Posts Tagged ‘singer songwriter’

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Nilüfer Yanya, a West Londoner, draws inspiration from jazz and soul for gentle but achingly insistent songs driven by her own acoustic guitar fretwork. Watch her session from our day stage during SXSW.

This London-based  singer songwriter Nilfufer Yanya joined the PledgeHouse day party on March 13th at SXSW. The up-and-coming alternative/indie singer showed off her new-age sound, astounding the audience with her subtle saxophone and guitar arrangements, supporting her gorgeous, deep voice.

Nilüfer Yanya, a West Londoner, draws inspiration from jazz and soul for gentle but achingly insistent songs driven by her own acoustic guitar fretwork.

Songs performed 1:05 Angels 5:32 Golden Cage 14:25 Thanks 4 Nothin20:01 Baby Luv



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Not Even Happiness is lyrical nourishment for the soul. Throughout the album, Byrne’s deep, resounding voice melts into orchestral arrangements like waves lapping on a shore, as the aptly named, ‘The Sea As It Glides’ suggests. Meanwhile, the gentle pluck of guitar strings brings an earthy twang to Byrne’s solemn ode to dual existence. There is both vulnerability and quiet strength in Byrne’s observations of the natural world and her place within it. The listener is immersed in the sprawling landscapes of America’s mid-west: its vast prairies and ‘That long-forgotten feeling of silence’ that overwhelms mind, body, and soul. Byrne sings of love and heartbreak, but the album is ultimately a journey of self-discovery and self-preservation, with traces of a spiritual awakening and renewed faith in God: ‘I’ve been sitting in the garden / Singing to the wind / I’ve been searching for an anchor / I’ve been seeking God within.’

Lucy Rose has been around for a little while, but is one of those artists that just keeps getting better & better. She’s sublime, I think as a songwriter , It will be really interesing to watch her further progress in 2018 . Lucy’s third album ‘Something’s Changing’, released a mini-documentary and gone on a tour of cinemas across the country.

As 2018 begins Lucy’s not putting her feet up with a cuppa. Instead, she’s shared a brand new track, ‘End Up Here’, which was recorded during the sessions for ‘Something’s Changing’. It’s a sparse, guitar-led number that puts Lucy’s vocals and words at the forefront.

This is the official video for ‘End Up Here’ by Lucy Rose

Lucy Rose’s splendid return ‘Something’s Changing’ was another record we’ve had listening too on heavy rotation since the summer. After you’ve dug into the stunning record, watch the moving documentary of the same name to learn about the inspiration behind the songs.

Something’s Changing is out now on Communion Records.


This 21-year-old young woman from country Victoria is leaving everyone stunned by her raw lyrics and haunting melody. Jack Grace is producing her, adding the electronic elements driving the beats and sonics. This one is going to be a special one!” .The Australian talent wrote ‘Figure It Out’ recently, with production coming from fellow rising artist Jack Grace.

A simple piano and vocal combination, it’s remarkably effective, with the songwriter dreaming of a return to her youth. Yearning for a simpler time, this theme turns the video into something extraordinarily effective.

Shot in Eliott’s home town and even features some of her family and friends.

“I think it was so important to go back to my hometown for this video,” she says, “It was such a special few days filming, because I got to do it with all of my best mates – there was no acting, it was honest and real. Figure it out is about leaving the comforts of home and doing something purely for yourself.”

Following the release of her acclaimed debut single ‘Figure it Out’ rising newcomer Eliott, has just revealed a video for her next single release ‘Over & Over’ which is released on the 2nd  March 2018 and has been produced by rising fellow Aussie artist Jack Grace.


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Being widely tipped as one of most likely artists of 2018, South-East London songwriter Carmody is enjoying a huge wave of support from music bloggers drawn to her candid story telling style woven into her music which deftly unites the gulf between folk and pop. Using guitars, electronic instrumentation and keys to supplement her light vocal style which is laden with anguished emotion and heartbreak.

Developing out of the capital cities vibrant DIY scene, most discovered her through her collaborations with Alfa Mist, Laura Misch, Nick Leng and Tom Misch with whom she teamed up with on the single ‘The Last Song’ and to create their ‘Out To Sea’ EP. Blending hip hop with soulful guitar work, the five-track release was a massive hit with the music press and quickly saw her name spread.

“Most of my songs seem to be about memory and loss in all their different shapes and forms.”

She has subsequently made further release whist working independently including the EPs ‘Skin’ and ‘2nd Exit’ and shown a massive creative outburst with tracks ‘Like That’ and ‘The Ways Of Your Love’ being brought out in recent months. Her prolific roll continues, aiming to bring out her debut album this year.

“I think it’s pretty essential to push yourself out of your comfort zone; I’m always trying to find new chords and challenge myself to write about new things in order to continue to develop my songwriting.”

Carmody has just announced a handful on headline dates for May 2018. Expected to sell quickly, book your ticket today!

  • 14/05 Carmody – The Castle Hotel, Manchester
  • 15/05 Carmody – Sunflower Lounge, Birmingham
  • 16/05 Carmody – Crofters Rights, Bristol
  • 24/05 Carmody – Bush Hall, London

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Let’s be fair, ticket touting is one of the most frustrating aspects of being a music fan. You could spend hours in front of your computer, getting ready to buy tickets to an upcoming gig, only to see that touts have beaten you to the punch, and have listed those same tickets for three times the price on resale sites.

One of the most recent artists to come out against this holy unfair practice is Vance Joy. As reported a couple of days ago, Vance Joy has partnered up with ticket resale service Twickets to ensure that those who wish to purchase or sell tickets to his upcoming concerts don’t get ripped off, or manage to rip anyone else off. It is a much-needed approach to ticket sales in Australia and definitely should be practised here in the UK, and here’s hoping that Vance Joy’s involvement in the service leads to most, if not all, musicians supporting a platform like this, crushing those awful scalpers in the process.


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I’ve always loved making music videos and if I could I would make one for every song. I especially wanted to make a video for ‘All That Fear’ and came up with the idea to film a video where the only thing that changed in each shot was the placement of natural light.

My husband Will Morris filmed this in our hotel room in Brisbane using the light coming in from our one window. It was our first night in Australia, I was pretty jetlagged, had no makeup on, unwashed hair and I had nothing to hide. I wanted to show you a side of me that for so long I wouldn’t have shown anyone and a side of me I’ve grown to love. The natural me, the real me.

I think music can show so many different sides of a person and I wanted this video to reflect that. Once we had filmed it we sent the files from Australia to England and my friend George Cotterhill (who filmed my video for ‘Is This Called Home’) edited together the footage for us and here’s the end result.  Lucy Rose

Something’s Changing’, the album, out now


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Christopher Paul Stelling is a songwriter based in New York City.
Having  been building a reputation as a formidable and passionate performer, his debut album, “Songs of Praise and Scorn” saw its release way back in February 2012 to much acclaim. Christopher has played well over 150 shows in 2012, and continued touring through the beginning of 2013. After an upcoming european tour, his followup record False Cities was released May 21st 2013. 


Stelling’s official debut album was self released on February 21st, 2012. Songs of Praise and Scorn was recorded with friends over a 5-day period in August 2011 in a 200-year-old, actively working funeral home in Kentucky. Fifteen songs were recorded, but only 10 made the cut for the actual album.  The album was met with very favorable reviews, prompting The Village Voice to say, “Every song on his debut album Songs of Praise and Scorn cooks with both down-home comfort and avant-garde brio, Stelling building earthy folk troubadour stories over a fluster of wild arpeggios.” American Songwriter noted, “Stelling is an artist who can leave one shaking one’s head in bewilderment over how somebody can play difficult guitar parts and sing a completely disparate melody line at the same time. But he also hasn’t forgotten how to just play simple chords when that’s what a song calls for.


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In the process of writing and recording her new album, Richmond, Va.-based singer-songwriter Natalie Prass ran into what has become a familiar artistic roadblock nowadays: the 2016 U.S presedential election.

Prass had her album written, her band assembled, her studio booked … and had to change course completely after you-know-who somehow came out on top. The result was The Future and The Past, due out on June 1st via ATO Records, the follow-up to Prass’ breakthrough, self-titled debut and her covers EP Side by Side, both released in 2015. the press release for the new album “finds Prass tapping into deep, dancey grooves that glisten with ‘80s pop and ‘90s R&B, nestled alongside quivering, lushly orchestrated ballads.” The first of those is “Short Court Style,” the video for which debuts here.

Directed by Prass herself and Erica Price, with Jethro Waters (Angel Olsen) as Director of Photography, the “Short Court Style” visual features a colorfully dressed Prass bringing jubilation to an otherwise-dreary park in her home state. She spins on a merry-go-round, performs with ribbon dancers and generally delights. “Short Court Style” itself is equally joyous: Prass offers figurative revolutions to match the video’s literal ones, singing, “Oh you spin me round / Round and round / Had ups and downs / No but I can’t be without / My love that I have found.” The song’s irresistible groove makes for a slick and spirited showcase of Prass’ exquisite vocals, emphasizing her R&B leanings in irresistible fashion.

Prass recalls the rocky road that led to her uplifting new album:

The record was ready to go, and then the election happened. I was devastated. It made me question what it means to be a woman in America, whether any of the things I thought were getting better were actually improving, who I am and what I believe in. I knew I would be so upset with myself if I didn’t take the opportunity to say some of the things that meant so much to me, so I decided to rewrite the record. I needed to make an album that was going to get me out of my funk, one that would hopefully lift other people out of theirs, too, because that’s what music is all about.

Prass recorded The Future and The Past in Richmond with long-time collaborator Matthew E. White at his Spacebomb Studios, teaming up with artists including Blue (Solange’s A Seat At The Table, Blood Orange, Carly Rae Jepsen) and Michael Brauer (Elle King and James Bay).

The new album from Natalie Prass, The Future and the Past, out June 1st


Haley Heynderickx

Spring is a time of rebirth and renewal—both for the individual and, obviously, the environment. Winter releases its grasp, the trees turn green, and flowerbeds come back to colorful life. But before flowers can bloom or those vegetables can sprout, there are a million little things that need to be done: there are bulbs to be planted, earth to till, seeds to be watered. So it’s fitting that Haley Heynderickx is releasing her debut record, the gentle and gorgeous I Need to Start a Garden, as the new season starts to peek around the corner. Throughout the album, Heynderickx focuses on the small moments in life—those necessary moments of toil and work that, ultimately, cause a person to grow. And though the album’s title refers to a literal garden, it should be noted that it’s aspirational.

“I grew up with some really wonderful gardeners,” she says. “My mother, for example, has really good intuition of what to plant and how. I was always bad at science in school. I want to get to know nature better.”

On I Need to Start a Garden, it often feels like Heynderickx has been getting to know herself better, too. “Show You a Body” is a stark, striking number where piano flutters between gently-strummed guitar and Heynderickx’s bell-clear voice. “I am humbled by breaking down,” she sings. On “The Bug Collector,” Heynderickx reconciles herself with her desire for perfection, and on “Oom Sha La La,” she sounds as though she’s working through her own insecurities in real time. “I’m tired of my mind getting heavy with mold / I need to start a garden,” she sings, building up to a shout as she repeats the lyric that gives the record its title.

Despite the songs’ effortless beauty—classic folk and Appalachia built around Heynderickx’s equally old-timey voice—the record didn’t come easily: it took three tries with three different producers for I Need to Start a Garden to bear fruit. Most of the issues came down to bad timing, but Heynderickx nevertheless found herself repeatedly wondering whether or not she wanted to keep going.“I felt like an onion, just so many layers of insecurity and weeping over not knowing how to do it right,” she says. “I found the right people with the right intentions, and it kind of became a labor of love, which is what I wanted it to be all along.”

The record isn’t Heynderickx’s only passion project—she also works as a teacher in an after-school music program helping middle-school students form rock bands. As they learn their instruments and write songs with a mentor’s guidance, the students learn about communication, self-actualization, and collaboration with each other. That, too, has found its way into Heyndrickx’s work. “It humbles me, getting to see them through different phases of feeling embarrassed and feeling empowered, and trying new things,” she says. “It makes music more human to me.”

Heynderickx has a keen eye and ear for those tender moments of humanity, and those observations turn up most explicitly in “Untitled God Song.” The track is a poignant take on spirituality: God doesn’t have to be some omnipotent force; rather, it’s possible to find tethers to something bigger than yourself through unconventional forces. Heynderickx sings that maybe her god has thick hips, a knockoff designer bag, and “a trot in her walk.”

At the time that she wrote it, Heynderickx says that she was struggling to find emotional support in her life. But she found unexpected strength through the advice of older women—most of them strangers, like customers at the bakery where Heynderickx once worked—who somehow happened to show up and say the right thing at exactly the right time.


“And then you’re crying at your customer service job because this older lady just saw the root of what you’re going through,” she says with a laugh. “It’s a really wonderful experience. Kind of embarrassing, but it’s kind of cool when someone older can see through you for a second. Recognizing those people in our lives that feel sacred—that was my way of saying thank you to that force, whatever it was.”

Though Heynderickx has her first record behind her and a long stretch of U.S. touring ahead of her, she says she’s still unsure what she’ll do next, artistically. “I have a lot of groundwork to do again, finding that safe space in myself to create again. I just want to write songs that feel honest and feel good to share, she says. “I hope I get to just do this again.” In the meantime, though, there’s always that garden to tend to.

Haley Heynderickx