Introducing Interview: Dakota Jones

With acclaim from the likes of Afropunk and The Times already under their belts, New York’s Dakota Jones have just released their debut album Black Light. Priding themselves on their distinctive fusion of soul, rock and blues as they share their message of proud black heritage and triumphant queerness, the album touches on an eclectic mix of themes, ranging from sex and love to “the pleasure and pain of truly finding yourself“. Fronted by vocal powerhouse Tristan Carter-Jones, they create uplifting soundscapes, oozing a unique, empowering energy and infectious, vibrant groove.

We caught up with Tristan to find out more about the new album, how they’ve been connecting with their fans during the last couple of years and her feelings on being a queer, black woman in music at the moment. Have a read!

Hi Tristan, welcome to Get In Her Ears! Can you tell us a bit about yourself? 
Thank you for having me! I’ve always been drawn to the creative side of life – I’ve been making music seemingly forever on my own, and singing and writing has always been a part of my life. I actually studied playwriting in school, but singing in public was my greatest fear for the longest time. So I very much kept it to myself. It wasn’t really until the band formed that I felt the desperate urge to share our music, and put ourselves out there.

How did Dakota Jones initially get together and start creating music? 
We’ve been playing together since 2015. I’ve known our drummer, Steve, since 1999 actually – we were in elementary school together! In 2016, Steve and our former guitarist started jamming for fun, and they asked me to come around and sing with them some time, and I said absolutely not – I was terrified of singing in public, even just in front of the two of them. Eventually, Steve convinced me to come along, and we would just play covers of songs. It was a nerve wracking process for me, but I kept showing up. Scott, our bassist, was a friend of our guitarist and was pulled in to round out the sound and make a proper four piece. One day, just messing around, we ended up writing a song, a song called ‘Leave Me Alone’ from our first EP. We knew pretty immediately after that that this was what we should be doing, and we haven’t stopped since.

We love your feisty, soulful sounds and the message conveyed through your music of proud black heritage, but who would you say are your main musical influences? 
I think the sound of Dakota Jones is an amalgamation of our influences, with a modern edge to it. We’re rock, soul, the blues, R’n’B, sometimes hip-hop. Most people find it hard to put us in a box. I grew up on Marvin Gaye, Led Zeppelin, Chaka Khan, Rakim – classic soul and rock – and a lot of old school rap. Scott grew up on rock and roll and soul music, you can’t get him in a room without him mentioning Stevie Wonder at least once. And Steve is an alternative rock and rap kind of guy. Our music blends what we love, and we all come from different musical backgrounds and tastes. So, I think we know we have a solid song when we can all get equally excited about it.

You’ve just released your debut album Black Light – are you able to tell us a bit about this? Are there any particular themes running throughout the album? 
The whole album is a throwback to a different time, and is very centred in funk and soul sensibilities. We’ve always had a blues rock, soul lean to us, but this album, Black Light, really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story. The pain of where I’ve been, and the joy of where I’m going.

And how have you found recording and promoting an album during these strange times? 
It’s been a trip. Earlier on during the pandemic, creating was very hard for me. I felt very bogged down by everything that was going on in the world, and didn’t know how to focus. But eventually the music started to pour out. Self promotion, I’ll admit, feels odd from time to time, but I pushed past that feeling because I think that, no matter what, music is a way to help people heal and get through their strange and dark times. And what I want most is to find a way to continue to connect with people, to continue to heal together, and get through this together. Sharing my music is the best way – and the only real way – that I know how to do that.

How have you been connecting with your audience and other musicians during the pandemic? 
Instagram definitely helps, and social media has been a great way to stay connected to our audience and other musicians. Continually creating and sharing our work has been an amazing way to hear people’s thoughts about what’s going on right now, and how music has helped them to get through it. We’ve also been fortunate enough to play a few live shows since June of this year, so we’re able to actually get out there and be with our fans and other musicians during this time, and really share our experiences.

And has there been anything/anyone specific that has been inspiring you, or helping to motivate you, over the last couple of years? 
Every time someone reaches out to me and shares what our music has meant to them, that keeps me going. That keeps me pushing forward, and makes me feel like I’m a part of something bigger than myself.

As a queer black woman in music, how do you feel the industry is for new artists at the moment? Do you feel much has changed over the last few years? 
I think that a lot has changed over the past few years, specifically with black and queer artists who are putting themselves out there, and creating a space for people like ourselves to make noise, and to be heard. I think that breaking through is always challenging, but it’s simpler than ever for artists to put their music out. That in and of itself helps to create these spaces for artists to listen to each other – find inspiration amongst their communities, and feel empowered.

And, as we’re a new music focused site, are there any other upcoming artists or bands that you’d recommend we check out?
I’m lucky enough to be able to call some wonderful independent artists my friends: Blood Cultures, Darlin! The Band, Freakquencee, Lily Mao, Golden Alphabet – all wonderful artists with something to say, and very lovely people at that.

Finally, in addition to the release of your album, what does the rest of 2021 have in store for Dakota Jones? 
We have a few more music videos in the pipeline that will be coming out shortly, but our main focus is to continue to play live music, tour, and meet the wonderful audiences that continue to support us through this time. We’re hoping to get over to the UK as soon as possible to play some regional shows, and hopefully we’ll see you there when the time comes!

Massive thanks to Tristan for answering our questions! Watch the band’s latest video for ‘Lord Please’ here:


Black Light, the debut album from Dakota Jones, is out now – order/listen here.

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Introducing Interview: Taylor Blackwell

Having previously captured our attention as part of LA based the tenth (a band she co-founded with actor Harley Quinn Smith), singer-songwriter and multi-instrumentalist Taylor Blackwell has now announced her debut solo album – In Memory of Haroldine –, set for release in September. Ahead of the album’s release, latest single ‘B.S. Poetry‘ juxtaposes an uptempo shimmering musicality with an angsty lyrical reflection on the broken promises of early romance. Oozing twinkling accordion refrains alongside Blackwell’s honeyed vocals, it’s a perfectly catchy, saccharine sweet sonic delight interwoven with the gritty, bitter angst of heartbreak.

We had a chat with Taylor to find out more about the new album, her inspirations, DIY punk spirit and more. Have a read!

Hi Taylor, welcome to Get In Her Ears! Can you tell us a bit about yourself?
Hi Get In Her Ears – thank you, I’m such a fan! I grew up in a town called Jupiter, which is in South Florida. I’m about to celebrate five years of living in Los Angeles! I moved here a few days after turning eighteen to pursue my creative passions. In addition to music, I act, write, and make visual art. I have three younger siblings – Owen, Charlie, and Drew – and two cat children, Fairey and Pixie. 

What initially inspired you to start creating music?
I’ve had a love for music my whole life. I did a little musical theatre growing up, and would sing all the time. I took piano and guitar lessons as a kid, and have taught myself a few other instruments over the years. I always had it in the back of my mind that I’d some day work on making my own music. When I went to a punk show at The Smell with my friend Harley Quinn Smith, we were both taken by the experience, the energy in the room, and felt it was a no brainer to start our own band… It’s one of the things I love the most about punk – the DIY nature of it. Anyone can, and should, make music if they want to! Shortly after attending this show, Harley and I formed our band “the tenth.” Now I’m working on solo music, which has been a whole other amazing adventure.

You’ve recently released your shimmering new single  ‘B.S Poetry’ – can you tell us a bit about this and what it’s about?
Yes! I wrote ‘B.S. Poetry’ about a guy who wrote some real shitty poems about me. The lyrics of the song are pretty true to my experience. I kept running into this person around Los Angeles. We played what I can best describe as cat and mouse games for about a year. The line “We run in the same circles, you run circles around me” sums up a lot of it! I was less annoyed, and more humoured by the situation, so I wrote a song about it. You think you could upset me with your poems? HA. The music video for the song is both a fuck you and a love letter to the poet boys of my life… And yes, there’s unfortunately been a few! 

Your debut solo album, In Memory of Haroldine, is set for release next month – are you able to tell us a bit about this? Are there any particular themes running throughout the album?
I am incredibly excited to be releasing this album on 1st September, on my 23rd birthday!! I recorded in Long Beach, California with my producer Davey Warsop. I had worked with Davey once before – he was a sound engineer on a live session that the tenth did through Hurley. Working together on this album was a truly special experience, and I feel forever bonded with Davey because of it. There are two main themes in this album – saying goodbye, and enjoying the present moment. If you listen to the lyrics you’ll see that there is a running narrative in the album, but I also want people to have their own take away.

And how have you found recording and promoting an album during these strange times?
I recorded wearing a mask almost the entire time – only taking it off to record vocals in the booth by myself. It was bizarre, but having this creative project to put my energy towards during such uncertain times was a true blessing. We recorded a few days each month for several months, which was also a gift because it gave me something to look forward to each month. I could also work more on the album in between recording sessions. Promotion is odd. I’m not the most social media savvy person, but I am trying to embrace it to help get the word out about the album! I believe in this album so much, and feel confident that it will find the people it’s meant to find. Going back to punk for a second, I love DIY and Riot Grrrrl – specifically the element of making your own posters/zines – I’ve been doing that for my music in an effort to spread the word. The day ‘B.S. Poetry’ came out, I went on an hour long walk and passed out flyers I made for the song on the street. I’ll be doing the same for when the album is released!! 

We love your twinkling folk-inspired sounds, but who would you say are your main musical influences?
The main influences for this particular album were Neutral Milk Hotel and Belle & Sebastian. My producer and I really looked to them for guidance when creating the sound and feel of the album. I love NMH’s In The Aeroplane Over The Sea, because it’s such a rollercoaster. I wanted the same for In Memory of Haroldine, to have a soft song, then a loud punk song, then go back to more singer-songwriter-y; I even have a song that’s pretty theatrical. Other influences include Cat Stevens, Paul Simon, Leonard Cohen (who I actually reference in the song ‘Never Could’), Conor Oberst, Elliott Smith, The Mountain Goats, The Shangri-Las, Sleater-Kinney, Girlpool, and a million others!

We’re also big fans of your other project, the band the tenth! How did you all come together to make music, and are there plans to record more together in future?
Harley and I started the band after going to a punk show together. We recorded the EP, Boys We Don’t Know and album Dunes on our own, then later added Eden Hain (guitar) to the band. I had met Harley and Eden when I was about 16/17 through our mutual friend Kiernan Shipka. I do hope we’ll make more music together! Right now we are on a hiatus, but we’ll see what the future holds. We’re all still very good friends, and Harley and Eden have been so supportive about my solo music. Eden works at Junior High LA (where I will be having my album release concert on 4th September), so they have been helping me plan the big day! 

How do you feel the music industry is for new artists at the moment – would you say it’s difficult to get noticed?
Hmm… I’m not sure. TikTok adds an interesting new element – I know a lot of new musicians are finding their audience through that platform. Being able to play live shows is such an incredible way to build an audience, and to develop your sound. Right now there’s not a whole lot of live shows going on, which for sure adds a challenge. 

How have you been connecting with your audience and other musicians during the pandemic?
To be honest, I really haven’t to a large degree! Most of the pandemic I spent focused on making the album. I occasionally shared sneak peaks from inside the studio on Instagram. Now that I’ve got this big release coming up, I hope to reconnect with my audience in a larger way. I will be playing my album release concert at Junior High on the 4th September, which will be vaccinated only/masks required. I’m hoping for a good turn out. With the Delta Variant, it could be my first and last show for a while! 

And has there been anything/anyone specific that has been inspiring you, or helping to motivate you, throughout these difficult times?
I just read the book Super Attractor, and found that to be incredibly inspiring and motivating. I’m lucky to have amazing teachers in Claire McKeown, Jeffrey Dockweiler, and Nell Teare, who have helped me work towards my goals and have been wonderful confidantes. And I have some of the best of friends and collaborators – Noelle Cope, Chase Cope, Dempsey Bryk, Fin Argus, Sean Fortier, Davey Warsop, Brent Mata, my bandmates Shoshana Brustin, Andrew Capuano, and Ryo Nakamura, and many others… I am blessed!

As we’re a new music focused site, are there any other upcoming artists or bands that you’d recommend we check out?
I am a huge fan of Claud – anyone on Phoebe Bridgers’ label Saddest Factory Records is worth checking out. My teacher Claire’s band Honey Child Choir is about to release their new album Starving Hearts. And I’m a big fan of Rosie Tucker, who opened for the tenth a couple years ago. 

Finally, in addition to the release of your album, what does the rest of 2021 have in store for you?
Being a creative, and with the pandemic on top of it, one can never be quite sure of what the future holds! I recently wrapped a movie called Dangerous Cult. I’m hoping to be more on sets – both as an actor and also directing more music videos. I have a few things in the works, but nothing I can really talk about yet. I’ll keep you posted!

Massive thanks to Taylor answering our questions!  

In Memory Of Haroldine, the upcoming new album from Taylor Blackwell, is set for release on 1st September. Find out more here.

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Introducing Interview: Sophie Mahon

Set to release her debut album in October, Suffolk-based artist Sophie Mahon left the Royal Navy to pursue her love of music back in 2013, and hasn’t looked back since.

Inspired by the life and films of Humphrey Bogart, and with musical contributions from the likes of Emily Dolan-Davies (Bryan Ferry, Kim Wilde, The Thompson Twins), Martin Dobson (Eurythmics, Jimmy Sommerville and Siouxie & the Banshees), Bogart’s Eyes showcases Sophie’s unique ’80s inspired allure and poetic songwriting. Latest single ‘In A Lonely Place‘ offers a swirling synth-pop anthem, propelled by a shimmering energy and heartfelt emotion.

We caught up with Sophie to find out more…

Hi Sophie Mahon, welcome to Get In Her Ears! Can you tell us a bit about yourself?
Hello! I’m 28 years old and I live in Suffolk. I have a band called Sophie Mahon & The Ready Mades, which has an ’80s inspired New Wave/Art Rock kind of sound. We’ve been going for a few years now and are slowly getting a name for ourselves around the area. I take inspiration from books, films, poems and art generally, when writing lyrics, and I am influenced by many things sonically but mainly the New Romantic era of the Eighties.

How did you initially start creating music?
I discovered Bryan Ferry and Roxy Music while waiting to join the Royal Navy, when I was about 18 years old. I then started learning a lot about music – listening to a lot of different bands from the ’80s, eventually teaching myself guitar, kidding myself that I was just doing it to occupy my time until I went to training. I went and did six months training with the RN before realising life’s too short to not do what you enjoy, so I left and went to music college. The rest is history. 

Your new album Bogart’s Eyes is out in October – can you tell us what it’s all about? Are there any themes running throughout the album?
Bogart’s Eyes is exactly what it says on the tin really: it’s inspired by the 1940s icon/legend Humphrey Bogart. I got into his films a couple of years ago and got a big hit of inspiration, writing a song for each film I watched. I admire his acting hugely and just him as a person; he was a kind, gentle, honest and colourful character; I wanted to show the other sides to him as well as the hard boiled, cynical tough guy he is always remembered for. The idea of the album is from a fan point of view – the way you feel when you discover something/someone new for the first time, who has a profound impact on you, and the way it takes over your thoughts. Like with the track ‘Casablanca’, it’s “easy to enter but hard to leave” – the intro and outro join up, so before you know it (if you leave the album on loop) you find you are back at the start going around again. Each song is connected to a film in some way and takes inspiration from either a quote, a scene, a character or even a dream you have because of it; covering feelings of loneliness, love and longing as it goes along. I have aimed for it to be like a Film Noir take on ABC’s ‘The Lexicon Of Love’.

You’ve been compared to the likes of The Human League and Roxy Music, but who would you say are your main musical influences?
Bryan Ferry/Roxy Music, David Bowie and Duran Duran I would say are my main three musical influences, with other odds and ends added in between. They are all very unique, without being afraid to experiment and explore whenever they write something new. I think I admire them so much because they manage to bring something almost high brow to the mainstream, and dabble around the edges of it, without compromising on their own principles. They introduce their listeners to new things because of their lyrics and ideas, whether that be books, films or other music. And I think that is a wonderful thing. It is also the way they keep artistic control over all aspects of their brand and music, from album artwork to fashion. It’s a lot of extra work, but it pays off dividends when put alongside the music – it adds to that sophisticated escapism that they provide, which I wish to emulate.

In ‘normal times’, how is your local music scene? Do you usually go to see lots of live music?
It’s pretty good around East Anglia. I am very lucky that I have Bury St Edmunds, Ipswich and Norwich not too far away, all of which have decent music scenes and very supportive venues. There is also the John Peel Centre in Stowmarket which is a great venue too. I mean at the moment, like everyone else, I haven’t seen a lot of live music recently but I did a lot before the pandemic. I try to go see live music often, whether that’s a friend’s local band or an artist I admire.

And what can fans expect from your live shows?
Just good music to escape into and tap your toes to, or even dance if you feel that way inclined! My band and I aren’t the shoe-gazing types – we like to dress up and really give all we’ve got. That’s the thing with this industry, all you owe the audience is a good performance, so I will always give that. If the audience themselves want to get out, dress up to the nines and drop the weight from their shoulders, I hope we can provide a lovely space for them to get lost in.

As we’re a new music focused site, are there any new/upcoming bands or artists you’d recommend we check out?
To my shame I don’t know many – I tend to explore backwards listening to albums and bands I keep meaning to listen to. The newest bands/artists I listen to and I like are Christine & The Queens, La Roux and The Weeknd. There was a very wonderful band I discovered at a festival, called ‘Her’s’, and they were quirky and warm, but unfortunately they both were tragically killed in a traffic collision a few years ago. I still recommend you check out the catalogue they left behind, especially the song ‘Harvey’. The only other artist I would recommend, and I am biased because she is a dear friend of mine, is Lucy Grubb. She is a country/Americana artist, but her lyrics are witty and – even if you don’t like that kind of thing – Lucy will win you over. She is a lovely mixture of Paul Simon and Johnny Cash.

And how do you feel the music industry is for new bands at the moment – would you say it’s difficult to get noticed?
I would say it’s very, very difficult unless you sound like something that has been successful before, but then you will get dropped very quickly. It’s a very hard thing to judge as record labels (mainly big ones) will only take artists if they have done the leg work and have achieved a certain amount of followers/listeners. I suppose I have learnt a lot from artists from the ’80s, so I have a skewed/old fashioned way of seeing it, but it is very clear that labels aren’t willing to take the risk anymore on new artists, unless they are a sure thing. They certainly wouldn’t give them time to develop as artists, like labels would have done a few decades ago. I mean the industry obviously has changed a lot, which is understandable, but it is more about quick money than finding an investment. Don’t take that as a total rant! As that’s more at the top end. I would say there are many very lovely people around who are there to support new artists, especially local radio stations and BBC Introducing – without them it is hard to make that first big leap and that makes all the difference.

Finally, what does the rest of 2021 have in store for Sophie Mahon?
Now my first single ‘In A Lonely Place’ is out, the next thing is a gig supporting The Wendy James Band (Transvision Vamp) on August 27th at the Norwich Art Centre. Then the second single ‘Bogart’s Eyes’, complete with a stop-motion animation music video is out on 3rd September. The band and I then have another gig at The Empire in Great Yarmouth on 9th September, and then, finally, the whole album Bogart’s Eyes will be out on 1st October! We may also have a very exciting gig after that on 2nd October but that is still being sorted…

Massive thanks to Sophie for answering our questions!

Bogart’s Eyes, the upcoming album from Sophie Mahon is set for release on 1st October, and the title track will be out on 3rd September.

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Introducing Interview: Versari

Following the release of their second album, Sous la Peau, last year, long-standing French post-punk trio Versari have now shared a new four track EP, consisting of three different remixes of their single ‘Brûle’.

Propelled by dark bass hooks and a swirling eerie atmosphere, the original captivates the ears with its bewitching majesty, whilst the remixes all differ with their own unique grace. On the EP, the track has been revisited and reimagined and includes remixes by artists including Gareth Jones (Depeche Mode, Einstürzende Neubauten, Wire, Erasure) and Erica Nockalls (The Wonder Stuff).

We spoke to bassist Laureline Prod’home to find out more…

Hi Laureline, welcome to Get In Her Ears! Can you tell us a bit about yourself?
Well, I’ve been a bass player for 25 years already! Music has always been a part of my life and I started playing in a band when I was 17 years old, in high school (I was playing the guitar and singing). When I was a kid I wanted to play drums (my first love), but I finally started playing guitar and singing because my dad had a folk guitar. He writes his own songs and we always sang at home. So, it was the most natural way for me to make music. I discovered the bass “by accident” a few years later when I joined the band Candie Prune (a Riot Grrrl band) which was looking for a bass player. I gradually fell in love with this instrument, and it is a story that lasts. Then I had my band The Dude – we did two tours in England in 2005-2006, including an opening act for the band The Others; what good memories! I also played with Howe Gelb’s band Giant Sand for four years. I was able to live from music for a few years but it’s very difficult, even in France and even playing in several bands at the same time (which I still do). So I went back to school and I earn a living now as a clinical psychologist, while continuing to play music of course!

How did you initially decide to start creating music, and how did you get together with the other band members to form Versari?
Oh, it’s a long story – playing music, playing in a rock band, has been my dream since childhood! As far as I remember, I never dreamed of anything else. Regarding Versari, I first met Cyril in 1997-1998 when I was playing in the band Candie Prune and Cyril was the drummer of Sloy, also a rock trio. We had the same tour manager and we often played together, sharing the same stage. We quickly became good friends – we had the same musical culture, the same influences (Jesus lizzard, Shellac …) and we still are, 25 years later. In 2000, Sloy split and Cyril started to play with Theo Hakola. The funny thing is that Theo Hakola had just produced the album of the band Les Hurleurs, which was Jean Charles Versari’s band… I went to see them play in Rennes (where I live), and the bass player was playing in both bands. When he had to make a choice, Theo no longer had a bass player and Cyril asked me to join them. That was in 2001 and I’m still part of The Wobbly Ashes (Theo Hakola’s band), but Cyril left the project in 2007. At the same time, the first Versari album was released and they asked me to join them: that’s how I really met Jean Charles and that’s how our beautiful story started. Then we became a trio, it’s the ideal formula I think and I’m really glad that we found each other.

You’ve released a four track EP featuring three incarnations of your single ‘Brûle’. Can you tell us a bit about each of the remixes and the decision to put them together in an EP? 
Well, we gave carte blanche to the artists who wanted to remix each of our tracks. And these three are so amazing and different – not only from the original but also from each other – that it would have been a shame to keep them, selfishly, all to ourselves! It’s an exciting and surprising experience to let other people give in to their imagination by appropriating your music, which then takes another form and lives a whole new life. In fact, it doesn’t belong to you anymore and I find it very poetic. These remixes are creations in their own right, all three of them – they really deserve to be heard and to live their life. I would add that it allows us to make the pleasure last and that’s always worth it!

We love your gritty post-punk sound, but who would you say are your main musical influences?
As a bass player, I was certainly influenced by women who played bass in rock bands, maybe even unconsciously. I think of Kim Deal from the Pixies or Kim Gordon from Sonic Youth – two bands that I love and that I listened to a lot. But I was rocked by many influences, from the Velvet Underground to The Cure, through to David Bowie, PJ Harvey, Nick Cave and Joy Division.

How have you been connecting with your audience and other musicians during the pandemic?
With Versari, we never cut the contact during this cursed period. It was very hard because we were about to leave for a tour in the USA at the end of March when the confinement fell; we had been working on this tour for one year and our disappointment was immense! On the other hand, we continued to hold our rhythm of rehearsals, namely a weekend of three days once a month approximately. Our album was released at that time, in April, so the communication was already on the way – to keep the contact with the public, there are social networks, fortunately! But as far as this part is concerned, I am really a dinosaur, though fortunately Jean Charles is there – he manages these much better than me!

And has there been anything/anyone specific that has been inspiring you, or helping to motivate you, throughout these strange times? 
I have always been impressed by the fact that human beings are capable of giving and being the best and the worst. And this is exacerbated in times of crisis. This strange period has concentrated all this paradox. What I mean to say is that what helped me to keep some hope is to see the solidarity and the strength with which some people fight to help their neighbours and to find solutions to support those who need it. It helps to keep hope in a possible future in these difficult and anxious times.

How do you feel the music industry is for new bands at the moment – would you say it’s difficult to get noticed?
On the one hand I think it’s much easier to get known than when I first started out, twenty five years ago. Thanks to social networks, anyone can film themselves singing in their kitchen, or record a song with their band and even shoot little videos and broadcast them. But at the same time, there is such a quantity of videos and musical projects that, paradoxically, it is much harder to stand out. There used to be “niches”, networks that helped artists make their way in this or that musical genre. Now, I have the impression that despite the great diversity that exists, what is finally audible is very formatted. I’m not sure if it’s easier in the end…

As we’re a new music focused site, are there any other upcoming bands that you’d recommend we check out?
I would advise you to go and listen to other bands from Rennes, like the young Guadal Tejaz, or The 13th Hole (not as young!), which are part of the family of bands that rehearse at the Balloon Farm studio where we recorded the Versari album. There is also Lighthouse, Laëtitia Sheriff and Frakture …

Finally, what does the rest of 2021 have in store for Versari? 
We just released the four tracks with the remixes and the video of ‘Brûle’. And then we have some concerts planned, in France and in England: we are booked in London at The Dublin Castle on 13th November with 1919… We hope there will be others, after a year of frustration and disappointments, we are so eager to play our album live!

Massive thanks to Laureline for answering our questions!

Versari’s Brûle EP is out now. Listen here.

Photo Credit: Renaud de Foville

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