LIVE: Tanita Tikaram @ Royal Festival Hall, 15.11.2025

I think I’ve written before about how much of an influence on my musical tastes my dad has been. Growing up – whether at home, or in the car on long journeys up to Birmingham to see my grandma, or down to Cornwall for the summer – there was always music playing. Sounds ranging from ‘60s rock to ‘90s trip-hop, and everything in-between, I was able to experience an eclectic sonic smorgasbord from a very young age. One of the more ‘in-between’, genre-defying sounds that we would frequently enjoy together was Tanita Tikaram’s 1988 album, Ancient Heart. Even as a young child, the deep gravelly tones of her vocals, soaring alongside the lilting folk-tinged musicality, seemed to really take hold. I have so many memories of both singing along with my dad, and then later as a teen – after stealing the CD for my own collection – seeking catharsis in the sweeping raw emotion and striking lyricism whilst listening on my walkman on the way to school. 

So, when I heard that Tanita Tikaram was playing at Royal Festival Hall as part of the EFG Jazz Festival the same weekend that my parents had planned to come up to London, it seemed like the perfect opportunity for a dad-daughter nostalgic evening out. 

Celebrating the release of her latest album, LIAR (Love Isn’t A Right), Tikaram makes an entrance alongside a host of accomplished musicians, the matching deep orange hues of her shirt and shoes adding to the warm glow that exudes from the stage throughout the entirety of the evening. Opening with ‘World Outside Your Window’, the gently empowering anthem from her debut that – upon its release – showcased Tikaram’s clarity and emotional experience beyond her 19 years, and now highlights the timeless quality of her songwriting as it sounds as resonant and energising as ever, the set continues to perfectly juxtapose the past and present as Tikaram flits between instruments and decades. 

Intricately describing the inspiration behind each song, from young ideals of love to all-encompassing issues such as hopes for the freedom and safety of all people, Tikaram shares an endearing vulnerability as she opens up about her songwriting process and influences, adding a welcome sense of intimacy and rapport to the performance. And musically, from the sweeping strings and majestic grandeur of new album track ‘This Perfect Friend’ and exquisite heartfelt grace of Ancient Heart’s ‘Valentine Heart’ (played as a stripped-back duet between Tikaram and her violinist Helen O’Hara), to the blues-inspired hooks of 2016’s ‘Cool Waters’ and immense beats (thanks to drummer Marc Pell) of 2012’s ‘Heavy Pressure’, she showcases her ability to interweave a variety of different styles into something entirely her own. 

Throughout the evening, Tikaram pays homage to a number of other artists who have influenced her in some way. From sharing that the inspiration behind the name of the new album comes from the Molly Drake (mother of Nick) song ‘Love Isn’t A Right’, and referencing Philip Glass’ ‘Night Train’, to dedicating Nina Simone’s ‘Wild Is The Wind’ to her partner Natasha and joining her cellist Midori Jaeger in a spellbinding rendition of John Martyn’s ‘May You Never’, the passion she feels for music and the songwriting process, and her gratitude for those who’ve come before, clearly shines through from start to finish. And, when she talks about how much of an impact her parents’ record collection has had on her (“luckily they had good taste”), I turn to my dad, feeling extremely lucky to be have been in a similar position, and grateful to be able to share such a special evening of music with him. 

Whilst the performance continues to exude an intimacy throughout, as we gain an insight into Tikaram’s personality and warmth as she shares details like this, she doesn’t lose sight of the bigger picture, of her dedication to using her platform as a musician to expose societal truths and express solidarity with marginalised communities. Having discussed the need for, and comfort to be found in, community earlier in the set, she goes on to recognise that “we have so much more in common than what separates us” before introducing the London Gospel Choir who join her for recent single ‘I See A Morning’; their soaring voices adding a stirring sense of unity to the performance. 

Flowing with an engaging warmth throughout, this wholesome evening not only showcases evidence of Tikaram’s timeless talent as a songwriter and sound ability to orchestrate a band of incredible musicians, but it also seems to offer a beautifully open celebration of her queer identity; each song bringing with it its own unique sense of joy and pride. A sentiment which is highlighted by the fact that she has been raising money for Switchboard (the LGBTQIA+ support line that I volunteer for) with each sale of a special rainbow picture disc of LIAR (Love Isn’t A Right).

Tanita Tikaram’s latest album LIAR (Love Isn’t A Right) is out now.

Mari Lane
@mari_getinherears

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Introducing Interview: Madison Cunningham

Having been included as a favourite by not just one, but two, other artists in their ‘Five Favourites’ features for us (Laura Reznek earlier this year, and Sarah Walk back in 2020), we’re so glad to have been introduced to LA artist Madison Cunningham and her swirling heartfelt creations. With the release of her third album, Ace, last month, she has continued to hone her sound; interweaving a lilting folk-tinged musicality with a soaring cinematic splendour and the captivating delicate crystalline grace of her rich vocals, it offers a stirring reflection on heartbreak and perseverance.

We caught up with Madison to find out more about the new album, collaborating with Fleet Foxes and her thoughts on the industry at the moment. Read below and make sure you check out the truly exquisite Ace if you’ve not already!

Hi Madison! Welcome to Get In Her Ears! How are you doing today?
I’m feeling well and like I’ve had too much coffee today.

Are you able to tell us a bit about what initially inspired you to start creating music?
Watching my Dad and Grandma and their relationship to guitar was my initial introduction.

I love the raw stirring emotion and glistening musicality of your songs, but who would you consider to be your main musical influences?
Very hard to choose just a handful. The most expansive influences have to be: Juana Molina, Ry Cooder, Jon Brion, Bjork, and Joni Mitchell. 

Your new album Ace has just been released, which is super exciting! It’s said to be a really personal collection, reflecting on heartbreak – are you able to tell us a bit more about this and how your experiences inspired your writing?
Recently I’ve been inspired by passion. Specifically passions that are born out of heartbreak. The chefs, authors, and poets that were inspiring me while writing Ace really lit the way for how to talk about my own heartbreak. Essentially there are no rules to telling the truth. You just have to be willing to greet the consequences and understand that the ability to understand and tell your own story is the closest we get to liberation. 

And how would you say the process of recording the album has differed from your 2022 Grammy winning album, Revealer?
This process was much more free and clear. Oddly enough, I think that was the direct result of putting more rules in place. No vocal overdubs, no demos, and nothing that felt overly cool, for example. The emotion and first instinct had to be priority. It’s also worth mentioning I recorded with my touring band for the first time, aside from the one single I produced called ‘Subtitles’. 

You collaborated with Robin Pecknold of Fleet Foxes on the album track ‘Wake’ – are you able to tell us a bit about how this collaboration came about, and what the experience of working with him was like?
I met Robin backstage at our second to last Revealer show. I was so amazed he even wanted to be there. We kept in touch and I braved the ask after the ‘Wake’ harmony was written. Robin is the consummate professional in every way you can imagine. Prepared, kind, hard working, and wouldn’t let up until it was right. Didn’t think it was possible to walk away being a bigger fan. 

And you’ve recently been on tour with Mumford & Sons – how was this experience for you? 
I love those wild boys. Was blown away by their live show and their kindness. 

When you’re out on tour are there any particular essentials that you like to have with you to keep you going?
I have my headphones, spearmint tea, a good candle, books, and running shoes. 

And has there been a specific show you’ve played over the years that stands out as a particular highlight?
The release show we just played at Largo as a band was an all timer spiritual experience for me.

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 think we need to do better. I want more for artists and I imagine I always will, but I am thankful that at least we’re attempting to talk to each other, and that’s a start. 

And are there any other bands or artists that you’d recommend we check out at the moment?
Do check out Sam Weber, Anna Tivel, Mike Viola, and Dylan Rodruige. The best in the business.

Huge thanks to Madison for answering our questions! Listen to / order her exquisite new album here.

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Five Favourites: Madi Diaz

Having just released her new album, Fatal Optimist (ANTI_), Nashville-based songwriter Madi Diaz continues to build on her reputation for chronicling heartache with a stripped-back lyrical honesty, endearing vulnerability and beautifully lush musicality. Reflecting on the rage, embarrassment and grief that comes with the ending of a relationship, the album showcases Diaz’s rich, resonant vocals which glisten throughout with a deep, raw emotion and shimmering heartfelt splendour.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate the release of Fatal Optimist, we caught up with Madi Diaz to ask about the music that has inspired her the most. Read about her five favourite songs, and make sure you check out the album and watch the new video for album track ‘Why’d You Have To Bring Me Flowers‘ at the end of the article.

I’m going to use this moment to talk about five songs I wish I had written. These are the songs that are currently haunting me. I feel like they touch on the very same thoughts I touched on or ideas I’ve even tried to write out, but haven’t come as close as these songs totally nailing it for me. I bow to these songs. 

Stephen Wilson Jr – ‘Grief Is Only Love’ 
My friend Stephen Wilson Jr has a way of singing these deep profound soul truths in a way that feels like he is a feelings chemist explaining why your chemicals are making you feel the way you do. What the chemistry of your heart is doing to balance itself. ‘Grief Is Only Love’ just resolves a confusion of an indescribable pain in this way that I feel like I can understand myself a little better, and can be a little kinder to myself when I’m hurting over something or someone. It’s such a gift of forgiveness by way of listening to a song. 

Sabrina Carpenter – ‘Lie To Girls’
I’ve gotten close enough to writing this song. I’ve gotten as close as to say something like “you don’t even have to lie to me, I’ll just do it” but my GOD they just said it better. They walk you all the way there. The chorus stands alone so simply and plainly in one single line that it feels like a slap in the face. It’s also a feeling that I have felt so loudly so often that when I heard this song for the first time I almost had to pull my car, because it was so affirming that it shook me. 

SZA – ‘I Hate U’
It’s gotta be so fun to be so mad that you can just write it exactly as directly as you feel it. I hate you. I mean, the woman that she is. SZA’s writing feels like the full force of nature. It’s hard for me to pick one song off of this record that I wish I wrote because just all of SOS is such a deep dive into detail in a way that is just such a gift to the listener. It’s brutal and it’s self aware. It’s apologetic and empathetic as it is ruthless. SZA does this thing where she walks a line of bravado and poise. It’s just as visceral of a story telling as watching a movie is. Down to the hotel room to the brand of cologne but with such original word combinations describing things in ways that is so singular to her in that moment. A true capture of a place and time and feeling and memory. It’s like we are in her inner monologue with her working out a situation and dialogue in real time. 

Julia Michaels – ‘Worst In Me’
Julia Michaels injects cotton candy crack into her songs. She has these phrasings paired with melodies and vocal flippy jumpy acrobatics that are just so emotionally jarring that sometimes I find myself completely holding my breath. I can remember the first time I heard this song. I was driving back to my then partner’s house on the 134 in Los Angeles at night time and I just kept hitting repeat until I pulled into the driveway. And then I sat in the driveway just letting the lyrics wash over and over and over me in waves. Julia is just such a risk taker in her songwriting in a way that makes me feel like anything is possible. This song is again so simple in idea but speaking so directly to a moment where your worst moment and someone else’s worst moment continue a vicious cycle that is so difficult to break. You can feel how endlessly intoxicating the dance is here – the love is big enough to get back on the ride and think it’ll end different. 

Feist – ‘Love Who We Are Meant To’
This song is plain incredible. Coming to terms with love like this is so generous an offering. It feels as naked and romantic as it does severe and cutting and plain. There is an intentional wandering of the mind and a sort of grasping for logic as to why hearts do what they do, why we want what we want, why we have to decide to create and draw lessons from our experiences. Feist has a way of always comforting me in her wisdom and melodies, and I just love getting to understand the workings of the world through her lens.

Huge thanks to Madi Diaz for sharing her Five Favourites! Make sure you give Fatal Optimist a listen as soon as possible, and in the meantime watch the new video for beautiful album track ‘Why’d You Have To Bring Me Flowers’ below:

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Guest Blog: False Idah

Having been big fans of the sultry beats and genre-defying heartfelt offerings of London-based songwriter and producer Jay Brown, under her previous guise as Amaroun, we’re now excited to hear that she’s back with a new project. False Idah takes all that we loved about Amaroun, but develops it into something more as Brown immerses herself in the vulnerability of stripped-back songwriting and the inspiration that can come with the freedom to express yourself in a true and honest way.

We can’t wait to hear more from False Idah, and to catch them live at Servant Jazz Quarters tomorrow, 25th September, supporting acclaimed lyrical storyteller Jeremy Tuplin at the launch of his new album. Ahead of what promises to be a beautiful night, we caught up with Jay to find out more about her new project.

Stepping into my new project, False Idah, has been an exercise in carving out a space where I can experiment, take risks, and let go of expectations. For me now, it’s all about creating the freedom to express myself in full and be totally at ease with what comes out of that. Transitioning from my previous project Amaroun to False Idah wasn’t just a name change, it was a full on creative reset born from an era of personal growth that poured into my songwriting and made a new space for itself within me. It wasn’t so much of a conscious choice, but rather a necessity to forge the path and make way for a whole new wave of inspiration and music making.

False Idah (pronounced FALSE IDER) explores corners I haven’t previously uncovered. It creates darker textures, revels in raw emotions and tells new stories with an urgency that feels really fresh and exciting. As well as exploring the new, this project also holds a light on the past; reaching back to my earliest music influences of grunge, emo and folk. In False Idah I’m always balancing a level of rawness and heaviness with a sense of warmth and intimacy that makes it feel both comforting and arresting. 

My creative process has always been fast and frequent; starting with just me and my guitar in a state of flow. As False Idah has developed, I feel an ever-deepening connection between what I write and and what each song means to me. I feel like I’ve tapped into a deeper state of consciousness, and it feels so exciting to share that. Sonically, False Idah is hinged on the power of restraint and taking a minimalist approach to create arresting resonant songs that leave room for the listener to imagine in the silence as much as they are held by the music. 

I’m currently mixing my first body of work for this project with Adam Scrimshire, and we’ve focused on keeping it uncomplicated, raw, and imperfect. You’ll hear guitar scratches, screeches, even bum notes, because this project isn’t about polish, it’s about instinctual self acceptance. With False Idah I define success in my own terms, connect directly with fans without barriers and try to maintain a state of flow in everything I do. That’s why this release won’t be going up on streaming platforms, it will be live on Bandcamp and my website instead (…the state of streaming is a whole other blog post!).

Even though the world feels chaotic, this project is about having somewhere to land and connecting to a community of fellow music lovers that get that. I’m excited to share the journey with whoever wants to join.

Keep up to date with all things False Idah by joining her mailing list here; listen / download on bandcamp now; and nab tickets to catch her live at Servant Jazz Quarters with Jeremy Tuplin tomorrow 25th September here.

Photo Credit: palice.world

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