Guest Blog: Chuck SJ

Innovative artist and activist Chuck SJ has been a big favourite at Get In Her Ears for some time now, having played live for us on more than one occasion, including most recently supporting Irish queer punks Strange New Places at The Rossi Bar in Brighton last year. Continuing their development as an artist and organiser, they introduced the BYENARY record label earlier this year: “A place for all those assigned flawed and miscreants at birth to find and create music that they can see themselves in. We support trans and queer artists to access and thrive in the music scene, focusing on analog physical music and community events.” And now, following empowering pop-punk anthem ‘Ur Not My Mum’ a couple of months ago, they’ve shared a stirring new single ahead of the release of their upcoming album next Spring.

To mark the release of ‘Lovesick Puppy‘, Chuck has written a few words for us; reflecting on what inspired the writing of the song, what it means to transition, the complex nature of grief, and their epic journey to write and record their album while travelling the UK’s canals with their trusty companion, Archer. Read below, watch the beautiful new video for ‘Lovesick Puppy‘ and sign up to Chuck’s mailing list now!

How fitting that I’ve been asked to talk about ‘Lovesick Puppy’ during a period of time where my past keeps chasing me. In another lifetime the planets would be my hyperfixation, but as it is, astrology has always been homework that sits on the bottom of my to do list. Fortunately, my world is so queer I breathe it in like second-hand smoke – I’m paying enough attention to know I feel more unsettled than usual, and that’s likely due to us all being in a ‘transition period’

What does it mean to be trans in transition? When does transition become complete… ? When the final box is unpacked? When the last tear is shed? When we’ve buried our last friend?

When I wrote ‘Lovesick Puppy’, I did so with itchy feet and a yearning to find whatever comes next. Enough time has passed now that the things, the people, the homes that I’ve found since have been and gone. The pursuit continues, and I have no idea what I’m looking for.

The song is the first from an album that I set out to write from my narrowboat whilst doing a 225 mile journey across the UK’s rivers and canals, just me and my dog Archer. What started off being about a need for solitude whilst simultaneously craving the queer community that city life brings, then transitioned itself into a conversation with the internet where I plead for answers around my mental health in a state of facism. In the end, it became a realisation that austerity has destroyed the way I grieve for my late mum.

I think my mum was the most awesome woman to have ever existed. She was funny, she was intelligent and she held a room in a way that I now know is no easy feat. So, to admit that a part of me doubts that she’d have loved who I turned out to be feels like an insult to her memory; a suspicion I should keep to myself. The reality is, it’s not her fault I hold these doubts, and it isn’t mine either. I have spent the past ten years living in a country where transphobia has dominated our headlines: despite the buffet of forever changing prime ministers that we’ve feasted upon, despite Brexit, despite the global pandemic, despite the rising cases in poverty, transphobia has never stopped trending. What if mum got swept up in that? I feel guilty for grieving my mum because I worry I’m too queer for her to have loved me if she were still here.

What a heavy realisation to have in the middle of nowhere on a boat without a person around, and how obscure to think I may have never made this discovery had I not set out to write this album. A brutal reminder of why I write music; it’’s how I figure out what I’m feeling.

I suppose that is what it is to transition. To move through these states of awareness with both confrontation and purpose, carrying the people we’ve lost along the way.

Huge thanks to Chuck for writing so beautifully about their new single and reflections. Their album is due for release in Spring ‘2027 under BYENARY records. Sign up to their mailing list to not miss it – this is particularly important with all the restrictions that are part of social media now, which mean that mailing lists are now an essential tool for musicians to reach people. Chuck’s also doing a Europeon tour from 25th November and would love to see some folk there. More details here. Help them cover the costs of touring by ordering some merch or a CD from their bandcamp now!

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Five Favourites – Blackwater Holylight

Having recently released their fourth album, Not Here Not Gone, LA based Blackwater Holylight combine dreamy psych-tinged soundscapes with a fierce power to create a sound that is entirely their own. As the glistening, woozy allure of Allison Faris’ delicate vocals ripples throughout, dirge-like hooks and propulsive beats reveal the band’s eclectic influences, showcasing their ability to interweave immense, doom-laden soundscapes with an immersive transcendental majesty.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with drummer Eliese Dorsay to ask about her “Five Favourites” and she’s picked five albums that have influenced her distinctive drumming style over the years. Check out her choices below, scroll down to listen to Blackwater Holylight’s latest single ‘Bodies‘, and make sure you check out the entire exquisite album too…

Uffomamut – Idolum
Uffomammut is a stoner doom band from Italy. I was fifteen, making art in my basement bedroom when this album popped on as a YouTube suggestion. As soon as I heard the first couple notes, I immediately perked up. I was listening to heavy metal at the time, but nothing quite like this. I noticed the drumming and thought “Oh man, I want to do THAT!”. This is the album that lead to me finding Sleep and Electric Wizard. Doom metal quickly invaded my life in the best way. When I finally started playing drums at seventeen, the first song on this album was the first beat I learned. From there I played along to the rest of the Uffomammut discography. Without them I would not play the way I do. 

Russian Circles – Geneva
This album is important to me because I learned a lot about dynamics by listening to it. Russian Circles’ songs are really cinematic and have a lot of movement. It’s what taught me how to build; starting with a minimal beat and slowly adding parts, moving around the kit to build intensity. This band in general definitely opened up my creativity on the drums – they know how to complement each other instrumentally, and take turns being the star.

Def Leppard – High ‘n’ Dry
Some of my favourite drumming ever is just simple straight forward Big Heavy Hitting. I found this album when I was twenty one and realised that’s the same age that drummer Rick Allen was when he lost his arm. By this point drums were becoming more than just a hobby for me; I was realising that I want to do this for the rest of my life. The thought of not being to play anymore for any reason is terrifying. Rick Allen’s story of determination and love for the drums is beyond inspiring. 

Inter Arma – Paradise Gallows
Although I can’t currently play in this style, it’s massively inspiring. The blast beat speeds are legendary, and they’re one of my favourite bands to watch live. They have a unique way of combining all the sub-genres of metal into one project. Not just the drummer, but the band as whole is incredibly talented and versatile. They’ve taught me that you don’t need to limit yourself to one style or genre. 

Bison B.C. – Quiet Earth
This is another album that I love for their unique style of combining different metal genres. They’re thrashier than just standard doom metal. I used to listen to this album on repeat getting ready for school in the morning. When I started playing drums I thought I could play along to it because I knew it all by heart, but it was much more difficult than I thought!! This album continues to push me – I’m still trying to learn little parts of it all the time. The only song I can mostly nail is ‘These Are my Dress Clothes’. Maybe someday I’ll be able to play the album all the way through. 

Huge thanks to Eliese for sharing her choices with us! Listen to Blackwater Holylight’s latest single ‘Bodies’ below, and make sure you check out their exquisite album, Not Here Not Gone, in its entirety too!

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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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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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