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A selection of articles from all our issues - go to 'The Magazine' to read them all, including exclusive interviews from Aston Barrett Jr., Niko Moon, Serena Ryder, Canaan Smith and many more...
Lyrical genius, humble honesty and emotional rollercoasters David DawsonSo anyone who knows me, or has taken the time to read some of my previous articles, will probably know that I’m a complete sucker for a song with a story. This doesn’t necessarily mean that I sit vibing in my room to ‘Humpty Dumpty’ though, and to be honest I’m not prone to spending too much time listening to cheesy love songs that detail every stage of the romance. I think for me, in some weird masochistic twist, the story telling songs that really appeal are those that dive deep into some sort of pain or anguish. I love that connection you feel to the music either through sympathy for the artist or an empathy, having had similar experiences yourself. What I also love is songs that shed light on a perspective that maybe we hadn’t previously considered. Justin Bieber’s ‘Lonely’ received high praise from myself (I’m sure JB is over the moon with that) for telling his side of the story and detailing that whilst many of us saw a spoiled rich kid we didn’t stop to consider the challenges he was facing.
Some of you reading may also know that I’m a big fan of Quadeca, the rapper who made his name on YouTube. Having reviewed his artistic and powerful ‘From Me to You’ last year and shedding praise on it (I’m sure Quadeca is just as excited as Bieber was) I thought it would be good to go back and review one of the songs that made me so interested in the artist in the first place. Yes that’s right, I’m writing a review on something that was released three years ago. Some would say late to the party – but really I just wanted to switch it up; so instead of reading my ramblings on the latest new album from someone or other and concluding ‘it wasn’t bad but could have been better’ as I tend to - you’ll be reading me rambling about something that I already know I love – but I’ll be telling you more about why. Now – you’ll realise more about why later but if you haven’t already then go and listen to the song! This is sort of a spoiler alert warning, if that does apply to music. If you read this and then listen it would be a bit like reading the plot of ‘Fight Club’ then watching the film – the experience is so much different if you already know what happens! From the moment you press play on this song it is driving home a message. Opening up with a tuneful piano intro that is quickly topped with a gospel choir. I’ve always loved hearing gospel choirs in music, there’s just something about the sound that adds a texture and a feeling that is yet to be emulated by anything else. A key example would be Stormzy’s ‘Blinded By Your Grace Part 2’ – an amazing song but for me wouldn’t be half of what it is without the beautiful sounds of the gospel choir. Although in this song they don’t play as large a part as in Stormzy’s they still add such a beautiful sound to even this intro. It’s the lyrics too – ‘everybody loves a winner’ – without much impact at this stage but almost a foreboding hint as to the subject matter of the song. I also love how the snare is introduced underneath. When I first listened, I wasn’t a huge fan mainly thinking that it sounded out of place but now I’ve come to realise that’s almost the point. I think it helps to connect the sample used at the start with the rest of the song as when the verse comes in we lose the choir and the piano but the snare remains constant, sewing it all together as one. After Quadeca lets us enjoy the intro for twenty or so seconds we are thrown straight into the chorus. For me the chorus in itself is unbelievably powerful despite only being a few lines. ‘I swear, they only love me when I'm not there I know you trust me, but I don't care I swear that I don't care I know you love me, but I don't care’ What stands out is the repetition of ‘I don’t care’ and particularly when the ‘I swear’ gets thrown in front of it. This is also what makes opening up with the chorus so intelligent. The thing is, and what the title and first chorus don’t really say, is that he really does care. You’ll only realise this when you listen to the rest of the song. This is why I dropped the spoiler warning in. If you still haven’t listened yet – go do it! If you hadn’t heard the song before you would assume from this chorus that the message is genuinely ‘I don’t care’ – that the song is Quadeca maybe sticking a finger up to the haters or something like that. When you listen to it back you realise that what it actually represents is Quadeca attempting to convince himself. This is where the repetition and the ‘I swear’ come into it – because you can picture him almost pleading to himself hoping that if he just says it enough and with conviction then he genuinely won’t care, and that it won’t hurt anymore. Continuing the theme of impactful lyrics – the first verse is such an open and honest reflection of how Quadeca feels about his career, and that ultimately, he isn’t happy. The way the verse is written pairs the good and the bad together, and in a similar way to Bieber’s ‘Lonely’ makes us realise that someone who appears to be doing well isn’t always doing well. This verse feels somewhat like a coming of age, it is Quadeca realising that success isn’t what he thought it would be. Speaking about his passionate fans but also suggesting he doesn’t have the time to engage as well as feeling numb when he looks at his ‘numbers’ (suggesting streams/views and potentially money); it’s the harsh reality for him that actually he’s sort of got everything he wanted but it’s nothing like he imagined it to be. The second line is simultaneously very serious but somewhat comical; ‘Mom wanted me to be a doctor, But I came out as a patient’, ironically suggesting how far apart his dreams are from his reality. The final line is the verse is equally profound; ‘I wonder why I feel so little 'Cause I ain't been on the top, I think I'm somewhere in the middle’. This is probably one of my favourite lines in the whole song, mostly because it’s something you don’t usually see. Usually, you hear rappers bragging about being the biggest, coming out with an arrogance and a swagger that gives an energy to their music. Alluding to the classic ‘heavy is the head that wears the crown’ phrase here Quadeca is suggesting that he doesn’t consider himself to be one of the best, but within that is questioning why he therefore feels all this pressure. The second verse opens up with Quadeca speaking more about the pressures of his career suggesting there’s a hole in his soul before dropping another profound, but once again simultaneously comical line: ‘I know this'll make 'em proud, but I know they gon' need another And another, and another, and another, and another Like I'm DJ Khaled with a motherfuckin' stutter’. What I love about this, apart from the DJ Khaled gag, is that it once again gives us an insight into how it feels to be an artist and that actually it isn’t all we would expect. It’s weird to digest because as fans we all obviously look forward to new releases from our favourite artists, we want new great music from them as much as possible, but the way Quadeca frames this almost gives me a tinge of guilt – should we always expect and demand more? And what does this do to the artists? I think this resonates throughout the years too as anyone who has seen the new ‘Elvis’ film will know, as this documents the story of how Elvis became one of the most sellable commodities in the world, and how his manager worked him essentially into an early grave. Whilst I’m not suggesting that we are all like Elvis’ infamous manager it does make you think about that side of things. The second verse is also what really brings us the ‘twist’ that makes the first parts of the song make more sense, particularly the chorus. The tragic story that Quadeca proceeds to tell is that he received a long message on social media from a profile without a picture, and thinking it was spam tried to delete it but accidentally opened it, and upon doing so decides to read it anyway. Quadeca then proceeds to paraphrase the message: "My homie was a huge fucking fan, used to play your shit every day He struggled with depression and he told me that the music was the thing that always set him straight But I guess it must of gotten too much for him, killed himself a couple months back, it's felt so fucking long But it reminded me of him when you popped up on my page and I went and started listening to a couple songs, so... Keep doing you, bro" Whilst already incredibly profound, the twist comes later in the verse when Quadeca goes to look at the profile of the fan who killed himself ‘But all the sudden, in the instant, everything felt grimmer, read the name again, and realized it sounded familiar Clicked the DM, to see if he had talked to me before, saw this was the same kid I consciously ignored a couple months ago’ As if not powerful enough already the song then finishes with a repeat of the chorus but this time with the gospel choir sort of underneath and interspersed. Honestly, I think this is genius. The revisiting of the chorus offers the listener a chance to hear it but with the new knowledge of what happens in the song; giving them that new perspective on the lyrics. This is then represented by the choir underneath the chorus; the lyrics stay the same but the choir makes it sound different; giving that feeling that whilst you are listening to the same thing it’s got a whole different spin on it now. It’s also genius because of what the choir is singing. ‘Everybody loves a winner’. It’s so profound – that contrast of the message from the gospel choir, probably representing what Quadeca had thought success would be like, underneath the pleading of Quadeca trying to convince himself that he doesn’t care in order to numb the pain of the weight on his shoulders. This song is honestly one of my all time favourites and offers such a powerful new perspective on what it is like to be in the limelight. We heard Bieber talking about how no one really knows him or what he’s going through, but Quadeca takes it a step further by underlining the pressure and the responsibility. The story is so sad, and I’m unsure whether it is true or not, but you could see how this would really affect someone. Quadeca is obviously blameless but you can understand why he blames himself. You would never expect him to reply to every fan’s message but the knowledge that he could have made a real difference to this fan’s life with one simple reply is undoubtedly something that would weigh heavy on his mind. That’s what makes this song so unbelievably memorable. I remember the first time I listened, and thinking that as well as being great to listen to I was so engaged in the lyrics. I was in the car at the time and I remember spending the rest of the journey just trying to put myself in his shoes and imagine how he would feel in that situation. I also love that the song is so ambiguous at the start but later reveals it’s true meaning, you start to wonder why he is so insistent he doesn’t care but then in the first verse details how tough he finds his situation before revealing all in the second verse. It’s not something I’ve seen very often but it gives this amazing scenario where the first and second time you listen to the song are entirely different – the first time giving you this moment of realisation and the second giving you a chance to listen back to the lyrics with a new perspective. This song is one of the key reasons why I do like Quadeca so much, he does things his own way. As a skilled lyricist it would be so easy for him to just make loads of commercial tunes with fast verses in but, as with ‘From Me To You’, he really puts everything into his art and that gives you this sense of connection with him every time you listen.
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 David DawsonKezia Gill's vocals are unlike any other. Her signature rasp, sensational power and unbelievable control make for a killer combination. Read her interview as she discusses her style, influences and writing processes. Hi Kezia! Thanks so much for talking to me today! Your most recent release was a cover of 90’s dance party classic ‘Cotton Eyed Joe’ featuring friend of the magazine and former interviewee Tim Prottey-Jones. You’ve put a new spin on the song; taking the iconic upbeat foot tapper and turning it into an amazing country blues tune. Why did you choose to cover this song in particular – and where did the idea for the bluesy spin come from?
I must confess, I can’t take any credit for the creative process. It was all Tim and his wonderful imagination!! He approached me with the project and asked if I would be interested in lending my vocals to the track. After one listen I was sold! I love anything dark and bluesy, so it was a great project to be part of. Your voice really stands out – it has an iconic rasp to it and the control you have to execute perfect bends and melismatic turns is staggering! For me talent like this that’s made to sound so effortless always brings up the nature vs nurture debate, so was this singing ability something you’ve just always had, something you’ve worked to get or maybe a combination being something that you have always had to an extent, but have had to work to perfect? I think you’ve hit the nail on the head. I come from a line of singers, so it was always in my blood, but there’s no doubt that honing your craft is hugely important. They say it takes 10,000 hours to become perfect at something, and I’d say I’ve probably done double that when it comes to singing!! I’m by no means saying I’m perfect, but years of singing means I’m comfortable in my own voice, and I know how to get the best out of it. In a similar tone, for some people being on stage and singing is a childhood dream that is harnessed at an early age, and for others isn’t something they realise they are interested in until later. Was this always the dream for you, or is it something you discovered a love for later on? I can say with some certainty that I always wanted to be a singer. My Dad was a singer, and my earliest memories are watching him perform and longing to be up there on stage with him. It was at the age of 5 that I made my debut, and I haven’t looked back since. I’ve never been interested in anything else. Music can be such a powerful and expressive tool, allowing us an outlet for emotions that sometimes we didn’t even know we had! Being a songwriter and a singer, do you often find yourself using your songs as an outlet, and do you find that this helps you and your mental health? Absolutely. I find song writing extremely therapeutic. I can write about my deepest darkest emotions, and packaged in the correct way (neither too personal nor to cryptic) they will hopefully mean something to the listener. It’s always been important that I write about things I’ve been through and emotions I understand. ‘All of Me’ is a fantastic song. I find it particularly interesting that the lyrics are those that you would maybe expect to hear in a gentle piano ballad, but seem even more powerful in the hard-hitting rock and blues style of this song. When writing this tune did the lyrics or the music come first, and what was the inspiration for pairing the two together in a way people maybe wouldn’t have expected? This was a rare exception where the lyrics and music came together. I thought the idea that all you can give might not be enough was truly heartbreaking. It provoked a raw and bluesy tune which paired with the lyric “All I can give you and All that I want to are two very different things” creates quite a powerful chorus. It’s sung with passion and heart because it comes from a place of desperation. A lot of your songs have an anthemic vibe to them, ‘Cotton Eyed Joe’ and ‘The Mess I Made’ being prime examples. Somehow you manage to generate atmospheric accompaniments whilst keeping the textures fairly thin, and the slower but very deliberate, driving tempos create this swell of intensity that sits perfectly underneath your powerful vocals. Although the words ‘style’ and ‘genre’ feel as if they are becoming less relevant in music – would you say that you have a particular style, and how would you describe it to someone who hadn’t heard your music before? I have always believed that you don’t just hear music… you feel it. The first thing I say to my producer when I’m making music is “I wanna feel the message”, If it’s sad, the music needs to hit me in the stomach, if it’s happy, the music needs to lift me up, and if I’m going for a banger, it needs to make me move!!! I’d like to say my style is raw unfiltered feels!!!! In fitting with style and genre I always find it interesting to learn who an artist’s inspirations are so that I can try and hear elements of it in their music. Who would you say your biggest inspirations have been? This question follows on great from the previous one. I’m inspired by artists that make me feel something. Patsy Cline taught me how to sing. You could hear her heart breaking in her ballads, and hear her strength and sass in her upbeat tunes. I also adore Elvis, Freddy Mercury and Tina Turner because they’re all raw, unpolished and phenomenal with it. They condone your attention because you believe what their telling you. It’s quite incredible to watch one person control 50,000 onlookers. I find that hugely inspiring. It’s currently a very busy time for you as you’re on tour! Can you tell us some more about any big plans you have in the next year or so? I actually can’t say much, but mark my words, BIG things are coming!! Finally, one thing we ask all of our interviewees is to name your top three songs that relate to mental health. What would be your top three? 1. Rainbow- Kacey Musgraves 2. Everybody Hurts- REM 3. I’m Here- Kezia Gill  Nashville's R&B-Country singer-songwriter is making love songs cool again. Maxim chats to Tiera about her unique sound, plans for new music and her obsession with the UK.Maxim MowerHey Tiera, thanks so much for taking the time out today! You recently dropped the studio version of ‘Found It In You’, which followed the hugely popular demo version as part of your self-titled 2021 EP. What inspired you to roll out the single in this way, involving listeners in your creative process of moving from demo to studio release - and which version is your favourite?
I released the demo version a couple of years ago, during the pandemic, and when I put it out originally I was independent and had a really small team. I didn't really know what would happen with it, I just wanted to put some music out there. We put it out and it just took off. I started getting calls from labels, and I ended up signing with Valory Music Co at Big Machine, and ‘Found It In You’ made sense as the first single. It was the first song I wrote that was 100% me and embodied my sound, which I like to call R&B-Country. We went back in with a label budget and re-recorded it. The new version feels bigger, more vibe-y and something I would hear on the radio, so I’m excited that we went back and redid it! It’s a really uplifting, happy song. Country sometimes leans towards the more mournful, tear-your-heart-out kind of songs, so it’s always refreshing to hear a genuinely joyful track such as ‘Found It In You’. It tells the real-life story of you and your partner, so I think happily coupled-up listeners will be able to see themselves in the story, while other listeners will be able to use it as a form of escapism. Do you personally prefer to use music more as a reflection of reality, or do you find it more therapeutic as a form of escapism? A lot of the songs I write are things I have gone through or am currently going through. For me, writing songs truly is therapy, especially when writing with your friends that know what you’re going through. Most of us are around the same age and we’ve had similar experiences, so it’s always really refreshing going into the studio and just talking for the first hour, before even thinking about writing a song. I definitely gear towards writing about my reality, and using songs to get through that. Your sound fuses a smooth, R&B feel with Country influences. Genre-fluidity is becoming more prominent in Country. What inspired you to move your music in this direction, and have you faced resistance to this from traditionalists? Honestly, it wasn’t a conscious decision. On ‘Found It In You’, my co-writer is also my producer, and we grew up listening to both R&B and Country. When we started writing together, it happened organically. You can hear that sound throughout my music, and it seems to be resonating with people. I’ve had fans coming up to me saying, ‘I don’t really listen to Country, but I love your music!’. I also hear from people that are more into that traditional sound, but they still enjoy my music. I listen to a lot of Dolly and Lee Ann Womack, and when I sing I have that classic Country sound. I feel like it’s a mixture of all the best aspects of Country and the best aspects of R&B. I’m a big fan of your Apple Music show, which has been a huge success. What has this experience been like, and did you know that radio-hosting would be such a strength of yours before taking the role? Apple Music came to me and asked me about it during the pandemic, and I’d never really thought about it before. But it really has been a lot of fun, and it’s made me a better artist. I used to be really bad at talking - at shows I’d just want to sing, I wouldn’t want to tell stories in-between songs. So I think it’s made my performances stronger, and it’s fun because I get to not only play my music on the show, but I get to play my friends’ music who may not yet have record deals. I was in that spot for a long time, and to be able to give my friends and other artists a platform has been a really cool experience. I love your cover of Halsey’s ‘Be Kind’, which paints with a different palette to the love-story of ‘Found It In You’. It laments the attitude of a partner towards the main character in the song, and the hook is irresistible. Do you have a debut album in the works, and if so, will these earlier tracks make it onto this project? That song was really fun, I did that during the pandemic too. It felt like a really appropriate time to cover this song because of what was going on in the world, and I really enjoyed putting my spin on it. I’ll be putting out an EP with five songs on it soon, but we are gearing up towards a…’project’! It will have a lot of new music on it, including ‘Found It In You’, and a couple of songs I’ve been playing out to fans. They’ve been very vocal about wanting those being released! A 'project' - sounds mysterious! I spoke to Breland for the previous Mindful Melody issue, and he’s featured on your song, ‘Miles’, which again embodies the laid-back, peaceful atmosphere that you bring into your music. The feel of the whole song seems to be perfectly summed up in the opening lyrics, ‘You’re like a slow lane Sunday’. ‘Laid-Back’ is similarly serene. Is it a conscious decision to make your music relaxing and soothing to the listener, or does this flow naturally out of your creative process? I think that’s the R&B part coming out. When I listen to music, I want to feel uplifted. If I’m having a bad day, I want it to lift me up out of the rut, or if I’m having a great day, I want it to pump me up even more. So, when I get in the room with my friends, the first thing I say is, “We're not writing sad songs today! We’re writing something fun.” I think that’s what people are craving, and it’s great getting to play them and watch people dance along. ‘Miles’ in particular is an easy song to catch onto, so I’ll see people that have never heard it before singing along by the end of the last chorus. I want to make sure my music has a good vibe all around. On the new project, will there be any sad songs that still feel good, and that maybe have a sense of peaceful melancholy? Yeah, that’s definitely my vibe! If I am going to write something slower, I still want it to feel good. I have an unreleased song called ‘I’d Look Good In That Truck’, and it’s one of the only slow songs I have on the upcoming EP. I think it’s great to have a variety, so you’re definitely going to go on a journey with my projects. I’ve been writing a lot, so I’m excited to put out as much new music as I can. You’ve been named as one of CMT’s Next Women of Country. This must be incredibly exciting, but as you prepare to release new music, does the fact that the industry’s and fans’ eyes are expectantly on you add a sense of pressure? Or does it just add fuel to the creative fire? It definitely just motivates me. When you’re doing this, it can feel like you’re doing it all in the shadows, because you’re just working on music behind the scenes and when you haven't released it yet it’s hard to gauge how it’ll be received. We all have our ups and downs in our careers, so when you do have a successful song, it’s so motivating because it lets you know that somebody’s watching, somebody’s rooting for me. It doesn’t add pressure, it just makes me excited for what’s to come. Speaking of you being one of the exciting new female voices in Country, a genre that has a track record of giving male voices more prominence, we are thankfully seeing progress in terms of the elevation of under-represented voices in Country. As someone within the industry at the moment, have you seen noticeable change, or does it still feel as though there is a long way to go? I’m out on a radio tour right now, and I’ve been out for five or six weeks, and I definitely think that things are turning around. The reaction has been really positive and everybody’s being really supportive. Just looking at the charts and seeing plenty of women in Country music, it makes me so happy. We always say that when one of us wins, the rest of us win too. I definitely think we’re making progress. Earlier this year you performed over in the UK for the first time, as part of the awesome C2C Festival. What was that experience like, and do you have plans to come back to the UK to perform anytime soon? Oh my gosh, as soon as I left I was already trying to get back! I loved being over in the UK, it was so much fun. Those shows were unlike anything I’d ever played. For some of the shows I play over in the US, there will be a few people talking and not really listening, but I didn’t really experience that over in the UK. As a songwriter and as an artist, I’ve noticed how fans in the UK take the time to really lock into the stories we’re telling and the songs we’re singing. It means a lot. I also have a bit of an obsession with London. I hope this is not insulting, but I have this habit of talking in a British accent! When I was over there, I did it a lot, and my UK reps say it’s pretty good…so I’m excited to get back over so that I can utilize it! Tiera Kennedy's latest single, 'Found It In You' is out now - and keep an eye out for her upcoming EP!  Maxim MowerFew bands have instigated the level of multi-generational adulation that the Eagles have built over the past five decades. The frontrunners of California’s easy-rock hey-day, despite an ever-changing line-up, the band’s sprawling list of hits continues to stand the test of time.
Increasingly, at the start of my articles I seem to find myself making a confession about my (worryingly large) musical blindspots, which is always a promising start for someone who claims to be a music critic. I’m afraid to say this will be no different. Before the last couple of years, my main interaction with the sonic delights of the Eagles was when, as a child, I would play ‘Hotel California’ on Guitar Hero. And 10-year-old me would crush it, I might add. Fast forward to my final years at University, and my tired, coursework-clogged brain started to find some respite amidst the laid-back harmonies of songs like ‘Take It Easy’ and ‘Peaceful Easy Feeling’. So when the opportunity arose to see the Eagles at British Summer Time Festival in Hyde Park this summer, I was excited, but in all honesty I was looking forward to the Country opening acts - the likes of Cam, Little Big Town and Morgan Wade - just as much as the headliners. When the day finally came, the sun was beating down and there was an electric buzz rippling through the thousands of festival-goers. The long, Hawaiian-shirt-speckled expanse of Hyde Park was cushioned by colourful, eclectic lines of food and drink stalls, all built to appear like Mediterranean bistros and villas. Cam kicked off proceedings with a high-energy set that showcased her stellar vocals, with plenty of friendly intermissions to chat with the crowd. Little Big Town then took it up a notch, stringing together fun, anthemic hits such as ‘Pontoon’ and ‘Boondocks’, before stripping it back with their Taylor-Swift-penned ‘Better Man’. Morgan Wade reeled through tracks from her critically acclaimed 'Wilder Days' album on the smaller stage, drawing a keen audience, but her performance could have been buoyed if she’d taken note of Cam’s personableness and had taken more time to interact with the crowd. Richard Plant and Allison Krauss, the final openers before the headline slot, were charming as they serenaded the Hyde Park crowd with their sweet euphonies about love and friendship. However, throughout all of the opening performances, it became increasingly clear that the crowd was there primarily for one artist and one artist alone: the Eagles. Billed as their final UK show ever, the anticipation was that this was set to be a special night. And boy, did they deliver. As a self-confessed passing fan, rather than being one of the many leather-wearing, 70s-merch-donning Eagles aficionado in the crowd, I was expecting to enjoy the handful of songs I knew, and then perhaps feel a little out-of-place when they moved through their other material. But from the moment they walked onto the Great Oak Stage, you couldn’t help but feel lifted and energised by the electricity that surged through the crowd. The band’s cool charisma was undeniable, and they showed their class in the way they commanded the stage without the need for any gimmicks, glitz or glamour. At risk of descending into over-sentimentality, there was something pure about the performance, as though they were transporting us back to a time when music was just about, well, the music, without any of today’s social-media-pandering and artificiality. As sacrilegious as it might sound, before BST I hadn’t heard hits such as ‘Lyin’ Eyes’, ‘Heartache Tonight’, ‘The Best Of My Love’ or ‘Take It To The Limit’. Yet by the time the final chorus rolled around, I was singing along at the top of my lungs with everyone else. The latest band line-up featured Country veteran Vince Gill and even included a surprise appearance from Deacon Frey, the son of former frontman, Glenn Frey, who died in 2016. Deacon has been touring with the Eagles for a while, but announced earlier this year that he was leaving to focus on solo material, so his reuniting with the band brought a welcome sense of familiarity and warmth. Tennis icon John McEnroe’s invitation to play guitar towards the end of the set was a little more random, but hey, I guess when you’ve sold over 200 million records you’ve earned the right to bring your famous friends out on stage with you. Don Henley assumed the lead on the chat in-between songs, dropping a big hint that this really would be their last time on British soil. Timothy B. Schmit and Joe Walsh brought immense gravitas, especially when Walsh stormed into a mesmerising vocal-distorter solo. As they all stood side by side, staring out into the Hyde Park sunset, they had an undeniable gravitas that seems to separate the great artists from the legends. What made the experience all the more memorable was the good-natured feel of the crowd. Every now and then during the performance, I’d cast my eyes down to an elderly couple a few places in front of us, and it was genuinely heartwarming to see the sheer jubilation etched on both their faces as they sang every word as loud as they could. There were plenty of others just like them, who, as soon as the music started, seemed to radiate this sense of youthfulness and joy. As well as a new identity as a fully converted Eagles fan - minus the head-to-toe leather - I left Hyde Park with the memory of all those happy, older fans that seemed to connect with a part of them that had long been buried beneath the expectations of age. It reminded me that, no matter how old we are, I think we are all deep down still the same childish, fun-loving person we were when we were first exploring world and creating the soundtrack of our youth. It gave me a newfound resilience - no matter how serious and sobering we are expected to become as we grow older - to never lose that sense of wide-eyed, child-like excitement about the things we love. I can only hope, when I’m attending Kenny Chesney’s farewell concert as a 70-year-old (come on Kenny, you can make it to 100), that I embody the same unabashed, unrestricted sense of zest and youth as I sing along to every single word. Well, every single word that my ageing memory will be able to offer me.  I've always considered myself too cynical to be religious. Even as a kid at a Christian school I always listened to tales from the Bible with doubts in the back of my mind. It is also very easy to look back over the years at the countless human conflicts and attribute many of them to religion; it never made sense to me that people would kill each other over which of their gods (both of whom usually condemned killing) was real. With that being said, religion has always peaked my interest. I studied philosophy and ethics at A level and always found it fascinating to see how religion plays a part in the everyday ethical and moral make up of people.
Despite my doubts I've never questioned why people are religious though. I think it makes a lot of sense. The pride, the belonging and the faith. What I'm most envious of though is the absolute belief in Christianity that everything forms a part of God's larger plan. "I can't do this on my own" I've written articles before about being lost in life; at an age where it feels like I should have achieved a lot more, or have much clearer ideas on what I'd be doing in the rest of my life. There's so much pressure on people from a young age to pursue big career goals and for a lot of us it isn't always that simple. I seem to spend a majority of my life trying to make decisions and changing my mind. Where I will live, what I will do and how long I'll do it for are just constant questions that float around in my brain. I often find it difficult to relax just trying to constantly plan and control everything. This is why I envy Christians. How freeing, to wholeheartedly believe and understand that whatever may occur God has a plan in place. To know that you're not alone in what you're going through and that God is on your side, putting all the pieces together to form the end result of your life. For us humans the future can be really scary, it's the unknown and we can spend far too long worrying about it but it is reassuring to believe that actually it isn't the complete unknown, God decided long ago what the path was for us. In this way then life is less like tetris, frantically throwing together random pieces and trying to make it work, but more like a jigsaw puzzle. The final image is already within the pieces, we just need to put them together. I've written in the past about not spending too long worrying about the destination because we forget to enjoy the journey, but if you believe the destination is pre planned and waiting for you then surely you can't help but relax and enjoy the ride. "I feel good sometimes I don't" There is more that this belief in God's plan can do for us though. Not only will it allow us to focus on ourselves and enjoy our life as it comes, it will also allow us to deal with hardships. One of my favourite ever things to watch is Last Chance U on Netflix, and particularly the Basketball edition. The filming of this series takes place in LA and follows Christian coach John Moseley and his community college team. During the filming of the series the tragic death of Kobe Bryant occurs and being basketball players based in LA you can imagine how devastated the students were to hear the news. From this though arises what for me is a beautiful moment in which coach Mosely assures one of his students that actually Heaven for us is the destination, it is where we want to be, and that we shouldn't be feeling bad for Bryant because he's had the chance to get there. From what are completely tragic circumstances it was so empowering to see how belief had allowed for this positive spin. Of course it doesn't make the news any less sad but it just takes some of that weight off. The idea that you can go through life and face whatever adversity that hits you but be able to confidently conquer it all safely with the knowledge that it's all part of God's wider plan is astonishing to me. Often when we go through times of trouble the first question on people's lips is 'why?' however for Christians this isn't something that needs to be asked. As I mentioned before I'm not exactly a religious person but I do appreciate what it does for people who are part of that community. I also think that's the absolute belief that whatever happens is part of God's wider plan, and that whatever adversity we face is all for a part of something, for a reason, is something that for atheists like myself can't really be replicated. As I think to my life now, the rut I seem to be stuck in, and my dad passing, I can't help but wonder that these moments would have been somewhat easier to deal with if I felt there was some divine reason, that it would all be worth it or that no matter how bad it feels now ultimately it's going to lead to some good, whether that's 10 days or 10 years from now. Of course I'm not under the illusion that life is any easier, or that pain is less painful for those who do believe, but more that these things will be conquered more easily safe in the knowledge that God has your back. The heatwave has given a new lease of life to the usually mud-splattered UK festival season, and with a range of exciting tours planned for Autumn, we've compiled a bucket-list of songs that are best experienced in either a sweltering, summer park, a crammed, sweaty theatre or a massive, Friday-night stadium. David & Maxim 10. Hey Baby - DJ Otzi Bringing the cheese in with this classic kids’ birthday party anthem – I’m pulling from personal experience when adding this to my list for crowd songs. The catchy melody and the fact that everyone knows the lyrics make it ideal for huge crowds to sing along too. When in a stadium for a concert myself I remember music playing to warm up the crowd just before the first artist came on stage. When ‘Hey Baby’ was played thousands of people were singing in perfect unison and the iconic ‘Ooh, Aah’ echoed and resonated beautifully under the roof of the stands. It’s probably not the type of song you’d expect to find on this list but I challenge any of you to listen and not sing along – times that by 70,000 people and you have a special atmosphere. DD 9. Grace Kelly - MIKA I had the pleasure of seeing MIKA at Sadler’s Wells as part of his ‘Boy Who Knew Too Much’ tour, and this intimate setting gave him the perfect opportunity to showcase the full range of his dexterous vocals on ballads such as ‘Happy Ending’ and ‘Billy Brown’. However, despite it not being an arena-crowd, when he launched in the trademark ‘Grace Kelly’ opening, the whole theatre was rocking. It’s easy to forget about MIKA when we think about the great pop performers, but he had a rare stage presence that could ooze confidence and charisma one minute, and then draw this back into a tender, self-effacing humility the next. MM 8. Nonstop - Drake Using the opportunity to get in a brag here – I’m speaking from personal experience yet again with this one. This song is one of the best from Drake’s ‘Scorpion’ album – a huge compliment given the array of classics on there. Whilst it isn’t one with a catchy melody that will have everyone singing along the driving energy of the beat and the memorable rap will be enough to get the place pumping. When I was lucky enough to accompany Maxim to see Drake live at the O2 in London this song was one of the standout moments – really pumping the crowd up early in the set. Whilst I do enjoy the softer side that Drake has taken on recently sometimes you just can’t beat his darker stuff, and ‘Nonstop’ is one of the absolute best in this category. DD 7. Goosebumps - Travis Scott It’s impossible to think of a Travis Scott performance without your mind immediately turning to the Astroworld Festival tragedy last year, which saw ten fans lose their lives in a crowd crush. He’s started easing his way back into live performances with his two recent UK shows at the O2, which have only amplified the anticipation surrounding his upcoming album, ‘Utopia’. Before he was selling out the O2, I was fortunate enough to see Travis at Birmingham off the back of his mercurial, hypnotic ‘Birds In the Trap’ album, which remains one of my all-time favourite projects. The atmosphere was sizzling and his on-stage energy completely matched the cavernous, live-Auto-Tuned howls that echoed out around the venue. He closed the set by performing his smash hit ‘Goosebumps’ multiple times, and yet somehow it still didn’t feel long enough. At one point, he even ended up climbing and dangling from one of the stage-side pillars - the whole set was pure, electrifying theatre. MM 6. The Chain - Fleetwood Mac What an absolute banger this song is. Most people know it for the iconic bass and guitar section two thirds of the way through but actually sometimes I think this takes away from how good the rest of the song is. Fleetwood Mac are on my bucket list for people I’d love to see live (however I do think I may have missed my chance) and this song is a big part of the reason why. The melody is catchy and easily singable and the song builds and builds to the iconic climax. I can just imagine the atmosphere building as a huge crowd sing along and then goes absolutely crazy when the bass guitar riff starts. Being a fan favourite it is bound to get the crowd going and is a moment I would love to experience live. DD 5. Hotel California - Eagles The fact that they stayed true to the recorded version and drew out the ethereal, ominous intro when performing this live only added to the suspense. With any live performance, at least half of the experience is contributed by the audience - even if it’s the best show in the world, if the audience isn't feeling it, each delivery is met with a dead bat and the atmosphere dissipates out of the room flat. With ‘Hotel California’, every single member of the crowd I could see was 100% captivated by the bewitching melodies and iconic lyrics. Usually, whenever there’s a musical interlude in a live show, it’s fun for the first few moments, but after a minute or two you’re just waiting for them to transition into another song that you recognise. However, when Joe Walsh launched into his extended guitar solo, which seemed to last at least ten minutes, he had every single member of the crowd in the palm of his hand. MM 4. Fix You - Coldplay I’ve written in another of my articles about my desire to see Coldplay live. A great performance of their songs is the minimum to be expected from the band who usually turn their shows into quite the spectacle. I’m mainly basing this inclusion from a Glastonbury performance of the song in which the spectacle is allowed to take a break will Chris Martin sits at a piano to serenade the crowd with the opening of the song. It’s the perfect way to deliver the emotional classic. As much as this simplistic yet beautiful performance was powerful enough alone it then completely switches as the drums and guitar are introduced. As you’d expect the crowd are in full voice and loving every second. A performance I wish I’d been present for and one of the songs I’d still love to see live. The classic build, the memorable lyrics and the melody make it perfect for a sing along. Match that with the emotion in the music and the feeling within the crowd must be breath-taking. DD 3. Get Along - Kenny Chesney For the thirteenth time, David forbade me from picking five Kenny Chesney songs for my half of this Top Ten, so I’ve settled on the solitary ‘Get Along’. Hearing thousands of people come together to sing the uplifting chorus - “Paint a wall, learn to dance, Call your mom, buy a boat, Drink a beer, sing a song, Make a friend, can't we all get along” - was such a heartwarming experience. It epitomised the unique sense of unity that you can only really feel at a concert, and perhaps from time to time at sports events, where everyone becomes your extended family for a couple of hours. The cri-de-coeur of this song captures the power that music has to completely transform and elevate a person’s mood. I’m not sure how keen I am to paint a wall anytime soon, but I am as we speak checking to see if Amazon sells Evinrudes… MM 2. Bittersweet Symphony - The Verve This song is one of my favourites of all time and similarly to ‘Fix You’ I am basing this off of a Glastonbury performance. I actually used to have a video saved on my phone of the band performing it at the festival in 2008. It opened with Richard Ashcroft giving a rousing speech to the crowd: ‘It’s a struggle; life’s a struggle, and Monday morning may be a struggle for a lot of you in a job that you despise; working for a boss that you despise. A slave to money then we die. God bless you.’ You can tell when he delivers the line ‘A Slave to money then we die’, which is one of the iconic lines of the song, that some of the fans know what’s coming – signalled with cheers. For those who didn’t Ashcroft allows a moment of silence before the strings begin to play one of the most iconic openings in modern music greeted with pandemonium. Ashcroft then places his microphone onto his chest where his heart is before signalling his love for everyone in the crowd. As if not incredible a enough already the band proceed to drop an absolutely jaw dropping performance of the song, accompanied by the thousands in attendance. It’s a moment I really wish I could have lived because as amazing as it is to watch on YouTube I can’t even begin to imagine how it felt to be part of the crowd that night. Incredible. DD 1. Bloodstream - Ed Sheeran It still amazes me how one man and a guitar can hold a hundred-thousand people in the palm of his hand for two hours straight, but Ed manages it time after time. With his trusty loop-pedal, he builds up songs in front of your very eyes from nothing more than a few hand claps, guitar-strums and hums. This only adds to the sense of anticipation, as the audience waits tantalisingly to guess which song it will transform into, before they hear that giveaway ‘Bad Habits’ beat or ‘Shape of You’ synth. For me, this loop-pedal is used to maximum effect on ‘Bloodstream’, with the atypically moody song meandering along, before he layers vocal upon vocal as it reaches its violent crescendo. By the end of the song, it sounds like an army of Eds are singing the increasingly haunting hook, and the atmosphere he creates in doing this is simply unrivalled. MM
 Pooja GudkaMental health problems are prevalent in today's society, and the pandemic has made this even worse. Many people began to experience mental health issues during the pandemic, or saw a worsening of their mental health or preexisting mental health issues. One way to tackle the ongoing mental health crisis is through lifestyle changes.
Lifestyle changes can have a larger impact on our mental health than we realise. Whether you are currently taking medication, in therapy or are simply looking for ways to improve your mental health in the long run, lifestyle changes can be a big step in the right direction. The reason these are important is because many may never be fully free from their mental health issues, but they may be able to better control their symptoms or even decrease their symptoms with some lifestyle changes. Here are some lifestyle changes that may help you improve your mental health: 1. Meditation Meditation is wonderful for your mental health. Adding meditation to your daily routine can do wonders for you. One of the great things about meditation is that there is no minimum or maximum amount of time you have to do it for, so you can squeeze in a few minutes of meditation even when you're busy. Meditation works best when done for longer periods of time, so don't give up if you don't see any results immediately! It takes days, weeks, months and sometimes even years to get to where you want, depending on your goals, but it is still worth it. Even if you're meditating for a few minutes a day, stick with it. Meditation can be particularly helpful to those that suffer from mood and anxiety disorders such as depression and generalised anxiety, because it makes it easier to control your thoughts and reactions. It may also help elevate your mood and better control other symptoms. 2. Nutrition Nutrition is a vital part of both physical and mental wellness. Although when someone is experiencing certain symptoms of mental health disorders such as depression, whether something is healthy may not be the priority, opting instead for food that brings a more immediate sense of comfort. However, it's important to take some time to really think about what you are putting into your body, because there is a correlation between what you eat and your mental health. Eating more healthy meals with a majority of fruits and vegetables has been shown to improve mental health and decrease symptoms of multiple mental health disorders. 3. Regular Sleep Patterns Sleep is also vital when it comes to physical and mental wellness. Lack of sleep can cause a worsening in symptoms of mental health disorders, and for those who are not currently diagnosed it may trigger the appearance of mental health issues that they did not suffer from before. Another thing to keep in mind is that routine is often beneficial for those with mental illnesses. Make sure you are not only getting enough sleep, but are also going to bed and waking up at a reasonable hour every day. Try to keep to this schedule day-to-day. Although sleep is great for mental health, oversleeping can also be an issue. Oversleeping can cause symptoms of mental health disorders such as depression and anxiety to worsen, especially if one oversleeps on a regular basis. When it comes to sleep, it's best to get the right amount of sleep. Not too much or too little. For teenagers, eight to ten hours of sleep is ideal and for adults over eighteen seven to nine hours is best. I hope this article helped you better understand the importance of cultivating a healthy lifestyle, and a few key ways that you can work to achieve this. Often, it really is the small changes that make the biggest difference.  David DawsonIt’s 2022, festivals are in full flow and live tours are back. It’s so nice to type, considering that two years ago I was starting to wonder whether we’d ever be able to experience it again. I think most people will agree that live music just presents something so special to all of us.
I think the main thing for me, and one thing we really missed during lockdown, is that connection you feel with an artist when you go and see them perform. It doesn’t matter whether you’re in a crowd of one hundred of one hundred thousand when you go and watch someone live you feel a deeper bond with that artist, as if you’re part of an exclusive club that can say that they’ve been there. Artists did do their best during COVID, mainly through social media, but it was just no replacement for the experience of a live show. It isn’t even just about the music either, it’s that engagement. I was watching a video recently of Harry Styles and some clips of him interacting with fans whilst on stage and I have to say he’s incredible at it. The fans turn up for the music but he makes them laugh, get’s them dancing and talks to them in such a way that makes you feels as if you were sat opposite him in a room. This is what we’ve missed out on. Whilst we were actually treated to increased amounts of new music during COVID it was just so easy to feel disconnected from our favourites, only experiencing them through our speakers and screens. Back in November last year I had the great pleasure of watching Seafret perform live in Bridlington, their home town, and it was so special. I’ve actually been lucky enough to interview Seafret for the magazine, which was huge being a fan, but I almost felt closer to them watching them live on stage and addressing the crowd I was part of than I did through our zoom interview with just the three of us. It’s not something that is easy to put into words but in that moment you just feel part of something. Being part of something is for me another huge part of what makes it so special. The crowd. It seemed as if it may never happen again two years ago but I cannot express how much joy it gives me to see pictures of Glastonbury absolutely packed out. Sure being in a crowd isn’t always great, there’s fighting drunks, smelly strangers and the tall person who stands right in front of you (my apologies) but it doesn’t matter when the music plays. Similarly to how you feel a connection to the artist there’s also this great sensation of belonging within a crowd. Gathering with people who have a shared love of the music, enjoying something together and sharing an experience. There could be people sat a mile away on the other end but it doesn’t matter; there’s an indescribable synergy that just brings everyone completely together in those brief moments. The singing is what I enjoy the most. Can you just imagine for a moment if you were only allowed to attend live music shows on the premise that you weren’t allowed to sing along? I can’t, in fact I don’t want to because it's too horrid to conceive. I’m lucky to have seen a few artists live in my time and the best moment of every show without a doubt is towards the end when they bring out the big hits that everyone knows, and thousands of strangers join together as if a rehearsed choir to give a rendition. There’s just something so therapeutic about those moments, belting your heart out, expressing your emotions through the song and feeling a comforting sense of belonging. I remember going to a Help for Heroes concert in Twickenham stadium many years ago and a DJ warming up the crowd by playing ‘Hey Baby’. The iconic ‘Ooh, Aah’ in the song was simultaneously bellowed by around 70,000 people and hearing it echo around the stadium was something I’ll never forget. It’s not just the big shows or festivals though, it’s the pub gigs and open mic nights that have been just as needed. For small artists struggling to make it through COVID who are now able to reach an audience and promote their music, to the loyal fans who go to every show and lets not forget the A and R folks at record labels looking for the next sensation. Live music these days is becoming too much of a promotional tool for me. 300 years ago the dynamic was entirely different; you would attend live shows, operas and concerts to hear your favourite music and you may even buy some sheet music to try and replicate it on your own at home. These days the recorded music is king, after all album sales, streams and downloads are worth more cash than getting on stage. Live tours come about as a way to get everyone on Spotify listening to the album, but it just feels like it should be the other way around. As you all know I love to hark on about that old gem; ‘authenticity’. Allan Moore split authenticity in music down into three key elements: 1st Person authenticity relating to how the music and performance pulls from the artists own experiences, 2nd Person authenticity in which a performer “succeeds in conveying the impression of accurately representing the ideas of another, embedded within a tradition of performance”, and finally 3rd Person authenticity for when an artist is able to relate to those in the audience. Although I often joke about authenticity being this snobby buzz word that no one actually knows fully what it is, I think it's something that we all feel and no more so than in the midst of a great live performance. Moore’s three key elements all relate to expression and performance; how the artist feels, how they convey the emotions of the song and how the audience can relate to the artist’s expression. Note the key word audience, because this kind of thing doesn’t tend to happen over Spotify. Those true moments of magic happen live.  Maxim MowerWhen you know you’re about to see your favourite artist of all time perform live, it’s safe to say that expectations are high. After resigning myself to the fact that Chesney rarely - if ever - comes over to the UK, in 2021 I fancifully dreamed up plans to make the trip over to the States to catch him on his Here and Now 2022 tour, not really believing they would ever come to fruition. But after booking the flights, hotels and surviving the last-minute British Airways threats of widespread strikes - the day finally arrived. My girlfriend and I spent a few days in Los Angeles first, soaking up the glitz and glamour of Beverly Hills and Hollywood. As it was our first time in the US together, we thought it wouldn’t be a true American experience without catching a Dodgers baseball game. After trying the world-famous ‘Dodger-dog’ - which the cab-drive had raved about for most of the journey there - in the space of a couple of hours I somehow felt myself transform into a die-hard Dodgers fan, despite (still) not really having a full handle on all the rules. We then flew to Lake Tahoe, where Kenny’s concert would be taking place. Given the fact that this was an event I’d been anticipating for the best part of a year, I woke up on the morning of the show with a strange concoction of unparalleled excitement coupled with a twinge of sadness at the fact that, by the end of the night, it would all be over. However, this touches on one of the core reasons why Kenny Chesney’s music has always resonated with me so powerfully. It is a celebration of living life in the moment, of finding the freedom that comes from immersing yourself in the present and toasting the ‘cosmic hallelujah’ of the fact that we’re all on this crazy ride called life together. Many define Chesney’s music by its escapism, and particularly during the pandemic, I repeatedly turned to his sun-soaked, blissful odes to island-living in order to transport myself away from the stress of having to see Boris Johnson ruffle his hair and tell everybody that case rates had once again increased. Having said this, in my view, reducing Chesney’s music to pure escapism overlooks a key quality of his discography. Yes, he sings about leaving your rigid and rainy 9-to-5 life in favour of a beachside paradise, and songs such as ‘Here and Now’, ‘Summertime’ and ‘Till It’s Gone’ epitomise the sense of joie-de-vivre that Chesney always seems to encapsulate. But what makes his music special, for me, is the fact that it’s not about running from our worries - it’s about embracing them, looking them straight in the eyes, and turning them into the touch-paper that sparks the celebratory fireworks into action. Songs like ‘Save It For A Rainy Day’, ‘Just Not Today’ and ‘We’re All Here’ embody this sense of accepting that we might be stressed, anxious or depressed about yesterday’s or tomorrow’s worries - but that this is all the more reason to lose ourselves in today. So it was armed with this Chesnian philosophy that I strode into the Lake Tahoe outdoor arena, determined to drink in every last second. Lake Tahoe itself deserves a special mention - on the sweltering drive up to the hotel, both my girlfriend and I spent the majority of the time with our mouths agape at the sheer beauty of the landscape. I’d heard that everything feels ‘bigger’ in America, but I wasn’t prepared for the huge swathes of pine trees cascading down imposing mountain ridges, which would momentarily part to reveal an oasis of crystal clear waters shimmering in the sunlight. I’m sure my description sounds overblown - but I promise you, it doesn’t do it justice. Travelling up the Heavenly Resort cable-cars to see it all sprawling out below you was a truly overwhelming experience. Which made it the perfect place to watch a concert geared towards the message of appreciating exactly where you’re situated at in life. Already feeling energised by Carly Pearce’s commanding opening set, and with more than a couple of Blue Chair Bay rum cocktails under my belt, it was time for the main event. The butterflies in my stomach began doing somersaults as the huge ‘Who Lives Like We Do? We Do!’ curtain began to be steadily pulled up towards the heavens, and a smiling, cowboy-hat-donning Kenny Chesney burst onto the stage. After he’d shouted his hellos and welcomed the crowd, the first twenty minutes of the set was jam-packed with non-stop, high-octane anthems. He rattled through emphatic carpe-diem power-tracks such as ‘Beer in Mexico’, ‘Reality’, ‘Here and Now’ and ‘Summertime’, without ever giving the energy that fizzled through the crowd a chance to dissipate. As I said, with the anticipation and expectation being so high, I’d be lying if I didn’t say that part of me had been worried that perhaps Chesney wouldn’t sound the same in real life. He’d released a couple of live albums, but with other Country artists such as George Strait being accused of using Auto-Tune on these kinds of live projects, you never really knew what the real deal would be like. Also, when you have a repertoire of hits as lengthy as Chesney does, it would be easy to hide behind the backing track and let the crowd sing most of the words for you. However, any niggling fears or doubts that I had were blown right out of the water - you could hear Chesney’s melodic croons loud and clear, and his voice was just as strong as on the recordings. Whenever the crowd was given a brief chance to stop for a breath during the more stripped back songs, such as ‘Knowing You’ and ‘Anything But Mine’, it was just Chesney and some light instrumentation, his vocals on full display. Everything’s Gonna Be Alright’, Chesney’s collaboration with David Lee Murphy, holds a special place in my heart, so I was ecstatic that he decided to perform it for the Lake Tahoe crowd. Hearing ten thousand people screaming ‘Everything’s Gonna Be Alright’ at the tops of their voices was magical, and epitomised the warm, friendly atmosphere that permeated the venue. Everybody was there for the music. It’s what I always find so special about being at a concert - not many other occasions in life bring together thousands of people to sing, dance and be carefree as they share their enjoyment of the moment en masse. What struck me most about Kenny Chesney’s performance was how genuine and real he seemed throughout. Although the so-called ‘King of the Road’ has been doing this for decades now and has perfected his routine, he sang every single word like it was the first time. Even his opening words about being glad to have finally returned to Lake Tahoe felt authentic; throughout the entire show, he had a huge, almost giddy smile beaming across his face. The joy that he clearly feels when performing was reflected back at him by his adoring fans - it honestly felt like every single person there, both on stage and in the crowd, was genuinely happy to be there, and happy to be getting the chance to experience this unforgettable night together. It’s why being a part of Kenny Chesney’s ‘No Shoes Nation’ really does feel like more than just being a member of any other fan group. As cliche as it sounds, being in the No Shoes Nation is a state of mind, it’s an outlook on life, and that’s why Kenny Chesney’s music was really one of the key sparks behind Mindful Melody in the first place. It underlined to me the unique space that lies at the meeting-point between music and wellbeing. After Chesney had come back out to perform his final song - the fun, light-hearted and uniquely hilarious ‘She Thinks My Tractor’s Sexy’, a song that even he had to stop and laugh at in-between lyrics - we still felt a buzz as we filtered out of the venue and onto the streets of Lake Tahoe. I’m so pleased that we chose this location for our first Kenny Chesney concert, rather than somewhere such as Nashville or Boston, because it really did feel as though the entire place had been taken over by the No Shoes Nation. Everywhere you looked there was a Kenny Chesney t-shirt or a Blue Chair Bay rum ball-cap to be found, which only added to the unique and uplifting sense of connection and unity. We finished our American adventure in the beautiful San Francisco, again marvelling at the spectacular views and landscapes on the bus-ride from Tahoe to Western California. San Francisco felt almost like a Mediterranean city at times, and completely distinct from what we’d seen in Los Angeles or Tahoe. Although, after being heckled a few times for my Dodgers hat by San Francisco Giants fans, I decided it wise to opt for my Universal Studios cap instead for the remainder of the trip…! It was the kind of once-in-a-lifetime experience that you desperately hope someday becomes twice or thrice-in-a-lifetime. But even though the journey home was coloured by a slight melancholy that the adventure had come to a close, after looking back through my photo-reel and listening again to the lyrics of wistful songs like ‘Don’t Blink’, ‘Young’ and ‘Don’t Happen Twice’, it reminded me just how important it is to focus on the absolute miracle of the fact that it happened at all, rather than feeling sad that it was over. So although many of us spend our transient lives trying to discover ‘How Forever Feels’, something I’m learning every day is the vitality of turning my sights away from any excitement or anxiety that may lie on the horizon, and instead trying to absorb myself in the ‘Here and Now’. In the words of the man himself: “Everybody’s waiting, but they’re waiting on what? Better get to living, ‘cause all we got is Here and now!”   Maybe it’s just me being ignorant or not following rap music as closely as I used to, but with Jack Harlow it feels like he’s been around forever, whilst simultaneously bursting onto the scene out of nowhere in the last year or so. I think the reason it feels this way is because both are kind of true. Jack has been grinding it out in the scene for a few years now and through various features and verses here and there had become one of those names where you know it, but you’re maybe not entirely sure how. I know this isn’t true for everyone, and his solo music had garnered a very loyal and passionate fan base, but especially in the UK anyway, it just hadn’t quite crossed its way onto the mainstream just yet. I’m sure I won’t be alone in saying that Lil Nas X’s ‘Industry Baby’ was the moment I said ‘so that's Jack Harlow’. Having heard the name and been impressed with his feature, I did some digging on Spotify and to be honest was bewildered as to why this guy hadn’t come to my attention sooner; smooth flows, slick rhythms and old-school hip-hop beats – these are all key ingredients in making my exact taste in rap, which can only be described as a weird mix between 90s Jazz Rap and lo-fi hip hop, like if Drake joined A Tribe Called Quest.
As with many things in life, whether by coincidence or within my own mind, once I started to keep an eye on Jack he seemed to pop up everywhere. Once again I think both is true, I had definitely begun to take more notice whenever his name appeared, but it’s undeniable that it has started appearing everywhere. He has become somewhat of an internet sensation; his boyish charm and smooth talking has certainly made him a hit, and also produced some golden moments like trying to flirt with the intentionally awkward Amelia Dimoldenberg on ‘Chicken Shop Date’, or being shot down by Saweetie on the red carpet. This all came to a head when in the wake of this new album he released a snippet of the song ‘First Class’. Now, with the internet these days there’s sort of viral, then there’s viral - and this went viral. It was absolutely everywhere, the catchy hook keeping it appealing for music lovers whilst the clips of Jack vibing in the studio kept it appealing for those...well, you know. It certainly ramped up the excitement for the release of the new album, and now that it’s here I felt it only right to share my thoughts, just in case you’re interested. One of the things that has caught my eye with Harlow is his swagger. He just oozes confidence and it comes across in his music. ‘Talk of the Town’ starts off the whole album and is just Jack hopping on a beat for 90 seconds to tell you why he's the man right now - and there are plenty of references to how far he has come. 'Young Harleezy’ continues in a similar tone, backing up the arrogance with talk about how hard he’s had to work to make it. I have to say this song feels quite fragmented. The original beat is pretty cool but then it switches up entirely, making you think the song ended. There's also this cameo from Snoop Dogg; my ears perked up when I heard his voice but I couldn't help but feel let down when he said a few words then left without even dropping a verse. I think putting the swagger aside, though, the Harlow I really wanted to see on this album was the lo-fi, chilled vibe that he's perfected over the years and luckily we were treated to a few examples. 'Lil Secret’ and ‘Like a Blade of Grass’‘ are both solid tunes but my favourite by far is 'Side Piece’. Jack uses the chill vibe and offers something more meaningful. I love the style of this song and for me it’s what Harlow is best at. A masterpiece with a simplistic backing and a more melancholic feel, it’s just one of those I could listen to on repeat. The subject of the song is about the struggles for Harlow of travelling around the world and how it makes it difficult to commit to anything, as well as how he can kind of end up feeling lost travelling from place to place and not settling. I love it when rap songs in particular really tell us a story and give us something meaningful to engage in. Far too often these days, artists just rely on a good beat and throw any old rubbish on the top as long as it rhymes - and sometimes they don't even do that. Another thing that excited me about this album initially was the features, and I have to say I was impressed. As Machine Gun Kelly's latest album proved, bringing loads of big names onto a project can have mixed results, but I think Harlow got it right. Ever since he released the track-list I’ve been looking forward to ‘Churchill Downs’. Jack certainly did enough to back up his claims that he's the man right now; sharing a track with one of the best around runs a risk of being overshadowed, but whilst it's not a competition I'd say for me Jack's verse is probably better than Drake's on this one. If that wasn't enough to convince you that Harlow is going places, then Drake kindly takes the time to tell you so in his own verse. I love the vibe that came with this song; you can tell it's all respect between these two and I have to give credit to Drake for getting involved with the project. I think for me this song was the dream scenario as my love for both artists stems from their ability to pump out meaningful, lo-fi masterpieces, so to have them produce a song exactly like this together was a huge plus for the album. I'll also give a special shoutout to the music video in which Harlow's own mother hilariously stands behind Drake for his verse playing the part of hype woman. ‘Movie Star’ is another big feature song, this time with Pharrell. It's another one of my favourites from the album, but for entirely different reasons. We lose the melancholy and the meaningful verses, but they wouldn’t work on this song anyway. What we get instead is just really cool from start to finish. I like the 808 bassline, I like Pharrell’s hook and Jack nails his verses too. The only downfall is that, similarly to 'Young Harleezy', we do get a beat change again (seriously, is it 2016 again?) but this time it fits much better into the song. If anything, it just takes the old beat then cranks it up a couple of notches. ‘Parent Trap’ with Justin Timberlake once again is a song that was made for me, the piano backing moves it close to my beloved jazz rap style and combines with Harlow’s smooth vocals perfectly. As expected, Timberlake delivers too, offering some great R&B style bars; the whole song is just the definition of smooth from start to finish and I love it. ‘Poison’ with Lil Wayne rounds out the big name artists who came to help Harlow. After all the praise, we must come to the main negative with the album - and it starts with a positive. Before the album came out there were two 'main' releases that really caught my attention: 'Nail Tech' and 'First Class'. ‘Nail Tech’ is the Harlow that I love in his best form. We've got some chill vibes, we've got the swagger and the arrogance and the hard hitting verses and the catchy trumpet riff in the background, which some have compared to ‘Industry Baby’. It all comes together to ensure you'll have the song stuck in your head. I've had it on my playlist since it came out and it never gets skipped when it comes on; it's one of the main reasons I was excited for this project. The other main reason was the sneak preview Harlow gave us of 'First Class' on Tik Tok. However, in come the negatives. After all the anticipation I have to say I was a bit divided - maybe he should have called it 'Business Class', or even 'Economy Plus'. I think if I was being completely objective I'd say it’s a good song, but that’s all I can really say. The issue here is that Jack was kind of killed by the hype. It's not really his fault, and it isn't as if it's a bad song. It's just for me, after hearing the earworm of a hook and knowing what Jack is capable of, I was expecting him to drop one of the songs of the century. The first time I listened I was full of excitement, but I just felt a little underwhelmed. The verses feel a little bit disjointed and don't carry Harlow's usually smooth swagger. This album is really tough for me to decide on – a quick look on Twitter will show that the majority of people feel somewhat disappointed or let down and I have to say I do feel myself sitting in that camp. It’s weird because as I listen back and read through what I wrote about the songs, I like all of them, some of them I really like. I think the issue with 'First Class' resonates across the whole album. With his rising profile, the release of 'Nail Tech' and the viral snippet of 'First Class', expectations for this album were through the roof. Everyone knows how good Harlow is and it just felt like he was right on track to drop an iconic album. I think one of the main reasons for me that I am somewhat disappointed is that, whilst I enjoyed listening to the album as a whole, I wouldn’t really call it memorable. It's no coincidence that 'Side Piece' is my favourite song from the album as it offers something to engage in. The meaningful lyrics and the storytelling make it a compelling listen but unfortunately it was a one off. Even when writing this review I found myself listening to the album methodically, thinking, 'Yeah, that's a decent song' but not having much else to say. Music is entertainment after all, so there is a lot to be said for songs being a good listen, but after showing what he's capable of in 'Side Piece' I was left hankering for more and it never came. So did expectations ruin Harlow's big release? Yes, to an extent. It's all about context and for me this album is probably a six or a seven out of ten, which is a very respectable offering. The issue is when you expected a ten out of ten, a seven suddenly doesn't seem so great anymore. Whilst for me, regardless of expectations, I think Jack is capable of better, I do think a lot of the negativity surrounding the album is purely down to the fact that the bar was so high. Either way - I'm certainly (cautiously) excited for whatever Jack does next. David Dawson |