INTERVIEW: A. A. Williams

Due to an admin error, I’m running twenty minutes late when I get through to A. A. Williams to chat about her new album, Forever Blue, on Skype. I apologise and self-flagellate saying I hate to keep people waiting, but she’s genuinely not bothered by the tardiness and like me, she also can’t deal with being late herself. I feel instantly at ease.

“Is it alright to do this off camera?” she asks. “I did an online interview the other day where I spent about 15 minutes watching this lovely Dutch man waiting for me to un-mute my microphone, because I couldn’t do it for love nor money at the time. I just watched his face for 15 minutes thinking ‘this guy must hate me'”. It’s reassuring to hear someone else is a little fatigued and confused by the “new normal” of interviewing via video conferencing software. “I’d rather just go for a cup of tea to be honest.” She can’t see me, but I nod so enthusiastically it’s embarrassing. I quickly laugh and say I often feel like a budgie pecking at its own reflection in a toy mirror when I’m sat on a group video call, so I’m happy to chat off camera.

For those who don’t know, A. A. Williams is a classically trained, multi-talented musician whose blending of post-rock and post-classical elements makes for exquisitely raw listening. She released her self-titled EP in January 2019 via Holy Roar and is set to release her debut album Forever Blue via Bella Union on 3rd July. Before the UK went in to lockdown in March, she gave her debut performance at Southbank Centre’s Purcell Room. “We were like Indiana Jones sliding under the door coming down, we only just got that gig done” she jokes. “It felt like an unwritten cut off point. It seemed to be a lot of people’s last show, and I’m glad I got that in before it all went a bit wrong.”

Williams recalls feeling “nervous as hell” on the night, despite the show nearly selling out. “I’m not that great at remembering gigs to be honest, I remember going on stage and going off stage. The stuff that happens in the middle is a slightly out of body situation. But having the cellists with me for the whole show was beautiful. It was a dream come true, if I could do that for every gig, I would.”

We talk about how a venue like Southbank Centre is built for classical music and a perfect way to experience her sublimely dark sounds. “It’s a bit of a luxury to play somewhere like that to be honest. People spend millions of pounds acoustically designing these rooms, so they’re fabulous. They’re a joy to watch music in to. You can take your drink, sit down, relax. It’s a nice change from squished sweaty venues. A little bit of the high life.”

Unfortunately, for both musicians and their fans this “high life” has been abruptly put on hold due to the current pandemic. Southbank Centre’s doors are shut, as are the squished smaller venues across the UK during lockdown. To keep herself busy during this gig-less period, Williams has worked on her “Songs From Isolation” series. She shared monochrome videos of her covering tracks by Radiohead, Deftones, Nick Cave, and Nine Inch Nails.

“I put up a message on my Instagram saying I would like to do some piano-based songs to try and use my time and be productive” she explains. “I thought people would be like ‘Hey, can you play ‘Belong’?’ but instead they were like ‘Hey, can you play Nick Cave?’ It wasn’t what I had planned, but it was actually a really nice surprise. Lots of people suggested the same artists, so it was a nice challenge to try and choose a song that would be right for my voice, and that I felt I could do some justice to. I didn’t want to choose something super obscure.”

I ask about her process for deconstructing each song, and wedge in that my personal favourite is her cover of Nine Inch Nails’ ‘Everyday Is Exactly The Same’, which she says took her the longest to work out. “First, I’ll figure out the chords, lyrics, and structure on the original. Then I figure out if I need to change the key to accommodate my voice, which I didn’t need to do on NIN, which was great! I listen out for any motifs rhythmically or melodically. With these covers, I didn’t want to risk it ending up like karaoke. I was trying to keep as far enough away from the original so that we wouldn’t end up in that place. Sometimes it’s easy, sometimes it takes forever, but I think it’s worth it either way.”

I ask if Trent Reznor reached out to her after she shared the cover, even though he maintains a relatively elusive presence online (and is obviously incredibly busy). “No, but I wish he had! I mean, there’s only so many times you can tweet ‘@trentreznor here’s my cover’, you know? I like to think that maybe he stumbled across it. I figured if he hated it, maybe he’d have got in touch? So it’s good that he didn’t I suppose.”

Williams’ appreciation of Reznor’s silence interests me. It suggests a natural patience and intuition for things. Her music is a beautiful balance between loud and quiet, heavy and soft, captivating and alarming. Her sensitivity to volume is what makes the drop-ins on tracks like ‘Melt’ feel so powerful. She recorded most of Forever Blue from her home studio in her North London flat, something which again requires patience and intuition.

“What’s nice is that you can do it any time you want. During the summertime I wake up early because the sun comes into the flat, and I pop in to the other room and start noodling away on demos at 5am, much to the disdain of my neighbours. I’ll record it – albeit not very well – and use that as a base to start to layer a few things in and get some ideas for some secondary melodic parts. In the process of doing that, I end up recording things that often end up being on the album. So, even though they’re part of the demo process, through the process of exploring what works for a song, some of those demo parts end up staying, which is nice.”

This freedom extends into Williams’ recording of vocals too. “I find recording vocals probably the most high pressure. Sometimes, if you’re recording them in a studio and you’ve got lots of people around you, and you’ve got to get however many songs recorded in a day, it’s nicer to be able to take your time at home. I can take as long over that as I want. Having said that, I do live with the bleed of delivery drivers, motorbikes, screaming kids and all sorts of other average London sounds. There’s a hospital just down my street, so there’s probably an ambulance recorded somewhere on the album, along with my dog who has a habit of barking during vocal takes. Have you ever heard a dog bark down your headphones? Oh my god, it is painful. It’s so loud with all the delay and the reverb – if he heard it he’d probably think it was the best thing ever.”

I can’t resist asking what kind of dog she owns.

“He’s a long-haired dachshund. He’s just had his hair cut, he’s very happy with himself. He’s the only person I know in lockdown who’s managed to get a haircut.” As a fellow dachshund owner, it takes all my will power not to turn the interview into an extended piece on why dachshunds are the greatest dogs in the world.

“But yeah, there’s a lot of pros about working from home, but the negatives are always going to be that you’re going to have sound bleeding and you’ll have to spend more time on eliminating that.”

I ask Williams if she has a favourite track on Forever Blue. “That’s hard! That’s not fair, that’s like asking which is your favourite child” she laughs. “I’m not sure. I think in a way, one of my favourites is ‘I’m Fine’ which is the last song. I don’t really know why, it found this accidental place at the end of the album. You land in a hopeful place, it’s not all doom and gloom. It’s a small simple song, but I find songs like that quite cathartic to listen to.

Having said that, I find songs like ‘Love and Pain’ and ‘Melt’ very enjoyable to listen to, partly because I associate them as songs to perform live. The joy of just making lots of noise, let’s be honest, is just great. There is something very cathartic about sticking all the pedals on and making a racket, it’s a very therapeutic experience. I love playing ‘Melt’ live. When we were playing earlier in the year, we’d play it in the middle of the set, and finish with ‘Control’ because I figured if the crowd were going to know any of my songs, it’d probably be that one. But now because of the album, I have the excuse to finish with ‘Melt’ and have all the crazy drums at the end. I’m very excited about eventually being able to get out and play it again. Show it off a bit.”

I ask Williams to reflect on a sentiment she expressed in an interview with Metal Hammer in 2019. She’s quoted as saying “you have to take risks if you want people to take it seriously and be interested” when talking about her EP. I ask about what “risks” she took on Forever Blue.

“There are always going to be people who are doubtful of their output, and people who are going to be confident, and I am the typically doubtful kind. This stuff being out in the world is kind of a risk, to a point. I can’t imagine anyone would make an album and not care if anyone liked it. They want people to embrace it and find a place for it in their own listening.

Including guest vocalists on this album has been an element of risk I suppose. I want people to think it’s an added texture that I couldn’t provide myself.” Forever Blue features guest vocals from Johannes Persson (Cult Of Luna) on ‘Fearless’, Fredrik Kihlberg (Cult Of Luna) on ‘Glimmer’ and Tom Fleming (ex-Wild Beasts) on ‘Dirt’. “As long as you just trust your gut, hopefully that will pay off. I think that’s the only way to do it” Williams explains. “Otherwise I’d never do anything. I’d be worried too much, and I’d just stay at home, staring out the window, being scared of things.”

This fearlessness is something that extends in to Williams’ music and lyricism. Her ambiguous words and fluctuating volume levels are what make Forever Blue such a captivating listen. “Let’s be honest, sometimes volume is great, but you do need a break”, she explains. “In terms of the lyrics, I think my base level of misery is lower than your average person, so I don’t look at those lyrics and go ‘wow, that person’s miserable’, but I can see how some people might. I think everyone’s on a scale with this stuff, but ultimately, it’s just the human condition. Finding someone who’s permanently happy – apart from my dog – is not possible.

People will read into the lyrics in different ways, and that’s what I want them to do. I remember when I first played my Mum my EP, she said, ‘are you worried about coming across as vulnerable?’ and I wasn’t really. I don’t mind being open and honest. These songs are how I feel, and that’s fine. I can’t write from someone else’s perspective. Hopefully people can kind of make it their own a little bit. It becomes a little bit more personal.”

Another interesting fact about Williams in the Metal Hammer interview is that she found a guitar on the street one day with a note saying, “please take me, just needs work”. After a friend performed guitar surgery on the abandoned squire telecaster, Williams – who’s originally a trained cellist – began teaching herself to play it by “mucking around” writing songs. I ask if she has any advice for any musicians who are thinking of learning a new instrument, or anyone who’s learning to play for the first time.

“Even if you’re starting something completely from scratch, it’s so worth it. It’s easy to be frustrated if it doesn’t sound incredible immediately. The amount of times I’ve picked up something and gone ‘I’m gonna learn to do this! Oh look, I’m awful, goodbye…’ Learning instruments takes years, and years and years, but some instruments are much more approachable than others. Guitar, piano, even if you buy a new Mac laptop, it comes with garage band. You can immediately start making little loops and beats, you don’t have to have a clue what’s going on. It’s all there. Just start mucking around with it, just to get your head around the basic elements of what makes a song. You don’t have to be a whizz instrumentalist. You’re not going to get good at it over night, but if you’re doing it for you, that’s cool. If you want to write songs and you’ve got something to say, just do it. Who cares if the chords sound a bit weird? It’s just practice and becoming confident, and thinking that it matters to you.”

Williams’ passion for artistic expression extends beyond music too. “All art is worth it. Whether you doodle, write poems, make little videos – whatever it is – it doesn’t matter. It’s so important to try to give yourself time to do this. Even if it’s just for fun, and you don’t plan on ever showing it to anyone. It’s a really great experience to just sit down, just you and your brain and a piece of art that you’re making. I have no idea what I’d do if I wasn’t a musician. I’m so glad that I operate in an artistic field. I don’t know what I’d do without it.”

I ask Williams what music (aside from her own) she’s been listening to during the lockdown period. She listens to Perturbator when trying to motivate herself to “get on with things”, but her enthusiasm for Run The Jewels’ new album RTJ4 is palpable. “I’ve been known to rap along to Run The Jewels on the bus, out loud, on my own. I think RTJ2 is my favourite album of theirs, but with RTJ4 I feel engaged and emotional about what they’re saying. It’s weird when music hits you that hard sometimes when you’re not expecting it. I have to say, on the first listen, I had a little cry. It’s so powerful.”

RTJ4 was released shortly after the murder of George Floyd, a black man in Minneapolis, Minnesota, who died after a white police officer used excessive force to restrain him during an arrest. The footage of the officer’s knee on Floyd’s neck as he repeated the line “I can’t breathe” sparked worldwide protests by Black Lives Matter activists and their allies, calling for an end to police brutality against black people.

“It’s amazing the number of tweets I’ve seen about the song ‘Walking In The Snow’ which has the line ‘I can’t breathe’ in” says Williams. “People were asking if they’d recently gone back in to the studio to record this track because of what happened to George Floyd, and the band were like ‘No, this was recorded in November 2019’, so the fact that this is still happening is insane. The track with Mavis Staples on is also absolutely beautiful.”

2020 has certainly been a tumultuous and frightening year so far, but it seems that Williams is engaged with everything that’s happening, and grateful to have music as her outlet. Forever Blue feels like a state of mind right now, and her careful treatment of the noisy and the quiet on her debut album is ultimately a soothing experience.

I guess it also helps that she has a cute dachshund to distract her too, something which I bring up again. “He has his own Instagram. It’s @geezerthepup. He’s named after Geezer Butler from Black Sabbath, obviously. You can find him on there being cute and fabulous. I don’t do his Instagram, my husband does it. It’s just a bit of fun.” That’s certainly something we could all do with a bit more of these days.

You can pre-order A. A. Williams’ album Forever Blue here.

INTERVIEW: A.A. Williams

A creator of heavy, beguiling soundscapes; London-based musician A.A. Williams has been compared to the likes of Chelsea Wolfe and Emma Ruth Rundle, but she’s captivating in her own right. Her 2019 self-titled debut EP caught the attention of critics and fans, and now she’s set to return to the prestigious Roadburn Festival in April this year, as well performing a headline show at London’s Southbank Centre in March. We caught up with Williams to ask her about her EP, her collaboration with Japanese instrumental giants MONO, and her anticipations for her London gig…

 

It’s been just over a year since you released your debut EP (Congratulations!) What are you most proud of about this record? And do you have a favourite track?

Thank you! I’m so pleased that the songs resonate with people. Hearing so many positive words from people at shows makes me very proud of what these tracks have become. I don’t have a favourite song. They are each important to me in their own right.

You beautifully cover Dolly Parton’s track ‘Jolene’ on the EP. If you had to pick someone to cover one of your tracks, who would you pick?

I think Johnny Cash would have done a beautiful version of ‘Control’.

The EP also features three “stripped down” live rehearsal recordings. What process do you go through when deciding which songs you’re going to strip back? What elements of a live recording do you enjoy the most?

Generally, each song can be stripped down, because each song begins in that form, as a voice and with either guitar or piano. The hardest thing is to decide how to treat the instrumental sections, sometimes I’ll sing a guitar line or incorporate a few melodies into one piano part, but generally the main focus is to ensure that the arrangement has enough space and doesn’t sound too mechanical. I love all elements of recording, I’d spend every day in a studio if I could. The best thing is to press record when you’re running a song, just in case, even if you don’t feel fully prepared! You never know what magic will happen.

You’ve just released a split EP with MONO. We know you toured with them last year, but talk us through how this collaboration came about, and what the reaction to the record has been like so far.

Taka heard my EP and got in touch to see if working together would be something I’d be interested in. I’d met the band briefly at Roadburn 2019 (I was performing with them during their headline show. They performed ‘Hymn To The Immortal Wind’ with a string quartet, of which I was a part), I couldn’t wait to take on the opportunity! We emailed some ideas between us and gradually found the time to record in July last year. I’ve been so pleased with the reaction. It’s great to see that fans of instrumental music are open to the inclusion of vocals and a slightly different approach.

You’ll be making your Southbank Centre debut when you headline The Purcell Room on March 12th (tickets available here). What are your anticipations for this gig?

I’m so excited for this performance. I’ll be extending the full-band line up to include a string quartet and adding some guest vocalists too. Up to this point, all of my shows have been supports or festivals, so it’ll be a joy to be able to spend more time on stage and create a fuller show.

Do you have plans to release new music this year?

I’m always writing, so fingers crossed!

Who, or what inspires you to create your music?

I find writing a very therapeutic process, so I’ll often begin working on a song because purely because I find it enjoyable. I don’t deliberately write inspired by anything or anyone, though ultimately we are each a sum of everything we’ve ever heard, seen and felt.

You’re returning to Arctangent festival this year in August. Is there anyone on the line-up you’re looking forward to seeing?

I’m really looking forward to seeing Maybeshewill and Amenra, and I’d like to catch Swans and Svalbard too! The weather was so awful last year that I didn’t really get to see many other artists, so hopefully I can remedy that this time around.

As we’re a new music blog, we always ask the artists we interview to name a new band or artist they’ve been listening to. Who would you like to recommend?

Gaupa’s 2018 self-titled EP is so good! It’s as if Björk had formed a psych-stoner band. Also, I know they’re not new, but I was recently introduced to Khemmis. I’ve really been enjoying their album, Absolution.

Thanks to A.A. Williams for answering our questions.
Follow her on Facebook & Spotify for more updates.

GIHE Personal Highlights 2019

It’s that time of year again when we look back at some of our highlights of the last twelve months. And, despite coming to a pretty horrific and terrifying end, 2019 has been filled with some pretty memorable moments… 

So far, we’ve shared our favourite tracks, albums and gigs of the year, and we’ve yet to reveal our Ones To Watch for 2020, but for now, here are our personal overall highlights of the last year…


Bikini Kill Reforming
When news that Bikini Kill were reforming broke earlier this year, I didn’t quite know what to do with myself. Despite seeing The Julie Ruin twice now (the second time at KOKO probably being the most special gig I’ve ever been to), I – like many other people I know – was desperate to get tickets; seeing the Riot Grrrl pioneers back together, reunited with the original line-up (with the exception of guitarist Billy being replaced by Erica Dawn Lyle) would be a once in a lifetime opportunity. Thankfully, I succeeded. And what an experience it was. Although I started to feel anxious on the way to Brixton Academy about this event I’d built up so much, the minute Kathleen, Kathi, Tobi and Erica graced the stage (after a fantastic and career-building set from Big Joanie), all worries and negative thoughts disappeared. I was completely immersed in the empowering, inspiring force emanating from these heroes of mine. And, as those first few notes of personal favourite ‘Feels Blind’ hit, I felt my eyes fill up and my heart break just a little. A truly memorable experience, not only because of the incredible womxn in the bands, but the hoards of familiar faces of amazing womxn and allies that filled the venue – all of us seeking solace in our favourite band, and in the unity of being with each other. So, thank you Bikini Kill, for being a constant source of motivation, for so-often giving me the strength to carry on, and for giving us all the opportunity to see you live – an experience I never thought would be possible.
(Mari Lane – Co Founder/Managing Editor)

Bikini Kill Reforming
Watching Bikini Kill live at Brixton Academy earlier this year was a life-affirming event. I was stood next to my cousin, an original ’90s Riot Grrrl, and surrounded by my GIHE grrrls and allies, and I felt an overwhelming sense of belonging. Bikini Kill have given so many women the confidence to start a revolution – whether that’s personal, political or musical – and their live show proved that even after a 20 year hiatus, they’re still as riotous, raw, and committed to giving girls and women that power. Watching Big Joanie support them was also a pretty special experience, which they relayed to us when they were guests on our radio show shortly afterwards. I feel very privileged to have seen these women grace Brixton Academy’s stage.
(Kate Crudgington – Co-Founder/Features Editor)

Missy Elliot Blitzes MTV Video Music Awards
For about as long as I can remember, it feels like Missy ‘Misdemeanour’ Elliot has been a revered figure. A pop-star sure, but a rapper, writer and producer too. An uncompromisingly offbeat, yet still charismatic figure, and an unconventional individual in an industry that leans heavily towards the conventional in its pursuit of profit. She’s someone who could talk about sexuality, but not be exploited as a sexual object. An innovator who succeeds in taking her audience with her, by making deceptively simple music that doesn’t talk down to the listener. This particular performance came as part of her receipt of the 2019 MTV ‘Video Vanguard’ award at the annual awards show and reflects Elliot’s long-standing position at the intersection of pop, hip-hop and electronic music, as a woman of colour completely in control of her sound, her public persona and her image. But, in truth, I couldn’t give a toss about the VMAs themselves. Credit where it’s due – the staging of this reflected Elliot’s career, and her performances of a medley hits including ‘Pass That Dutch’ and ‘Work It’ were spot-on, whilst the show’s costume changes were satisfyingly ludicrous (camo to inflated PVC to scarecrow to day-glo tracksuit). The footage also shows latter-day pop mammoths at the side of the stage, singing and dancing like they were fans off the street. That’s the Missy effect – it lets anyone, even Taylor Swift, get their freak on. The performance is a mere seven minutes, but it showcases exactly what’s possible when artistic integrity is combined with originality and a dump-truck of talent. In a year of cynicism, this was music at its most gleeful.
(John McGovern – Contributor)

Queens Of Punk: Poly-Styrene & Jordan, The British Library, July 2019
Prior to having Celeste Bell on our radio show earlier this month, this summer I attended a very special night celebrating Queens Of Punk at The British Library. Hosted by self proclaimed ‘Professor Of Punk’, Vivien Goldman, the panel discussed the release of two books about two of the most legendary ‘queens of punk’: Defying Gravity: Jordan’s Story and Dayglo: The Poly Styrene Story, by Zoë Howe and Celeste. The whole evening was particularly poignant, especially given that now, nearly 50 years after its emergence, when we’ve witnessed a regression in politics and equal rights, the spirit of ‘punk’ – and in particular these strong female voices – is needed now more than it has been for decades. Hearing about all the pivotal steps that these women before us have taken in a quest to be heard left me feeling inspired and motivated. As Goldman said at the beginning of the evening, now is certainly the time to revive the punk spirit, to unite and overcome adversity: we need strong figures like Poly and Jordan now more than ever. Read more about the night here.
(ML)

Noga Erez Interview, November 2019
I remember replying quickly, and in caps lock, when Mari told me we had interview time with the brilliant Noga Erez. I also remember trying to stay calm, and not fan girl, when I walked into the room to meet her a few weeks later. Noga was incredibly welcoming. She patiently answered my many questions, and made me laugh when she asked if “Get In Her Ears” meant the same kind of thing as “Get In Her Pants”. Read the full interview here.
(KC)

GIHE Radio Show
I’ll be here forever if I start talking about how much fun I’ve had hosting or co-hosting our weekly radio shows this year. Here is a very brief re-cap of my favourite guests: Foxgluvv, Big Joanie, ARXX, Bengi Unsal, ESYA, Jelly Cleaver, Girls Rock London and Celeste Bell.
(KC)

Indietracks, July 2019
Indietracks is always the highlight of my summer, hands down. So much so that I now volunteer there. This year, though, the indiepop festival, which takes place at a vintage railway station in Derbyshire, felt particularly special. While many festival line-ups remain overwhelmingly male, all three of Indietracks headliners were female-fronted bands. There was a real celebration of non-binary and queer artists too. One of the most special performances was The Spook’s School’s final Indietracks show. The band, who were Indietracks regulars, penned a special tribute song to the festival and, basically, just made everyone cry their eyes out. Oh, and there were balloons! Porridge Radio, Bis, LIINES, The Orielles, Peaness and Martha were amazing too. And while the endless rain might have soaked everything we owned, it didn’t dampen anyone’s spirits. Indietracks is such a special, cosy and inclusive festival; I’m looking forward to taking my kids again next year. There’s already a couple of exciting rumours about the line-up, and it’s got to be time we had a bit of sun, surely?! Indietracks 2020 takes place from 24th – 26th July at the Midland Railway Centre in Butterley, Derbyshire. Tickets and more information are available from https://www.indietracks.co.uk/
(Vic Conway – Contributor)

Bang Bang Romeo Interview, October 2019
It really was such an honour to interview Stars and the rest of Bang Bang Romeo prior to their sold-out gig at Omeara earlier this year. Just genuinely nice people, with an admirable enthusiasm for all they do, they discussed their love of music, working with P!NK, their upcoming releases and ‘that’ topic of being a ‘woman in the industry’ – “I wanna be on a line-up for a festival because I’m good enough, not because I’ve ticked a box. Not because there’s a space for my vagina! I don’t want to be a statistic on your fucking spreadsheet. I’m here because I’m good enough.” Stars’ assertive and vibrant nature is something that I truly admire, and wish I had more of. She’s a force to be reckoned with, an essential strong presence in today’s industry. Read the full interview here.
(ML)

Talking On Panels At Southbank Centre / Skivvy Records
Get In Her Ears have received some incredible invitations to talk about what we do as a non-profit organisation this year. Tash & I spoke on two panels at Southbank Centre. The first was for a Women In Music event, where we spoke about the representation of women & LGBTQ+ people in the music industry. The second was for Jazzworks and The London Jazz Festival, talking about issues faced by women & LGBTQ+ people in the industry as a whole. I also loved speaking alongside Mari on another panel for independent label Skivvy Records at Peckham Levels. We met so many inspiring young women, and hopefully provided them with some information about how to get past the many hurdles we ourselves have come across.

I can’t believe I’ve gone from listening to music alone in my bedroom, to talking to rooms full of women and girls about the work I do alongside Mari & Tash at Get In Her Ears. It’s something I’ll never take for granted.
(KC)

Our Wedding, August 2019
Well, we did say ‘personal’ highlights… But seriously, I couldn’t really round up this year without mentioning marrying to the best person I know. My new spouse, Paul, is a truly wonderful ally, and someone who Get In Her Ears wouldn’t exist without – not only does he create most of our artwork, and help with all the technical aspects of running a website, he inspires me every day. I pride myself on being an independent woman, but his constant support and enthusiasm for all I do is unmatched, it’s what keeps me going when I feel like giving up. He is constantly helping me come up with new ideas and strive for new dreams. Everyone who was at our wedding inspires me constantly, and it was pretty special just spending a whole day with all the people we love in one place. Aside from the obvious getting married to the best person thing, highlights of the day included: walking down the aisle to Deep Throat Choir, my family forming an epic ‘Lane Band’ and performing amazingly, Tash tearing up the dance-floor with one of my nieces, and Kate literally running for her life from the toilet when she heard ‘Rebel Girl’ was playing (never seen anyone move that fast!). Massive thanks to our Jon Mo, too, who made an exception from gig photography, to capture all the action!
(ML)

And thanks to everyone who’s been following, reading, listening and attending gigs of ours, this year – it really does mean the world, and we couldn’t do this without you.

Listen to our Best Of 2019 playlist, with added personal highlights, now:

 

Mari Lane / @marimindles
Kate Crudgington / @kcbobcut
John McGovern / @etinsuburbiaego
Vic Conway 

JazzWorks ‘Jazz Is For Everyone Panel’ at Southbank Centre Feat. GIHE (Free Event)

GIHE are thrilled to announce we have been invited to speak on JazzWork‘s ‘Jazz Is For Everyone Panel’ at Southbank Centre (Level 5 Function Room) on Saturday 23rd November, as part of the EFG London Jazz Festival.

The panel will be chaired by Francesca Treadaway (Senior Communications & Public Affairs Manager, Incorporated Society of Musicians), and Maxie Gedge (Project Manager, PRSF Keychange Initiative), and CN Lester (musician & activist) and Liz Exell (Musician & Founder of Jazz Herstory) will also be speaking alongside GIHE.

Running from 4-5pm, the panel will discuss how far has the industry come in supporting artists of different genders and gender minorities, and which barriers still exist for artists who identify as a range of genders to making music, and building a sustainable career. JazzWorks aim to facilitate a conversation between industry representatives, funders, and musicians on how the current infrastructure is supporting these artists, and where they need to go next.

JazzWorks will be curating a full day of workshops, talks, and networking opportunities on Saturday 23rd November, so we urge you to turn up early and attend as many as you can!

Reserve your FREE ticket for the ‘Jazz Is For Everyone Panel’ here.

Find out what other JazzWorks events you can attend here.

This session is part of JazzWorks, EFG London Jazz Festival 2019’s dedicated day of discussion and debate focusing on some of the most important topics facing jazz and the music industry at the moment. The official partners for JazzWorks 2019 are Help Musicians UK and Incorporated Society of Musicians