Originally published in Pride Life magazine.
Lacing her icy synth-pop with a grinding alt-rock crunch, Indiana built steady support for her music in 2013; even the Queen got to witness her in action, at Radio One’s Live Lounge. Lyrically, she explores the darker, more dysfunctional aspects of relationships; you’d never guess she was a happily settled mother of two, but Indiana thrives on such contrasts. “I’m in possession of a smoking gun, and I wanna hurt you just for fun”, she threatens, with a performance style that switches from doe-eyed vulnerability to steely fury in the blink of an eye. Mess with her at your peril.
Uniquely for a dance-based collective, Clean Bandit started out as a string quartet at Cambridge University, making them light on urban credentials, but strong on musical prowess. Strings are still central to their sound, which is peppered with naggingly familiar classical quotes, adding melodic sweetness to the electronic thump. They charted briefly, with the endearingly daft Mozart’s House, but they’ve been shaking off the novelty tag since then, with tracks such as the reflective Dust Clears and the uplifting diva-house of No Place I’d Rather Be. Like Basement Jaxx before them, their anything-goes musical stance is a joy to behold.
Formed just over a year ago, Amber Run have made remarkable progress for such a young band. Their fourth and fifth gigs were at the Reading and Leeds festivals – a baptism of fire, if ever there was one – and for their sixth show, they were backed by a 14-piece orchestra. Now signed to RCA Victor, the five lads have dropped out of their final years at university, to concentrate full-time on their music, described as “anthemic rock mixed with cinematic post-rock”. With songs as strong as Noah, Heaven and Spark, they could well be one of next summer’s festival favourites.
Having topped the singles chart with her guest vocal on Rudimental’s Waiting All Night, Ella Eyre is looking to match the solo success of John Newman, another Rudimental collaborator. A fierce and passionate performer on stage, the 19 year-old Brit School graduate has harnessed the same raw energy for Deeper, her début EP. Musically, the new material builds on Rudimental’s template, fusing classic soul/funk stylings with more dance-based elements, but it’s Ella’s husky, bluesy delivery that holds your attention throughout. A punchier, more powerful sound is promised for her forthcoming début album – but even now, she’s hardly short on clout.
Unlike our other four picks, Sleaford Mods are unlikely to taste major commercial success in 2014 – they’re far too sweary, for starters – but their heroically uncompromising approach deserves a wider audience. Backed by Andrew Hearn’s minimal low-fi electronics, Jason Williamson spits surreal venom and scathing fury in an earthy East Midlands rasp, as if Arthur Seaton, the anti-hero of Saturday Night and Sunday Morning, had been weaned on John Cooper Clarke and The Fall. “Boris Johnson and The Cheeky Girls shut down the underground!” he rages – and, if only for a moment, you find yourself punching the air in agreement.
“I have Callum on the line for you. Are you ready for the call?”
It’s a sign of an artist’s rising fortunes, when the only way you can speak to him is through the record company’s press office. It’s also quite unlike most LeftLion interviews, which are simply a case of arranging which pub to meet up in, after the act has finished work or college for the day. But for Callum Burrows, who signed as Saint Raymond to Asylum/Atlantic Records in August, there are now more exalted protocols to follow.
“It’s all crazy now”, he says, speaking to LeftLion from “sunny Hastings”, where he’s working on new material for a forthcoming EP, with a debut album to follow. “But to be honest, life hasn’t changed a ridiculous amount, in terms of what I’m doing. We’ve just carried on with the goals we set out. But we’ve obviously got a bigger team to help us out now, so it’s all good.”
For all his playful daftness on Twitter, Callum comes across as a serious-minded fellow with an utterly professional mindset, who’s not about to squander his opportunity. The way he sees it, Asylum “appreciated the work we were doing, and they wanted to get on board and help out. I’ve had advice about stuff, but it’s not been an overbearing thing, it’s just been a helpful process.”
“It’s a brand new world for me”, he adds, “and it all came very quickly. When we released the EP [Escapade, which came out on Gabrielle Aplin’s Never Fade label in May], we didn’t expect much of a reaction, and we got into the Top 25 on iTunes.”
While 2013 has been a landmark year for Callum, it has also been a year which has forced him to adapt quickly to new situations. The instant success of the EP led to extensive national radio airplay – Zane Lowe has been a particular fan – and a Radio One playlisting for Letting Go over the summer.
“The Radio One support has been amazing, Dean Jackson at Radio Nottingham has been exceptional, and I’ve been getting quite a few telly syncs. I was watching a programme, and they played one of my favourite songs, and I was like: oh, I love this song. Then it went quiet, and a song came on, and I was like: oh, wait. The next song was me. So it was kind of weird. When you’re in the public domain, you can be in a position where you’re just watching telly and you hear your own music. It’s a strange concept, but it’s brilliant.”
In fact, all four tracks from the Escapade EP have ended up soundtracking scenes on a variety of TV shows, including the final scene of the most recent series of Made In Chelsea: a prestigious, if somewhat incongruous moment.
Although the EP was recorded with a full band line-up, it was recorded at a time when Callum was still performing as a solo acoustic act – most notably at Dot To Dot in Nottingham, two days ahead of its release, when the 18-year old played the main stage of Rock City, to a full and noisily appreciative house.
For Saint Raymond’s next festival appearance, on the Jagermeister stage at Splendour, it was clear that a full time band had to be recruited – but astonishingly, the band only began rehearsing on the night before. “We were thrown in at the deep end”, Callum admits. “Splendour was a big moment, playing for a home crowd, and it felt really special.”
In contrast to most bands, who generally get the opportunity to cut their teeth at low-key gigs, the four piece line-up’s next three dates were at equally high-profile festivals. Thanks to Dean Jackson’s efforts, all three were on BBC Introducing stages, at Y-Not in Derbyshire (“the tent was really busy, and that was a really good show”), and at Reading and Leeds, alongside Nottingham’s Joel Baker and Amber Run.
Leeds proved to be a testing experience, as Callum explains. “We got put on a couple of minutes late. Then it came to our last song, and there were still three minutes left, but they were like: no, we haven’t got enough time. It was quite funny when all the staff came out to clear the stage. They had quite a hostile reception from the crowd. It was one of those moments when you have to bite your tongue, but I was grateful to even get the chance to play on that stage. At the time, it was an absolute pain – but looking back, you’ve got to see the bigger picture.”
Another challenge presented itself in September, at the Theatre Royal’s Nottingham Rocks showcase. Headlining the evening, Callum appeared without his band, accompanied instead by a fourteen-piece orchestra. Once again, this was another last-minute, flying-by-the-seat-of-your-pants affair.
“You have your first rehearsal with the orchestra the night before, and they know your songs better than you do. So you can’t make a mistake or anything; they’re so tight as an orchestra. That was another special moment.”
Later the same month, on the eve of his first headline UK tour, Callum faced another major test of his nerve. “The tour started on the Tuesday, and we had the first rehearsal on the Sunday, but the guitarist dropped out on the Friday. So we literally found someone on the Friday, who was a friend of a friend. It was so last minute, but it’s been amazing that he managed to pull it out of the bag.”
Unlike some solo acts, who get thrown together with a band by their record companies, Callum has been able to recruit his own team – including his brother-in-law, who plays bass. “I always wanted a family vibe on stage, and a friendly vibe”, he explains. “I think you see a lot of musicians, where you can just tell that they’re session musicians, and it doesn’t feel like a good vibe at all.”
The addition of a band doesn’t affect Callum’s writing process, though. “From day one, even when I was doing it acoustically, I was always writing with a band in mind. So nothing’s changed. When I wrote Fall At Your Feet, about 18 months ago, that was always a band song.”
As for the name, which originated when Saint Raymond were a duo and continued after Callum went solo, “Saint Raymond is me. I always wanted to be an artist with a different identity to myself, because I think you can easily slip into the category of: oh, you play the guitar and you’re a singer, so you must be like Ed Sheeran or someone like that. I always wanted to steer away from that. The name was personal to me, so I always wanted to stick with it.”
Despite this year’s sudden surge of progress, Callum has always tried to manage his development at an even pace. “I’ve always built it progressively and I’ve always wanted to do it organically, and take my time, and make sure the music was right. There are a lot of artists who are very keen to get the music out there, but you don’t want to be putting a product out if it’s not identifying yourself, and if you’re not making a statement about who you are, because it just becomes a confusion. “
In common with acts such as Harleighblu and Georgie Rose, he hasn’t gone down the slap-it-all-out-for-free-on-SoundCloud route, either. “I see some artists who decide to release all their catalogue really early, but I think you have to be careful. If that EP hadn’t reacted very well, then I might have gone: well, maybe the thing we’re doing isn’t working at the minute, so maybe we need to change the vibe of it.”
With the possibility of widespread national acclaim now dangling in front of him, our talk turns to future opportunities, and future perils to dodge. Of all his musical heroes – including Noel Gallagher (“I was brought up on Oasis”) and even, startlingly enough, the long-departed George Formby (“I had a really weird obsession”) – Callum would most like to meet Paul McCartney, his favourite Beatle. This leads us further into speculative waters, as I present him with a list of things that properly famous people do, seeking his reaction to each item.
For the record – and perhaps we should come back and check this in a couple of years’ time – Callum would say “yes” to an appearance on Later With Jools Holland, even if that meant being accompanied by the man himself on boogie-woogie piano. (“You’ve got to do it, haven’t you? I love his piano playing. He looks so chilled, yet his fingers are doing these amazing things.”) However, it’s a firm “no” to the poisoned chalice of a Sunday night X Factor guest slot, and an equally firm “no” to a spot of modelling for Heat magazine’s Torso of the Week, “unless they’ve got a section for lads who like a bit of beer and food.”
There are no such qualms when I raise the suggestion of a video featuring twerking models in flesh-coloured bikinis. “Yeah, why not – let’s do it. When do we start? I might tell them to calm down the twerking part, but I’m all for a model in a bikini.”
As for spouting off about politics, Russell Brand-style, on Newsnight with Jeremy Paxman, the lad is having none of it. “I don’t really care about politicians. As a musician, I think as soon as you start spouting off about anything where there’s a big opinion, you’re treading a thin line. So I’ll just stick to watching it at home.”
When it comes to the final item on my list – getting totally shitfaced at the Brit Awards – it turns out that Callum is already ahead of the game. “I went to the Q Awards the other day, and I did a very similar thing. It starts at midday, and it’s just free booze on the table, so you’re feeling a bit drunk by about half past one. Everyone goes to this pub afterwards as well. So you have to play the game a little bit, and fall into that world. But it was just a bit weird. You’re sat at the table, and someone’s going, can I just squeeze past you – and you turn around, and it’s Robbie Williams.”
We kick off a new weekly series giving you the lowdown on everything you need to know about the UK’s best venues with a trip to the East Midlands.
Capacity: 2,450 in the main room, 300 in the basement.
Who plays there: Big names from Rock City’s past include Nirvana, Oasis, David Bowie, REM, Guns N’ Roses and Blur. The roster is slanted towards rock, as the name would imply, but other genres still get a look in; to the disgust of regulars, Blue played here in 2013. The NME tour is an annual fixture, as are the Dot to Dot and Hit the Deck festivals, covering indie and rock respectively. Other recent acts include Two Door Cinema Club, the Deftones, Foals, Bastille, Suede, Public Enemy, Alt-J, the 1975, Johnny Marr, AlunaGeorge, Gary Numan and Disclosure.
Originally written for Nottingham LIVE
I’m starting this list with an artist who I only heard for the first time today – but hey, when you feel it, you’ve got to go with it. Having recently guested on One Bomb’s Take Over, Aja is now preparing for the release of a four-track EP, which showcases her brand of icy, bassy electronica – and as a teaser video for lead track Made Of Glass suggests, she’s equally strong on visual presentation, too.
2. Amber Run
If Aja is the darkest horse on this list, then Amber Run have to be one of the safest bets. Signed by RCA Victor less than a year after they formed, and with appearances at the Reading and Leeds festivals already under their belts, Amber Run’s rise has been so swift, and so smooth, that you could be forgiven for suspecting an undisclosed sinister master plan. The truth is pretty simple, though: they’re a naturally cohesive unit, blessed with good looks, canny management and a talent for turning out future festival anthems, such as last summer’s ubiquitous Noah and their anthemic set-closer, Spark. Aided by its memorable closing refrain – “Let the light in, let the light in” – Spark could well be their breakthrough track in early 2014.
3. April Towers
Formed from the ashes of the late lamented Frontiers, Charles Burley and Alexander Noble have re-grouped as an electronic duo, channelling something of the spirit of New Order and Electronic. They’ve been a studio-based project thus far, but live dates are promised in early 2014.
With a loose-limbed, beatnik style that sets him apart from the hip hop pack, Kane Ashmore burst onto the Nottingham scene last spring with his low-slung signature tune, The Ashmore Show. Since then, he’s been gigging incessantly, and building expectation for his next project, Loonyology, due in February and featuring the likes of Bru- C, Motormouf and Rebecca King. An unreleased album has been knocking around for a while – perhaps it will never see the light of day – but tracks such as the Notts-to-its-core Yah Get Meh and the cheeky Scribbling & Dribbling (“I’m the type of guy to steal your soul, and eat your rolls while listening to Nat King Cole”) are too good to be left on the shelf forever.
I may not know much about emo – well, let’s face it, I know next to nothing about emo – but Bluebird impressed me greatly when supporting Kagoule in the basement of the Lacehouse in December. As I said at the time, they’re “a young band, who haven’t been performing for long, but they’re already impressively tight. Offering a fresh take on classic emo, their songs navigate complex twists and turns, stops and starts. Hopefully we’ll be seeing a lot more of them in 2014.”
6. Gallery 47
If I had to pick a favourite track of 2013 from a Nottingham artist, it would have to be All It Could Grow Up To Be, from Gallery 47’s free EP Dividends. Since then, The Guardian’s Paul Lester has picked Jack Peachey’s alter ego as one of his New Bands of the Day, describing him as a “Midlands tunesmith with an angelic falsetto singing about car bombs and weight loss”, and a number of London showcase gigs towards the end of the year have further helped to spread the word. A second album, All Will Be Well, is due shortly.
7. Georgie Rose
Few, if any, local acts can have worked it harder on the city’s live circuit in 2013, and no festival was ever complete without Georgie Rose’s name on the bill. And yet, wisely, she has resisted the temptation to give it all away for free on SoundCloud or Bandcamp, thus building expectations for the studio recordings which are sure to follow in 2014. In the meantime, live favourites such as Twenty Mile Road, Fool In The Summer, Love Me Again and L.O.V.E. are clear indications of a talent which has only just begun to be tapped.
Underground to the point of near-invisibility – you’ll search in vain for the merest trace of an online presence – Hang have retained a pleasing sense of mystery. “Transcendental repeato-riffs and primal boogie, for fans of all things cyclical”, said Cantaloupe, prior to a joint gig at The Chameleon. It’s a fair description, but nothing can really prepare you for the immersive onslaught of their live show. Pitched halfway between Hookworms and Hawkwind, and tempered with Krautrock’s unflashy precision, they play without pause, twisting basic, chugging riffs into slowly shifting shapes while their keyboardist adds sonic texture, and their drummer provides rhythmic colour. Spellbinding stuff, but you’ll need to work hard to track them down.
Tipped by many to break through big time in 2013, Indiana opted instead for the slow build, rather than the big bang; understandable, when you’ve a baby on the way. Three singles emerged – Bound, Smoking Gun, Mess Around – and each fared well in terms of national radio support, if not in terms of chart placings. Meanwhile, she debuted at Glastonbury, performed for the Queen, recorded in L.A, and gave birth to Etta, her second child. With the likes of London Grammar achieving significant success in a similar musical vein, the time is ripe for that long awaited début album.
10. Josh Wheatley
“I’m not that rich, and I don’t have a boat; all I own is in my coat.” Featuring Nottingham LIVE! Radio’s favourite lyric of the year, “Sail Away” was angelic-voiced 18 year-old Josh Wheatley’s calling card, bringing him to the the city’s attention back in April. Produced by Trekkah from the Afterdark Movement, Josh’s début EP (Follow The Smoke) is due for release at the end of January, with a launch gig at Pepper Rocks on Thursday January 30th.
Their studies complete, Kagoule are now free to concentrate on their music full-time, making 2014 theirs for the taking. Once rather shy on stage, their performances now crackle with chemistry, as Laurence’s brilliant drumming underpins Cai and Lucy’s instinctive rapport. Radio One and the NME are already on board; many more look certain to follow.
12. Nina Smith
The formerly ubiquitous Nina Smith took time out during 2013, in order to work on new material and a fresh approach. Re-emerging at the end of November, with a showcase gig at a packed Rescue Rooms, she staged a triumphant return, working her way through a brand new set list with a brand new band, and never sounding in finer voice. A second appearance swiftly followed at the Royal Concert Hall, confirming that one of the city’s most enduringly popular characters is well and truly back in the game.
It was also a quiet year for Ronika, with just one EP release to her name (plus a free download, featuring her strongest vocal performance to date), but that’s all set to change in 2014, with the release of her splendidly titled début album, Selectadisc. She might be based in London now, but what better tribute could there be to Ronika’s Nottingham roots?
14. Saint Raymond
At this stage, it’s almost beyond question that Saint Raymond is set to become Nottingham’s biggest post-Bugg breakout star. Signed to Asylum/Atlantic on the strength of his Escapade EP, Callum Burrows has gone one better with his follow-up, which is due to drop on January 5th. As a songwriter, he has an enviable knack for a winning indie-pop hook, and tunes like Young Blood (his hit-in-waiting) and Fall At Your Feet (from the first EP) are stuffed full of them, from end to end. Fresh from supporting Haim on tour, he’s perfectly poised to seize the moment.
15. Sleaford Mods
Embraced during 2013 by the European arthouse hipster set, with gigs in Paris, Brussels and Berlin, and boosted by Twitter support from Luke Haines and Kim Gordon, Sleaford Mods ended the year on various publications’ “best of” lists for their album Austerity Dogs, while simultaneously releasing four 7-inch singles on four different European labels. A German tour is planned for May – although what German audiences will make of Jason Williamson’s surreal, venomous and deeply sweary tirades is anyone’s guess – and, perhaps most unlikely of all, a feature on the duo is due to be published in Arena Homme Plus, a magazine that is best known for its upmarket mens’ fashion spreads. Where will it all end? The catwalk, or the dole office?