Introducing Interview: Lindsay Ell

Having been wowing crowds playing guitar live with the legendary Shania Twain in the UK over the last couple of months, singer-songwriter Lindsay Ell is also a renowned artist in her own right. Not only did she win ‘Single Of The Year’ at the Canadian Country Music Awards last year for the twinkling emotion of last year’s catchy ‘Right On Time’, but – following playing with Shania’s band at BST Hyde Park a couple of weeks ago – she also sold out Omeara in London the following day for her own show.

We caught up with Lindsay to find out more about the experience of playing with her hero, what inspires her, being a woman in the music industry today, and more. Have a read and then listen to the awesome playlist that Lindsay has put together for us, of some of her favourite contemporary country artists!

Are you able to tell us a little bit about what initially got you into music, and playing the guitar?
I grew up in a really musical family – my parents and grandparents all played instruments, and my brother and I started playing piano when we were six years old. By the time I was eight years old, I thought the guitar was a lot cooler, so I asked my dad to start showing me a few things on it. The first guitar riff he taught me was ‘Stairway to Heaven’. After that, I never looked back! 

I just saw you playing with the legendary Shania Twain at BST Hyde Park on Sunday – you were incredible! And it was so lovely to see all the band members so in sync with each other and having such a great time on stage! It must have been such an amazing experience – how was it for you?
BST Hyde Park was one of the most memorable shows I’ve ever played, and also my favourite with Shania so far; Hyde Park seemed like the perfect ending to such a legendary run (getting to play Glastonbury as well!). There is something about that stage that makes a show feel larger than life and the energy in the heart of London is something that’s hard to describe in words. Shania has been the most wonderful human, welcoming me so brilliantly on her stage each night. I’m honoured to have been a part of her world this year. 

And how did the opportunity to play with Shania come up for you? Had you previously been a fan?
To say I’ve been a fan of Shania would probably be the understatement of the century. Shania is the reason I started singing when I was a little girl. It’s crazy to think the song that made me fall in love with Shania, ‘No One Needs To Know’, is now a song I get to play on stage with her every night. Life is truly wild and surprising in those full circle moments. I toured with Shania last year on the Queen Of Me tour, which was so incredible! Then, at the beginning of this year, when I got the call to see if I wanted to come out and play guitar for her, the offer was one I couldn’t resist!

As well as playing with legends like Shania Twain and artists like Maren Morris, you’re also a solo artist in your own right and write fantastic country-pop anthems – I love the catchy hooks and emotion-strewn power of songs like ‘How Good’! What are the main things you tend to draw inspiration from when writing songs?
I want to write songs from an honest place, because I think the more honest a song is, the better chance it has to connecting with someone else. I feel that we’re all fighting similar battles on opposites sides of the same war sometimes, so usually I tend to pull inspiration from my own life, or from stories I’ve heard friends tell me. As long as I can connect to it in some way, I can write a song about it. 

And you’ve also just played a sold-out show at London’s Omeara, which I was sorry to miss! How was that for you? Was it the first time you’ve played in London?
My sold out show at the Omeara was so incredible. This is probably the tenth time I’ve played London, but I’m always so happy to be back and see the best fans on the planet! I felt so loved as they sang all the words to b-sides off my last couple records, and I was able to preview some brand new songs for them. Overall, it was such a great night. 

You won ‘single of the year’ at the CCMAs last year for your song ‘Right On Time’, which is so fantastic – big congratulations! How does it feel being classed as a ‘country’ artist, and how much would you say you’re influenced by and fit into the genre generally?
Winning ‘single of the year’ at the CCMAs for ‘Right On Time’ was such an incredible night. Most of the time I don’t really see myself as country, and to be honest have been told so many times that I’m “not country enough” for the genre. I grew up loving songwriters like Joni Mitchell, Carole King and Shania, and since I started writing music, my goal has been to create the most honest songs I can. When I moved to Nashville fifteen years ago, and got offered a deal from a country record label, I just figured that my music could cross over to many genres, and – because of the messages in my songs – I felt like country fans could relate. I’m so grateful for all of the amazing fans that I’ve met through country music, but if I were being honest, I don’t know if I’ve ever truly ‘fit’ into the genre. At the end of the day though, I don’t think fans care if they’re listening to a “country” song or a “pop” song, or a “rock” song, I think people just like to listen to the music they like to listen to. So at this point in my career, I see myself as more of a singer-songwriter than classified as a country artist, and truly, I just hope that I can keep making music that feels honest; that people want to listen to. 

Are there any other contemporary country artists that you’d recommend we check out?
I am very excited for the genre of country music, and the wider tent it’s casting with artists like Noah Kahan and Zach Bryan. It’s really inspiring to see artists like Kacey Musgraves being true to herself and her sound, and letting it evolve compared to letting a genre tell her where she needs to go. I’m a huge fan of her latest record, Deeper Well. 

As we’re an organisation that focuses on promoting women and queer folk in new music, how would you say the industry is for them at the moment? And how has your experience been in what can often seem like a male dominated environment?
Thank you so much for all you do for women and the queer community! I will say that I think the industry is better now than it’s ever been in supporting these minorities. However, we still have a long way to go. The ratios are still very uneven, and although there doesn’t seem to be a linear solution to the problem, I think the best thing that women and queer artists can do is keep releasing great music. 

And do you have any advice for young women who might want to get into making music right now?
If you’re wanting to make music right now, I think the most important thing to figure out is who you are and what you want to say: why now? Anyone can sit in their bedroom today, write a song, and release it hours later… But you have to think, why should anyone care? When you can distill what you want to do down to a few sentences, I think the path on what you need to do and where you need to focus becomes really clear. It should all revert back to your reasons why. 

Massive thanks to Lindsay for answering our questions! Have a listen the awesome playlist that she put together of some of her favourite contemporary country artists here.

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WATCH: pink suits – ‘Are You Gay Yet?’

One of the first songs written, but the final single to be released from pink suits’ recent album Dystopian Hellscape, ‘Are You Gay Yet?’ has now been blessed with an accompanying music video, complete with all the riotous style that makes up the band’s signature impact on the punk scene.

The video is set in the kind of classic British pub that will be instantly recognisable to anyone who has ever stopped for a pint in a small town. Union flag bunting is strung up above the bar and a painting of the queen watches over the punters. Other than rather muted blues and greys, the only pop of colour is the golden yellow of very manly beer as the old mate from school chuckles, “Are you gay yet?”

As the music ramps up and the band delivers their response, the video switches gear. With the rallying cry “Am I gay yet? Fuck yes”, the band infuse the drab, simple setting with vibrant energy and colour. They swap out a grey hoodie for a pink mesh tank top and fringed leather waistcoats and leap up onto the karaoke stage. As the song goes on, the crowd joins in, replacing jeans and jumpsuits with bold silk scarves, bright pink cowboy hats and an eclectic assortment of fetish-wear. The camera lingers on different looks, highlighting all the styles and identities that fall under the queer umbrella; making a question as simple as “Are you gay yet?” horribly insufficient in its goal of pinning a label on any individual.

Throughout, neither the setting nor the people change. But the way the band bursts unapologetically into the scene opens a door for everyone there to embrace their own uniqueness and individuality. It hammers home the unavoidable truth that queer people aren’t separate from society, but a fundamental part of it. Whether you see that at a glance or not, the only difference is how much they hide it from you when they’re not sure if you’re safe to come out to. By standing up and being themselves, pink suits take a bland heteronormative room, where it passes as a hilarious joke to suggest someone might be gay, and turn it into the party of the century.

As the video continues, the line “What will the neighbours say?” is delivered from behind a pink latex fetish mask complete with blond braids and a spiked collar. The answer is right there in the room: the neighbours are as wild as anyone else and have been waiting for exactly this permission to show off their authentic selves.

Of the inspiration behind the video, the band explain:

The video was inspired by a real conversation Lennie had in a pub in Manchester with someone they went to school with, as well as an awkward experience doing Karaoke in a bar in a small town in Colorado. The guy hosting the karaoke night had a toy guitar and would play all of the guitar solos, so Lennie did a song and on the solo got on their knees to play the guitar with their mouth and it made the guy absolutely freak out and lose his shit at having a bloke drop to his knees in from of him. It was a very uncomfortable end to the song!”

Watch the joyously empowering new video for ‘Are You Gay Yet?’ now:

Kirstie Summers
@actuallykurt

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LISTEN: GIHE on Soho Radio with Sing It Pink (22.07.2024)

For the July edition of Get In Her Ears’ Soho Radio show, Tash and Mari were in the studio spinning loads of new music from some of their favourite female, non-binary and LGBTQIA+ artists.

In addition to shout outs to festival highlights from Glastonbury and bands to look out for at Deer Shed festival, Tash spoke to The Pink Singers – Europe’s longest running LGBTQ+ choir – ahead of the release of a brand new podcast about them, Sing It Pink, which is out on Friday 26th April via Aunt Nell Productions. Plus, there’s some major gushing about Shania Twain…

Artists featured on the eclectic playlist included Planningtorock, Happy Accidents, Katy J Pearson, Los Bitchos, Ae Mak, Lex Amor, Sharon Van Etten, ARXX, Breymer, Little Simz, The Go! Team, John Glacier and more!

Listen to the show below:

 

We’ll be back on Soho Radio on Monday 19th August from 12-2pm
 Make sure you tune in via www.sohoradiolondon.com

 

Tracklist

Bronski Beat – Smalltown Boy (Planningtorock Rework)

The Pink Singers – Leaping Lesbians

Jamie XX (feat. Robyn) – Life

Catbear – Rush

Jasmine.4.t – Skin On Skin

Katy J Pearson – Sky

pink suits – Are You Gay Yet?

Los Bitchos – Kiki, You Complete Me

AE Mak – Low Down

Kelly Lee Owens – Love You Got

Tom Rasmussen – Shugs (Live Wire)

Lex Amor – A7X

John Glacier – 2 Hot 4 This

Loose Articles – Are You A Welder?

Sharon Van Etten – Every Time The Sun Comes Up

Roller Derby – Silver Jet

Squirrel Flower – Full Time Job

Billie Eilish – Lunch

Happy Accidents – Infinite Possibilities

Little Simz – Woman

ARXX – Good Boy

The Go! Team – Ladyflash

Nana Benz Du Togo – To Be Free

Breymer – Darkness

Shania Twain – That Don’t Impress Me Much

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INTERVIEW: Tina Edwards

Ahead of Rhythm & Taste, a one-day jazz and food festival happening at Design District on Greenwich Peninsula this Saturday 20th July, we caught up with Tina Edwards who is going to be DJing at the event. Exploring beats as delicious as the eats, with a spread of New Orleans-inspired food, plus crate digging from Peckham Soul, sets from an eclectic line-up of great artists – including bassist and producer Marla Kether – in addition to Edwards, the event looks set to be a lot of fun; a perfect summer day out.

Find out more about Tina Edwards, her love of jazz and its pioneers, being undermined as a woman in the industry, and what to expect from her set on Saturday in our interview below. Have a read, and then make sure you have a listen to her luscious ‘Spitting Fire‘ jazz-filled playlist on Spotify!

Hi Tina, thanks for chatting with us! How are you doing today?
I’m very well, thanks! I’ve been away from home a lot over the last couple of months and this week’s been my first week home without looking at a suitcase! I’m feeling nicely rooted. 

Are you able to tell us a little bit about what initially got you into music, and into DJing specifically?
Although my Mum has a different taste in music to me, her passion for it was infectious. I’ve always been quite an introspective person, and music has always helped me to understand nuanced things about myself or the world. I got into DJing through radio, especially Worldwide FM. It was my first contact with CDJs, and so my curiosity naturally flowed into sharing music in a way that was new and exciting for me. I’ve been DJing now for six years but so many people around me have been doing it since they were teenagers. I still feel like a newbie! 

I was lucky enough to catch you DJing at The Roundhouse as part of Higher Ground Festival last year, and loved the uplifting funk-fuelled grooves of your set! But has there been a particular set you’ve played throughout your career that stands out as a highlight? 
Thanks! It’s really hard to pin down one so I’ll just highlight a couple from this year; firstly, my Glasto debut! I played Platform 23 and HMS Sweet Charity; both filled my cup in different ways. Secondly, I made my debut at Detour Disco—a nomadic festival which is held in different difficult to reach places every year. I warmed up for DJ Paulette and got to play a disco edit of Ain’t No Mountain High Enough on a 3000km mountain, Piz Gloria, which featured in a Bond movie. We all sang at the top of our lungs. A pinch me moment! 

And how do you normally go about choosing what records to play? Do you have any particular go-to faves that you always play, no matter what? 
I focus on keeping my records circulating so that every set is different, but for sure, every DJ has their go tos that they know often go down well. There’s not a track that I ‘always’ play, but Onegram’s AEO (Slowly Dub), recently reissued by Jazz Room Records, is perfect for so many moments. It’s a euphoric, mid-tempo little ditty that works as a palette cleanser, a mid-set cool down or an uplifting closing track. 

And now you’re set to play as part of Rhythm and Taste festival at Greenwich Peninsula on 20th July, which sounds like an awesome day! Can you tell us a bit about how you got involved in this, and what you’re most looking forward to about the event?
I’m really looking forward to this, shout out to Matt Nightingale for inviting me down. It’s a treat to play for people who are arriving with open-minded ears, just open to having a good time. I’ll be bringing lots of latin and dance-floor jazz for this to try and coax out the sun. 

The event’s focused around jazz and its culture. How much of an influence would you say the genre has on you and the records you choose to play? 
Jazz is a thread that runs through a lot of the music that I play, but that could be in obvious ways or very subtle ways. Essentially, I value and celebrate black music — dance music is black music. It’s important for me to continually learn about and understand the origins of the music that I play out. 

Do you have a particular favourite Jazz artist? 
I couldn’t pin it down to one but right now, I’m really enjoying listening to and sharing music from Pharoah Sanders and Donald Byrd. 

And how much of an influence would you say the infamous women pioneers of jazz still have on music today? 
Not as much as they deserve. Music press and other structures have long thrown an invisibility cloak over female jazz musicians, in comparison to everyone else. And today, syllabuses in conservatoires are guilty of not under-representing female artists. A lot of jazz musicians I know, my age or younger, weren’t taught about the works of female jazz musicians. If we’re not teaching people about the achievements women, we’re telling them that it’s fine to overlook them. That needs to stop. 

Are there any contemporary jazz artists that you’d recommend we check out? 
A whole bunch! One of my Spotify playlists called Spitting Fire, named after the BBC One documentary I hosted in 2022, is full of artists that I recommend. 

As we’re an organisation that focuses on promoting women and queer folk in new music, how would you say the industry is for them at the moment? And how has your experience been of DJing in what can often seem like a male dominated environment? 
Often women’s knowledge will be undermined; I’ve had several sound engineers explain to me out of the blue how a mixer works — I already know, that’s why I’m here! Hahaha. Things are slowly changing and the likes of yourselves, He.She.They, Saffron and lots of other collectives are making positive differences. I run a night called Queer Jazz with Jelly Cleaver; we’re building a community of queer jazz artists and fans, and it feels really good to provide these talented musicians with extra opportunities to perform. 

And do you have any advice for young people who might want to get into DJing now? 
Visit open decks events, look out for workshops, and don’t be afraid to reach out to people for advice. No question is too basic or too silly. We all start from the same place.

Massive thanks to Tina for answering our questions!

Catch Tina Edwards’ set at Rhythm & Taste festival this coming Saturday 20th July at Design District on Greenwich Peninsula. And, in the meantime, listen to her ‘Spitting Fire‘ playlist to get you in the mood!

Photo Credit: Joe Magowan

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