and finish writing off an album – hopefully I can get it into production, ready for a massive 2022!

Massive thanks to Izzie for answering our questions!

Ideals, the new EP from Izzie Walsh, is out now.

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INTERVIEW: Pretty Happy

“I think you’re the first person to say we have genuine talent…” laughs Pretty Happy’s guitarist Abbey Blake when I enthusiastically tell her I love the music that the Cork art punk trio make. Bassist Arann Blake laughs at my compliment too. The bandmates (who are also siblings) are sat in their car, windows rolled up, sweating to death whilst talking to me on Zoom via their smart phone. They’re about to go on a well-deserved holiday to Kerry after releasing and promoting their recent EP, Sluggers Bridge.

Along with drummer and friend Andy Killian, the trio create riotous, tongue-in-cheek post-punk offerings often centred around their observations and experiences of living in their home county of Cork in Ireland. We spoke about the “uniquely Cork” humour that underscores their new EP, growing sick of the sound of your own songs, facing up to the fact you’re never going to be like Rory Gallagher and winning over fans in the most unlikely of places…

Hello Abbey & Arann. For anyone who doesn’t know, can you tell us how Pretty Happy first got together?

Abbey: We’re siblings, so we kind of always played a bit of music together as kids.

Arann: Our Dad was a drummer in a band in the 80s & 90s around Cork in Ireland, so he was always putting musical instruments around the house and stuff. Our Mother is big into blues music and Rory Gallagher. I think she always wanted one of us to become a famous blues guitarist. Abbey & I actually got guitar lessons together at a very young age and we both rejected them…

Abbey: They were just awful. We were sent to this local young fella – who looking back, was obviously a stoner – and he was trying to teach us something like Bryan Adams’ ‘Summer of 69’ and I just absolutely hated it.

Arann: We just wouldn’t practice; it was so funny. He’d be like, “go away and learn that chord.” Then we’d come back and be like, “we didn’t learn the chord.”

Abbey: We just didn’t want to do it. I remember coming home and giving my Mum back this awful mini strat that we got in Smith’s toy shop, and I was like, “Mum, I’ll never be Rory Gallagher. Stop.” and that was the end of it. But we did start jamming and I did pick up the guitar again when I was 16/17. If you listen to Pretty Happy’s early stuff, it just sounds like rip offs old Strokes songs. I had no FX on my guitar and Andy our drummer was just doing simple 4/4 stuff. You can definitely hear the progression and it’s only gotten weirder since we’ve actually learned how to play.

Arann: We’ve been going for three or four years now and I think we really needed that time to develop. Kind of like what Abbey said about the Strokes, I think that’s what happens when you’re in a band. At first, you mimic other bands, because you don’t know how to develop your own style. And then you do something a bit different and you’re like, “Okay, there’s something in that,” so you write a new song and that keeps going until you start to have a bit of a repertoire of songs that are kind of a new style. But it was fun kind of learning stuff as the band started to gig more.

Abbey: Our first gig was a metal gig and we were the lightest, lightest, pop rock version of ourselves at the time. Andy was living in London for the summer, so we hadn’t really jammed that much and Arann just got onto us and he was like, “we have a gig” and Andy was like, “Oh, I didn’t know this was an actual band” and that’s how Pretty Happy started. It was never supposed to be a band. It was always just jamming with pals.

Arann: Abbey would always bug me and be like, “let’s start a band or something” and I’d be like, “Alright, get off my back – a band with my little sister?” Fine…I’ll pick this great friend of mine that I know, but he doesn’t actually know how to play the drums. Then as it went on, it obviously became the main band and became the band that people actually took notice of. People were like “there’s something to that, what you’re doing there.”

Abbey: It’s good to hear your thoughts on the start of the band there Arann. Thank you so much for letting me in. Appreciate it man…

If it makes you feel better Abbey, I’ve got an older brother who makes music and he probably wouldn’t let me be in a band with him – mainly because I can’t actually play.

Congratulations on the release of your EP, Sluggers Bridge. I read that you described it as being “uniquely Cork and influenced greatly by the people and humour of the city.” We’re a London based blog, so can you elaborate on that a little for our readers…

Abbey: I think all Cork people would call it the “real capital” of Ireland. Cork people love Cork so much. They’re just very funny people.

Arann: It’s funny talking about this and being from Cork, it’s like “I’m pretty and I’m funny and I’m sound…”

Abbey: Cork people always have an ego. It’s a joke all over Ireland that Cork people fucking love themselves. I think there’s so much slang and just the constant slagging – people will mock you relentlessly in Cork. It’s so good. You can’t take anything seriously because you will be slated. I think that’s why we’re so jokey in the band and especially with that EP. Even the title Sluggers Bridge was an old slang term our Nan used to call Arann. She’d say “Oh go look at sluggers bridge there” because he drank stuff so quickly…

Arann: It was a milk bottle I was drinking, I was a baby like, I was just drinking my milk…We’re a post punk band, so I think there is an expectation to be very serious and take yourself seriously. But you couldn’t possibly do that in Cork.

You’re putting Cork on the map. Do you have a favourite track on the EP? If so, why?

Abbey: We’re sick of them by now…

Arann: You don’t promote an EP by saying “I’m sick of all the songs,” Abbey. The correct answer is “but they’re all so good, how could I choose?” It depends. What is funny, I think, when looking at your own music, is that it’s so hard to enjoy it. You hear it and then you remember all the different versions of it that you put down in the studio, so it becomes more like this mathematical thing. It’s so hard to enjoy your own song.

Abbey: I’m also disgraced when hearing myself. I hate hearing myself. Do you ever hear your own voice back played back, and you realise it’s fucking awful? And I can’t hold a tune. I can’t sing, so that’s why I kind of shout and stuff. So yeah, I can’t listen to our songs much.

Arann: Is it a bit late to ask if we’re allowed to swear?

Swear away, it’s all good.

Abbey: Okay, if I had to pick a favourite it would probably be ‘Sea Sea Sea’, because I think that was written so quickly and that was my first time properly “singing.” It’s my favourite to play live too. It’s always our last song, so you know that your last minute of energy can be spent.

Arann: There’s a big outro at the end which we always love to close the show with. It reaches a fever pitch so that’s a very fun song to play. It just descends into madness a bit.

I love that you’ve just admitted to hating your own EP. That’s really cracked me up.

Speaking of ‘Sea Sea Sea’, I know you directed the video for that Abbey, and you were nominated for Pinewood Studio’s ‘Lift Off First Time Film Makers Festival’ award, which is amazing. Talk me through the concept of the video and where you got your idea from…

Abbey: Yeah, it was cool. It was kind of like something I had to do, it was like, “Oh, shit, we need a music video,” and the lads had moved to London, so I was like, “Okay, fuck you, you’re in London, I’m gonna do it and I’m not gonna tell you what I’m doing.”

It was really fun in the end. I studied film in college and my final year was cut short because of COVID, so the video was my first time getting back with a camera, coming up with a concept and editing it. We filmed it during winter on a beach in Cork and I had to beg my girlfriend to be in it. I was like “Please, will you just do this video? You have to run into the sea. Yes, it is November, but I’ll bring whiskey hot chocolate…” and she was like “for fucks sake, fine!”

The sea was the perfect backdrop for the video and the beach was perfect for the concept of kind of digging your own hole. The song is essentially about coming out, facing rejection and also trying to talk to older generations about gender and sexual identity and stuff like that. I was really lucky with my parents when I came out, they were so cool and open, but I’ve seen different reactions from people before. I think a lot of that is provoked by fear of the unknown.

I don’t know. I hate saying meanings for music videos. Take what you want from it…

It’s an important issue behind the video’s concept and a great video! This is honestly the most self-deprecating interview I’ve ever done. I’m into it. How are you feeling about the return of live music after Covid-19 put a stop to it last year? What’s the situation like in Ireland at the moment?

Abbey: That’s a big thing in Ireland at the moment. The fact that sporting events are back with no social distancing, but not gigs.

Arann: At the time of speaking, there’s been a lot of backlash against the government about the double standard. It’s a real point of contention.

Abbey: It’s weird, because it’s been a year of talking and saying “Oh yeah, we’re a band, we do band stuff,” and then not properly gigging. We’ve done live streams, but I think that’s a totally different thing. We had to adapt from performing to a live crowd to performing to a camera.

Arann: You have to point the energy in different places, it’s so weird. In terms of acting, it’s like Theatre vs Film, it’s about creating an energy in a room or a venue, versus translating that energy to a camera lens. It’s much weirder and it took a while to get used to. I don’t know if most touring musicians today would be used to that kind of thing, we definitely weren’t at the start. We’ve done around 8-9 of them now.

Abbey: I think we’ve always had that thing of conjuring up energy though. I always loved having a “bad crowd” or playing old country pubs and you see these old fellas with a pint of Guinness at the bar looking at you like “what the fuck are they doing?” I love those gigs because I like trying to turn people. I love screaming my head off to someone who hates it, I don’t know why. I way prefer that to a crowd that likes us. I think we’re very awkward with praise, so I prefer that situation.

Arann: They were sort of lovely gigs though. Abbey would be screaming her lyrics from ‘Sea Sea Sea’ – “you hate your son / but you love yourself” – at these old men from…

Abbey: …you got our own lyrics wrong there Arann. It’s the other way around, it’s “you love your son / but you hate yourself”

Arann: Well, I don’t have to sing it do I? We never listen to our songs because we’re sick of them, remember? We’ve both already established that…

But yeah, those kind of gigs were so funny because you would go on and at least if they don’t like the style music we’re playing, which they normally don’t, you know it’s pretty out there, they did appreciate what we were saying or trying to do. We’re really looking forward to have a couple of gigs coming up and it’s just going to be fantastic to have a crowd again. We’re really buzzing.

Abbey: I remember getting a handshake from one of the old fellas at the bar that I mentioned after the gig. He was like, “Jesus, you really put into what you’re playing. You really go mad on the guitar, don’t ya?” It was just like a “fair play, you’re doing what you’re doing” kind of moment which I loved.

Arann: I remember at another gig, we were in a bar where the stage is literally in the middle of a functioning bar. We were doing soundcheck, and people were watching matches and having drinks while we were trying to sound check a punk song, and there was a woman who just shouted “Will someone turn that off!?” as we were checking levels and stuff – and that’s when we knew the gig was gonna be a slog. So we just screamed so loudly that people either left, or the people who stayed kind of had to listen to us.

A bad reaction is still a reaction, you know? If you know any venues that would hate us, please give us their details…

I’m sure I could think of a few venues in London or Essex (where I’m from) that I can recommend. What’s next on the agenda for Pretty Happy? Any new releases, anything you can tease us with?

Abbey: We’re going into the studio to record next month. We’re writing for the first time in so long, because the lads have moved home from London, so it’s the first time we’ve actually had free time when we’re not just practicing for a gig. It’s just us jamming for fun again, which is so nice.

Great stuff. Finally, are there any new bands or artists that you’d like to recommend to us?

Abbey: We love what Elaine Malone does. Her stuff is insane. Her live show is insane, I’m just in awe of her. We had her on for a gig with Angry Mom a few years ago and it was my first time seeing her. She just stood on stage with a harmonium and a guitar and she played the harmonium with her feet, whilst she also played guitar and sang and I was like, “Holy fuck.” I remember sitting on the floor in front of her and being like, “how is this one person making such layered music?” It was so beautiful. Then we saw her with her full band and it’s just like…honestly, you’ve got to see her live, she’s so good.

Arann: Arthur Itis also has a new album coming out on Art For Blind Records, who we released our EP with. If anyone likes us, then check out what he’s doing. He’s doing very cool off-the-wall post-punk stuff. He’s definitely someone we listen to a lot. Everything on Art For Blind Records is unbelievable actually, they have some great acts.

Thanks so much to Abbey & Arann for the chat!

Follow Pretty Happy on bandcamp, Spotify, Instagram, Twitter & Facebook

Photo Credit: Nicholas O’Donnell

Kate Crudgington
@KCBobCut

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INTERVIEW: Lilith Ai

Self-described as “a singer-songwriter who performs poignant tales of modern city life,” Lilith Ai writes relatable guitar tunes exploring turbulent emotions in a humble and engaging way. When I catch up with her via Zoom, she’s sat on a comfy looking bean-bag in the music shed which she’s currently sound proofing. She tells me she’s spent her morning at a power-pump weightlifting exercise class, because she’s keen to feel healthy again after “basically just eating pies” throughout the Covid-19 pandemic. We laugh about how everyone buried their feelings in take-away food instead of dealing with the mental toll of multiple lockdowns in 2020.

Modest, self-deprecating but incredibly warm and open to talking about all aspects of her life and art, Lilith speaks to me about her recent album, Folk You Hard, her upcoming performance at Loud Women Fest – who just awarded her their prestigious Hercury Prize Award – and what drives her to keep creating music despite the many challenges that life brings…

Who or what first inspired you to start making music?

I think I’ve always made music, but I don’t know what first inspired me. I wanted to be a writer when I was very little but I’m dyslexic so I couldn’t really write anything. I just liked to sing songs. I don’t think I’m naturally good at music. I know I have a nice sounding voice, but some people can pick up a song and play it on guitar the first time they hear it on the radio and I’m not like that. I wish I was like that! I’m actually better at art than I am at music, but I don’t enjoy it as much as I enjoy making music.

I grew up with a lot of stress because I had so many learning disabilities, so school was difficult and my family life was really mad. I did a lot of extracurricular things that were not music. I had dance classes, I went to Brownies and Girl Guides, I did track running and I had art. Music was a thing that I didn’t tell anybody about. I just kind of did it in my brain and made songs up!

I’ve had a weird year where I’ve been doing a lot of therapy and I’ve had so many revelations about myself. I’ve had to kind of white knuckle most of my life until quite recently.

So, how did I get into music? I don’t know. I just I did it secretly until I joined a band. I was in a lot of really terrible bands and they all kept falling apart. So, in 2015/16 I just decided to do my own solo project. I didn’t really know how to play guitar at the time, so I was a bit shit. I was completely oblivious to that at the time though. I didn’t really know how terrible my playing was until I started playing on my own! I was like, “I need to be way better than this,” so I did a lot of gigs. A lot. Probably hundreds that were just not very good, but I don’t think it matters. I think a little bit of delusion is good as a musician. It doesn’t really matter how good you are at the start; you’ll get good eventually if you keep doing it.

Perseverance is key. You mentioned therapy, do you find writing songs can be quite cathartic for you? It seems that way on your most recent album, Folk You Hard.

The reason why I make music is because I want to connect with people. Because of the way I grew up, I really, really struggled to make friends. I have a best friend now, but it took me five or so years to really believe that she liked me when we were growing up, even though she wanted to hang out with me and called me every day! So, with music, I wanted to do something so that I could say “do you feel like this? Because I feel like this,” to other people.

Music is also a way of escaping for me too. Some of my songs are more like me being how I wish I was, rather than how I actually was at the time. You can still see me in them, but songs like ‘Rude Grrrl’ and ‘Riot’ are more what I want to be like. I want to be confident or strong. I think there was definitely a thing when I was writing Folk You Hard, where these things slowly toppled into who and where I am now. That album is just me being very frank about stuff. That’s the most frank I’ve ever been and I think I’m going to continue to try and do that.

But sometimes, I’m not thinking like that and I write stuff really quickly. I have a notebook that I put all of my ideas in and then when I’ve got enough ideas, I’ll sit down and be like, “okay, I’ll write a song now” and I’ll write it in half an hour. I wrote the song ‘Michaela Coel’ after watching her series I May Destroy You. I’ve always liked her ever since she did Chewing Gum and I did actually meet her at an event a couple of years ago. We talked about stuff and she was so amazing. So I just sat down and wrote that song. It doesn’t always happen like that, but sometimes it does.

‘Michaela Coel’ is one of my favourite songs on your album. Do you have a favourite song? If so, why?

I really like the single that I’m about to drop, ‘Bloodlines’, which is the first one I wrote for that record. But I think my favourite is probably the last song I wrote which is ‘F’. It was very easy to write and I think I’m saying stuff on it that I haven’t really said before. They’re both kind of songs about my Mum, which is weird, because I have an estranged relationship with my Mum at the moment. But ‘F’ could also be about so many things. It’s written in the key of F, it’s about family and it’s also ‘F’ for “fuck” and for Folk You Hard.

Another song I love on the record is ‘Bare Radical’, especially the lyric “I’m not bitter / I’m better”. It almost sounds like a mantra…

I mean, I’m not sure I am better, but I’m trying to be! It’s a continuous thing. That song is about dating a person who was just like, not the person. But I try to remember that everybody is on their own journey, I think very few people deliberately do things to be a dick. Though I know I need to get away from that person, I try not to be bitter…but it is hard!

The only way that you can “win” is to be like, “Okay, I’m actually genuinely going to be happy now” – that trumps everything. This is going to sound a bit weird, but I’ve wanted to join a gym for ages, but it’s so expensive and I knew it would take up a big chunk of my money. But I realised, if I was dating someone and they wanted that gym membership – I would probably give them the money, instead of spending it on myself. So, to be like “Oh, I need this! I’m going to buy this for myself because I deserve it,” you know? I want to look after myself and that is actually me “winning.” It definitely is a long process, I’m not 100% there yet, I’ve got a long way to go. All we can do is try to be better, to get away from toxic people and encourage toxic people to get help.

You’re going to be performing at Loud Women Festival on 18th September. There are so many GIHE faves performing too – ARXX, Vulpynes, Breakup Haircut, MIRI, Deux Furieuses, Jelly Cleaver, GENN, Sister Ghost – what bands are you looking forward to seeing on the day?

I think this is my fourth time playing the festival and I can’t wait. I really want to see Jelly Cleaver. I haven’t seen her play for ages. I really like her as a person too. MIRI, who I have seen lots of times and who I love, she’s really good. I’m excited to see ARXX as well. There are a lot of bands on the line-up who I don’t know, so I’m looking forward to hearing them as well. I’ll be there in the morning with soooo much merch – I’ve made my own bracelets and everything – so I’ll be there all day.

Finally, as we’re a new music blog, we always ask artists to recommend a few bands they’ve recently been listening to. Any suggestions?

One is Nathan Day who I really got into last year and I just think their music is amazing. It’s literally like someone reached into my head and made the music that I want to make. Probably my favourite song is ‘Fade Like You’ but they’re all good songs.

Pom Pom Squad are also so, so, so good! And Eliza Shaddad. I really want to go on tour with her!

Thanks to much to Lilith for chatting with us!

Follow Lilith Ai on bandcamp, Spotify, Twitter, Facebook & Instagram

Grab a ticket to see her live at Loud Women Fest 5 here

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LIVE (Photos): LIINES @ The Grace, London, 09.09.2021

It’s been a long eighteen months, but gigs as we know and love them are slowly starting to return… Following an epic night capturing Berries at The Grace last month, our photographer Jon Mo returned to the North London venue last night to witness the swirling force of GIHE faves LIINES live.

Kicking off the night, Anna Vincent (Heavy Heart, Happyness) charmed the crowd with the glistening allure and heartfelt emotion of her lilting soundscapes. A perfectly dreamy start to the night.

Next up, previous headliners of more than one GIHE live night, ĠENN deliver an energy-fuelled set. Oozing their immense, empowering spirit alongside impressive riffs and racing beats, they never fail to enrapture the crowd with their unique charisma and buoyant spirit.

Celebrating the release of their potent new single, ‘Keep On Going‘, long-term faves and previous GIHE headliners LIINES don’t disappoint, blasting out their brooding, relentless sonic explosions with a frenetic sense of urgency. As Zoe’s distinctive raw vocals soar, the Manchester trio prove once again that they’re a truly sublime force to be reckoned with.

Photo Credit: Jon Mo / @jonmophoto

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